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Modern seating design often elicits wariness from those who prefer Barcaloungers to Barcelona chairs. But Fleeting Seating: The Slightly Uncomfortable Chair Collection, by the 250-strong Sid Lee agency, makes everyone uneasy. After realizing that he and his coworkers were wasting crucial office hours with unproductive meetings, Louis-Thomas Pelletier—the creative director of the collective’s Montreal branch—conceived of these misleadingly sleek seats intended to keep sitters on their toes, literally.   MORE >>

Modern seating design often elicits wariness from those who prefer Barcaloungers to Barcelona chairs. But Fleeting Seating: The Slightly Uncomfortable Chair Collection, by the 250-strong Sid Lee agency, makes everyone uneasy. After realizing that he and his coworkers were wasting crucial office hours with unproductive meetings, Louis-Thomas Pelletier—the creative director of the collective’s Montreal branch—conceived of these misleadingly sleek seats intended to keep sitters on their toes, literally.

The Rococo is a side-to-side rocking chair that requires both feet to be planted firmly on the ground to prevent tipping over. The gabled seat of the Space Invader does exactly as its name suggests, while the low, stubby legs of the Talking Head drops the sitter below a conference table. Sugar Fix finds its inspiration in shoddy café chairs, becoming level only when one leg is propped up with sweetener packets. Men with cheeseburger-sized billfolds can equalize the slanted seat of Wallet Factor, and finally, Gottago’s angled back forces the body forward, as if you’re about to stand and run.

Though they’re not quite medieval torture devices, the half-dozen chairs—which go on sale this winter at Sid Lee’s eponymous Amsterdam boutique—accomplish precisely what Pelletier intended. “At first, you’re not that bad,” he says, “but after five minutes, it’s really uncomfortable.” Just goes to show that some people will do anything to get out of meetings. sidlee.com   << LESS

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Ever since he graduated from The Design Academy Eindhoven in 1991, the Rotterdam-based Richard Hutten has put his fingerprints on products for some of the world’s top design houses. He worked as part of the Dutch collective Droog for almost a decade, and in the past year alone has dreamed up office furniture for Lensvelt, fabric for Väveriet, a Moooi lamp, even a stamp for the Royal Dutch Post. Yet, the versatile talent has always made time for personal projects—installations, limited-edition pieces and museum interiors—that let him experiment in the realm of fine arts.   MORE >>

Ever since he graduated from The Design Academy Eindhoven in 1991, the Rotterdam-based Richard Hutten has put his fingerprints on products for some of the world’s top design houses. He worked as part of the Dutch collective Droog for almost a decade, and in the past year alone has dreamed up office furniture for Lensvelt, fabric for Väveriet, a Moooi lamp, even a stamp for the Royal Dutch Post. Yet, the versatile talent has always made time for personal projects—installations, limited-edition pieces and museum interiors—that let him experiment in the realm of fine arts.

Last spring he riffed on the concept of layers via furniture that, as Hutten attests, “has to be read as a statement, a plea for more depth in the design world.” He showed the Prinses op de Erwt fairytale bed concept—seven, randomly stacked mattresses, each upholstered in a different damask—and Muybridge (middle), a chair composed of 53 black-and-white self-portraits, enlarged, laser-cut into MDF slabs and then glued together. As Hutten says, the conceptual and manual coincide and overlap.

Elsewhere, his Book Table (2008, top) was a stratum of second-hand hardcovers finished with a resin-coat, but Hutten doesn’t credit this for its durability. “The idea will be valid over a long period of time, and the people who own it will pass it to the next generation.” Designer, artist and anthropologist, Hutten stirs the discourse. “It’s about objects and what we can read in them, the stories they can tell.” A year later, and Hutten unveiled his magical, mirror-finish Cloud Chair (opposite) at this April’s Salone del Mobile. In situ, the sculptural piece absorbs and reflects its surroundings. In fact, Amsterdam’s Rijksmuseum commissioned a 1:7 scale chair for one of its 17th-century dollhouses. The miniature was set in a room covered with paintings of clouds for a sublime visual pun.

One of only 12, the bubbly, aluminum-cast and nickel-plated chair creates a seat with a sweeping scoop, harkening back to the Bauhaus masterpiece Cantilever Chair (1926) by fellow Dutchman Mart Stam. “There is an overkill of designs with a lot of form, but with a lack of content,” Hutten says, “a visual pollution for getting into magazines, rather than being a part of peoples’ life.” The Cloud furthers his ongoing fascination with circles and orbs, appearing in his transportable stool Zzzidt (2000), double-handled Dombo mug (2002), and, most directly, in his Christofle housewares collection Atomes d’Argent (2007, bottom near left).

Since 1997, Hutten has also put his touch on temples to architecture, art and film, recently finishing the interiors for Museum Fredericianum (bottom far left) in Germany, completing a chair for the Zuiderzee Museum in Holland and assembling a monolith of his cultural projects.

“A museum is a good place to work,” Hutten attests, “You get a lot of freedom, and the work is understood.” Plus he sometimes gets to helm the furnishings inside, pieces that may go into production for the world at large. For example, the wedding guests of The Netherlands’ Prince Willem-Alexander sat on Hutten’s polyurethane Centraal Museum chair (1998), but it’s also a seating option at a Kentucky Fried Chicken near Hutten’s studio. Fine arts meets fast-food, and he likes the contrast.

“The functional aspect of furniture is always the starting point, but never the finishing point. I became a designer—not a sculptor—because I like that my work can be used. I prefer the word ‘use’ above ‘functionality,’ because I think any good piece of art has a function, not just design.” richardhutten.com, ormond-editions.com   << LESS