{"id":43568,"date":"2020-08-03T14:12:13","date_gmt":"2020-08-03T12:12:13","guid":{"rendered":"https:\/\/www.apartamentomagazine.com\/?p=43568"},"modified":"2025-09-18T16:57:36","modified_gmt":"2025-09-18T14:57:36","slug":"sam-chermayeff-et-al-creatures","status":"publish","type":"post","link":"https:\/\/www.apartamentomagazine.com\/stories\/sam-chermayeff-et-al-creatures\/","title":{"rendered":"Sam Chermayeff [et al.]: Creatures"},"content":{"rendered":" \t\t<div class=\"woocommerce\">\n\t\t\t<div class=\"woocommerce-info wc-memberships-restriction-message wc-memberships-message wc-memberships-content-restricted-message\">\n\t\t\t\tTo access this post, you must purchase <span class=\"wc-memberships-products-grant-access\"><a href=\"https:\/\/www.apartamentomagazine.com\/product\/apartamento-membership\/\">Apartamento Membership<\/a><\/span>.\t\t    <\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\n<div class=\"woocommerce\">\n<div class=\"woocommerce-info wc-memberships-restriction-message wc-memberships-message wc-memberships-content-restricted-message\">\n\t\t\t\tTo access this post, you must purchase <span class=\"wc-memberships-products-grant-access\"><a href=\"https:\/\/www.apartamentomagazine.com\/product\/apartamento-membership\/\">Apartamento Membership<\/a><\/span>.\t\t    <\/div>\n<\/p><\/div>\n","protected":false},"author":7,"featured_media":43652,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[49,47],"tags":[474,477],"class_list":["post-43568","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essay","category-video","tag-design","tag-books-writing","authors-guillem-cruells","authors-moritz-kung","authors-thom-pringle","text_author-moritz-kung","film_author-guillem-cruells","music_author-thom-pringle","membership-content","access-restricted"],"acf":{"link_archive":false,"archive_story":null,"archive_bg":"#edecec","archive_title_color":"#0a0a0a","cover_bg":"#0a0303","cover_title_color":"#ffffff","body_bg":"#ffffff","body_text_color":"#000000","body_captions_color":"#666666","related_bg":"#edecec","related_text_color":"#000000","stories_bg":"#EDECEC","alternative_image":43652,"hover_image":43659,"credits":"Editorial note by Moritz K\u00fcng\r\nVideo edited by Guillem Cruells\r\nMusic by Thom Pringle","title_format":"center","font_size":"medium","image_format":"cover","hero_image_mobile":"","video":"https:\/\/vz-a6a6cda4-492.b-cdn.net\/6cdf841f-0acd-421e-90e8-04940eda19f7\/play_720p.mp4","video_excerpt":"https:\/\/www.apartamentomagazine.com\/wp-content\/uploads\/2020\/08\/Sam_chermayeff_excerpt.mov","video_format":"cover","content":[{"acf_fc_layout":"quote","quote":"Sam Chermayeff [et al.]: Creatures","caption":""},{"acf_fc_layout":"two_blocks","block_sizes":"half_40_60","content_type_left":"credits","image_size_left":"regular","image_left":null,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":42826,"credit_link_left":{"title":"Sam Chermayeff [et al.]: Creatures","url":"https:\/\/www.apartamentomagazine.com\/product\/sam-chermayeff-et-al-creatures\/","target":""},"content_type_right":"text","image_size_right":"regular","image_right":null,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":"In Sam Chermayeff\u2019s very first monograph, the abbreviation et\u00a0al. that follows his name emphasises the everyday practice\u00a0and outreach of his work, ever since he established his offices in\u00a0Berlin and New York about a decade ago. First, and above all, it\u00a0makes reference to and acknowledges the many collaborators, staff members, and interns that have been involved in one way or another in the further development and realisation of his projects, both buildings and furniture designs, proving that the production of architecture or design objects is in essence a\u00a0collective phenomenon, not only implying the single \u2018genius\u2019, but also his right hand, associate, collaborator, manufacturer, producer, developer, distributor, critic, or client. Second, and\u00a0as a\u00a0placeholder, it indicates a practice that, among architects, is\u00a0often considered secondary, namely interior design\u2014in Sam\u2019s case a pivotal branch within his enterprise. And, third, most tellingly, the abbreviation refers to particular characteristics\u00a0in Chermayeff\u2019s \u2018things\u2019\u2014as suggested by Dieter Roelstraete in his thought-provoking essay\u2014the so-called inclusive,\u00a0transcultural, trans-social, and often dogmatic momentum that seemingly divines his constant output. Considering this, furniture acts\u00a0in more than one way as the intermediary scale between architecture and the human body; in the same way that architecture acts as\u00a0the intermediary scale between furniture and the city. In view of the particular concepts, materials, settings, and, above all, the multiple environments in which his objects appear, the fluctuating scalar relation between body, furniture, interior, building, and by extension the city and cultural life, is apparent. Form, function, material, context, and site all seem to blend into each other, and therefore question conventional solutions, too."},{"acf_fc_layout":"text","text":"(A personal note:) following the exhibition \u2018La Sc\u00e8ne\u2019 by\u00a0the Portuguese architect Eduardo Souto de Moura that I organised at the Architekturforum Z\u00fcrich in 1992\u2014his very first solo show ever, and prior to his Pritzker Prize\u2014I became aware\u00a0that pieces of furniture are actually pieces of architecture. His presentation was centred around two\u00a0simple but nonetheless highly sophisticated prototypes of\u00a0constructed furniture: a large dining table with a smaller club table version underneath, both placed on a grass carpet that somehow marked a plot or site in its own right. The ensemble or scene represented a house, a filigree construction and protective space where one could simply meet, imaginatively and in reality.\r\nSam Chermayeff\u2019s very first furniture design, Star Bench, with Johanna Meyer-Grohbr\u00fcgge, an onsite prototype also developed on the occasion of an exhibition, the group show \u2018F-Utility?\u2019 curated by Porter Clark at the Land of Tomorrow Gallery in Lexington, Kentucky, in 2010, is an excellent example of the aforementioned casual blend. Built in two parts and assembled onsite around an existing steel column at the very centre of the gallery\u2014that also potentially could be a tree trunk in a park\u2014the bench is simple and effective. The star-shaped seating of six irregularly sized tips welded on a dozen thin poles marks a meeting point. Rather than an average orthogonal bench, it allows an increased number of people to talk, facing one another from multiple positions, resulting in an optimised way of communicating and, above all, forming a community.\r\nIn another early furniture design, the so-called Ad Reinhardt SANAA Chair, assembled by Chermayeff in 2013 as a unique piece, <i>blending<\/i> gets another, yet transcultural meaning. Here, he has used the by now iconic and nameless chair of his former employers, the Tokyo architecture firm Kazuyo Sejima + Ryue Nishizawa \/ SANAA\u2014a sparse chrome steel chair designed for the Japanese Pavilion at the 8th Venice Architecture Biennale in 2002, at the time curated by Arata Isozaki\u2014and mounted on its backrest an original work by the artist Ad Reinhardt, the multiple-titled <i>9 Squares<\/i> made in 1961, a canvas with resin cast in an aluminium frame that Sam found in the attic of his grandfather Serge\u2019s\u00a0house. This very object\u2014a sculpture?\u2014not only interconnects two very distinctive works by authors from different backgrounds, continents, and generations, it also amplifies, condenses, and\u00a0contrasts each other\u2019s minimalistic vocabulary, or, if you wish, the \u2018infinite\u2019 of the polished, mirrored seating with the \u2018black hole\u2019 of the backrest.\r\nFrom 2015 onwards, Sam Chermayeff developed two other new furniture typologies, a bed and a kitchen, both of which literally represent the idea of a community\u2014or, if you like, a \u2018joint venture\u2019. His Triangular Bed<i>, <\/i>by surface 40 percent larger than an average double bed and occupying more than 4.5m<sup>2<\/sup>\u2014ideally freestanding\u2014can easily be considered a room of one\u2019s own, a\u00a0hermaphrodite existing between a service area <i>and<\/i> a playground that is obviously destined for more than one purpose, be it to rest, relax, have sex, or sleep. The design is taken to such a height that even the bed linen is bespoke, including triangular couture pillows. If the Triangular Bed stresses a common use, the individual elements of the Free Kitchen seem to form a community in itself. Developed first as a prototype-ensemble for the architect\u2019s own use, basically designing unique single plinths and stands with specific heights and proportions for some of his own kitchen gear (toaster, sink, bin, fish tank, etc.), and combining them with kitchen furniture, such as the dishwasher, fridge, stove, shelf, and table, the kitchen-concept itself became somehow freestanding, if not <i>liberated<\/i>. Loosely arranged and seemingly without a fixed position, it is\u2014in Chermayeff\u2019s own words\u2014\u2018a malleable kitchen that, while programmatic, does not prescribe space\u2019. As basic and as plain as this may appear, the Free Kitchen offers a true innovation. Evidently, the ensemble is open, but at the same time it is <i>porous<\/i> too, by actively interacting with other areas of our habitat.\r\nHaving so far realised some 50 furniture prototypes, small series and custom-made equipment, it soon became evident that this book project would only focus on his micro-realisations, the \u2018little creatures\u2019, and not on his building refurbishments, many of them still under construction or in the design process. The book documents almost every one of his diverse designs, ranging from a bathtub stand that includes a massive granite stone to a\u00a0bespoke steel stool for a concert piano player, from a tiny stove table to be placed on top of a dining table (c.f. Souto de Moura) to\u00a0a monumental street light table, just to name a few. The different projects are arranged in particular sequences that somehow resonate with excerpts from Dieter Roelstraete\u2019s text, which runs in parallel\u2014notions such as: <i>thing theory<\/i>, <i>\u2018La table\u2019<\/i>, <i>kitchen islands<\/i>, <i>coffee table book<\/i>, <i>a precious \u2018other\u2019 social space<\/i>, or <i>getting through the morning<\/i>. The numbers next to each image that identify each of the presented objects in detail in the accompanying index also serve as pagination. The index itself, commented and illustrated by SCO, is structured according to the furniture\u2019s chronological appearance throughout the book. To conclude,\u00a0the very nature of Sam Chermayeff\u2019s unique and outstanding ideas could probably best be summarised\u2014even promoted\u2014with the following amalgamated poem that indirectly refers to the title of\u00a0this book (c.f. endnote) and paraphrases the voice of all of Chermayeff\u2019s creatures!\r\n\r\n(1) Hey, he-hey, hey!\r\n(2) Some things cannot be pronounced,\r\n(3) It makes those little creatures come to life.\r\n(4) Well, it\u2019s no trouble at all,\r\n(5) Bad and good,\r\n(6) Here we go, ha (all night long).\r\n(7) What you see is what you get,\r\n(8) Come and take us away,\r\n(9) And the future is certain.<sup> 1<\/sup>\r\n\r\n<sup> 1<\/sup> The amalgamated poem is based on appropriated fragments of the lyrics from the nine songs that figure in the album <i>Little Creatures<\/i> by The Talking Heads, released in 1985 by Sire Records: (1) \u2018And She Was\u2019, (2) \u2018Give Me Back My Name\u2019, (3) \u2018Creatures of Love\u2019, (4) \u2018The Lady Don\u2019t Mind\u2019, (5) \u2018Perfect World\u2019, (6) \u2018Stay Up Late\u2019, (7) \u2018Walk It Down\u2019, (8) \u2018Television Man\u2019, (9) \u2018Road to Nowhere\u2019."}],"related_text":"Sam Chermayeff [et al.]: Creatures","issue":[61908],"button_text":"Buy now!"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Sam Chermayeff [et al.]: Creatures &#8212; Apartamento Magazine<\/title>\n<meta name=\"description\" content=\"Sam Chermayeff [et al.]: Creatures, edited by Moritz K\u00fcng, is a look back through nearly two decades of experimental projects undertaken by the Berlin-based\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.apartamentomagazine.com\/stories\/sam-chermayeff-et-al-creatures\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta 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