First and foremost there is something obvious which should be noted by everyone looking at the objects and products designed by Pierre Charpin. Clear, concise and elemental, his plastic language is striking in its concern for precision, its rigour in terms of the form adopted and an absence of any artifice, any embellishment of seduction strategy. And yet we are a long way from demonstrative rationalism or dogmatic austerity. On the contrary, the unabashed use of colour, the unexpected nature of certain shapes and proportions, the freedom of assembly all combine to create a recurring play of fullness and emptiness, a changing pleasant landscape, more welcoming than intimidating.
Slice is almost 20 years old. So, it’s just the right time for a little history. Sketched out in 1996 and produced by Cinova in 1998, its production and distribution remained, at this time, at a level which could well qualify as confidential. The galerie Kreo took charge of distribution in 1999, thus helping it become known, inserting its colourful image into the vast ‘landscape’ of contemporary design in the early years of the new millennium. Cinna’s happy decision to reissue Slice today, in a version with re-evaluated comfort, gives this model a whole new lease of life whilst remaining in tune with the project’s original intentions: to offer an accessible form of seating which is at once classic in shape, its lines clearly evoking the Club armchair, and contemporary in use, with the possibility of adding footstools to vary the dimensions of its seat – perhaps infinitely, if one were to let one’s imagination break through the boundaries imposed by the domestic spaces in which we live. This deconstruction by slicing assumes a link between Slice and a whole line of padded seating which runs from Pierre Paulin’s ABCD to Joe Colombo’s Additional Living Système, via Achille Castiglioni’s Cubo or Sancarlo armchairs, in which the juxtaposition of foams of different densities brings forth an entirely new type of comfort, one which is more ‘responsive’ than soft.
But in the case of Slice, this structural deconstruction also offers, perhaps most importantly, the possibility of confronting oneself with another type of infinity, one which is just as dizzying, that of colour combination, a way in which every one of us can express themselves. If there is no doubt at all that Slice is a seat, it is also an object the intention of which is to invite us to live with colour. An invitation to bask in it, perhaps even to lose oneself in it.
|Seat finish||with upholstery|
|Height of seat||425 mm|
|Backrest finish||without backrest|
|Armrest finish||without armrests|
|Colors||shades of yellow
shades of red
shades of blue
shades of green
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