The French designer Philippe Starck is the author of a wide and eclectic range of designs at all scales, among which his dimension as a public figure could be included in some way. Some of his pieces, such as the well-known Juicy Salif juicer, already occupy a place in their own right in the history of contemporary design.
Decidedly anti-functionalist and postmodern, one of the features of his work is the use of allegedly humorous and/or critical figurative references, as can be seen in a variety of objects ranging from the omnipresent Louis Ghost chair, transparent polycarbonate reproduction of a baroque armchair, to the golden AK47 of the Gun Lamp collection. Another of his lines of work at different scales are the biomorphic and aerodynamic forms, in inevitable reference to the streamline design of the 1930s, but also to the pulp science fiction imagery, such as the W.W. Stool.
One of the most prolific branches of his career is the interior design for commercial premises, in which he usually applies intently scenographic atmospheres. The Café Costes in Paris, with its giant clock and specifically designed furniture full of formal and material references to Art Deco, was one of the works that made him famous in the eighties. But the Royalton and Paramount hotels in New York at the end of that decade turn him into an inescapable reference in the sector, which allowed it design and build integraly several hotels.
Philippe Stark‘s architectural production is not as well known as its interior or product design. In the late eighties he built the Nani Nani office building in Japan, a copper-plated biomorphic monolith, and the Asahi Beer Hall, topped by an orange flame-shaped volume, thus transferring his two main lines of design to the scale of architecture. In later buildings, such as the Alhondiga in Bilbao, the scenographic approach that characterizes its interior design is transferred to the complete design of the building.