Cecilia León de la Barra (Mexico, 1975) has an BA in Industrial Design from Universidad Iberoamericana.
In 2000, shortly after graduating, co-founded MOB in 2004, along with Ricardo Casas, Alejandro Castro, Héctor Esrawe & Emiliano Godoy and founded NEL collective and is part of the Colectivo Hecho a Mano since in 2010.
Since 2005 he teaches at the Universidad Iberoamericana and Centro|Diseño, Cine y Televisión where she now makes his MA in Design Studies. Cecilia’s work is characterized by an appreciation of Mexican popular culture and exploring with colors, with a touch of humor.
Currently, Cecilia is working with Archivo in the curartorship of the exhibition “From the Original Copy” co-curated with Jorge Gardoni. The exhibition tells the copy as a method of learning that leads other results. For more information see our Archivo Impreso 03 here.
“Proverbs won’t abandon us: sayings, aphorisms, epitaphs and prayers containing wisdom. “Wait by the door of your house and you will see your enemy’s corpse pass by” It is a Chinese proverb, and if instead of waiting by the door we do it in a foldable stool? And not by the door, but anywhere at a lake’s shore or in a hotel’s terrace. The stool we can take everywhere and in a that way the enemy’s corpse won’t escape”
Erratic Label for the foldable stool by Guillermo Fadanelli for Guillermo Santamarina’s exhibition “Hapiness is a Hot (& Cool) Sponge”
1934 / 2012
Vitra International AG
After 1930′s it became a true standard find this chair model in high schools and universities in northern France. This -no doubting – Jean Prouvé’s intention, who with their knowledge of engineering, designed a perfectly balanced chair for rugged use, with special emphasis on the necessary strength of the hind legs which support most of the weight.
The front legs constructed of steel tube visually balance the chair and become not only a piece of solid structural engineering, also a beautifully chair that can be used in the dining room of a university or any room in the house.
Bauspiel: Construction set
1923 / 2012
Naef Spiele AG
In 1924, during her Bauhaus student time, Alma Siedhoff-Buscher designed the Bauspiel. [Bau-construction. Spiel-game] as part of the children’s room in the house “Am Horn” in Weimar. The Bauspiel is probably the most popular toy of the Bauhaus period. With 22 pieces of different sizes and colors and a child’s imagination can create endless possibilities of scenes and objects.
In 1977, NAEF, current producer of construction game, again brought to light the toy despite its nearly 100 years, still entertaining children.
8 inches portable television designed for Plus Minus Zero where Naoto Fukasawa acts as founder & Creative Director. Plus Minus Zero’s philosophy focuses n the “just right”. Price, shape, size have to be barely “just right”
Form is a copy from cathode ray tube (CRT) screens used in 1875. It’s like
Andrea: Air Purifier
Mathieu Lehanneur & David Edwards
2008 / 2010
What makes ANDREA different to any other air filter is first absorbing toxic gases such as formaldehyde by means of absorption and metabolism of plants. ANDREA accelerates the efficiency of air cleaning over 1,000% faster than do plants alone. And therefore the efficiency of removal of formaldehyde in air relative to plants is 360%. In connection with HEPA and charcoal filters show an improvement in the filtration efficiency of a 4.400% formaldehyde.
All this thanks to the active filtration plant, using a fan that draws air to the leaves and roots of plants through the water after filtration and land passed back to the room you came from.
Black Arm: Armchair
“I began to think about what I thought furniture, specifically a chair, really might be, starting with the philosophy that it isn’t going to be aggressively technological, or aggressively handicraft…I, as a designer, felt there was room for the kind of decorative, gentle, graceful kind of design that appeared in period style like Louis XV, but it could have a more rational base instead of being applied decoration…I thought why separate support from the object. Just make it all one thing. Starts at the floor and comes up and envelops me, supports me…What I wanted to achieve was a chair that, number one, was complementary to the person sitting in it, or to the person in the space between the wall and the chair — what the chair did for the person in respect to the scale of the person and the space.” (Platner, W.)
Reflecting a dramatic change in cultural values, modernism became more expressive in the 1960s. Platner felt there was an opportunity to combine the aesthetics of competition at the time.
“Blow up” is a collection of objects of the same concept that resembles the game called “Shanghai” [known in Mexico as Chinese Sticks], and was created with the idea of assembling hypothetical cuts of stainless steel wire welding together to form various types of containers.
The aesthetics of the Campana Brothers is evident in this exercise with the characteristic “use of materials in their natural state and experimentation with poor and recycled materials.” (C. Morozzi) that can link with pieces like the Favela Chair (1991) or the Corallo (2003/2004)
To celebrate more than five years of collaboration, Alessi and the Campana brothers had the same collection, but made with bamboo.
The Backpack sofa was a commission from Galerie Kreo in France to produce an edition of 8 pieces. The piece refers to the demands of travelers “backpacking” options and flexibility they need while traveling. And like the work of Hella Jongerius is like a trip you are looking for something, try and experiment with different things, BackPack is about having options.
For Hella Jongerius ”design is a profession that I hate and like in equal measure. There’s no reason to design anything, yet it’s something that I like to do. The joke that we always make here is, when are we going to burn this whole bloody studio down?’”
The enormous attention after Konstantin Grcic Chair_One inevitably led to some categorization of his style. Which can identify an aesthetic where the seat angle becomes a sum of facets. The commission Plank, manufacturing over 100 years working with designers to design a bar stool monoblock plastic was the opportunity to re-invent the vocabulary of forms of studio. The MIURA stool is strongly based on the principles of construction. However, his form was conceived by the work of a much more sculptural way.
The Miura stool made of reinforced polypropylene is injected into a single block. The innovative injection technology did win Plank, manufacturers of the stool, and Konstantin, awards including the Red Dot Design Award (2006), IF Product Design (2006), The Design Award of Germany (2007) among others.
2000 / 2006
Tokujin Yoshioka, a pupil of Issey Miyake and Shiro Kuramata, is a workaholic who likes to avoid the trivial distractions of life . All their time is occupied to think and reflect on their work , always trying to experiment and take the challenge of creating something entirely new. He is a designer who does not discuss their work with colleagues, but to achieve pieces that transcend time feeds exchange ideas with engineers and academics. In his attempt to convey ideas, Yoshioka work load with a clearly conceptual background , his work speaks of a philosophy of life and work. As constant within their practice, we find that resolve structural searches with flimsy materials, which also generates paradoxes, returning their work more challenging.
Yoshioka is known for discovering new approaches and applications of the materials he chooses to work, as can be seen in the edition of 300 chairs Honey- Pop paper, presented in Milan in 2001. The chair is constructed from the two-dimensionality with 120 pieces precisely cut and pasted together. Subsequently, this provision can be extended and carried the three-dimensionality , becoming a strong honeycomb structure, which perfectly resists the weight of an adult. The same Yoshioka points that seeks to unveil a new material, but a novel structural approach, never resolved yet. That is the secret that makes it a true innovator .
This chair is certainly one of the most important projects of the designer and also the most satisfying experiences in this creative design that is generated . The chair is always a design challenge, almost as an initiation for the designer; assumes Yoshioka and resolves completely unpredictably. The Honey- Pop allowed Tokujin subsequently generates links with international leaders in design and Swarosky , Issey Miyake , Hermes , Nissan, Driade , Moroso , Kartell , among others.