Located in Vista, California, Sandy eggo is a workshop that in their beginings was a hobby of his owner, Kyle, till 2015, when his business scaled, when he started to work as maker being part of themakers network of furnitures of the brand Opendesk.
From December when we started on the Distributed manufacture model, Kyle was the first in our maker´s network,always showing motivated and love on his work, reasion why we believe that our arrival in USA as brand, is in good hands.
Psss: Get this code on the checkout: CHOL1MADEINCALIFORNIA (Only US customers)
For a while now, the world has been changing at an accelerated pace and we believe that is a chance for us to reinvent ourselves. From the start, our brand was founded from an everyday problem for us as cyclists, and when this idea was materialized, we were able to notice that this was something beyond our borders. Since then, we have been able to help people from all over the world who have bet on storing their bikes in our furniture.
Today, in collaboration with the University of Chile’s FabLab, we resolved to go for another way to reach to our customers around the world, which considers the use of new fabrication technologies and global nets of creators. This model is called Distributed Design, which has been promoted by FabLabs around the globe and until now put into practice in the furniture market by the British brand Opendesk, and looks to contribute to a circle economy based future, opposed to the way production is today, in a linear and centralized way.
Traditional business within the furniture industry often implies supply chains and business models that lead to enormous retail mark-ups, competitive production costs and therefore its associated workload, and little or no materials traceability and sustainability.
The design of a product for mass fabrication generally comes from an external source, where the materials and production costs are lower (often involving countries where land and labour costs are the cheapest, like China). For the production of these products, the pieces are obtained from factories and delivered to centralized assembly lines, then this finished products are sent to the other side of the world in containers. These items are then stored in large regional warehouses, before being finally delivered to customers or retail outlets. This kind of process is the type to squeeze makers and designers, generating considerable profit for the middlemen and even a greater carbon footprint.
Our approach to Distribution Design
Until 2019, in Chol1 our products were designed and manufactured in Chile, to be then sent to their destinations across the world by air mail. This implicated long periods of delivery and large shipping costs, in addition to an enormous carbon footprint caused by airplane transportation.
Distributed Design is a production model that allows to fabricate objects at a long distance with local makers, thanks to digital fabrication technologies.
Along with the implementation of this model, Chol1 products are designed in Chile and manufactured in different location around the world by local makers. This seeks to reduce the delivery radius (implying its costs and associated delivery time), and for products to be made using local materials.
An alternative model
Independent manufacturers are at the center of this model, and paying a fair price to people who manufacture furniture from Chol1 is very important to us.
This generally means that a greater amount of the sale price goes to the manufacturer compared to traditional factory production, which may depend on large volumes of stocks made for low or minimum wages.
Our model saves in shipping (which is a lot since, from Chile, any shipping to the USA or Europe travels more than 8000 km), storing, and exhibition rooms.
Instead, this money goes mainly to the makers, and to build, administer and commercialize the necessary technical infrastructure for the creation of a global furniture market.
When you buy furniture in Chol1, you’re supporting local makers, supporting our designers, and making a future for distributed fabrication to be possible.
We love to talk to our community about this model and why we work this way. If you have any question, thought or idea, don’t hesitate to contact us!
As designers and cyclists, we are constantly looking for new ways that help people opt for bicycles and incorporate them into everyday spaces.
We rethink our own product, looking for simple and functional objects, that support more and different bikes.
The result of that design process is our new collection: BICHO
The story of the bicho furniture began at the same time as the rest of our models, as a result of repeating once again this thought of how an object, through one subtle gesture, allows the incorporation of bicycles into the everyday of our intimate spaces.
It was a coffee table, deprived from its cover, placed at the entrance of the apartment to stack the visit’s bikes, the one that this furniture was based on. For the first time, we were adventuring into designing an object that would stack 3 bicycles simultaneously, with the minimum of material, and the maximum of performance.
This process led us to the prototyping of the first version of this furniture, which although it responded to the functional need, that is, to effectively support 3 bikes, the way the furniture was built, convinced little to our team, who ended up deciding to put this model aside until its construction were as efficient as its functionality.
After many years, drawings and scale models, we found a simple way to build this furniture, simplifying its many parts into one module, which with subtle variations, it allows to articulate the shape of the Bicho, taking advantage in an effective way of the use of wood and its assembly logic.
The iteration process was key in this model, the use of scale models at 1:6, allowed to play with the parts in an agile way to get to a result that surprised us.
Different spaces, different shapes
What pushed us to develop this model, was the energy of our clients, who knew about the existence of these prototypes, and they requested us to pick up this design, which solves in many cases, the storing of bikes in houses and offices, with a capacity for many bicycles and of different types.
This furniture uses between 4 and 8 times less wood than the rest of Chol1’s furniture, and to make its Distributed Fabrication production sustainable, is why this can be bought in two ways:
-Immediate purchase: every Bicho uses an x part of the wood plank, by which to use the whole material, for immediate purchase we offer a minimum of x units, the Bicho 3 uses ¼, the Bicho 2 uses ⅙ and the Bicho 1 uses ⅛ of the plank.
-Pre-order: To buy only one Bicho furniture, you can join to a pre-order of clients in your area, to build an order. The moment 4 orders are requested in your area (USA, EU, UK, AUS, etc), we’ll send you an email with the confirmation of your order.
In the case of the Bicho 3, which uses ¼ of the plank, for immediate purchase you must buy a minimum of 4 units, and in the case of a pre-order, when 4 orders are requested in your area, we’ll confirm your individual request by email.
This way, the unit price corresponds to what has actually been used from the material, and not paying an extra price per unit.
Collaborators: Antonino Reinoso, Isidora Bonnet, Martin Campos, Jazmin Saavedra, Vicente Muga, FabLab U. de Chile
The Chol1 project, has the poetic gaze and the way to face design as a basis from the poetic book Amereida. This manifesto-poem was written during the year 1965 by a group of artists, designers and architects, who traversed from Tierra del fuego to Santa Cruz de la Sierra in Bolivia, in which they interrogated themselves about the meaning of being American (as “from the Americas” from now on) and inhabitants of this continent, in a genuine and original way.
Wasn’t the finding foreign to the discoveries?
The gaze of the Amereida, opens to reflect around what we understand as the American Identity. The sentence “¿No fue el hallazgo ajeno a los descubrimientos…?” (Wasn’t the finding foreign to the discoveries?) sums up this vision about the discovery of the Americas as from a misunderstanding: Christopher Columbus, as the representative of the european man, is found in a new continent, which he confuses with the Indies, for then to found european cities to scale, while implementing a destiny and a foreign way of construction, and that way recreating a foreign continent. This results in the construction of a continent founded from the lack of recognition of its own nature, reproducing Europe in a foreign continent. This paradox, of the founding of a “new” continent, affects and redirects the destiny and identity of the american continent. Under this premise, this group of artists bring up the rediscovery of the american territory, traversing the continent and looking again at the territory from a poetic gaze, to find its own identity.
Observation as a design method
From the Amereidane thought, poetry and drawing are the work’s matrix, and the designer or architect is who builds something new through the observation of the reality seen open upon their eyes. Observation is a creation method based from the link between the poetic word and the shape design. In the observation, the word is the one that founds, from which the designer works with. This close relation between poetry and design, keeps the work fresh and dynamic, since is its own referent and creative guideline. This process is the one that allows the poiesis, an always different creation since it comes from an individual observation.
Casa del Errante, creative inspiration
Many of our designs are based on architectural works, both in the relation of the work with its surroundings and in the usability design for the inhabiting of people. One of our inspirations has been La Hospedería del Errante (project found at la Ciudad Abierta de Amereida, in Valparaiso, Chile). This work was built in two stages, one from 1981 to 1997, and the second from 1998 to 2000. While all Ciudad Abierta’s works are executed and conceived collectively, its creation was lead by the architect Manuel Casanueva (1943-2014). In this project, two main topics are addressed: the Lighting and the Wind. The work’s name comes from a text by the poet Godofredo Iommi, called “Carta del errante” which addresses the debate between poetry and reality. For this registry, we were welcomed by its current resident, the visual and sound artist, Oscar Santis.
From the invitation to expose our designs at the annual design products for cycling exhibition “Spin London”. The event was held in May of 2016 at “Old Truman Brewery”, in the neighbourhood of Bricklane, London.
The exhibition had to be taken by one person, who’d travel by airplane from Santiago, Chile, giving enough material so the attendants could understand, in a ludic and expressive way, our Furniture for Cyclists proposal.
Acknowledging that sending just one furniture would be wasting this opportunity, and that it’d be impossible for just one person to carry more than one furniture there, we explored the idea of making the models at a scale of 1:6 (6 times smaller than the originals) from the original blueprints, using the digital technologies of laser cutting.
These tiny furniture, also served as merch during the exhibition, which worked as a way to cover the expenses for our trip.
After this, we incorporated this exercise of working with scale prototypes for new designs, which helps to reduce costs from our design processes, formal and conceptual analysis, in a first stage on the creation of these
Designers: Isidora Bonnet, Nicolás Neira & Manuel Rossel
Today, bicycles will become the vehicle of the future, in the best case scenario, so it’s reasonable that furniture design will also analyze how to face this new everyday act of storing your bike inside your apartment.
With the growth of cycling at a global level, along with the reduction of habitable spaces, bicycles have been inevitably stored within the most visible spaces in houses and apartments, like living rooms and bedrooms.
“Think global, act local”
From our first appearances on the internet, the intention of cyclists outside of Chile to be able to acquire our designs arose. It was probably because of this reason that in 2015, we redesigned all of our models, which until then were sold already assembled and just in Santiago, Chile, to make our designs assemblable, enabling the shipping of the them in flat boxes, to cyclists around the globe.
This model of making furniture assemblable, used for the first time by IKEA to facilitate the shipping of their products, allowed us to reach to Europe and the USA, which generated an enormous expansion in our horizons as a brand.
New fabrication methods; CNC
Digital fabrication has changed the rules of the game in which refers to manufacturing, among these technologies, CNC Router has been radical to understand the future of furniture design. Both its precision and its speed enables the making of complex designs, in a velocity that was unthinkable until then, with identical results for each furniture, which has facilitated the process of designing products with assemblies, that dispense with fixation.
Designer: Manuel Rossel
Collaborators: Fernando Morales, Jamez Manuel, Asuncion Mena.
The human being changes, and these changes are reflected on the everyday acts we do.
This process is constant, and design is called to reflect these new acts into the objects surrounding us.
As furniture designers and cyclists, we have decided to self-entrust us to generate furniture proposals that addresses the cycling related acts, and we started by observing the place of the bike inside of the contemporary household.
The new everyday acts; why study the relation between bicycle and the interior spaces
For years we’ve seen two phenomenons:
One, the growth of cities, accelerated and chaotic, which generates terrible problems for the transportation through them. The personal car as a transportation system, which is expensive and contaminating, has generated a model that instead of being efficient, provoques indebt and stressed people, and polluted cities both because of its air quality and its acoustic levels.
On the other side, the spaces in which we inhabit, spaces even more and more reduced by the square meter, where interior spaces, like the garage, the front and backyard, and others, that before were common places, have been disappearing, places where bicycles were usually put.
Resignification of an object: the bicycle
The rising of the bicycle, appears like a healthy, economic and environmentally beneficial option. Life quality and appreciation of time, appear in the lives of bike users once again. People from all over the world have been progressively understanding the potential of urban cycling as a tool for a better quality of life and as a part of a more environmentally friendly life model.
Bicycle and interior space: beyond the storing
From these precedents, our proposal tries to contribute into the furniture field, to cover a new act in the lives of people who use bicycles, this new act, which is already a fact: Cyclists are leaving their bicycles inside the house, and they don’t own a garage where they can put it in, but this goes beyond that, the bicycle, in this process of paradigm change, it ceased to be the alternative means of transportation, left for weekend rides, to be the most used design object for many.
The bicycle as an expressive object
The bike ceased to be a nuisance and a behind the scenes object, to be the most expressive object and telling both about its owner and their fashion. This expressive content, from the bicycle, is what we want to show off, and not to hide. The bike talks, the storing space is visible, because our spaces have changed, but also because our habits have changed, and now this object is in the center of our habits, which have incorporated it in their medules.
Designing a language; fitting tests on new furniture models
The second prototype proposals, consisted of 5 hybrid furniture, thought as an alternative to traditional furniture. The main idea is that bicycles cease from being an object left away from sight when you’re at home, to be an object that is exhibited by its design attributes, shape and color, by which they integrate within people’s decoration and lifestyle more and more.
Exploring new ways
This work is framed in an exploration process by the possible types of everyday furniture of an average apartment, and how those could be intervened to put up a bicycle without losing its original functionality. This work came to be the continuation of the first proposal of shelves for bikes; Arrimo, Zen and Ángulo, and on this occasion, we wanted to adjust to the formats of an apartment, considering even more the use of the space, and the dimensions of a furniture.
Catalogue expansion: Concept models
This process enabled us to fusion everyday furniture with our ideas for bike storing, expanding a catalogue and developing an own language of the brand. Our focus, in this case, was to test our fitting pattern with the bicycle, in different sizes and functionalities. As a result of this exercise is that furniture like Buffet, Desk and Bicho were born, as well as some that were discarded.
A permanent challenge for cycling in the city is finding a place to store your bike: in a small studio where a bed and a sofa barely fit, a bicycle is just one more thing to stumble upon. While a wall-mounted shelf or a bike stand are good answers, we wanted to make a different proposal; a line of furniture that serve as bicycle storage.
Without the bicycle, it looks like a modern piece of furniture, but on top, they are designed to support a bicycle firmly.
It is a way to optimize space inside homes, specially designed for those who live in highly urban areas, while adding aesthetic value to our homes. Therefore it becomes more than just a bike stand or bike rack, it also becomes part of the home decor.
Bicycles offer benefits both to those who use them (economic savings and a better physical condition), as well as to cities, contributing to their decongestion, decontamination. Our mission is to help urban cyclists to improve their experience, in relation to their bicycles and their intimate space, and thereby encourage the use of bicycles.
Designers: Benjamin Beltran, Manuel Rossel
Collaborators: Asunción Mena, Kamaleon Bikes, Javier Barriga