'100 chairs in 100 days'29. May2012
Although 5 years have passed since the exhibition '100 chairs in 100 days' took place in London in 2007, I still think the idea and the production of these 100 chairs in 100 days is an extraordinary idea therefore I will present it here today.
The simple fact of taking parts from different chairs and create new ones it opens the door of creativity with a bang. Hard-to-believe mind-imagined chairs are standing right in front of you yelling 'Look at me! I am real!'
It looks like a child play but hey, we all must stay connected with the childish portion of our brain if we want to find new territories in art, dead-simple yet powerful ideas, endless creativity, and so on.
Martino Gamper's '100 chairs in 100 days' is an exemplary exercise that will remain timeless through its methods and results. Playing like a child with materials, colour and chair parts, Martino Gamper engaged each chair with familiarity and uniqueness, inducing us the feeling of our home, everlasting reminding us about our happy childhood.
See below a few examples from the 100 chairs and also Martino Gamper's words.
"This project involves systematically collecting discarded chairs from London streets (or more frequently, friends’ homes) over a period of about roughly two years, then spending 100 days to reconfiguring the design of each one in an attempt to transform its character and/or the way it functions. My intention is to investigate the potential for creating useful new designs by blending together stylistic or structural elements of existing chair types." 
"I see this as a chance to create a ‘three-dimensional sketchbook’, a set of playful yet thought-provoking designs that, due to the time constraint, are put together with a minimum of analysis. As well as possibly making one or more designs that might be suitable for mass production, I intend to question the idea of there being an innate superiority in the one-off, to use this mongrel morphology to demonstrate the difficulty of any particular design being objectively judged ‘the best’. I also hope my chairs illustrate – and celebrate – the geographical, historical and human resonance of design: what can they tell us about London, the sociological context of seating from different areas, and the people who owned each one? The stories behind the chairs are as important as their style or even their function." 
"The project suggests a new way to stimulate design thinking, and provokes debate about a number of issues, including value, different types of functionality and what is an appropriate style for certain types of chair – for example, what happens to the status and potential of a plastic garden chair (conventionally located slap bang in the idiom of unremarkable functionality) when it is upholstered with luxurious brown suede? In essence, this exercise champions a certain elasticity of approach – both in terms in highlighting the importance of the sociological/personal/geographical/historical context of design, and in enabling the creative potential of elements of randomness and spontaneity to be brought to the fore." - Martino Gamper 
