More Zaha: here are some renderings of Zaha Hadid’s Nekton stools plus more photos of her Seamless furniture collection, which was created for a selling exhibition held at Philips de Pury & Company in New York last December.

The range – which, besides the four interlocking Nekton stools, includes shelving designs called Serif (shown below); a lounge chair called Gyre; a chaise called Crest and a cabinet called Swash – will be exhibited in Milan this April by Established & Sons.

>> see more images in our previous story about Seamless and the New York show here

Below is a statement about the Seamless collection from Hadid’s office:

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The Seamless Collection by Zaha Hadid Architects
24 October 2006

“The ‘Seamless’ furniture collection for Established & Sons represents the result of Zaha Hadid Architects’ exploration into a world of seamless fluidity. It is a built manifesto towards the potential for a new language of design and architecture, which is driven by the latest in digital design processes and the most cutting edge manufacturing techniques.

With the overall conception of the designs ultimately driven by the new possibilities created by significant technological advancements in three dimensional design software, as well as our inherent desire to test and engage with the very latest manufacturing capabilities, the resulting collection of furniture is a dialogue of complex curvilinear geometries and detailed ergonomic research that provides the opportunity for us to reinvent the balance between furniture and space.

To this end, the forthcoming exhibition of the Seamless Collection at Phillips de Pury will feature a number of pieces significant not only as stand alone objects, but for their ability to collectively project a different, sensual universe that draws the audience into its ambit.

These unique pieces are an obvious evolution of the architectural language explored by the practice: soft meets sharp, the combination of convex and concave, and a sculptural sensibility that impact on our self-conception as bodies.

The rhythm of folds, niches, recesses and protrusions follows a coherent formal logic. With the formal dynamic of a fluid mass, we are able to emphasize the continuous nature of the design and the smooth evolution between otherwise disparate elements.

The evolutionary lineage of the pieces is easily discernable through re-visitation of past projects such as Z-Scape (2000), Ice Storm (2003), Aqua Table (2005), the Hotel Puerta America interiors (2005) and Elastika (2006). Seamless represents the culmination of this morphological series and a new beginning in terms adding new surface sensations.

The design language explored within this collection of pieces emphasizes the usage of complex curvelinearity, seamlessness and the smooth transition between elements. A formal integration of diverse forms allows individual furniture pieces to be considered within the overall mass of the ensemble.

Whilst individual elements are nevertheless morphologically affiliated, they can be read not only as a whole, but as loose fragments that drift around the scene as if captured in a magnetic field.

The pieces, initially morphologically conceived, are shaped further by typological, functional and ergonomic considerations. However these further determinations remain secondary and precariously dependent on the overriding formal language of the collection. A margin of strangeness invites a stimulation that has evolved between the morphogenetic logic and adaptations with regard to functional affordances.

The Seamless collection embodies the organic design paradigm and evolving architectural language of Zaha Hadid Architects. The New York exhibition at Phillips de Pury & Company will be our first integrated collection and a prefect continuation of the Zaha Hadid retrospective at the Guggenheim.”