Sebastian Scherer 01.03.12

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Berlin-based designer Sebastian Scherer describes his design language as futuristic and minimalist, but with an extrovert twist. It is no surprise that he names as his idol Ludwig Mies van der Rohe, freely admitting that this might be a hackneyed choice.

Like van der Rohe, Scherer was born in Aachen in western Germany. He also studied product design there, under Dutch designer Karel Boonzaaijer and German furniture designer Jan Armgardt – a stroke of good luck, Scherer says. "It allowed me to realise my passion for furniture design. Karel, especially, inspired me with his approach to design, and his simple and clear design language."

After obtaining his degree, Scherer moved to Berlin, where he worked for various design studios and architectural practices, such as GRAFT. But during the recent recession he was forced to re-evaluate his focus, and 
decided to set up his own studio.

One of his first products – the X Chair, which was made of a bent steel frame with a wooden seat – won the Promosedia International Design Competition 2010.

Scherer's starting point for each new project is the symbiosis between material and form. This year, he has been busy completing his Aluminium collection of furniture pieces, which he presented at the Qubique furniture fair.

A chair was the first product in the series and most clearly showcases its core concept of creating three-dimensional objects by folding two-dimensional materials. With open loops and sleek curves, the 8mm-thick, water-cut aluminium seat appears to be a continuous, fluid form.

The geometric corner elements, which create a kaleidoscopic effect in viewers' eyes, are characteristic of the collection, which also comprises a table and a coat rack.

Scherer cites Dutch design as another of his major influences, because of its ability to achieve simplicity without being boring. "I especially appreciate the use of colour, form and transparency," he says. For Aluminium, he opted for a white finish to enhance the futuristic aesthetic.

"Despite its rounded features, the series isn't meant to be retro," he adds. "It does reference the 1970s a bit, but it's still contemporary – or timeless."

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Image

Frederike Seifert

 

Words

Anna Richardson Taylor

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It does reference the 1970s a bit, but it's still contemporary – or timeless

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