Amos Goldreich celebrates the legacy of his parents, esteemed modernist architects Tamar de Shalit and Arthur Goldreich, while infusing contemporary relevance into their timeless furniture designs.
Amos Goldreich, founder and creative director of Tamart.
Emblazoned with a poignant message, “powered by love”, the UK furniture brand Tamart debuted during Milan Design Week. The captivating love story between a son —Amos Goldreich, founder and creative director — and his parents — the original designers of the Tamart’s furniture — was thoughtfully portrayed within archival drawers full of the family’s original concept drawings and photographs of the pieces installed in iconic apartments and buildings around the world. I talked with Amos about the inspiration behind Tamart, the process of co-creating with his late parents, and the value of an archive.
Arthur Goldreich (left) and Tamar de Shalit (right).
What made you decide to launch Tamart?
The inspiration for Tamart comes from my parents, Tamar de Shalit and Arthur Goldreich, esteemed modernist architects. After their passing, I unexpectedly unearthed an extensive archive comprising over 10,000 original plans, photographs, documents, and prototypes in their summer house. This profound discovery shed light on the depth and breadth of their creative output across various disciplines, including architecture, design, art, and textiles. Their partnership and passion for design, cultivated at London’s Central School of Arts and Crafts, shaped Tamart’s ethos.
The decision to launch Tamart stemmed from a desire to celebrate my parents’ creative partnership and love story while contemporizing their designs for a modern audience. After meticulously cataloging the archive and exploring its potential, I felt compelled to bring these remarkable pieces to life. Their innovative spirit and the deep personal connection to their work inspired me to create Tamart, celebrating their timeless design principles and ensuring their legacy endures through functional and aesthetically pleasing furniture.
Why did you launch in Milan and how was the line received?
During the pandemic, I had a dream in which I saw myself presenting Tamart in Milan. It took several years to build up the courage and engage the right people to make this vision a reality. Milan Design Week provided a prestigious platform to introduce Tamart to a global audience of design enthusiasts, industry professionals, and media. The response was overwhelmingly positive, with many attendees moved by the story behind the brand and its dedication to quality craftsmanship and sustainability. This prestigious event allowed us to showcase our collection on an international stage, generating significant interest and appreciation for Tamart's unique narrative and design ethos.
How does this brand celebrate and amplify the legacy of your parents?
Tamart represents a convergence of heritage and innovation in the design industry. It embodies the spirit of my parents' modernist principles while infusing contemporary relevance into their iconic designs. Each piece in the collection reflects their distinctive style and philosophy, ensuring their legacy endures through functional and aesthetically pleasing furniture.
What was important to you in selecting the first pieces of furniture to produce? And how will you select future ranges? How much is there to choose from?
Selecting the inaugural pieces involved highlighting the breadth of my parents’ design legacy while ensuring each piece embodied their distinctive style. We carefully curated 10 iconic mid-century designs that balance timeless appeal with contemporary relevance, catering to modern tastes while honoring past innovations.
The original Central Stool (top), and today's (above).
For instance, the Central Stool, originally conceived by my mother, Tamar de Shalit, during her time at London’s Central School of Arts and Crafts, represents a versatile fusion of form and function. Its smooth, half-moon turned design with three tapered legs offers flexibility as both an occasional table and a stool.
The original Clore Lounge Chair and Ottoman (top), and today's (above).
The Clore Lounge Chair, Ottoman, and Coffee Tables draw inspiration from the refined elegance of Sir Charles Clore’s private penthouse, designed by my parents. These pieces blend comfort and sophistication, crafted with gently curved seats, reclined timber frames, and a mix of recycled and natural materials. The sculptural Clore Coffee Tables feature meticulously crafted pocket dovetail detailing, with options for glass or stone tabletops.
The Red Rock Club series, originally designed for the 1960s Red Rock Hotel and Club, reflects a playful yet substantial aesthetic. Characterized by compact forms and tactile carved spheres on the chair's stiles, these pieces evoke nostalgia while embodying enduring quality and craftsmanship.
The Highgate Chair.
Lastly, the Highgate Chair and Highgate Chair with Arms epitomize modernist principles with clean lines and geometric precision. Enhanced by pill-shaped backs, curved stile tops, and naturally dyed leather sling-style seats, these chairs offer a contemporary reinterpretation of classic design elements.
Future ranges will continue to draw from the extensive archive of over 10,000 plans, photographs, and prototypes, ensuring a balance between timeless appeal and contemporary relevance.
Do you consider yourself a curator in this role? How is it different from designing your own furniture? What does the design process look like to translate an archival product, or one that only exists in drawings and images, into a contemporary product?
Yes, I see myself as a curator, designer, and collaborator, entrusted with the responsibility of revitalizing my parents’ designs within a contemporary framework. This process is akin to a collaboration between myself and my parents, where I refine proportions, integrate sustainable materials, and update upholstery options while preserving the essence of the original designs. It requires meticulous attention to detail and a profound respect for their original vision, ensuring that their legacy lives on in each piece.
How did sustainability factor into your production and why was it important?
We chose to manufacture Tamart pieces in the UK and Europe to uphold our commitment to sustainability and quality craftsmanship. All our products are crafted from FSC-certified timbers, including natural oak, ash, and black-stained ash, sourced from responsibly managed forests. By prioritizing locally sourced materials, we minimize environmental impact and support regional economies.
Our upholstered pieces feature natural wool textiles from Mourne Textiles and Bute Fabrics, avoiding the use of foam. We collaborated with Bute Fabrics to create Contrast, a bespoke black-and-white woven fabric based on an original design by Tamar de Shalit. The Highgate Chairs and Red Rock Club Chair offer natural vegetable-tanned leathers in chestnut, black, and natural colors. Our commitment to sustainability also extends to using eco-friendly production techniques, ensuring the repairability and recyclability of all Tamart products.
Your parents' archive tells such a detailed story - how valuable do you think it is for designers to keep an archive?
Maintaining an archive is invaluable for designers as it preserves the legacy of past works and provides a rich resource for inspiration and innovation. It allows for a deeper understanding of design evolution and helps maintain the integrity and continuity of a brand’s ethos. My parents’ archive serves as a testament to their enduring creativity and influence in the design world. I hope it will continue to inspire future generations with their timeless designs and innovative spirit.