One of the first projects by Starck for Alessi, devised in the second half of the 1980s (with the Walter Wayle II wall clock, the Hot Bertaa kettle and the large Max le Chinois colander). An excellent example of Alessis role as artistic mediator in the most turbulent areas of creative potential (this was his response to our precise breifing for a stainless steel tray). It remains unparalleled in its ability to generate discussions about its meaning and design, partly because of its unconventional use of what semiologists refer to as the decorative veil which, even though generally in a less overt manner, is inexorably destined to cover all objects created by man. To fully understand the true meaning of its existence, it is possibly necessary to refer to the theories of Leroy-Gourham, who considers the notion of functional approximation to be fundamental. This notion suggests that there is always a certain degree of freedom in interpreting relationships between Form and Function: it is precisely this continual play between Form and Function that leads to the decorative veil mentioned above, that Floch considers to be the manifestation of the legendary and aesthetic dimension of the object, as originally defined by Greimas. As well as being the most controversial citrus fruit squeezer of the 20th century, it has also become one of the icons of design of the 1990s, and it continues to be one of the most provocatively intelligent articles in the Alessi catalogue.
- Height: 29 cm / 11.4 inch
- Diameter: Ø 14 cm / 5.5 inch
Timeless Italian quality products for your home. Collaborating with internationally recognized designers such as Michael Graves, Philippe Starck and Richard Sapper Alessi has produced some of the absolute best iconic designs in the world. GR Shop offers you over 1000 of these essential, beautiful and revered objects to complete your home.
Alessi Juicy Salif Lemon Squeezer Designed by:
- Philippe Starck , 1990
“I like to open the doors of the human brain” - Philippe Starck
School dropout Philippe Starck jump-started his career by designing two nightclub interiors in Paris in the 1970s. The success of the clubs won the attention of President Francois Mitterand, who asked Starck to refurbish one of the private apartments in the Elysee Palace. Two years later, Starck designed the interior of the Café Costes, in Paris and was on his way to becoming a design celebrity. In quick succession, he created elegant interiors for the Royalton and Paramount hotels in New York, the Delano in Miami and the Mondrian in Los Angeles. He also began to produce chairs, lamps, motorbikes, boats and a line of house wares and kitchen utensils, like his Juicy Salif for Alessi.
During the 1980s and 90s Starck continued his prolific creativity. His products have sensual, appealing forms suggestive of character or personal identity and Starck often conferred upon them clever, poetic or whimsical names (for example, his La Marie chair and playful Prince Aha stool). Starck’s furniture also often reworks earlier decorative styles. For example, the elegant Dr. No chair is a traditional club chair made unexpectedly of injection-molded plastic. While the material and form would seem to be contradictions, it is just such paradoxes that make Starck's work so compelling. Starck’s approach to design is subversive, intelligent and always interesting.
His objects surprise and delight even as they transgress boundaries and subvert expectations. During the 90s Starck has also begun to promote product longevity and to stipulate that morality, honesty and objectivity become part of the design process. He has said that the designer's role is to create more “happiness” with less. For all his fame Starck’s work remains a serious and important expression of 20th century creativity.