Benni Allan’s new furniture collection draws sensual shapes in solid oak
Benni Allan’s ‘Low Collection’ is inspired by ways of sitting in different cultures
Art and design come together in the new collection of oak furniture from London-based architect, designer and manufacturer Benni Allan. The new ‘Low Collection’, on view at the Béton Brut gallery in London (until July 8, 2022), considers the different ways of sitting in cultures around the world.
“‘Low Collection’ is a new meditation on sitting and our connection to the ground,” says Sophie Pearce, director of Béton Brut. ‘Benni Allan is also the craftsman to watch. Such wooden works have not thrilled me since Axel Einar Hjorth’s ‘Utö’ stool from 1932 or Lina Bo Bardi’s side chair for the SESC Pompéia center from 1980.’
‘Low Seat’ by Benni Allan for Béton Brut
Allan plays with proportions in the sculptural shapes of sustainably sourced solid oak. Located at ground level, their slightly curved shapes draw sensual silhouettes. The designs, encompassing benches, tables for two, and armchairs, create opportunities for rest and interaction, providing sanctuary alone or in pairs.
The furniture’s curvilinear design, which draws inspiration from Allan’s recent travels to Japan as well as his time spent living in China and southern Spain, is celebrated in boldly drawn lines, the wood itself taking center stage in the pieces, which are cross-cut to showcase the high quality of the end grain. Created using a blend of traditional and modern craftsmanship, each piece is hand finished by Allan.
‘Bench for Two’ by Benni Allan for Béton Brut
This is the latest work from Allan, who explores projects at the intersection of architecture and the visual arts in his architectural practice EBBA. A concern for objects and spaces is expressed through themes such as materiality and proportion. This, Allan’s first complete furniture collection, is available exclusively at Béton Brut.
The London gallery, specializing in both rare furniture and lighting by architects from Europe and Japan, epitomizes Pearce’s interest in pieces dating from the last century and a distinctive sculptural aesthetic. §