No Waste is the table Ron Arad designed starting from a standard sheet of ultralight honeycomb aluminium used in the building trade. It is a masterpiece of invention: all the components are derived from the sheet without any waste; assembly is very simple and it can be completely dismantled for shipping as a flatpack.
To the right, No Waste, Ron Arad (2004).
Ripple Chair by Ron Arad is an innovative project: the shell is thin but extremely resistant due to the ribbing running along it. It resembles the traces left behind by waves in the sand, which give the chair its name.
To the left Ripple Chair, designer Ron Arad (2005).
Complexity protects originality. This axiom led to Supernatural, a chair developed by Ross Lovegrove using entirely digital technology, from the project right through to production. It is made of gas-assisted injection-moulded plastic. Substantial investment enabled a product to be obtained that was inexpensive, for serious contract business.
La sedia Supernatural, designer Ross Lovegrove (2005).
The Print project by Marcel Wanders plays with the very idea of designing a sofa: the designer invents a print for the fabric covering and this then defines the sofa’s volumes. This incomprehensible puzzle only makes sense once the sofa is assembled - only then is the pattern formed.
La collezione Print, Marcel Wanders (2005).
Aesthetics in the digital age finds shape in the experiment by Weisshaar and Kram, the two young designers of Countouch. Almost as if miming how nature grows, they started out with an algorithm to define the folds in the sheet metal that form the table, which is generated entirely by computer.
A destra il tavolo Countach (2005).