Claesson Koivisto Rune is a Swedish architectural partnership founded in Stockholm in 1995 by Mårten Claesson, Eero Koivisto and Ola Rune. It has become and internationally acclaimed, multi-disciplinary office with an equal emphasis on both 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, Plum armchairs and sofas, Miró chairs and Droplets stools that have, recently, incorporated new tables to the collection. Claesson Koivisto Rune has also designed new fabrics for Droplets, in the context of the brand’s new creative story.

Where does the idea to develop small tables for Droplets come from?

 From observing the shapes that water droplets form on flat surfaces. The shapes are very beautiful. We took photos of that phenomenon and scanned the pictures. Then, we picked the shapes we liked the most. They became the different parts of the collection. Some are seats, some are tables.

Which was the purpose?  

To design seating islands – and tables – that would work in very different settings. Something that had a geometry that would fit into various furnishing situations, without being “round” or “square” in its appearance.

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

Actually, in any kind of space where people would need to sit down for a minute or two. Or longer. Anywhere and anyplace.

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 – don’t have a direction. There’s no “left” or “right” in the design. So, the fabrics had to follow.

What would you like to convey with it? Which was the inspiration?

 Again, we looked at different natural phenomenons and abstracted them. The difference is, maybe, that the fabrics are much more abstracted in their end appearance than the furniture. The origin of the inspiration for the fabrics is no longer visible. Which is fine by us.

How would you describe the final outcome of the fabrics?

 We think they turned out really well. We have used them ourselves in projects, and people using them really like them. Maybe that is because they recognize the shapes, but they don’t know where from. We also think that they are very difficult to categorize, timewise. Since they don’t really follow any trends, they are sort of existing in their own time lapse.