experience

social sculpture technology^®

The term social sculpture technology^® was established and developed in Switzerland in early 2015 by Norbert Roztocki  during his interdisciplinary research on metamorphosis in the natural sciences, social sciences and art.

social sculpture technology®

The first part of the phrase, ‘social sculpture’, derives from the work of German artist Joseph Beuys, who used it to describe an expanded concept of art. Beuys coined the term to embody his understanding of art’s potential to transform society. As a artwork in itself, a social sculpture encompasses human activities aimed at structuring and shaping society or the environment. The central figure here is the social sculptor—an artist who creates structures in society using language, thoughts, actions, and, ultimately, objects.

Roztocki sees his objects as tools or catalysts that support social integration in the spirit of Beuys’ approach.

The second element—the word ‘technology’—comes from the Greek tékhnē (art, craft, skill), which refers to practical know-how and the mastery of a craft (what we would call ‘design’ today), and lógos (word, language, reason, or principle), which refers to wisdom or a state of mind. Literally, it translates to ‘the knowledge of how to do things’.

Roztocki deliberately uses ‘technology’ in its original sense, thereby emphasising the importance of translating grand promises into precise and accurate implementation on a highly practical level.

inspiration

In order to bridge the gap between great vision and practical reality Roztocki reached to the very unique form. The form which is a timless and archetypical so called “urform”

inspiration

The ‘urform’ is the essence of three basic shapes that we encounter in our three-dimensional reality: the flat, the concave, and the convex. The organic synthesis of these three primary geometries over time results in a shape commonly known as a DNA chain, a saddle surface, or a double-curved surface.

This shape appears throughout the organic world, wherever nature develops, grows, and transforms. Many plants and trees grow in accordance with this spiral and double-curved geometry; even our bones are based on the same principles of growth. In short, this archetypal shape manifests wherever the principle of life itself is present.

Roztocki initially experimented with this form in clay, creating small-scale, purely artistic objects where aesthetics were paramount. After discovering that one of the three aspects of this archetype is the flat or straight line, he realised that it could be seamlessly translated into wood. This opened up the technical possibility of creating large-scale wooden objects without the need for complex tools.

story

In 2014 Roztocki built a first 2-metre-high prototype out of wood in his small garage  and set it up in his garden to test how this shape would affect the environment and people….

The sculpture had barely been installed when Roztocki’s young son, Aleksander, discovered small steps along the edges of the object and used them to climb to the very top. Roztocki’s instinctive reaction was a mix of shock, fear, and dismay. He could not decide what terrified him more: the prospect of his little son falling and hurting himself, or the fear that his first large-scale artwork would be destroyed.

Fortunately, it soon became clear that the prototype was stable enough to withstand this unexpected structural test, and Aleksander was agile enough to return to the ground safely. This brief, intense experience changed Roztocki’s perspective forever.

It marked the beginning of something unique, innovative, practical, and beautiful: the concept of moveart was born.

awards

Roztocki transformed his discovery into the concepts and then into the company, officially founded in end of 2015 in Dornach, Switzerland…

awards

In its very first year, moveart was recognised as one of the five most innovative startups in Switzerland at the Swiss Innovation Challenge. More accolades quickly followed, including a podium finish at the SwissUp Start Challenge and victory in the prestigious startup competition at the IMD Business School in Lausanne.

Norbert Roztocki is also a recipient of the European Product Design Award (2018) and the prestigious German Design Award (2019). Today, Moveart installations are an international success story, spanning over 1,000 locations worldwide, including major hubs such as New York, London, Melbourne, Zurich, Madrid, Dubai, Reykjavik, and Oslo.

The brand’s unique design philosophy and methodology are highly valued by designers, architects, and investors globally. Moveart embodies an idea that enlivens its surroundings, activating human emotions, physical movement, and the spirit of community.

Awards & Recognition

2019: German Design Award
2018: Gold Prize Winner, European Product Design Award
2018 & 2017: Shortlisted for the Danish Design Award
2017: Giardina Silver Award, Giardina Zurich
2017: Winner, 19th Annual Startup Competition at IMD Business School
2016: Top 3 Finalist, FHNW SwissUp Start Challenge
2016: Cooperation with Art Basel Kids’ Lounge
2015: Top 5 Most Innovative Swiss Companies, Swiss Innovation Challenge

how we work

After several years of intensive contact with a broad client base across various industries, Roztocki developed a highly efficient tool for project development, particularly for complex, customized projects. The uniqueness of this process lies in the combination of a holistic approach with precise, almost mathematical results in very short time.

Core Team

Process

Concept

how we work

Following years of close collaboration with a broad client base across various industries, Roztocki developed a highly efficient tool for project development, particularly suited for complex, customized projects. The strength of this process lies in its ability to combine a holistic approach with precise, almost mathematical results within a very short timeframe.

The tool is based on three main steps:

Forming a core team
Integrating the core team into the process
Defining the main motif

The heart of the process lies in HIP and SIP.

HIP Each Moveart sculpture is designed for a specific purpose. By analysing the structure of the local community, we can select an installation that activates various forms of play (such as sliding, climbing, or lounging) and relaxation. Sculptures from the ‘Playsculpture’ line offer play value based on movement activation, whereas the ‘Smartcity’ line offers installations tailored for pedestrian areas.

SIP*

SIP is an innovative analysis of the ‘DNA’ of a place (its history, architecture, and nature), which ensures that the object becomes an integral part of the local context, rather than an anonymous catalogue product. This purposeful design approach prevents aesthetic pollution and turns the object into a bearer of local identity, rather than just a piece of street furniture.

*available in moveart bespoke

materials

All moveart objects are constructed using 100% ecological and sustainable Accoya® wood and A2 stainless steel only.

materials

All moveart products are constructed using 100% ecological and sustainable Accoya®-treated Radiata Pine wood and A2 stainless steel only.

accoya® wood

is exceptionally smooth and rarely splinters, offering safe tactile experience. It is long-lasting, dimensionally stable and present 3-4 times less swelling than traditional wood species.

lifespan

Thanks to natural acetylation process, accoya® wood reaches highest durability rating (Class 1 – EN 350) with a minimum outdoor lifespan of 25 years.

It will weather naturally to a silvery-gray color, due to physical and biological processes that take place within the top layer.

resistance

accoya does not deteriorate in any climate and is resistant to rot, decay and fungi.

maintenance

Superb woodcraft, metalwork and enhanced biological durability of accoya® eliminate the need for oiling, waxing, or glazing. Routine visual inspections and simple cleaning with water and a stiff brush keep moveart objects in top condition, ensuring long-lasting performance with minimal effort.

health

Natural acetylation process of accoya® makes chemical varnishes obsolete. accoya® is completely non-toxic and is the only construction material in the world to achieve C2C Platinum certification™ for material health.

safety

moveart objects have been evaluated for compliance with the safety requirements in the ASTM F1487 standard and CPSC guidelines for public playgrounds.

Designed for outdoor interaction in every climate, moveart offers thermal comfort – our sculptures do not heat up as quickly and do not burn contact.

sustainability

Our objects are made using biodegradable, sustainably-sourced materials and are 100% recyclable. accoya® wood comes from FSC® certified forests.

founder

Norbert Roztocki studied cultural anthropology and philosophy. He was born in Poland and has lived and worked in many countries as a photojournalist and documentary filmmaker…

After moving with his family to Switzerland, Roztocki became deeply involved in the idea of metamorphosis in art, design, and social contexts. He had long been fascinated by the double helix as a primal form of life and made it the subject of his sculptural research.

founder

I started taking photographs at the age of 13. At first, only objects, no people. I believed that a person in the picture would ruin the entire composition, so those photos ended up in the trash. At 15, I had my first solo exhibition. The theme was form, color, and light. At 22, after my first experiences as a press photographer, I began photographing only people. A picture without people was now uninteresting. By the age of 28, I had already shown over 40 solo exhibitions in various European countries, and the main subject was always people. Then, after 15 years of photography, I felt that two-dimensional expression was no longer sufficient, and I wanted to explore the third dimension. That’s how I began my adventure in sculpture and design. … After three years of sculpting, I realized that static forms weren’t enough to express myself, and I sought to integrate dynamism into my sculptures. This is how I discovered time as the fourth dimension of my work. For a short time, I experimented with performance art and happenings in front of an audience; however, I quickly found it unsatisfying. At the same time, I discovered that I enjoyed activating the “audience”—that is, involving other people in the artistic creative process. My new idea was to find out how to transform “passive spectators” into “active participants.” My then three-year-old son, Aleksander, helped me make an important discovery. One sunny afternoon, he discovered my new two-meter-high wooden sculpture in the shape of a double helix in our garden. Clearly fascinated by this form, he began to climb it. My first reaction was horror: would he destroy my artwork or hurt himself? But that’s how the idea for “playsculptures” was born. After this experience, a new period began in my work – I added practical functions to my artworks so that they could be actively used by people of all ages. This creates a magical transformation from passive observer to active participant. The old art paradigm “please do not touch – only look” transforms into the new “please touch and explore with all your senses.” This is how the fifth dimension in my work emerged: “the social aspect.” People discover their dormant creativity, and my artworks are only truly complete through this interaction – the social sculptures.

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