PROSTOL - 2019
1ST PLACE: MATKO PLOVANIĆ AND STEFAN VIDOVIĆ, PRIMAIRE CHAIR, CROATIA
The Primaire chair by Matko Plovanić and Stefan Vidović is an excellent example of design inspired by tradition. Reinterpretations of the original method of connecting wooden rods, which were connected to each other with elastic branches, formed a simple but effective method of stabilization. In the design of Primaire, the authors replace the joint with a modernly designed connector, which they paraphrase with an innovative approach to a simple but effective detail. The refined composition of the chair consists of turned wooden bars, a curved backrest and a massive seat surface. Connected together with modern bonded links, they form a surprisingly stable structural design of the chair. Respect for the cultural heritage of the ancestors, from which the two authors drew, gave birth to a simple chair with artistically accentuated joints. They designed a modern chair with an original and memorable form that convinced the expert jury.
2ND PLACE: SNEŽANA JEREMIĆ, STOL DASKA, SERBIA
The Daska chair by designer Snežana Jeremić is much more than just a chair. In the composition, we do not perceive the usual clumsiness that is characteristic of almost all multifunctional objects. The frame is elegant and at the same time stable. Sticking the planks into the grooves, which are precisely cut into the massive frame at different places or heights, allows both children and someone sitting at a high counter to sit. By moving the slats to another position, the chair can easily be transformed into a ladder, table, bar and more. He convinced the expert jury with a carefully thought-out design, which skillfully maintains a consistent artistic form even when changing the position of the boards. It is characterized by multi-functionality, which reduces the need to purchase items with a different function and thus shows consideration for environmental care.
3. MINT: LUNA APOLLONIA, STOL PRASTOL, ITALY
In the composition of interlaced wood, we do not perceive the usual number of legs, a clear backrest and arms, but the appearance itself clearly represents a chair that calls out to sit on it and try it out. The author sets up a series of vertical and horizontal wooden elements, one after the other, or one on top of the other in different directions, and skilfully connects them to each other. With careful and thoughtful direction, he folds them into a closed loop that represents the archetype of the chair. Prastol charmed the expert jury with its harmonious artistic form and almost sculptural value of interlaced wood.