Design Classic – Influential and important design
- Designer: Jasper Morrison
- Material: wool upholstery and wood frame
- Manufacturer: Sheridan Coakley Products, London England
Morrison earned his bachelor’s degree from Kingston University in 1982 before enrolling in the Royal College of Art in London. In 1987, he established his own design firm. Morrison designed a series of pieces for Sheridan Coakley in the United Kingdom before garnering the notice of international producers such as Vitra and Capellini. He also worked for Ikea, a well-known Swedish retailer.
Morrison’s couches, which featured vividly colored stretched upholstery, matched the late 1980s and early 1990s trend for minimalist, minimalist interiors nicely. Morrison has also used the similar aesthetic on other things, such as sculptural door knobs for Franz Schedier GmbH in Germany and a simple wine rack made of brilliantly colored plastic.
This sofa is designed in a so-called minimalist style that is basic and unadorned. Throughout the late 1980s, this emergent style had a significant impact on design in Europe. The sofa in question results from a significant collaboration between a talented young designer and a manufacturer committed to promoting new design. This partnership ushered in a new era for British furniture design’s prominence and prominence.
At the time, the sofa’s form was distinctive in mainstream British upholstered furniture. The manner it was elevated above the ground on aluminium feet was also unique. Its construction, on the other hand, was traditional. The upholstery is a traditional coiled spring structure supported by hessian webbing and coated with foam, while the frame is built of beechwood. On the Continent, producers utilized elasticized webbing or injection-moulded foam instead of springs; therefore, this design was rare.
Byars, M., & Riley, T. (2004). The design encyclopedia. Laurence King Publishing.
McDermott, C. (1997). Twentieth century design. Carlton.
You may also be interested in
How did so much beauty and imagination appear in daily rural life articles in Portugal? How did these objects’ shapes so deftly combine need and formal perfection? This book examines the impact that centuries of trial and error, individual craftsmanship, and an instinct to cut out the important with the tiniest of means had on artefacts that made life in a pre-industrial society both liveable and meaningful.
The British Royal Society of Arts (RSA) established the Royal Designer for Industry designation in 1936 to encourage high-quality industrial design and elevate the reputation of designers. It is given to persons who have demonstrated “consistent excellence in beautiful and efficient industrial design.”