"Chairs are parallel objects with our daily lives. They grow with us; they move with us. They help us to create situations and gatherings, they help us to be able to sit down to reflect. I like to play with shapes and challenge my own kind of formal language,” says Italian designer, Martino Gamper. His latest series of newly designed chairs, building upon his renowned project, 100 Chairs in 100 Days, transforms the Mittelhalle of Haus der Kunst in Munich, Germany, into an evolving space of movement and encounter with the Sitzung exhibition.

Sitzung, meaning ‘meeting’ or ‘sitting’ in German, is the focal point of Gamper’s installation. Throughout the design event, the chairs are freely reconfigured by the public and the staff to gather, rest and play, creating a lively and ever-changing social environment in the exhibition hall. The alterations adhere to a set of rules established by the designer at the project’s inception, creating a choreography that will reshape the appearance of the space.

In addition to furniture, the designer has crafted a new lighting design that transforms the exhibition design from a typically transitory area to one of gathering. Andrea Lissoni, artistic director at Haus der Kunst, said, “The Mittelhalle of Haus der Kunst is an extraordinary space. This collaboration between Martino Gamper and our curatorial and education team explores new dimensions in spatial engagement, inviting everyone to be involved in literally creating their own space.”

Starting as an apprentice to a furniture maker in Merano, Italy, Gamper studied sculpture under Michelangelo Pistoletto at the Academy of Fine Arts, Vienna. He completed a Master’s in 2000 from the Royal College of Art, London, where he studied under Ron Arad. The London-based designer is internationally recognised for his work with the 100 Chairs in 100 Days project, which he embarked on in 2006 to systematically collect discarded chairs and then spend 100 days reconfiguring the design of each one in an attempt to transform its character and the way it functions.

Gamper’s practice challenges the boundaries between design and visual arts. Constantly seeking new ways to engage with and activate design within our everyday lives, his work spans art, design, performance and curation. He undertakes various projects from exhibition design, interior design, one-off commissions and mass-produced products for the international furniture design industry. Gamper has presented his works globally and received numerous awards, including the Moroso Award for Contemporary Art in 2011 and the Brit Insurance Designs of the Year, Furniture Award in 2008 for his project 100 Chairs in 100 Days. He was awarded an OBE for his Services in Design in the King’s Birthday Honours list in June 2023.

For Sitzung, the product designer develops a choreography with his exhibition objects in collaboration with the performers, following a crescendo principle. To ensure that the participatory aspect of his artistic approach comes to fruition, the performative activations of the "session" were held as part of the monthly Open Haus at Haus der Kunst. Sharing his experience, Gamper says, “For Haus der Kunst, the chair designs are made in a variety of ways and the craftsmanship and industrial processes use a huge range of materials. They are experimental, fit for purpose but imperfect, rather than products they are vehicles to explore seating as a sculptural object.” In an exclusive interview with STIR over a video call, the designer delves into the intricacies of his craft, the growth of Sitzung and his future plans.

Aarthi Mohan: Over the years, your design style has evolved and encompassed a wide range of materials and forms. Can you discuss how your design philosophy has changed and matured since the early days of your career?

Martino Gamper: This happened gradually, almost without noticing, one works on a project-by-project basis; each is a new challenge and expression, shape and function. My earlier work was much more driven by spontaneity and resourcefulness of what is around you. My studio was small, I had limited funds and worked alone, while now, my practice has grown bigger with more collaborators. I never really think in styles; I am more driven by narratives, material and methods.

Aarthi: Your 100 Chairs in 100 Days project is iconic and showcases your creative journey and experimentation with chair design. How has this experience of creating such a large body of work in a focused period influenced your approach to design and creativity in other projects throughout your career?

Martino: The 100 Chairs in 100 Days project is an ongoing project for me, I’m still drawing from these experiences. It was a very intense and overwhelming period. It taught me a new way of being creative, to be spontaneous and create ad hoc. I’m still making and designing chairs.

Aarthi: Sustainability is a growing concern in the design industry. How do you address environmental and ethical considerations in your design practice?

Martino: Sustainability is about thinking today and affecting the future positively, be it environmentally, socially or economically. All three form pillars that are important for our future. As a designer, one creates objects and ideas, some for consumption, others for cultural purposes. I’ve always tried to keep a balance between using materials that can either last or have less impact and creating objects that people treasure and will hopefully keep and live with for a long time. But we should all do more to affect our and the next generations' future positively. 

Aarthi: Throughout your career, you have explored the boundaries between art and design. Could you share your thoughts on how these two worlds intersect and does this intersection influences your approach to creating new work?

Martino: I have training in crafts and studied art and design and worked across all these fields. For many years after graduating, I was trying to define my work and push it into one or other categories, but eventually, I gave up and decided that I would work within the arts as plural, with no hierarchy whatsoever.

Aarthi: The concept of reconfiguration and interaction with the public in the ongoing Sitzung exhibition is very intriguing. Could you share more about how you envision this project inspiring people to engage with the space differently and what outcomes you hope to achieve in terms of social interaction?

Martino: Public spaces are becoming more and more commercialised. There is hardly any public realm (indoor space) where you can hang out and not consume anything. I'm interested in transforming spaces through objects, in this case, chairs. People can come to the museum and sit on these chairs as long as they want, bring friends, family, food and drinks along and have time to chat, meditate or do nothing. I like the idea of a space where people can meet and just be without any specific purpose unless wanted by the person. It’s a bit like a cathedral without the religion and surroundings. 

Aarthi: The lighting design aspect of your project seems to be a departure from your previous works. What drove you to explore this new dimension and how do you believe it will enhance the overall experience of the Mittelhalle at Haus der Kunst?

Martino: The decision was driven by a need. The previous illumination in the Mittelhalle was a terrible mix of the '70s, '80s and ‘90s lighting. It was a really sad space to hang out. I therefore thought of the idea of Belichtung (German for ‘exposure’), giving the space a new meaning through light. This was possible with the involvement of a Munich-based lighting company called Occhio, who had the ideal product that we could configure especially for this space.

Aarthi: In an increasingly digital world, how do you see the role of physical design and craftsmanship evolving and how do you adapt to these changes in your work?

Martino: I’m very drawn to physical, analogue and handmade objects and we’ll see a much greater division arising with Artificial Intelligence looming. But somehow I’m also excited about these new ways of seeing creatively. I think we shouldn’t feel threatened or scared of the growing digital world; they will completely redefine who and how objects are conceived and produced. I hope that we as creatives aren’t just becoming executors of AI-generated mediocre ideas but can use these tools to help us in solving present and future challenges.

Aarthi: If you were to design a piece of furniture that represents Martino Gamper as a person, what would it look like and what story would it tell?

Martino: A tyre. This piece of furniture would be about bringing people together to create an experience. It would be made from reclaimed materials with history attached and would tell a story of how it was made and with whom it was created. The narrative would reflect a story from the past, retold in the present and transported into the future. 

Aarthi: What can we expect from Martino Gamper in the near future? Are there any upcoming projects, ideas, new materials, or techniques you want to explore?

Martino: I’m working on several book projects. One is about the many hooks I’ve made over the years, another about all the chairs that I have made since the 100 chair project and also a book about the Sitzung show in Munich. But I am very excited about a new design exhibition in October in London that I’m working on in collaboration with my new agent Sarah Douglas.