Garriris Chair by Javier Marshal for Akaba, 1980s

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Description

Garriris Chair by Javier Mariscal for Aqaba, 1980s

"Garriris" Chair or Art Object

"Garriris" presents the chair as a character, … Read more Garriris Chair by Javier Mariscal for Aqaba, 1980s

"Garriris" Chair or Art Object

"Garriris" presents the chair as a character, not merely as a functional object. The formally reduced, metallic structure serves only as a stage for a tongue-in-cheek figuration: The backrest, crowned by two disproportionate "ears," evokes the Pop iconography of late modernism, while the rounded legs ultimately tip the object into the realm of playfulness.

This is one of those rare designs in which irony and precision are not mutually exclusive, but rather mutually reinforcing. The industrial coolness of the material contrasts with the anthropomorphic warmth of the form—a tension that positions the work between design, sculpture, and quotation.


The Garriris Chair presents a character, not a functional object. Designer

Javier Mariscal (born 1950), a Spanish designer and illustrator, exemplifies the generation of designers who liberated design from its modernist seriousness in the 1980s. His work, always imbued with an unbroken sense of humor and a deep trust in the power of line, articulates an attitude: design as an emotional event, not a purely functional discipline.

Mariscal thinks with his pen—in such a way that every object, whether chair, poster, or mascot, simultaneously appears as a character. This anthropomorphization of the everyday, drawing as a form of thinking, makes him an artist who operates within the realm of design. His character "Cobi" for the 1992 Olympic Games in Barcelona was less a mascot than a manifesto: a symbol of a city reinventing itself through irony and lightness.

In the history of Spanish design, Mariscal thus marks a turning point—away from the industrial product and toward the narrative object. He reminds us that design serves not only to solve problems but also to entice.

Condition

The chair is in remarkably good, well-maintained condition. The distinctive "ears"—often a structural weak point in comparable pieces that lose strength over time—are in pristine condition here: upright, stable, and without any sign of material fatigue. I have official proof of authenticity such as vintage catalogs,
designer records,
or other literature sources and take full responsibility for any authenticity issues arising
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