Francesc Gasch’s pieces contain simple, clean and flawless executed lines. He himself recognises the influences of the most rational design guidelines, and it is safe to say that his pieces exude a definite practical and functional character. His methods of design and self-production strip simple ideas to turn them into what they are – only that which the design requires. Gasch says that ornamentation for its own purpose does not make much sense, since it adds nothing, and the shape of objects must be determined by their function.
Among his first pieces is the Taula table, which conceals in its design an extra level of functionality that makes it a multidisciplinary piece of furniture. It appears to be a table, but it includes a number of interchangeable work surfaces. It can thus be used as a space to work in different ways and even eat, and is also a display piece, which can be used to serve as a container or develop a sample.
“It was one of the first designs I made when I left university. I was trying to apply a concept in which the simplicity of the lines combined with the modularity would stand out the most. It was also important to create different work surfaces, which allow the user to work or develop any activity in a more organized way,” says the designer. Adding to this simplicity is the light-coloured wood and white metallic structure, aspects that link it to Nordic design, another of his influences.
A similar story could be told about his Trois stool. “The thinness of the legs and the simplicity of its lines makes it a simultaneously minimalist and functional design. To modernise it I’ve used elements, colours and textures that add warmth and volume to the object, making it a more user-friendly product,” says the designer.
“The way that I start projects is quite visceral at the beginning. I often find the starting point by chance”
And since it’s a product with a theoretically easier design, does that require less creative effort? “The way that I start projects is quite visceral at the beginning. I often find the starting point by chance, in accidentally encountering some problem in an object that requires a solution, or elements that don’t meet my own tastes. Then, little by little I start creating shapes that contribute something, whether it is from the functional perspective or an aesthetic one. Finally, as the project progresses, there is little space for improvisation,” he says.
But some of his designs also seek to rediscover old working methods to apply them to new objects with a new perspective of use. This is an investment of emotions, values and work, in which the Milano bench is a key object. This seat is a piece that does not contain any fixing elements beyond the piece itself (no glue or nails) and that can support more than 200 kilos of weight.
The very latest design from the same self-production line are the Faceta pots, ceramic flowerpots that can be placed on a light copper colour steel frame. A limited production run of this same design, in collaboration with the ceramist Rosa Cortiella, offers an arty, limited version.
This article is also available in Español