Capdell and Claesson Koivisto Rune

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Claesson Koivisto Rune is a Swedish architecture studio founded in Stockholm in 1995 by Mårten Claesson, Eero Koivisto and Ola Rune. It has become an internationally award-winning, multidisciplinary practice that places equal emphasis on architecture and design.

The collaborative relationship between Capdell and Claesson Koivisto Rune has been long and fruitful. The Swedish studio has designed products such as the Tri-Star and Gazelle tables, the Plum armchairs and sofas, the Miró chairs and the Droplets stools, which have recently added new tables to the collection. Claesson Koivisto Rune has also designed new fabrics for Droplets, as part of Capdell's new creative project.

Where did the idea of ​​developing tables for Droplets come from?

From observing the shapes that water takes on flat surfaces. The silhouettes are very beautiful. We took photographs of this phenomenon and scanned the images. From that moment on, we chose the silhouettes that we liked the most. They became the different elements of the collection. Some are the seats and others, the tables.

What's its purpose?

Designing seating islands – and tables – that could work in very different environments. A line whose geometry could fit into various spaces, with furniture that was neither “round” nor “square” in appearance.

As Droplets designers, what kind of spaces do you see your pieces in?

In fact, in any kind of space where you need to sit for a minute or two. Or longer. Anywhere and everywhere.

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How would you describe the process of developing this textile project based on Droplets?

We wanted to create patterns without a clear direction. That’s why the pieces themselves – the Droplets collection – lack direction. There is no “left” or “right” in the design. And so the fabrics had to follow that same principle.

What did you want to communicate with them? What was the inspiration?

Once again, we looked at different natural phenomena and abstracted them. The difference is perhaps that the fabrics are much more abstract in their final appearance than the furniture. The origin of the inspiration for the fabrics is no longer visible. And that's fine by us.

How would you define the final result of the fabrics?

We think they've turned out really well. We've used them in projects and people like them. Maybe that's because they recognize the silhouettes, but they don't know where they came from. We also think they're very hard to categorize, from a time point of view. Considering they don't really follow any trends, they seem to exist in their own time frame.

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