#final model

5.25.2020

For the sculptural wall of the 1:6 model, I chose to work with foam as the main material, since its texture and density come closest to imitating the qualities of mycelium. I first cut the foam to the overall dimensions of the wall and then carefully marked, cut, and shaped each section where the volumes of the Contrò and Nodo pieces would fit. Using a Dremel, I refined the contours and created the hollow spaces that represent the counterforms.

Once all pieces were completed, I glued them together to form one continuous wall, then sanded the surface smooth and finished it with spray paint.

Final model explained:

The final design, consisting of Contrò and Nodo, concludes my exploration of the Selene chair and its translation into a contemporary context. The project started with a fascination for the chair’s structure — particularly the way in which the legs, shell, and seat merge through an S-shaped transition. This detail became the foundation for developing new forms through casting and moulding techniques. By isolating and enlarging a fragment of the original chair, I created two new objects: a stool and a low coffee table.

Both objects are cast in polyurethane, a material that mirrors the experimental spirit of the 1960s while offering a modern interpretation of Magistretti’s interest in industrial innovation. Whereas the Selene was defined by its lightness and slender injection-moulded shell, my pieces emphasize the opposite: they are solid, weighty, and monolithic. This deliberate contrast transforms the negative and leftover spaces of the Selene into physical presence — a reversal of Magistretti’s own process.

Formally, the design builds on Magistretti’s balance between rationality and emotion. The orthogonal composition of the two pieces reflects his search for order and clarity, while the rounded S-shaped connection introduces a sense of movement and continuity. The two elements can slide together, forming a single structure or function independently. This duality creates a dialogue between form and void, connection and separation — echoing the modular logic often present in Magistretti’s architectural and furniture designs.