breadedEscalope (Object & Environments) (bread•ed [breded] es•ca•lope [‘eskələup] s. (bsd. Wiener) Schnitzel n.)
breadedEscalope wurde 2009 von Sascha Mikel, Martin Schnabl und Michael Tatschl gegründet. Ziel der gemeinsamen Tätigkeit ist es, neue Strategien und Ansätze zu finden, um sozial nachhaltige Objekte zu entwickeln. Das Wiener Kollektiv behandelt Fragestellungen zur sozioökonomischen/sozialen und kulturellen Relevanz von Räumen und Gebrauchsgüter. Die Arbeiten sind dabei geprägt von einer kritischen Auseinandersetzung mit der Aufgabe und Notwendigkeit zeitgenössischen Designs als Bestandteil moderner Lebensentwürfe. Aus diesem Diskurs definieren sich konzeptionelle Lösungen, die einen holistischen Gestaltungsanspruch verfolgen und über bloße Verschönerung hinausgehen. Die Projekte und Arbeiten zeigen den offenen Zugang mit dem sich dem Thema genähert wird. Freie Arbeiten, die eine Affinität zur künstlerischen Produktion aufweisen, stehen neben gebrauchsoptimierten Produkten mit intuitiven Zugang und hohem Nutzwert. Der vermeintliche Widerspruch dieser Gegenüberstellung thematisiert die Frage nach der Grenze zwischen Kunstobjekt und Gebrauchsgegenstand. Experimentelle, interpretative Ansätze, mit Nähe zu Skulptur und Plastik, manifestieren sich in
Einzelstücken, Kleinserien und Limited Editions, Sie verstehen sich als irritative Elemente, fordern einen offenen Dialog und eine kritische Rezeption des Alltäglichen. Sie werden im musealen Kontext und in Galerien als Teil einer künstlerischen Auseinandersetzung mit Design präsentiert. Praktikable, konsequent ausgearbeitete Entwürfe, die mit Ansprüchen hinsichtlich ihrer Nachhaltigkeit und Zuhandenheit eine verantwortungsvolle Produktentwicklung verlangen, werden in Zusammenarbeit mit Produzenten zur Serienreife gebracht. Die Tendenzen bereichern sich gegenseitig in ihren unterschiedlichen Qualitätskriterien und ästhetischen Praktiken. Dieser inhärente Paradigmenwechsel ist prägend für die Arbeitsweise und das Gesamtbild des Studios.
breadedEscalope (Object & Environments) (bread•ed [breded] es•ca•lope [‘eskələup] s. (bsd. Wiener) Schnitzel n.)
breadedEscalope was founded in 2008 by Sascha Mikel, Martin Schnabl und Michael Tatschl. The aim of their conjoint work is to find new approaches and strategies for generating socially sustainable objects. The Viennese collective is addressing issues to socioeconomic and cultural relevance of spaces and artefacts. Therefore their work is characterised by a critcal involvement with the purpose and necessity of contemporary art and design as a part of modern life concepts. The works are understood as irritative elements that claim an open dialogue and critical reception of daily experiences and routine. Out of this discourse, conceptual solutions define which pursue a holistic design approach beyond beautification. Experimental, interpretative approaches, with strong connection to sculpture and performance manifest in single objects, limited editions and small-scale series. Their project show an open approach to the approximated themes, addressing questions on the borderline between objects of art and objects of utility. Sustainability, readiness to hand and responsible product development are confronted with indepen-
dence of art and artistic freedom and visualize different criteria of aesthetics and quality. These gaps and overlaps between fine art and design demand an inherent paradigmatic change, which is imprinting for their working methods and overall picture of the studio.
Martin Schnabl (*1985, Villach)
Sascha Mikel (*1985, Klagenfurt)
Michael Tatschl (*1985, Villach)
All live and work in Vienna Atelier - breadedEscalope
Röhrebomb Limited edition of 3 / Prototypes; 2010 Exhibition contribution: Phänomen Ikea, at the Imperial furniture collection museum, Vienna; Commissioned by: Hofmobiliendepot Vienna Curated by: Markus Laumann 2010 Dimension: varies Material: Ikea spot “LAGRA“, Ikea ceiling light “Lunta“, Cable ties
Photo: Fidel Peugeot
The ceiling light “Lunta“ is one of Ikeas classics and bestsellers. The simple conical form is integrable in nearly every kind of Space. The revision bursts this mainstream aesthetic and changes the figurative intention into its opposites. 12 longitudinal cuts split the metal-cone into same sized sections. These segments are then bent into soft, baroque shapes, which unfold to a conspicuous chandelier. 4 “LAGRA“ spots serve as additional light sources. The industrial perfection is deconstructed and yields to a series of individual items with personalized shaping.
Ikea Lunta for 34.90 â‚Ź
Ulmer Stehhilfe Max Bills design classic (â€œUlmer Hockerâ€?, 1954) is scaled to a new height, to comply a new function. The Ulmer Steh-Hilfe is a podium for lectures and bar table for discussions. 2010 Dimensions: 45 x 30 x 115 Material: spruce, beech, varnished
Ulmer Bar is a new interpretation of Max Bills “Ulmer Hocker” of 1954. A multifunctional piece of furniture which original purpose was a stool (it was also used to be also shelf, side table, tray day so) gets transformed to be a one-person bar. Only by shifting the proportions the strait geometry can fulfil new and modern requirements whilst its simplicity in form and manufacturing process remains. This bar is intially designed to meet requirements within buisness applications in offices. It serves as a mobile podium; it supports their owners within meetings by providing a positive and flexible communication environment. It can easily be transported within these environments and therefore becomes a personal “vehicle” throughout the everyday life. Also the multifunctional attributes remain. It is a rack, a podium for lectures and bar table for discussions, aa booth, a blotting pad day Like the 54 version, the Bar is made out of spruce and beech whereas the heavily charges parts (the footrest which connects the two boards and the bottom parts of the legs) are made out of the more rigid beech woold. The parts are glued together; this bond is reinforced by finger joints. The object has a height of 110 cm and it its top surface is 45 by 30 cm large which suits the size of an A3 sheet.
Bottom leg-parts made out of beech wood, finger joints
Your Clock ... .. does not dictate time. .. lets you take your own time. .. holds a moment. .. keeps time waiting for you. 2008 working prototype Dimensions: 9 x 26 x 8 cm Material: MDF Chassis, modifed flipclock parts, microcontrollor, stepper motor
Your Clock stands still. After you have pulled the cord, Your Clock will update its display to the current time. Elapsed time gets indicated through the sound of the flipping plates. You decide when time passes by. Your Clock is part of the series “inefficient objects” These objects are not inefficient in first place, but they give you the opportunity to be inefficient. They are a subconscious excuse to act inef- ficient. What is efficiency? Objects are mostly designed to increase convenience in our daily lives and to optimize our time schedule. Only people in a hurry are seen as productive protagonists of our society. We are told that our daily activities become easier and more efficient. But where does all this saved time end up? According to the amount of gadgets, devices and smart objects that are increasingly surrounding us, our lives shouldn’t be that complicated as they are perceived now.
Inefficient Vase 2008 Material: porcelain, cork Dimensions: small: Ă˜ 13 x 30 Suitable for Schnapps corks tall: Ă˜ 32 x 75 Suitable for wine bottle corks.
The holes are taking away the function of the vase. Therefore, more attention is given on what’s missing, than on what is there. This product has lost its functionality and is obviously inefficient. It’s the owner’s decision to fix it with corks or other suitable things, to fulfil its purpose as a vase, or to leave it as a sculptural object. The calculated destruction of functionality opens another layer of questions to the classifications of artefacts. Every Vase is handmade, with different amount of holes, numbered and signed.
Handmade “Schlickerguss” ceramics
Lino Table 2009 Dimensions: 60 x 48 x 42 Linoleum coated tabletop, oak, Linoleum knife, print cylinder;
Linotable plays with everyoneâ€™s inherent desire to impart and eternalize. Old tabletops in Bars and Taverns are full of notes and messages which were cut into the wooden surface over decades and fill it up like a grown ornament. On this semi-public place, information, street poetry and artistic ambitions get manifested. The table becomes an abstract document of time for all people that present themselves on it. Linotable uses this fact to create a legal and more controlled possibility to leave messages. The linoleum coated surface is perfectly suitable to cut and carve into. (linocut) Afterwards the tabletop is used as a negative to take off prints of the relief. The prints create a new presence of the messages. They are relieved of their context and transferred to a new and more accepted media.
Original Stool Production performance 2008- ongoing Original Stools: Dimensions: 30 x 30 x 42 Material: PU-Resin, Bioresin
O-Stool production in the Atlantic Sea on the beach of Teneriffe 2010
The “Original Stools” are produced in unique process which is based on interaction & serendipity. The objects are manufactured with a solid hollow orb which houses a flexible silicone mould of the Stool. Resin is filled into the silicone form in the orb. Then the orb needs to be set in motion by simply roll it through the streets, down a slope, into white water etc. Since the orb is rolling in all directions, the resin coats the entire inner surface of the form whilst hardening. The flexible form “records” all influences from outside. Therefore, the shape of the outcome varies; depending on sort of landscape, the way it is handled, etc. After a couple of minutes, the resin turns to from liquid to solid state & a unique shaped object is born. An “Original Stool” is always an unpredictable character that describes the capturing story of its evolution. Every single object is individual. They all have their own story and a place to be called their ‘home’. The carefully conceived, free-range kinetic process captures specific time & place by permitting the environment to provide the distinguishing characteristics for each piece. So far London, Berlin, Milan, Paris & Vienna got their own “Original Stools”, made by the people & streets of the city. So far, more than 40 places got their own “Original Stools”, made by the people & their environment.
Original Stools 2008-2011
Tools and materials
Mould and masterform
Mould hanging inside the orb
Filling in resin into the mould inside the orb
Original Stool made in white water
Original Stools and production orb
Place: Wien Museum/Karlsplatz, Vienna; Date: 18.11.2010
Place: Teide/Tea, Tenerife; Date: 19.10.2010
Place: Piscinas Naturales, Tenerife; Date: 16.10.2010
Photos: Frank Schoepgens
Place: Garachico, Tenerife; Date: 15.10.2010
Photos: Frank Schoepgens
Place: Designer Days, Paris; Date: 10.6.2010
Place: Zona Tortona, Milan; Date: 15.4.2010 31
Place: Zona Povisa, Milan; Date: 14.4.2010
Photos: Martin Faiss
Place: MQ / das Mรถbel; Date: 11.5.2009
-X Armchair 2011 Dimensions: 60 x 60 x 60cm Material: an available one
The â€“X Armchair is the result of a consequent reduction to the bare essentials. 4 boards (60x60cm) form a geometrical structure that is formally stripped down without suffering a loss of functionality or comfort. Unnecessary things become omitted. What reveals is a concrete form, clear and minimalist.
Shakinâ€™ Products Production performance 2010 Material: Bioresin Products: Shakin` Clock, Shakin` Box, Shakin` Grip Shakin` Plate, Shakin` Handle, Shakin` Ashtray
Shakin`Products and equipment
A mobile bar, a couple of colourful bottles, cocktail shakers, and the evolving bar atmosphere do not represent what a designers workshop usually looks like. Nevertheless this equipment meets exactly the design groups’ requirements to run an extraordinary design performance. Acting like professional barkeepers, the liquid raw material gets drawn from dispensers. Through mixing (shaking) the fluid components, the material hardens to become a solid object within seconds. The used material is an ecological resin system from renewable primary products. There are different objects available, drawing a connection between handcrafted manufacturing and performance art. Though the process uses fundamentally the same principles which are applied in industrial mass production, the designers produce each piece on demand only.
Shakin’ Products bar
Production, tapping resin
Shakin’ Clock with mould
some fresh shakinâ€™ products
Shakin`Products performance, Graz, 2010
Shakin`Products performance, Milano, 2010
Samsa Bucket change the benchmark of everyday objects in response to the attitude of design consumption 2008 - 2011 Dimensions: vary Material: PP- UV stabilized
The Samsa series consists of several of functional objects, which accrue from creative arrangement of trivial buckets. The buckets are conjoined to rigid three-dimensional structures via/with cable ties. The buckets archetypical form, which is only defined by its practical value, is the precondition for the modular system and its many purposes evolving out of it. In close relation to Antidesign, its critical attitude towards consumption and status through design, the Samsa family shows a playful dealing with available resources. Samsa chandelier, 2008
Samsa storage, 2008
Light emitting fake plastic tree, 2011
assembling samsa bucket
Ambiguous logs Limited edition of 80 pieces / turned wooden logs; Exhibition contribution: “Design Criminals” Commissioned by: MAK (Museum für angewandte Kunst), Vienna; Curated by: Sam Jacob 2010
In collaboration with a turner’s workshop, 80 wooden logs got cut into lavish baroque shapes. Though the materiality remains untreated, the ornament is changing prestige, relevance and the function of the object. The installation shows a stack of firewood which is positioned in front of a glass surface inside the exhibition space. Therefore the processing of the logs can only be perceived through closer consideration. Adolf Loos´ critique (ornament and crime, 1908), which proclaims a revulsion of “modern man” to the ornament and focuses primarily on a needless profusion of time, resources and capital, is analysed on its contemporary relevance. If there is either a benefit / an enhancement in value caused by the treatment, or maybe also a designated further use and function, or if it remains in its role as a (decadent) piece of firewood, is up to the interpretation of the viewer.
log after use
Grow to Go Installation / Performance Comissioned by: Vienna design week 2009
The Grow To Go installation was part of a venue during vienna design week 09, where designers are brought together with shops and manufacturers to experiment on the spot. The flower shop “wildwuchs” got transformed to a store based on consumer behaviour and the idea of ‘convenience’. The project adapts the appearance of a fast food shop and mimics their typical corporate cliché including logos, slogans, special labels, mascots and packaging concepts. What are being sold in burger boxes and cups are seeds in selected growing mixtures: sweet potatoes in “Sri Lanka coconut soil” or basil in “Waldviertel home soil” etc. The change of context in selling something fast, which than needs time to grow to be consumed works as a critical intervention towards our dealing with goods and its permanent availability. Sustainability dosed in cups and boxes.
Grow to Go bar, utensils, “Grow-stick” with a sunflower seed corn
detail of a “Grow-stick” with sunflower seed
Grow to Go bar to choose between 6 sorts of seed and 3 different earth types
Sidewalk Objects Conserved forms of a disposable society, 2011 By walking through the city, picking up litter on the streets and stacking it on steel structures, several objects evolve, that are bound and strengthened by a monochromic coating. The iconic silhouettes of industrial goods are combined to abstract formations that show a representative sample of western societyâ€™s daily consumption. The project is not about recycling material; itâ€™s more an attempt to focus on how usage, function and condition of a product, which are reflected in its form, change with its availability.
Sidewalk Object, Lamp Type, assembly of findings
Sidewalk Object, Chair Type, coated
Exhibitions 2010 Nov / OS Performance / Vienna Art Week / Wien Museum / AT Nov / “design attack festival” / Krakow / PL Okt/ Design in Wien, Wien Museum, AT Okt / Tenerife Design Festival / Garachico & Santa Cruz - TEA / ES Okt / Chic Art Fair / Outdoorz Gallery / Paris / FR Okt-Jan / “2000-2010 Design in Wien” / Wien Museum/ Vienna / AT Okt-Nov / “Design Criminals” / MAK / Vienna / AT Okt / “7 Todsünden” / das Möbel / Vienna / AT Okt / Design Week / Istanbul / TR Sept / Shakin Products @ Wildwuchs / Vienna / AT Sept / Selected Gallery / Frankfurt / DE Sept/ MAISON&OBJET / Paris/ FR Jun / Ikea Pimp Light Show / Hofmobiliendepot / Vienna / AT Jun / “Designers Days” / Paris / FR Jun / DMY Berlin / Tempelhof / DE May / “White Objects” / Galerie Unart / Villach / AT April-May / Design Monat / Graz / AT April / Kwirl Design Shop / Graz / AT April / OS Performance @ Tortona, Bovisa / Milano / IT April / Meet my project / Milano / IT Mar / Blickfang</strong> / Stuttgart / DE Mar / “100mFrstl Brunch” / Blumberg / Vienna / AT Jan / “Take it Easy” / Galerie Engelhorn/ Vienna /AT Klaus Engelhorn Gallery, 2010
bE studio, Vienna
Workshop Places of production and experiments
bE-workshop , Vienna
DIY Rotational Moulder
Shared space, Carpenters Workhop, Ferlach
bE-Atelier , Villach
Photo Credits all Photos by breadedEscalope except: p. 2, 10 - 11, p. 34, Markus Riedler p. 5 - 6, Fidel Peugeot Walking Chair Design Studio p. 18 - 19, Martin Faiss p. 4 - 5, p. 28, Photos of Teneriffe performance byFrank Schoepgens p. 30 - 31, p. 33, Anja Kaufmann p. 51, Photo of “Grow-Stick” by Valentina Hirsch.
Layout zumBeispiel:Gestaltung / www.zbsp.at
Contact breadedEscalope Ottakringerstrasse 77 1160 Vienna firstname.lastname@example.org + 43 1 90 47 199 + 43 650 344 64 98 (Michael Tatschl)
all rights reserved by breadedEscalope / 2011