Studio Formafantasmaによる溶岩を用いたコレクション「De Natura Fossilium」

Studio Formafantasma がロンドンの有名ギャラリーGallery Libby Sellersより発表した溶岩を用いたコレクション「De Natura Fossilium」を紹介します。


かつて溶岩は職人たちによって精巧な細工を施される立派な素材でした。しかし近年では観光地で手に入るチープなお土産にしか使われることがなくなっていたようです。そこでStudio Formafantasmaは実際にイタリアのシチリア島にあるヨーロッパ最後の活火山、エトナ山とストロンボリ山に赴き、そこで採取した玄武岩や砂を砕き、溶かして鋳造するなど様々な実験を通して新しい素材へと進化させてデザインに利用しました。そうやって生まれたのが「De Natura Fossilium」だそうです。幾何学的な形態を持ちながら、質感やテクスチャに溶岩独特の荒々しさの残る素晴らしいコレクションとなっています。


溶岩を溶かし、鋳造して作られたテーブルとスツール。幾何学的な形態ながら、どこかざらっとした印象を受けます。


この時計には時針、分針、秒針の3つに分けられ、それぞれのベースにはストロンボリ山の異なる地層の砂が置かれています。


こちらの花瓶はエトナ山の岩を溶かして成形されたもの。

この他にもミラーやボックスなど様々な作品があります。その他の画像はGallery Libby SellersのHPで閲覧できます。



Studio Formafantasmaはオランダ、アイントホーフェン在住のイタリア人デザイナー、アンドレア・トリマルキとシモーネ・ファーレシンによるデザインデュオです。その他の作品が気になる方は是非HPをご覧ください。80年代生まれの若いデザイナーでありながら、すでに各国のメディアから注目を浴びています。


以下プレスリリースより:

De Natura Fossilium by Studio Formafantasma

“When Mount Etna erupted on 20th November 2013, the dramatic event was broadcast by a haunting noise of rumbling stones and a vast plume of dark smoke that completely obscured the sun. After the smoke, black earthen debris began showering down over the villages and cities within the immediate vicinity of the mountain. From the highway through to the Greek theatre in Taormina, everything was covered with black. Mount Etna is a mine without miners — it is excavating itself to expose its raw materials.”

Andrea Trimachi and Simone Farresin, founders of Studio Formafantasma

Studio Formafantasma, in collaboration with Gallery Libby Sellers, is pleased to present De Natura Fossilium — a new body of work that investigates the culture of lava in the Mount Etna and Stromboli regions of Sicily, two of the last active volcanoes in Europe.

Through this, Studio Formafantasma bring both the landscape and the forces of nature together as facilities for production. As in their previous projects Autarchy (2010) and Moulding Tradition (2009), Formafantasma question the link between tradition and local culture and the relationship between objects and the idea of cultural heritage. Historically craftsmen would mould molten lava erupting from small craters into celebrated and elaborate forms. This time-honoured craft has effectively been rendered worthless as now only inexpensive souvenirs are produced. De Natura Fossilium is a project that refuses to accept locality as touristic entertainment. Instead, the work of Formafantasma is a different expedition in which the landscape is not passively contemplated but restlessly sampled, melted, blown, woven, cast and milled. From the more familiar use of basalt stone and Lavic fibres, to their extreme experiments with lava in the production of glass, Formafantasma’s explorations and the resulting objects will challenge this situation and realise the full potential of the lava as a material for design.

In homage to Ettore Sottsass, this new body of work takes on a linear, even brutalist form. Geometric volumes have been carved from basalt and combined with brass structural elements to produce stools, coffee tables and a clock. The clock itself is deconstructed into three sections (hours, minutes and seconds) and each section is filled with three different ages of lavic sand sampled from Stromboli. Lavic glass, procured by remelting Etna’s rocks, has been mouth-blown into a mirror, unique vessels or cast into box-like structures that are reminiscent of the illegal dwellings that have developed at the foot of the volcano. By returning the rocks to their original molten state Formafantasma is reversing the natural timeline of the material and forcing a dialogue between the natural and manmade Similarly contrasting dialogues are created through their experiments with lavic fibres in the creation of woven wall hangings that effectively reappropriate a conventionally high tech material for artisnal ends.

All works are part of an edition, available exclusively through Gallery Libby Sellers, London.

De Natura Fossilium by Formafantasma,2014
All works courtesy
Gallery Libby Sellers, London.
All images by Luisa Zanzani.

posted by Shin Yamashita.