AND SO I STAND
Designer
Quinlan OsborneCirca
2017
Description
Consisting of a series of bold and evocative elements using a limited material palette comprised of glass and stone, every piece is assembled with an eye to eliciting the tension inherent in the nature of each material. The collection highlights Quinlan's innovative and moving approach to timeless, elegant furniture. This series has been designed to challenge prevailing perspectives and perceptions by de-familiarizing the every day so as to make the act of sitting a conscious rather than an unconscious act. The ideas of fragility and stability are core to the experience of the collection, creating pieces that look impossibly stable yet simultaneously grounded which embrace tension rather than reject it so as to enhance and transform the commonplace into something transcendent and profound.
Quinlan Osborne
Quinlan Osborne
Born in Ireland in 1973, Quinlan Osborne has lived in Canada most of his life. He studied architecture at the University of Waterloo, Ontario and the University of Illinois, Chicago. With numerous international projects behind him, his work has been noticed and awarded by his peers, including the Canadian Architecture Award of Merit among others.
Osborne's background in architecture instilled in him an interest in human interactions and their responses to space and volumes. The way in which a space was finished, whether through architectural detailing, lighting or furnishing, was always an aspect of his design development that emerged simultaneously rather than independent of the architectural process.
As a result, transitioning to furniture design from architecture was a natural progression for Osborne, one that evolved slowly over the course of several years. His first forays into furniture design were joint projects on the side with his father, a woodworker who had spent his career specializing in furniture making and heritage restoration. These early collaborations quickly led to several commissions from his architectural clients and gave him the opportunity to expand his understanding of how to develop furniture that would complement rather than compete with an overall aesthetic. This understanding of the needs and desires from the viewpoint of the architect or interior designer has resulted in the development of a design philosophy that sees furniture as part of a larger context rather than independent objects.
His current work expresses his belief that every object should consist of one idea that has been picked at and pulled apart until it is at its purest state, where there is no hierarchy in details; every detail counts. The result is a collection of pieces which are meticulously detailed, authentic and timeless, rarely consciously fashionable and therefore never obsolete.
Quinlan Osborne
Born in Ireland in 1973, Quinlan Osborne has lived in Canada most of his life. He studied architecture at the University of Waterloo, Ontario and the University of Illinois, Chicago. With numerous international projects behind him, his work has been noticed and awarded by his peers, including the Canadian Architecture Award of Merit among others.
Osborne's background in architecture instilled in him an interest in human interactions and their responses to space and volumes. The way in which a space was finished, whether through architectural detailing, lighting or furnishing, was always an aspect of his design development that emerged simultaneously rather than independent of the architectural process.
As a result, transitioning to furniture design from architecture was a natural progression for Osborne, one that evolved slowly over the course of several years. His first forays into furniture design were joint projects on the side with his father, a woodworker who had spent his career specializing in furniture making and heritage restoration. These early collaborations quickly led to several commissions from his architectural clients and gave him the opportunity to expand his understanding of how to develop furniture that would complement rather than compete with an overall aesthetic. This understanding of the needs and desires from the viewpoint of the architect or interior designer has resulted in the development of a design philosophy that sees furniture as part of a larger context rather than independent objects.
His current work expresses his belief that every object should consist of one idea that has been picked at and pulled apart until it is at its purest state, where there is no hierarchy in details; every detail counts. The result is a collection of pieces which are meticulously detailed, authentic and timeless, rarely consciously fashionable and therefore never obsolete.
