Product + Furniture Designer (1959-)
JASPER MORRISON is one of today’s most influential industrial designers. Born in London, he is renowned for his ascetically elegant, quietly humorous style and has designed everything from a tray-table to a tram system.
Anyone who wants to understand Jasper Morrison’s work should flick through A World Without Words, the collection of images he compiled in 1988 from his collection of second-hand books and postcards. From one of Buckminster Fuller’s Dymaxion houses and Gerald Summers’ one piece plywood chair to a fisherman’s hut on Hastings’ shingly beach, each image illustrates the wit and elegance with which Morrison has revitalised rationalist design.
Born in London in 1959, Morrison grew up there and in New York, when his advertising executive father was posted in the US. He studied design at Kingston Polytechnic and the Royal College of Art. In 1986, a year after graduating from the RCA, Morrison opened his Office for Design in London.
He cites his early inspirations as his grandfather’s study – a light, bright room furnished in the modernist style and an Eileen Gray exhibition he saw at London’s Victoria & Albert Museum. During his student years, Morrison became interested in the work of modernist pioneers – such as Buckminster Fuller, Gerald Summers, Jean Prouvé and Le Corbusier – that he discovered in the second-hand books he bought and sold to raise extra cash and later turned into A World Without Words. Another inspiration was the flamboyant furniture he saw at the Memphis movement’s first exhibition in Milan in 1981. Morrison later described the experience as: “Just fantastic. Here was proof that none of the old design rules mattered any more.”
Even as an impecunious young designer, Jasper Morrison was determined to design for industrial production. Rather than making pieces by hand as many young designers do, he scoured London on his Honda 90 moped looking for small industrial workshops which would make up small quantities of objects from ready-made industrial components. His 1984 Flower Pot Table, for instance, was made from a glass circle supported by a stack of ordinary flower pots.
“It was the Thatcher era and those small workshops were being forced further and further away from central London,” said Morrison. “When I started it was a manageable circuit, but as time went by I felt doomed to ride round in ever-increasing circles as they moved out to the suburbs.”
Slowly he won industrial commissions from SCP in London; FSB, the German door handle maker; Cappellini, the Italian furniture manufacturer; and Vitra, the Swiss furniture company whose chairman, Rolf Fehlbaum, contacted Morrison after seeing a slide presentation of A World Without Words.
In 1988, Morrison designed a room set for the Berlin Design Werkstadt exhibition. Entitled Some New Items For The House, it consisted of chairs, tables, a chaise longue, four walls and a door – all made from plywood. At first glance, the objects looked banal with their simple lines and familiar forms, but closer inspection revealed the quiet intelligence with which Morrison had refined them. The critic, Charles Arthur Boyer, later described Some New Items as aving “crystallised” his design ethos: “to produce everyday objects for everyone’s use, make things lighter not heavier, softer not harder, inclusive rather than exclusive, generate energy light and space”.
Jasper Morrison has pursued those goals ever since. Still working for Vitra and Cappellini, he has now nurtured a strong rapport with other clients including Flos, the Italian lighting company; Magis, the Italian plastic manufacturer; Rosenthal, the German porcelain producer; and Alessi, the Italian metal maker. The perfectly plain 1998 Tin Family steel kitchen tins he produced for Alessi and 1997 Moon tableware for Rosenthal echo the apparent simplicity and underlying subtlety of his New Items and the “archetypal objects” that Morrison searches for constantly. “If I watch a film, I often spend more time looking at the details of objects in the background than keeping up with the plot,” he admitted.
Always keen to collaborate with fellow designers – such as James Irvine, a friend from the Royal College of Art, and Andreas Brandolini, with whom he formed the Utilism collective in the mid-1980s, Morrison has commissioned products from them and other designers. He and Irvine worked together to compile Cappellini’s 1992 Progetto Oggetto range of household objects.
Critically, Morrison’s clients have also allowed him to experiment with new materials and technologies. The results include his 1999 Low Pad Chair for Cappellini, which was inspired by one of Morrison’s favourite mid-20th century chairs – the Danish designer, Poul Kjaerholm’s 1956 steel and leather Chair, but used a new method of condensed upholstery to create a comfortable, but durable padded leather seat. Another technical coup is his 1999 Air Chair, an elegant, relatively inexpensive moulded dining chair made from a single piece of plastic using Magis’s new gas injection technology.
Morrison has tackled more complex commissions: notably by designing a tram system for the city of Hanover in what he described as “an exhausting, but not unenjoyable” two year project. He also collaborated with Herzog & de Meuron, the Swiss architects of London’s Tate Modern museum, to furnish its public spaces with his Low Pad Chairs and 1998 Op-lá tray table for Alessi.
In 2000, Jasper Morrison departed from his self-imposed rule of concentrating on industrial production by accepting a commission from a museum in the Provençal village of Vallauris to produce a limited edition of ceramics made by local artisans. The result, as Morrison himself admits, shares the sleekness and formal clarity of his industrial designs. Rather than being flattered by his interest, the European craft community was outraged. “Why work with the ancient skills of the Vallauris potters,” railed an editorial in one craft magazine, “to make something that looks as if it came from a factory?”
In the early 2000s Morrison set up a new studio in Paris and proceeded to divide his working life between there and London. He acquired new clients such as Rowenta, the French household appliances manufacturer for which he is developing a new range of kitchen products including kettles, irons and coffee machines. Morrison also sustained his relationship with established clients by designing new projects for Cappellini, Magis and Vitra.
1959 Born in London.
1979 Studies furniture design at Kingston Polytechnic.
1982 After graduating from Kingston, Morrison enrols on the furniture design course at the Royal College of Art in London.
1986 Opens the Office for Design in London to design products and furniture which, initially, he manufactures himself using ready-made industrial materials and small workshops.
1987 Exhibits in the Documenta 8 exhibition at Kassel, Germany. Develops his furniture designs for production by SCP in the UK and Cappellini in Italy, as well as a door handle for FSB in Germany.
1988 Designs a room set entitled Some New Items For The Home to be exhibited in Berlin and presents a collection of images that have inspired him as the slide show, A World Without Words, in Milan. Vitra offers to manufacture the Ply Chair and other pieces from Some New Items For The Home.
1992 Collaborates with James Irvine to develop the Progetto Oggetto collection of home products for Cappellini from designers such as Marc Newson, Konstantin Grcic and Andreas Brandolini.
1994 Completes the design of Bottle, a plastic bottle rack, for Magis which, for many years, will be his best-selling product.
1995 Awarded a DM500m project, then the biggest light rail project in Europe, to design a new tram system for the German city of Hanover.
1997 Designs the Moon collection of porcelain dinnerware for Rosenthal.
1998 Launches the Op-lá Tray Table and Tin Family for Alessi and the Sim stacking chair for Vitra.
1999 Completes the protoype of the Air Chair, a one piece gas injection-moulded plastic chair for Magis, the Globe lights for Flos and densely upholstered Low Pad and Hi-Pad range of chairs for Vitra.
2000 Tate Modern Museum opens in London with public spaces furnished by Morrison.
2002 Lars Müller publishes a monograph of Morrison’s work, Everything But The Walls. Opens a design studio in Paris.
2003 Completes the development of the ATM desk system for Vitra.
2004 Designs kitchen appliances for Rowenta and cutlery for Alessi.
2005 Completes the development of a collection of furniture for the Vitra At Home and develops products for Muji.
Nominated for the Design Museum’s Designer of the Year prize.
2006 Exhibited in Designing Modern Britain 30 July 2006 – 25 February 2007