Molo, dancing to the concertina’s tune
Published on 27 March 2020
Canadian architects Stephanie Forsythe and Todd MacAllen are the brains behind an ingenious system of partitions, furniture and lights, all cleverly crafted from concertinaed paper.
When the new millennium dawned, young Canadian couple Stephanie Forsythe and Todd MacAllen were working out of a small studio apartment in Yaletown, Vancouver, earning their living as architects. Having decided to enter a competition to design affordable housing solutions, their days revolved around building paper prototypes of every imaginable size. It didn’t take long for them to realise that paper was a material that not only held its shape beautifully, but also preserved its strength. The idea of using it as a building material was born.
Within a matter of months, they had invented their first ever ‘softwall’, a flexible, self-supporting partition wall crafted from honeycomb paper and imbued with the couple’s design philosophy. “We like buildings with good, strong bones and open-plan interiors that allow change over time, so we decided to explore the idea of self-supporting structures that expand, contract and move. We soon realised that paper was a viable building material, and it was exciting to share this material in a new, surprising light.” After many long hours of meticulous research, the couple decided a honeycomb structure would be perfect for the partitions, enabling them to collapse them down to the thickness of a book. When unfurled like a concertina, they could grow to up to 100 times their size, stretching out to lengths of up to 4.5 metres. In addition, they could be arranged in lines or curves and inter-connected using magnets to create visual and acoustic barriers. Their softwall not only boasted an attractive and poetic design, but also proved to be a highly functional and conceptual piece, inciting the MoMA in New York to acquire the first prototypes in 2003.
That very same year, the couple set up their own design studio, naming it “molo”, which stands for “middle ones, little ones”. Having been accustomed to designing buildings, it was their way of marking a shift in scale towards smaller products commanding a more intimate level of engagement. molo proceeded to roll the softwall concept out in a spectrum of stunning hues, ranging from partially recycled kraft-coloured paper to Klein blue and metallic grey or black. They even produced a limited edition version flaunting a 24 carat-gold spine, inspired by collectible books. A crisp white dust-repellent version crafted from non-woven textile was also made available, and the pair found a way of integrating LED lights into the design’s structure to provide beautifully soft ambient lighting. The other clear benefits of the honeycomb structure were its resistance and outstanding load-bearing capacity. Forsythe and MacAllen consequently set about expanding the collection to include round stools, partition walls with integrated benches, circular tables and folding counters. Lastly, to complete the look, they created the urchin light and the cloud pendant light, which could delicately illuminate any space whilst simultaneously absorbing sound. The pair even extended the brand’s pared-back style to the product names themselves, choosing to opt for the non-capitalised form.
“softwall was designed to match these new ways of working, offering solutions for acoustics, lighting and privacy.”
molo’s pure lines met with instant success amongst businesses and consumers alike. Hybrid spaces straddling the worlds of work and leisure embraced the concept in a flash. “Today’s workplaces are adopting flexibility,” explain Forsythe and MacAllen. “The Tech and Creative sectors love open-space environments and are operated by adaptable teams that constantly change size. softwall was designed to match these new ways of working, offering solutions for acoustics, lighting and privacy, which are growing concerns in an office or studio.” Both architects see it as crucial that end-users take active ownership of their designs. “It is our intention that clients adopt and continue the design process, creating unique installations that are not molo-focused, but are enabled by the collection’s endless possibilities.”
In September, molo will be heading back to MAISON&OBJET, with Stephanie Forsythe and Todd MacAllen looking forward to meeting up with their longstanding clients, as well as connecting with new ones. They also see their time at the fair as an opportunity to explore French culture. “France is home to an incredible blend of architecture, art, cuisine, wine and design. After the last trade fair, we went off to visit sites like the Maison du Verre, the Bibliothèque Nationale and even Le Corbusier’s chapel at Ronchamp in Burgundy, which we have studied and drawn inspiration from. Each visit becomes an immersive experience that bathes us in French culture.”
By Caroline Tossan