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Furniture is a necessity of human life but beyond its functionality, furniture design also reflects the social life of objects and has symbolic capacities. Design objects convey cultural, social, and ideological meaning. They can also be performative—given their intimate connection to the body, they shape how we relate to space and to one another.
Lukas Gschwandtner, who has received training in traditional leather craftsmanship, and studied spatial design, is an artist living and working in Vienna—but one could also call him a choreographer, a set designer, a historian of textiles and a historian of reclining figures.
The material expression of his distinct ideological formation—rooted perhaps in living in a city steeped in art and design history— is embodied in canvas, leather, metal, but also historical textiles, fragments of 18th-century tapestries, decaying fringes, and horsehair. In his visual grammar, can…
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Furniture is a necessity of human life but beyond its functionality, furniture design also reflects the social life of objects and has symbolic capacities. Design objects convey cultural, social, and ideological meaning. They can also be performative—given their intimate connection to the body, they shape how we relate to space and to one another.
Lukas Gschwandtner, who has received training in traditional leather craftsmanship, and studied spatial design, is an artist living and working in Vienna—but one could also call him a choreographer, a set designer, a historian of textiles and a historian of reclining figures.
The material expression of his distinct ideological formation—rooted perhaps in living in a city steeped in art and design history— is embodied in canvas, leather, metal, but also historical textiles, fragments of 18th-century tapestries, decaying fringes, and horsehair. In his visual grammar, can…
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