to - Designophy

C A S I M I R M E U B E L E N
www.casimirmeubelen.be
[email protected]
History
Casimir, born in Koersel (Belgium) in 1966, elected to study Industrial Design at the SHIVKV
Genk (Belgium). It was never a conscious choice to focus on design. Casimir was looking for a
versatile direction that would include theory and technique as well as creativity both in mind and
hand. During his training as an Industrial Designer, he discovered that the design of products purely
for industry waslost on him: an industrial product is an accumulation of compromises and is rarely
an expression of a personal emotion or the personal vision of the designer. During his studies,
he designed a number of items of furniture that did give expression to his own vision of design.
Later, after he had established himself as a furniture designer, this vision further developed into a
personal style.
He won several awards and selections like
— Cultural award in 1994 from the Province of Limburg in Belgium
— Henry van de Velde-Prize in 2000, awarded by Design Vlaanderen, Belgium
— In 2004, Casimir won the most prestige price in Belgium for Architecture and Design ‘The
Flemish Culture Price’ for the collections Casimir Meubelen and Vlaemsch(). This price is attributed every 2 years in this category. Other laureates of The Flemish Culture Price are Raf Simons,
Martin Margiela, Maarten van Seeveren for Design; Mauro Pawlowski (from Deus) for Music in
2004.
C A S I M I R M E U B E L E N
C A S I M I R M E U B E L E N
Philosophy
Why do his objects fascinate? What is the secret of their seduction, or rather, their power to seduce?
Their magnetism seems to be related to that innocent, yet irresistible, glance one sometimes gives an emphatic representative of the
opposite sex (or possibly the same sex) in an unguarded moment. A glance without consequence, expect perhaps in dream. His objects
are not aloof. They lure. And yet at the same time, they withdraw into their own self-willed, self-satisfied, unapproachable Ego.
The game of seduction. Modest, reserved, unpretentious as his objects are, they are, at the same time physical, desirous and sensual.
That makes them exotic. These objects are not polite or well-brought up or, and much less so, boring or neutral. They fall into two
extremes of a spectrum at one and the same time. Their severity, clarity and utilitarianism labels them masculine. Their generosity,
susceptibility and intimacy makes them feminine. Each time we try to label them, these objects slip away. They withdraw into their
indefinability. So is this furniture: elusive.
[Francis Smets, Philosopher]
His style strips his furniture to the essence, to what they were originally designed for; he retreats into the ‘archetype’. Semiotics,
the language of signs and symbols, plays an important role; language as the basis of a culture. His furniture is characterised as heavy,
solid and in his view typically Flemish, Burgundian and Gallic. The use of durable and genuine materials and constructions allows
time a chance to exercise its influence on the designs. Such materials, in combination with their proportions and dimensions,
guarantee their utility. Casimir’s furniture designs are and will remain items of use, working appliances.
Casimir’s designs are born from a point on the other side of the most extreme border of reduction. At the extreme of simplicity, truth
crosses over into criticism. This is why Casimir’s furniture, even its most extreme simplicity, is deviant.
[Jan Kenis, Cultural Engineer]
Casimir’s style is a concept that is for ever in motion, constantly questioning itself: to what extent are archetypes legible: when should
one call six planks at a certain attitude to each other a chest and when do these same six planks become a cupboard? To what extent do
dimensions influence the semiotics/legibility of a piece of furniture? To what extent can one disconnect image from function: can a
chair fitted with a shelf get away as a bedside table? To what extent can one deviate from the traditional use of a piece of furniture:
sleeping behind instead of beside each other, or using a cupboard to open a cupboard rather than using a door? To what extent does the
material tell the story? Can tough/rustic and refined both be emphasised together at the same time? Such questions ensure constant tension in Casimir’s designs, ensuring that they will continue to grab the beholder’s attention for ever.
Forget bondage - furniture is the new perversion.
[Katy Greaves, Wallpaper]
C A S I M I R M E U B E L E N
Collection
C A S I M I R M E U B E L E N
Bank n°1
Bank n°1
Apart together
The present results from all choices that have been made in the past. Furniture design follows
that same line. As soon as we are happy with a piece of furniture’s form and with the way we use
it, we will no longer question its form nor its function. By reversing certain choices, Casimir
investigates the present form of a piece of furniture. He so to speak rewrites history and presents
simple, but equivalent alternatives.
Material
Oak or walnut
Dimensions
154 x 120 x 45 cm
The bench’s oblong form directs us to use it in a certain way: one always sits next to someone else
on a bench. Bank n°1 divides the long seat in two, places both halves opposite to one another and
links them with a cross-piece, thus reducing eight legs to four.
The final result is a U-form with a bench leg on all four outer corners. This arrangement doesn’t
only allow one to take place opposite to one another, but also makes it easier to step into the seat.
Allthough the arrangement is innovative, the bench’s construction and structure are classical and
genuine. On the outer side, both seats sit on a horizontal crossbeam, on their turn each resting on
two legs, one at each end. The structure is entirely made of wood, wooden joints and glue, without
any other, metal, reinforcements or joints. Bank n°1 and Lange Tafel n°2 have this type of construction in common.
Designer: Casimir
Year: 2002
C A S I M I R M E U B E L E N
Bed
Bed
Extended sleep
The present results from all choices that have been made in the past. Furniture design follows
that same line. As soon as we are happy with a piece of furniture’s form and with the way we use
it, we will no longer question its form nor its function. By reversing certain choices, Casimir
investigates the present form of a piece of furniture. He so to speak rewrites history and presents
simple, but equivalent alternatives.
Why do we sleep next to each other? The Casimir standard, a simple alternative to the double, wide
bed is made to sleep together lengthwise instead of side by side. The bed and the slatted bed base
are made of solid wood and glued wood joints. Its genuine construction and its authentic structure
reduce this Bed to the essence. This long bed also has a ‘normal’ variant with the same morphology
and materials.
Material
Oak or walnut
Dimensions
Single bed,
210 x 100 x 40 cm
Double bed,
210 x 190 x 40 cm
Long bed,
410 x 100 x 40 cm
Designer: Casimir
Year: 2000
C A S I M I R M E U B E L E N
Kleine Tafel
Kleine Tafel
Manifold simplicity
Some forms are omnipresent or, at least, generally recognized. These archetypal forms, however
simple they may seem, often bring about innovating results when taken out of their original context and used as a new point of departure for furniture design. A single surface and the correct
folds are the simple point of departure for origami, the art of creating a perfectly proportioned
three dimensional representation of an object using a single sheet of paper.
Material
Oak
Dimensions
110 x 80 x 80 cm
By, origamiwise, folding a sheet of wood, a piece of furniture takes shape. In this case a table and
stool. Taking the thickness of the ‘surface’ into account, the table is a cube of 80 by 80 by 80 cm.
The deviating heights for both the seat and the table top accent the folding lines and proportions.
Similar to origami and as goes for all of Casimir’s furniture designs, no extra materials, supporting
or joining elements have been added to the construction. Kleine Tafel consists of solid wood and
glued wooden joints only.
Designer: Casimir
Year: 2002
C A S I M I R M E U B E L E N
Kruis
Kruis
Pragmatic symbol
Some forms are omnipresent or, at least, generally recognized. These archetypal forms, however
simple they may seem, often bring about innovating results when taken out of their original context and used as a new point of departure for furniture design.
Material
Cherry wood or walnut
Dimensions
125 x 36 x 165 cm
In the beginning, a book most often contained religious texts. This shelf does the opposite:
religion, symbolised by the cross, contains the books.
Originally, this cross shelf wasn’t created to refer religion. Not the religious symbol, but the archetype of the cross, was the principal component of this furniture design. This allows the user to, without blasphemy or even without decreasing its functionality, tip the shelf over and use it on its side.
Designer: Casimir
Year: 1994
C A S I M I R M E U B E L E N
Ladder n°1
Ladder n°1
Stair cases
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
Ladder n°1 combines the function of a portable set of steps with the function of a storage unit. The
ladder’s rungs have been transformed into book cases and shelves of unequal sizes. By placing these
storage units on the back of the ladder, the ladder leans against the wall with even greater stability.
Material
Oak
Dimensions
31,6 x 40,4 x 100 cm
34,6 x 40,4 x 175 cm
34,6 x 40,4 x 225 cm
38,6 x 40,4 x 350 cm
Possibility to custom-made
40,4
38,6
34,6
34,6
Ladder and steps don’t just function as a framework for the cases and shelves, they still serve as a
set of steps used to reach the highest storage cases as well.
31,6
Designer: Casimir
Year: 2009
C A S I M I R M E U B E L E N
Lange Tafel n°2
Lange Tafel n°2
Underlined simplicity
Some pieces of furniture can’t be simplified. Still, even the most simple of Casimir’s chairs
and tables discern themselves from others because Casimir makes them of solid materials,
applies authentic techniques and constructs them in a genuine way.
The concept for Lange Tafel n°2 was simply to make a table using only the indispensable basis and
constructing elements. The result is just as simple: a rectangular table top resting on four legs. A
beam on each table end, between legs and table top, strengthens the construction and keep the table
top flat and stable.
Material
Oak or walnut
Dimensions
200 x 90 x 77 cm
260 x 90 x 77 cm
320 x 90 x 77 cm
Possibility to custom-made
The form is conceived according to genuine manufacturing methods and its proportions are harmonious. The wood, its figure and its alignment emphasise the table’s three directions: the table top,
with the wood grain running lengthwise, forms a bridge over the legs; the beams stress the horizontal, supporting direction and the legs focus on the vertical, perpendicular direction. The table is
made of solid wood, wooden joints and glue only.
Its concept, its form, its construction and its material all add to the table’s solidness. The underlined
simplicity and the genuine construction make this seemingly ordinary table extraordinary.
Designer: Casimir
Year: 2000
C A S I M I R M E U B E L E N
Max Le Belge
Max Le Belge
Multiple simplicity
Looking at form, material and appearance from different perspectives resulted in a series of
seating furniture (Max Le Belge, Alu Zetel, Jo), from basic to very comfortable. Proportions,
massiveness and form all change along with the viewpoint. Front, back and side of each piece
may even contradict one another. Nothing is merely what it seems to be at first sight.
Almost every bedroom houses, besides the bedside table, a chair that serves as a valet. By adding
a back to the bed side table or a drawer underneath the chair seat, both pieces of furniture are
mutated into Max Le Belge, who is cumulating the functions of the bedroom chair, the valet
stand and the bedside table.
Material
Maple or walnut
Dimensions
44 x 40 x 80,5 cm
Option
Without drawer
Max Le Belge is a design from the beginning of Casimir’s career, a time when he still named all
his designs. Referring to the vase Max Le Chinois by Philippe Starck, Casimir baptised his chair
Max Le Belge and dedicated it at the same time to his first son, Max.
Designer: Casimir
Year: 1995
C A S I M I R M E U B E L E N
Poutrel n°1
The beam (in Flemish dialect called ‘poutrel’) is one of the principal elements in construction with
a very clear function: to support. This Poutrel is withdrawn from its usual context, surrounded by
other constructional members, and reduced to the I-form.
However recognisable by its form, the use of solid wood gives Poutrel an entirely different look.
At the same time the wooden Poutrel’s function becomes ambiguous. Poutrel still supports, but is
no longer compulsory within a construction and can therefore be used in different ways: as a bench,
a table, a TV bench, …
40
100
Dimensions
100 x 40 x 40 cm
200 x 40 x 40 cm
300 x 40 x 40 cm
Possibility to custom-made
40
200
40
300
40
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
Material
Solid Oak
40
Within reach
40
Poutrel n°1
Designer: Casimir
Year: 2008
C A S I M I R M E U B E L E N
Poutrel n°2
The beam (in Flemish dialect called ‘poutrel’) is one of the principal elements in construction with
a very clear function: to support. This Poutrel is withdrawn from its usual context, surrounded by
other constructional members, and reduced to the I-form.
However recognisable by its form, the use of solid wood gives Poutrel an entirely different look.
At the same time the wooden Poutrel’s function becomes ambiguous. Poutrel still supports, but is
no longer compulsory within a construction and can therefore be used in different ways: as a bench,
a table, a TV bench, …
40
100
Dimensions
100 x 40 x 40 cm
200 x 40 x 40 cm
300 x 40 x 40 cm
Possibility to custom-made
Specialty
For outside use
40
200
40
300
40
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
Material
Padouk
40
Within reach
40
Poutrel n°2
Designer: Casimir
Year: 2008
C A S I M I R M E U B E L E N
Schaal n°1
Schaal n°1
Side dish
Some forms are omnipresent or, at least, generally recognized. These archetypal forms, however
simple they may seem, often bring about innovating results when taken out of their original context and used as a new point of departure for furniture design.
Material
Cherry wood,
walnut or oak
Dimensions
Diameter 120 x 30 cm
By playing with dimensions in his graduation project Schaal n°1, Casimir spurred confusion on the
form of the dish and its supposed function. Does this dish remain a dish or is it a table? Eventually,
it is up to the user to decide whether Schaal n°1 should be a dish, a side table, … or simply an
object.
Schaal n°1 is a segment of a hollow solid wooden sphere and has an arched bottom. Thanks to its
weight and its lowered center of gravity however, Schaal n°1 is very stable. A soft floor can increase
its stability. And with the three included pegs it can be stabilised on all types of floors.
Designer: Casimir
Year: 1991
C A S I M I R M E U B E L E N
Schaal n°3
Schaal n°3
Side dish
Some forms are omnipresent or, at least, generally recognized. These archetypal forms, however
simple they may seem, often bring about innovating results when taken out of their original context and used as a new point of departure for furniture design.
Material
Oak
Dimensions
Diameter 50 x 12 cm
Diameter 60 x 14 cm
By playing with dimensions in his graduation project Schaal n°1, Casimir spurred confusion on the
form of the dish and its supposed function. Does this dish remain a dish or is it a table? Eventually,
it is up to the user to decide whether Schaal n°1 should be a dish, a side table, …
or simply an object.
Schaal n°3 varies with Schaal n°1 and Schaal n°2 in its form. While Schaal n°1 and Schaal n°2 both
are segments of a hollow sphere, Schaal n°3 is a sector of a hollow sphere. This explains the respective flat (n°1, n°2) or oblique (n°3) edges on the dishes. Its bottom is also arched. Its weight and its
lowered centre of gravity give Schaal n°3 enough stability. A soft floor can increase its stability.
And with the three included pegs it can be stabilised on all types of floors.
Designer: Casimir
Year: 2002
C A S I M I R M E U B E L E N
Spiegel
Spiegel
Inside insight
A high frame of solid wood, doubled by its reflection in the mirror, protects the fragile glass
from breaking. At the same time the frame also shrinks the actual mirror surface. Only when
put against the wall with the right inclination and looked into from the right angle, the mirror
functions properly. Forms with functional limitations require a specific approach, but also
confront their users with new insights.
Material
Oak
Dimensions
Spiegel hoog,
23 x 165 x 15 cm
Spiegel laag,
135 x 90 x 15 cm
When positioning both the high narrow version of the mirror and the low wide one close to one
another, the playful effect of various viewpoints becomes even clearer. Standing exactly in front of
it, is the only right way to get a good look at oneself.
Designer: Casimir
Year: 2000
C A S I M I R M E U B E L E N
Zak n°1
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
The series Zak are based on an ordinary object in its original function (carrying / storing) and form,
but made of an exceptional material (leather). One of the most archetypal and useful utensils of our
times, the carrier bag (in Flemish dialect called ‘zak’), is reformed to last as durable furniture.
Material
Solid oak and leather
120
38
61
New carrier
Dimensions
120 x 38 x 183 cm
Possibility to custom-made
30
61
Zak n°1
The bag’s form has been maintained. Just like the plastic version, each bag in Zak n°1 slightly deviates from the perfect model. The quality of the materials and the property of leather to age gracefully, incite one to use this furniture. The soft leather furthermore causes the bags to take the form of
their contents. The leather bags are hooked into a stackable oak frame and can be filled, transported,
filed, …
The storage unit resembles the file cabinets used in offices, but the suppleness and durability of the
leather, the slight deviations from the model and the user’s ability to partially design the furniture by
filling the bags, give this storage or filing system its poetic dimension.
Zak n°1 is a system of 3 stackable modules with 18 bags each (maximum 54 in all).
Designer: Casimir
Year: 2009
C A S I M I R M E U B E L E N
Zak n°2
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
The series Zak are based on an ordinary object in its original function (carrying / storing) and form,
but made of an exceptional material (leather). One of the most archetypal and useful utensils of our
times, the carrier bag (in Flemish dialect called ‘zak’), is reformed to last as durable furniture.
Material
Solid oak and leather
260
43
61
New carrier
Dimensions
260 x 43 x 61 cm
Possibility to custom-made
30
61
Zak n°2
The bag’s form has been maintained. Just like the plastic version, each bag in Zak n°2 slightly deviates from the perfect model. The quality of the materials and the property of leather to age gracefully, incite one to use this furniture. The soft leather furthermore causes the bags to take the form of
their contents. The leather bags are hooked into a stackable oak frame and can be filled, transported,
filed, …
The storage unit resembles the file cabinets used in offices, but the suppleness and durability of the
leather, the slight deviations from the model and the user’s ability to partially design the furniture by
filling the bags, give this storage or filing system its poetic dimension.
Zak n°2 is a wall cabinet rooming 40 bags in a row.
Designer: Casimir
Year: 2009
C A S I M I R M E U B E L E N
Zak n°3
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
Material
Solid oak and leather
140
30
30
Designing formlessness
Dimensions
140 x 30 x 105 cm
105
Zak n°3
The series Zak are based on an ordinary object in its original function (carrying / storing) and form,
but made of an exceptional material (leather). One of the most archetypal and useful utensils of our
times, the carrier bag (in Flemish dialect called ‘zak’), is reformed to last as durable furniture.
In this case, the bag is a leather sports bag. By anchoring the bag into a frame, the bag becomes a
storage unit. The dimensions of the sports bag in Zak n°3 give an extra meaning to the name of the
object. The empty sports bag hangs baggily, formlessly in the frame. This formlessness however
isn’t negative. It gives the cabinet its character and gives the user the liberty to partially design the
cabinet himself by filling the bag. Formlessness is part of the design.
Designer: Casimir
Year: 2009
C A S I M I R M E U B E L E N
Zak n°4
Sportily baggy
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
The series Zak are based on an ordinary object in its original function (carrying / storing) and form,
but made of an exceptional material (leather). One of the most archetypal and useful utensils of our
times, the carrier bag (in Flemish dialect called ‘zak’), is reformed to last as durable furniture.
Material
Solid oak and leather
110
45
Dimensions
110 x 45 x 155 cm
155
Zak n°4
For the wardrobe unit Zak n°4 Casimir used the sports bag in an upright position. On the one hand,
this causes its resemblance with the camping closet, used to temporarily store clothes on location.
On the other hand, it makes Zak n°4 far easier to use and more accessible than the usual camping
closet with a zipper on the front. Zak n°4 has zippers on both sides, like on a sports bag. Zak n°4 is
more solid, durable, practical and less mobile than the camping version.
Zak n°4 needs to be filled and used to get its unique form, its unique design.
Designer: Casimir
Year: 2009
C A S I M I R M E U B E L E N
Limited Edition
C A S I M I R M E U B E L E N
Kist n°1
Furniture transport — transport furniture
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
Dimensions
80 x 120 x 60 cm
120
80
60
Kist n°1 and Kist n°2 are very recognizable transport crates. The crates are used worldwide for
transporting, among others, furniture. Kist n°1 and Kist n°2 unite the package, a crate, and its contents, furniture, into a single piece of furniture. The crate becomes a closet.
Material
Solid oak
80
Kist n°1
Thanks to the flush drawers Kist n°1 and Kist n°2 can be used for storing things. Thanks to their
form, dimensions, solidity and sturdiness they remain however suitable for transport as well.
The dainty finishing and the chosen material, solid oak, upgrade this transport crate to a piece of
furniture.
Designer: Casimir
Year: 2008
C A S I M I R M E U B E L E N
Kist n°2
Furniture transport — transport furniture
Ordinary utensils and archetypal designs get a new interpretation and are, without denying their
original form, being extended with new functions.
Material
Solid oak
180
50
Dimensions
180 x 50 x 120 cm
50
Kist n°1 and Kist n°2 are very recognizable transport crates. The crates are used worldwide for
transporting, among others, furniture. Kist n°1 and Kist n°2 unite the package, a crate, and its contents, furniture, into a single piece of furniture. The crate becomes a closet.
120
Kist n°2
Thanks to the flush drawers Kist n°1 and Kist n°2 can be used for storing things. Thanks to their
form, dimensions, solidity and sturdiness they remain however suitable for transport as well.
The dainty finishing and the chosen material, solid oak, upgrade this transport crate to a piece of
furniture.
Designer: Casimir
Year: 2008
C A S I M I R M E U B E L E N
Loden Meubel
Loden Meubel
Misleading
Good design pushes the boundaries of materials, forms, measurements, functions,...
Experimenting doesn’t always result in ready to use designs, but often it does give one new
insights.
Material
Lead
Dimensions
303 x 60 x 55 cm
Loden Meubel pushes the contradiction between material and form to its utmost limit. By folding
a lead shelf upwards, this TV bench looks light and flexible. The open units, a result of the specific
assignment to design a TV storage unit, emphasise the lightness even more.
Designer: Casimir
Year: 1992
C A S I M I R M E U B E L E N
Rek n°4
Rek n°4
Rigid folding wall
Some forms are omnipresent or, at least, generally recognized. These archetypal forms, however
simple they may seem, often bring about innovating results when taken out of their original context and used as a new point of departure for furniture design. A single surface and the correct
folds are the simple point of departure for origami, the art of creating a perfectly proportioned
three dimensional representation of an object using a single sheet of paper.
Material
Oak
Dimensions
160 x 46 x 160 cm
An accordion formed shelf is formed from a ‘sheet’ of wood. Some correctly placed folding lines
result in this sleek piece of furniture offering storage space on both sides and can serve as a room
divider as well. The genuine construction, using solid wood, wooden joints and glue, emphasises
simplicity and symmetry.
Designer: Casimir
Year: 2002
C A S I M I R M E U B E L E N