Joris Laarman’s Bone Armchair, 2008, in porcelain, marble powder and resin
“Combining reason with emotion, that’s the most difficult thing to do—in design and in everything,” Laarman says. One extraordinary example of Laarman’s ability to merge the two is the Bone Chair, a design that he developed on a computer and then cast in aluminum. For the form, Laarman relied on software that car manufacturers use to develop the most efficient shapes for auto parts. (The software was originally inspired by the biology of human bones, whose regenerative capacity allows them to add and subtract matter as needed.) The result is a delicately sculptural object that contains no superfluous or decorative matter yet is gorgeous enough to make people marvel. “It’s as if a tree just grew out of the ground to keep you propped up,” says Antonelli, who chose the chair, along with a polyurethane chaise version of it, for the MoMA show.