The Italian design firm Sawaya & Moroni often commissions new furniture pieces by guest designers who are primarily artists or architects. Many design firms follow this strategy, but for some reason most of the really original design commissions come out of Sawaya & Moroni. I’m not sure why. I’m not a fan of all their work (especially the Zaha Hadid benches), but they take chances. What I find interesting about these two pieces in particular is that they’re tipping over into the realm of art and fantasy, or even the weird, without seeming jokey or childish (like Karim Rashid or Alessi) or too arch. Above is by Marcello Morandini, Italian designer and architect, Chair, 1991, from here. Below is “Sit-Sat” by artist/architect Massimiliano Fuksas (video here) with Doriana Mandrelli, who works for Alessi. I’m really not a fan of Alessi, but nearly 20 years later this object still seems quite arresting. I wouldn’t want either of these at home, but I’d like to see them in a public space.

“Sit-Sat” is a giant seating sculpture made of painted multilayered plywood. Photo from dezeen. “The piece “invites you to find new ways of sitting,” according to Sawaya & Moroni, who compare it to an ancient eroded rock, sacred Aboriginal mountains and Dogun earth dwellings.”

Not a rhetorical question. This is a hodgepodge sample, for sure, and spans decades, but all of it seems to partake of some form or other of adventurousness. It’s possible I’m projecting, and that my view of Australia is entirely filtered through my childhood fixation on that girl in National Geographic who crossed the outback on camels. But I doubt it. Above are from the National Archives of Australia appearing in the Heide Museum of Modern Art’s exhibit Modern Times: the untold story of modernism in Australia. Top: ‘A modernist vision of Australia: Grant and Mary Featherston’s wing sound chairs were a feature of the Australian Pavilion, designed by architect James Maccormick with exhibits selected by Robin Boyd, at Expo 67 in Montreal, 1967′ and ‘View of the elevated restaurant, Centenary Pool, Brisbane’ by James Birrell. Most images below are from desire to inspire, the half-Australian blog. House directly below is the Wheatsheaf House. House in woods below by Drew Heath; room with screen, photo by Lucas Allen; geometric bedroom by Greg Natale; provenance of last 3 photos is lost, please advise; last photo is room by Marion Hall Best, considered the mother of modern Australian interior design.

All of these things belong in the comfortable homemade space station where we’ll live in some sort of harmony and wear space rags. Pictured here: space capsule by unknown; lounge by Joe Colombo; spacey driftwood root from the Pacific; Gabriella Crespi steel table; 7′ steel sculpture by Paul Evans; Roger Tallon helicoid aluminum spiral staircase. Click each for more information. If anyone knows the identity of the space capsule, please advise. UPDATE: a Flickr user informs me that the white space capsule is actually a replica of the Trinity Gadget, part of a nuclear explosives test at Los Alamos, which changes things completely. It’s not lo fi at all, and is massively destructive. But this is fitting, because in science fiction, utopias go wrong so fast.

This is Karim Rashid’s new “Bite Me” Chair, a garish blobject in the shape of a bubblegum-pink molar. There was a pretty unanimous chorus of dislike and disapproval of this chair on the CDR (Canadian Design Resource) blog in May, and Rashid – the master of plasticky furniture that looks carelessly cheap when it’s made and then ages badly – totally deserved it. Lately I’ve let this blog’s Monday Cringe List feature lapse, but the Bite Me Chair has forced a revival. Not only is the chair bad enough on its own – and that’s not even taking into account its arch, attention-seeking name – but thanks to one of one of the CDR’s commenters I see that it is also suspiciously like Wendell Castle’s 1968 fibreglas Molar Chair, shown below. I suspect it’s not the only piece of Wendell Castle furniture that Rashid has, well, paid homage to. Wendell Castle occasionally falls into the gimmick furniture camp too, but somehow he never quite tips over into unapologetic, crass grossitude the way Rashid loves to. Castle’s work has more solidity and authority, even when it’s really weird, but Rashid just doesn’t seem to understand this. If you’re going to reference 60s biomorphism, do it well, for heaven’s sake. Castle didn’t have to be troubled in the late 60s/early 70s by the problem of plastic’s unsustainability, because it wasn’t a known issue, but Rashid… what decade does he think he’s in? Some of Rashid’s new chairs are apparently recyclable but that doesn’t make them environmentally superior to no chair at all. Wendell Castle is still designing, so if we’re going to have plastic blobjects at all, let’s have Castle make them. And even then, let’s edit.

Above, Wendell Castle in 1973 with his Molar side chairs. More work from Castle below, from the 60s to the present. He’s 77 now and was nevertheless listed in a 10 to watch list this year.

Above, Wendell Castle at his Scotsville, New York, studio, with his 2007 Black Widow chair. Photo by Ben Hoffman, via artinfo. Wow, does he look good at 77. Above that, his Enclosed Reclining Environment, 1969, photo by Eva Heyd from the NYT, Courtesy of R 20th Century, New York. Top photo, plastic lights via the NYT. Below, a bench from 2007.

Below, a rare molar sofa. And see here for a closeup of the red chair.

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I found Lost City Arts by accident when searching for works by Harry Bertoia. Like this shop, Lost City has eccentric art and furniture pieces that are substantially more eye-catching or compelling than market-produced objects mainly because most of their art furniture was, in fact, made by sculptors. Most of it is one-offs or small editions which is why most of it is too expensive for me. But I like the fact that these objects came from also a time when buyers actually collected contemporary sculpture for their houses and apartments. I don’t know what these pieces awaken for me, but the more eccentric accessories of modernism – glam, or brutalist, or whatever – are becoming more and more appealing. Maybe everything’s too clean these days, or too girly; I don’t know. Captions and photos are from Lost City Arts. Above is a Spider table from Italy, 1950s.

Unique Animal Form Sculpture by Harry Bertoia, USA, 1950’s. Rare early example of Bertoia’s expansive exploration of metal work. Large carpenters nails are assembled in the form of a fantasy animal of insect. The entire surface is coated with a layer of melted bronze. It is extremely rare if not totally unique in Bertoia’s career to depict actual figures. Playful exercise predating the more formal styles that were to develop.

Walnut Occasional Table by Milo Baughman, USA, 1960’s. Occasional table by Baughman. Designed with a great sense of scale, the thick top matches the vertical dimension of the X base. Beautiful walnut grain overall, excellent as side table for the low slung sofa.

Above: Paul Evans, Brutalist Sculpture, USA, 1960’s. A very rare freestanding artwork by Paul Evans, known primarily for his artfully accented furniture. His sculpture is exceedingly uncommon. The trademark brutal approach has been applied to create a floral themed masterpiece.

Harp Chair by Jorgen Hovelskov, Denmark, 1960’s. Beautiful vintage example of the Harp by Hovelskov. A masterful exercise in material conservatism, the form more than makes up in its visual complexity. The expertly crafted frame, in solid walnut, anchors the hypnotic weaving of the jute cord forming the seat. A delicate but perfect balance of style, comfort and high design.

This is the piece I secretly hanker for the most: Motorized Kinetic Sculpture by Calleja, USA, 1970’s. A very cool, quiet and mesmerizing kinetic sculpture. A pair of chromed rods, each precisely curved, are mounted to a base which contains a motor. The motor slowly turns the rods, seemingly weaving the rods into and out of each other. A very simple method to achieve a subtly calming effect. The interior of the base is signed CALLEJA.