Todd Bracher

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5 Artikel
In aufsteigender Reihenfolge
5 Artikel
In aufsteigender Reihenfolge
American born designer Todd Bracher first came to the attention of the design world with Open Privacy,
a thought-provoking project produced in 2001.
A beautifully sculptural installation of plywood, carton, and steel tubing.

Open Privacy is essentially a framed arrangement of a table and chairs designed for public use in café’s. The steel tubing is reminiscent of a tent frame but its function is a first unclear – where is the canopy that should surely enclose it? The project was designed to examine the limits of perceived privacy.

This, Bracher’s first work is subtly academic, questioning our comfort about dining in public spaces, but delightfully sculptural and tectonic too. Bracher says of the experimental piece; ‘Inspiration came from this most personal event, dining, and the codes and rules that are underlying it.
In addition I considered how this furniture might relate to the architectural environment.

This analytical approach that Bracher takes to his work makes it unique. He sums up his own style as ‘respectful, patient and understated’.
Ideas either come to him haphazardly or after a period of analysis and experimentation. Nothing, it seems is forced. Bracher’s designs are without precedent – perhaps this is because he has not been around long enough for tradition to stick.

He has had four homes, first in America, then Denmark, France and then finally Italy, where he now lives and works. The most important element of his designs is the ‘respectful dialog with the user’. Bracher is intent on exploring this dialog further in to22 (2002). A collaboration or a discourse between himself, the designer Mark Goetz, and the designer/film-maker Efe Buluc, the projects focus on the though process behind design decisions, rather than the end products.

The products that embody Bracher’s provocative theories are certainly easy on the eye.
Bloom (2001) is another café installation, produced at the same time as Open Privacy.
A pressed-ash veneer table and stools fit together, puzzle-like, when not in use.(…)
More recently, Bracher has worked on Freud (2002)
a sofa design for Zanotta, which is destined for mass production, a collection of wool rugs for Urban outfitters, and several hanging lamp concepts.