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Architects and Their Chairs “J”

Posted by Lynne van den Berg On September 14th

  “J” is for Juhl

 

In Copenhagen, A Renaissance for Finn Juhl By Stephen Brookes • Modernism Magazine • Winter 2010

In Copenhagen, A Renaissance for Finn Juhl
        By Stephen Brookes • Modernism Magazine • Winter 2010

Finn Juhl (30 January 1912 – 17 May 1989) was a Danish architect, interior and industrial designer. Juhl was most notably known for his furniture design and for introducing Danish Modern to America in the 1940’s.

“Juhl’s life was, in fact, a roller coaster of fame and obscurity. High-profile projects in the 1940’s and 50’s (including the Trusteeship Council Chamber, the Danish ambassador’s residence in Washington, DC and all of SAS Scandinavian Airlines’ air terminals in Europe and Asia) brought him international recognition, and he organized many of the exhibitions — including the “Good Design” exhibit in Chicago in 1951, and another at the Metropolitan Museum of Art in New York in 1960.”                                                                                                           In Copenhagen, A Renaissance for Finn Juhl By Stephen Brookes • Modernism Magazine •

Salto & Sigsgaard. The restoration of the Finn Juhl–designed United Nations Trusteeship Council Chamber, New York. Photography by Hans Ole Madsen.

Salto & Sigsgaard. The restoration of the Finn Juhl–designed United Nations Trusteeship Council Chamber, New York. Photography by Hans Ole Madsen. Image via Salto and Sigsgaard pinterest

“One cannot create happiness with beautiful objects, but one can spoil quite a lot of happiness with bad ones” – Finn Juhl

 

Finn Juhl: Pelikan Take Sunset LA

Finn Juhl: Pelikan Take Sunset LA

 Pelikan is a wonderful example of Finn Juhl’s design. Inspired by the modern “free art” of the time, its organic shape and fluid lines are so inviting. . Via takesunset.com

Pelikan is a wonderful example of Finn Juhl’s design. Inspired by the modern “free art” of the time, its organic shape and fluid lines are so inviting. Via takesunset.com

 

Unlike many of his contemporaries in Scandinavia and the rest of Europe, Juhl was as interested in form as in function.  “A chair is not just a product of decorative art in a space,” he said. “It is a form and a space in itself.”  His  attention to form led him to design chairs where the seat is separate from the frame (images 5, 6 & 8) and sofas constructed out of floating shapes.http://www.apartmenttherapy.com/

 

Item Description Bwana Chair, designed by Finn Juhl, Denmark 1962. prod. by France and Son, Denmark 1962. teak. -via deconet.com

Item Description Bwana Chair, designed by Finn Juhl, Denmark 1962.
prod. by France and Son, Denmark 1962. teak. -via deconet.com

Juhl gave a soft edge to the lines of wooden modernist chairs, favoring organic shapes which often took the wood to the limits of what was possible. He generally used teak and other dark woods, unlike many of the other proponents of the Danish Modern movement who often used oak in their designs.

He was influenced by the abstract sculptor Jean Arp, an influence which is seen already in his early Pelican chair but it remained a motif throughout his career. Also influenced by tribal art, Juhl exhibited the Chieftain chair with photos of weapons from anthropological studies.   Wikipedia

Bradley: “Denmark is a Disneyland for adults, for design geeks.”

Modernist Architecture 

Blog post: Modernism through the eyes of an architectural photographer.  Darren Bradley and Denise Bradley visit Finn Juhl’s House, “a person’s house says so much about their character”.

 

Finn Juhl Architecture, Estate photo courtesy Finn Juhl Estate

Finn Juhl Architecture, Estate photo courtesy Finn Juhl Estate

 

Finn Juhl Homeoffice via Dansk Mobel Kunst http://www.dmk.dk/blog/page/2/

Finn Juhl Homeoffice via Dansk Mobel Kunst

 

Architects and Their Chairs “H”

Posted by Lynne van den Berg On February 26th

                      “H” is for Henningsen

 

Poul Henningsen, 1894-1967, Danish architect, writer, multi-artist. On the background of the emancipated radical cultural environment of the 1920s he displayed great inventiveness in many fields.
Poul Henningsen, 1894-1967, Danish architect, writer, multi-artist. On the background of the emancipated radical cultural environment of the 1920s he displayed great inventiveness in many fields.
Official website of Denmark

 

 — Poul Henningsen was born in Copenhagen in 1894. He never graduated as an architect, but studied at The Technical School at Frederiksberg, Denmark from 1911-14, and then at Technical College in Copenhagen from 1914

He started practicing traditional functionalistic architecture, but over the years his professional interests changed to focus mainly on lighting which is what he is most famous for. He also expanded his field of occupation into areas of writing, becoming a journalist and an author.    Living Edge

 

“1950s Poul Henningsen Artichoke Light, its kinda like an industrial/no frills version of a chandelier..” Ella Drake

 

Poul Henningsen Artichoke pendant light, 1958 by Louis Poulsen. / Case Da Abitare and tumblr
Poul Henningsen Artichoke pendant light, 1958 by Louis Poulsen. / Case Da Abitare and tumblr

 

 

His most valuable contribution to design was in the field of lighting. He designed the PH-lamp in 1925, which, like his later designs, used carefully analyzed reflecting and baffling of the light rays from the bulb to achieve glare-free and uniform illumination. Wikipedia

Quotes from PH

“From the age of 18, when I began to experiment with light, I have been searching for harmony in lighting”

 “It doesn’t cost money to light a room correctly, but it does require culture.”

Poul Henningsen did not grew up with the electric light but in the soft glow of the petroleum lamp. His constant inspiration and aim was to cultivate the electric light to achieve a similar softness but yet utilize this new powerful light source.

“I do not subscribe to the idea of an ever-increasing demand for more powerful lighting intensity. It is tempting, but inartistic to continue to increase lighting intensity.”

    From Consulate General of Denmark in New York Copyright 1997, Consulate General of Denmark. All rights reserved and Scandinavian Design

 

 

 

via archipanic.com/louis-poulsen-relaunch-ph-lamp/ At Stockholm Furniture Fair 2015, Danish architectural lighting manufacturer Luis Poulsen relaunched an iconic PH lamp designed in 1929 by maestro Poul Henningsen. The new limited edition of PH 3½-2½ comes with a opal glass or untreated copper shade that oxidates over time.

via archipanic.com/louis-poulsen-relaunch-ph-lamp/
At Stockholm Furniture Fair 2015, Danish architectural lighting manufacturer Luis Poulsen relaunched an iconic PH lamp designed in 1929 by maestro Poul Henningsen. The new limited edition of PH 3½-2½ comes with a opal glass or untreated copper shade that oxidates over time.

 

PH 5 http://www.topsonlighting.com/ph5-pendant-lamp
PH 5
Topson Lighting

 

 

 

 

               Poul Henningsen Chair Designs

 

PH Vintage Snake Chair

PH Vintage Snake Chair

 

Pope Chair

Pope Chair

 

Dining Chair

 

 

Poul Henningsen Sprawl Chair

Poul Henningsen Sprawl Chair

 

 

We will close this post with perhaps the most flamboyant and genius design of all in the portfolio of PH…..

The Magnificent Grand Paino by Poul Henningsen looks like it came from the distant future, yet it was designed in 1931, a true timeless design undeniably ahead of its time. He designed this Piano in steel, aluminum, red leather and plexiglass, thus creating a unique design that stands out on its right as a piece of art. http://www.designisthis.com/blog/en/post/poul-henningsen-grand-piano
The Magnificent Grand Paino by Poul Henningsen looks like it came from the distant future, yet it was designed in 1931, a true timeless design undeniably ahead of its time.
He designed this Piano in steel, aluminum, red leather and plexiglass, thus creating a unique design that stands out on its right as a piece of art. http://www.designisthis.com/blog/en/post/poul-henningsen-grand-piano

 

 

Creative genius Poul Henningsen introduced his mind-altering design in 1931 – and it still belongs to the future. Look ahead twenty years. Now look again. There is nothing else like it, and there never will be. It is the first time you see a grand piano in a new light – and it changes everything.

The wooden box is turned into a thing of transparent beauty. It doesn’t take up space – it is space. And it creates a place. A place for thought.  PH Pianos website

 

This is how music looks. And what you see is what you hear - the sound is brilliant and crystal clear like the concept of the design itself. If you ever get to play it, that is. Because you can't take your eyes off it.
This is how music looks. And what you see is what you hear – the sound is brilliant and crystal clear like the concept of the design itself. If you ever get to play it, that is. Because you can’t take your eyes off it.

 

 

Our goal is to accurately give credit for all images and information, in the event we fail to do that, please notify us and we will correct the error. LMV

Architects and Their Chairs “G”

Posted by Lynne van den Berg On November 21st

                        “G” is for Gehry

 

Frank-Owen-Gehry

 

 Frank Owen Gehry was born in Toronto, Canada on February 28, 1929. He studied at the University of Southern California and Harvard University. Frank was creative at a young age, building imaginary homes and cities from items found in his grandfather’s hardware store. This interest in unconventional building materials would come to characterize Gehry’s architectural work.  information via, Ruarte Contract

 

      image via, http://ruartecontract.com/frank-gehry-architecture-decoration-materials/

image via  Ruarte Contract

 

Gehry creates unexpected, twisted forms that break conventions of building design. His work has been called radical, playful, organic, and sensual.

His selection of materials such as corrugated metal lends some of Gehry’s designs an unfinished or even crude aesthetic. This consistent approach has made Gehry one of the most distinctive and easily recognizable designers of the recent past. Critics of Gehry’s work have charged, however, that his designs are not thoughtful of contextual concerns and frequently do not make the best use of valuable urban space.

 

My first experience of his work in 2007...love at first sight...University of Iowa

My first experience of his work in 2007…love at first sight…University of Iowa

 

His style has been called Deconstructivist —a post-structuralist aesthetic that challenges accepted design paradigms of architecture while breaking with the modernist ideal of form following function.Frank Gehry looks for an architecture more and more free, with virtuous lines and complex forms, in which the light and its reflection is a principal matter. Furthermore, he is unique in the election of materials, each one more and more unusual giving his works an artistic quality unequaled.   information via, http://www.biography.com/people/frank-gehry-

 

Preliminary sketches for the Panama Puente de Vida Museo | © Frank O. Gehry https://www.foga.com/

Preliminary sketches for the Panama Puente de Vida Museo | © Frank O. Gehry

https://www.foga.com/


“a sculptor that studied architecture”

EMP’s futuristic Frank O. Gehry designed building is constructed of over 21,000 aluminum and stainless steel shingles and 280 steel ribs. If its 400 tons of structural steel were stretched into the lightest banjo string it would extend one-fourth of the way to Venus. Photo courtesy of EMP staff. A world-renowned architect, Frank O. Gehry has been the recipient of numerous awards including the Pritzker Architecture Prize (1989), the Dorothy and Lillian Gish Award (1994), the National Medal of Arts (1998), a Gold Medal from the American Institute of Architects (1999), and the Lifetime Achievement Award from Americans for the Arts (2000). Photo courtesy of EMP staff.

EMP’s futuristic Frank O. Gehry designed building is constructed of over 21,000 aluminum and stainless steel shingles and 280 steel ribs. If its 400 tons of structural steel were stretched into the lightest banjo string it would extend one-fourth of the way to Venus.

A world-renowned architect, Frank O. Gehry has been the recipient of numerous awards including the Pritzker Architecture Prize (1989), the Dorothy and Lillian Gish Award (1994), the National Medal of Arts (1998), a Gold Medal from the American Institute of Architects (1999), and the Lifetime Achievement Award from Americans for the Arts (2000).

Photo courtesy of EMP staff.Situated at the base of the world-renowned Space Needle

 

In His Own Words:

“I approach each building as a sculptural object, a spatial container, a space with light and air, a response to context and appropriateness of feeling and spirit. To this container, this sculpture, the user brings his baggage, his program, and interacts with it to accommodate his needs. If he can’t do that, I’ve failed.”— from the 1980 edition of “Contemporary Architects”

“Building a building is like berthing the Queen Mary in a small slip at a marina. There are lots of wheels and turbines and thousands of people involved, and the architect is the guy at the helm who has to visualize everything going on and organize it all in his head. Architecture is anticipating, working with and understanding all of the craftsmen, what they can do and what they can’t do, and making it all come together. I think of the final product as a dream image, and it’s always elusive. You can have a sense of what the building should look like and you can try to capture it. But you never quite do.”— Conversations With Frank Gehry by Barbara Isenberg, p. 62

information via, http://architecture.about.com/od/greatarchitects/p/gehry.htm

 

EMP Museum – Seattle At the base of the Space Needle, Gehry framed the EMP Museum to look as if its steel-and-aluminum skin is flapping in the wake of Seattle’s famous monorail.
EMP Museum – Seattle
At the base of the Space Needle, Gehry framed the EMP Museum to look as if its steel-and-aluminum skin is flapping in the wake of Seattle’s famous monorail. The building’s remarkable architectural form and sophisticated use of colors and textures can be traced to a melted Stratocaster guitar that served as inspiration to the architect Frank O. Gehry. Architectural Digest

 

 

 Idiosyncratic as it is said to be, Gehry’s philosophy toward designing is simple. He stays original and attempts to balance out the current trends of plain modernism with his own spice. Gehry mirrors the crazy, chaotic, insane aspects of life in his buildings. Like Gehry said himself, “What is architecture? It’s a three-dimensional object, right? So why can’t it be anything?”   www.SilverCreek

 

                                                                                    Furniture

 

EMECO TUYOMYO BENCH DESIGN BY FRANK GEHRY 2009 Emeco with Gehry: A Collaboration in Support of Hereditary Disease Research “Tuyomyo” Yours and Mine: One-of-a-Kind

EMECO TUYOMYO BENCH DESIGN BY FRANK GEHRY 2009
Emeco with Gehry: A Collaboration in Support of Hereditary Disease Research
“Tuyomyo” Yours and Mine: One-of-a-Kind

 

furniture-by-frank-gehry-architect-decor/
furniture-by-frank-gehry-architect-decor/

Gehry had success in the 1970s with his line of Easy Edges chairs made from bent laminated cardboard. By 1991, Gehry was using bent laminated maple to produce the Power Play Armchair. These designs are part of the Museum of Modern Art (MoMA) collection in NYC.

 

Frank O. Gehry, Easy Edges lounge chair, 1972 www.sfmoma.org

Frank O. Gehry, Easy Edges lounge chair, 1972

www.sfmoma.org

One of the more spectacular 70s chairs is Frank O. Gehry's cardboard chair, Wiggle Side Chair, which is made out of 60 layers of closely compressed ... www.archithings.com

One of the more spectacular 70s chairs is Frank O. Gehry’s cardboard chair, Wiggle Side Chair, which is made out of 60 layers of closely compressed …

www.archithings.com

Frank Gehry Face Off café table and 4 Cross Check arm chairs ...
Frank Gehry Face Off café table and 4 Cross Check arm chairs …

  • The most prominent influence of Gehry’s childhood was the love of fish. The elements he loved in the fish can be constantly seen in all of his buildings. It got him into thinking freely.

“The fish is a perfect form.” –Frank O. Gehry, 1986

 

The shape of the fish is what got me thinking freely. Via silvercreek http://bit.ly/11HXlQU
The shape of the fish is what got me thinking freely. Via silvercreek

 

We always aim to give credit for all images and information, in the event we fail to do that please notify us and we will correct the error. LMV

 

Architects and Their Chairs “E”

Posted by Lynne van den Berg On August 22nd

                        “E” is for Eiermann

Egon Eiermann 1948
Egon Eiermann 1948

Egon Eiermann (September 29, 1904 – July 20, 1970) was one of Germany’s most prominent architects in the second half of the 20th century.

A functionalist, his major works include: the textile mill at Blumberg (1951); the West German pavilion at the Brussels World Exhibition (with Sep Ruf, 1958); the West German embassy in Washington, D.C. (1958–1964); a building for the German Parliament (Bundestag) in Bonn (1965–1969); the IBM-Germany Headquarters in Stuttgart (1967–1972); and, the Olivetti building in Frankfurt (1968–1972). By far his most famous work is the new church on the site of the Kaiser Wilhelm Memorial Church in Berlin (1959–1963). Wikipedia

His wide variety of buildings have been admired for their elegant proportions, precise detail, and structural clarity. Following are a few examples of his architectural point of view.

 

Deutscher Pavillon, Egon Eiermann, 1958 Image via THE-ARQ-M tumblr


Deutscher Pavillon, Egon Eiermann, 1958
Image via THE-ARQ-M tumblr

 

 

Olivetti_Buildings_-_Egon_Eiermann
Olivetti_Buildings_-_Egon_Eiermann

 

 

A staircase detail from an apartment building on Bartningallee 2–4, Wohnhaus, Berlin. Designed by von Egon Eiermann in 1961/1962. / Behance via Tumblr

A staircase detail from an apartment building on Bartningallee 2–4, Wohnhaus, Berlin. Designed by von Egon Eiermann in 1961/1962. / Behance
via Tumblr

 

 

Among the obligatory stops in a visit to Berlin is the Kaiser Wilhelm Memorial Church. Considered a symbol and link between the wartime destruction and the rebirth of the city, it is visited by millions of tourists, even though few remember the name of its architect, Egon Eiermann (1904-70). He was one of the leaders of German modernism who is being rediscovered and celebrated by the Bauhaus. image via http://egoneiermann.tumblr.com/

Among the obligatory stops in a visit to Berlin is the Kaiser Wilhelm Memorial Church. Considered a symbol and link between the wartime destruction and the rebirth of the city, it is visited by millions of tourists, even though few remember the name of its architect, Egon Eiermann (1904-70). He was one of the leaders of German modernism who is being rediscovered and celebrated by the Bauhaus.
image via http://egoneiermann.tumblr.com/

 

                   The Legacy of Chairs

 Egon Eiermann also designed furniture and interiors for some of his buildings.

Eiermann’s most successful furniture design was the “E 10” basket chair (1954), whose prototype was designed back in 1948 for “Wie wohnen”, an exhibition in Karlsruhe. Equally popular was the “SE 18” folding chair Egon Eiermann designed for Wilde & Spieth in Esslingen.

Egon Eiermann is next to Eileen Gray, Mies van der Rohe, Le Corbusier, Arne Jacobsen, Marcel Breuer one of the most famous Bauhaus architects and designers of the Bauhaus era.

 

korbmoeb.300 dpi_BIG-1

 

1949 Egon Eierman Chair Model SE 42

1949 Egon Eierman Chair Model SE 42

 

 

 obiblanche: Davore`s Egon Eiermann collection. My flatmate Davor thought about to buy 2 nice vintage Eiermann chairs for our kitchen, now he has 30 red/orange and 25 black ones. http://egoneiermann.tumblr.com/


obiblanche: Davore`s Egon Eiermann collection.
My flatmate Davor thought about to buy 2 nice vintage Eiermann chairs for our kitchen, now he has 30 red/orange and 25 black ones.
http://egoneiermann.tumblr.com/

 

 

Egon Eiermann folding chairs via http://tootasinfoot.blogspot.com/2012/01/egon-eiermann.html

Egon Eiermann folding chairs via http://tootasinfoot.blogspot.com/2012/01/egon-eiermann.html

 

 

Folding Chair by Egon Eiermann at 1stdibs

Folding Chair by Egon Eiermann at 1stdibs

 

I hope you enjoyed your brief introduction to the work of Egon Eiermann, please leave a comment if you are so inclined. If I have neglected to give accurate credit for any image or quote, please let me know and I will rectify the omission.

Architects and Their Chairs “D”

Posted by Lynne van den Berg On July 14th

         “D” is for Deganello

 

Paolo Deganello via Interiors - Culture dell'Abitare

Paolo Deganello via Interiors – Culture dell’Abitare

“Nowadays, designers have to go against the market, they have to head in an ecologically sustainable direction. They have to be brave enough to bite the hand that feeds them,” Paolo Deganello declares decisively.

Paolo Deganello was born in Este (Padua) in 1940. After graduating with honours from the Faculty of Architecture in Florence in 1966, he opened the studio Arquitectura Radical Archizoom Associati that same year, along with Andrea Branzi, Gilberto Corretti and Massimo Morozzi. He worked at the studio until it disbanded in 1972. He then began freelancing in Milan, which he still does today, combining his architectural and design projects with teaching positions. Since 2006, he teaches at ESAD in Matosiñho (Oporto) and since 2008 at the Architecture Faculty in Alghero (Italy).
His work is featured in the collections of the Victoria and Albert Museum and the Design Museum (London), the Museum of Modern Art (Toyama, Japan), the Denver Museum (Denver, USA), the Vitra Design Museum (Weil am Rhein, Germany), the Museo do Design of the Cultural Centre of Belem (Lisbon) and the Museo del Design della Triennale in Milan.  via  experimenta magazine

 

  A pair of "Torso" high back sculptural chairs redone in silver Pewter leather designed by Paolo Deganello for Cassina in 1982. Visually interesting and comfortable.


A pair of “Torso” high back sculptural chairs redone in silver Pewter leather designed by Paolo Deganello for Cassina in 1982. Visually interesting and comfortable.

 

 

Paolo Deganello, Regina chairs for Zanotta Italy 1991 Designer: Paolo Deganello Provenance: Italy Material: Leather & Cowskin

Paolo Deganello Regina chairs for Zanotta Italy 1991
Designer: Paolo Deganello
Provenance: Italy
Material: Leather & Cowskin

 

 

mies’ chaise longue, 1969. design archizoom .manufactured by poltronova. courtesy paolo deganello

mies’ chaise longue, 1969.
design archizoom .manufactured by poltronova.
courtesy paolo deganello

 

 

Playful 80's Italian sofa with serious style. Seat in leather and back upholstered in a specially-commissioned Jack Lenor Larsen material entitled "La Madre" ("The Mother"). From Deganello's "Torso" series for Cassina. 1stdibs


Playful 80’s Italian sofa with serious style. Seat in leather and back upholstered in a specially-commissioned Jack Lenor Larsen material entitled “La Madre” (“The Mother”). From Deganello’s “Torso” series for Cassina. 1stdibs

 

                                                   AEO 1973

“When Paolo Deganello, cofounder of the Archizoom group from Florence, Italy, presented the “AEO” chair in 1973, it attracted great attention. The chair is undeniably comfortable, but opinions differ on its unusual appearance. One side regards it as a caricature of the robust television chair, the other as an icon of a new functional aesthetic.   Deganello does not comply with a particular aesthetic convention but instead sets the different qualities off against each other.”  Vitra Design Museum

 

Vitra Design Museum Design: 1973 Production: 1973 to the present Manufacturer: Cassina

Vitra Design Museum
Design: 1973
Production: 1973 to the present
Manufacturer: Cassina

 

 “We need to turn design inside out, like a glove”

Paolo Deganello  06/30/2010

Based on his participation in the seminar Less is Next held on World Food Day, Paolo Deganello uses the crisis as a starting point to reflect upon the kind of role architects and designers should play in organising a fairer professional practice, rooted in the defence of new, ethical values.

He goes on to say, “now that we are faced with economic crisis and the ever more dramatic destruction of the planet’s resources. My proposal, which I had already been advocating for some years, was that we must change all our schools of design into schools of socially responsible and/or sustainable design.”

from Experimenta Magazine Spain

learn more from Paolo Deganello, watch the video My Radical Project Architecture and Eco Design

Architects and Their Chairs “C”

Posted by Lynne van den Berg On June 10th

        C is for Castiglioni

 

 

 “Start from scratch. Stick to common sense. Know your goals and means”.

Achille Castiglioni (February 26, 1918 – December 2, 2002) was a renowned Italian industrial designer. He was often inspired by everyday things and made use of ordinary materials.He preferred to use a minimal amount of materials to create forms with maximal effect.

Achille Castiglioni was born in Milan and studied architecture at the Politecnico di Milano University and set up a design office in 1944 with his brothers, Livioioni Castiglioni and Pier Giacomo Castiglioni. In 1956, Castiglioni founded the Associazione per il Disegno Industriale (Association for Industrial Design, ADI). Castiglioni taught for many years, first at the Politecnico di Torino, and in 1969 he led a class in Industrial Design at the Politecnico di Milano.

MoMA’s permanent collection in New York hosts 14 of his works. Other works may be found in the following museums: Victoria and Albert Museum in London, Kunstgewerbe Museum in Zurich, Staatliches Museum für Angewandte Kunst in Munich, Design Museum in Prato, Uneleckoprumyslove Museum in Prague, Israel Museum in Jerusalem, The Denver Art Museum, Vitra Design Museum in Weil am Rhein, Angewandte Kunst Museum in Hamburg and Koln

 

 

 

Sanluca, designed in 1960 by Achille and Pier Giacomo, is a modern take on the traditional lounge chair - See more at: http://www.italymagazine.com/featured-story/three-best-italian-lounge-chairs#sthash.wLMLWGNv.dpuf

Sanluca, designed in 1960 by Achille and Pier Giacomo, is a modern take on the traditional lounge chair – See more at: http://www.italymagazine.com/featured-story/three-best-italian-lounge-chairs

 

 

Achille Castiglioni . sancarlo, for Tacchini http://www.tacchini.it/

Achille Castiglioni . sancarlo, for Tacchini
http://www.tacchini.it/

 

 

Achille Castiglioni, Sella telephone stool, 1957, for Zanotta (designed with Pier Giacomo Castiglioni).

Achille Castiglioni, Sella telephone stool, 1957, for Zanotta (designed with Pier Giacomo Castiglioni).

 

 

1980's 'vintage' Leonardo table, Achille Castiglioni Architectural trestle work table Pin by Ryan Tam on Tables | Pinterest

1980’s ‘vintage’ Leonardo table, Achille Castiglioni Architectural trestle work table
Pin by Ryan Tam on Tables | Pinterest

 

 

the achille castiglioni effect www.designboom.com

the achille castiglioni effect
www.designboom.com

 

 

The famous Arco Floor Lamp with its elegant marble base was designed in 1962 by Achille Castiglioni and Pier Giacomo Castiglioni for the Italian manufacturer Flos.

The famous Arco Floor Lamp with its elegant marble base was designed in 1962 by Achille Castiglioni and Pier Giacomo Castiglioni for the Italian manufacturer Flos.

 

 

Design is one of the highest expressions of twentieth-century creativity, and Achille Castiglioni is one of its greatest masters. His objects stand as clear examples of rigorous method, technical skill, exuberant talent, and wit, combined to achieve a beauty that is fulfilling on both a rational and an emotional level. His work exemplifies the ideal of good design.

With his functional and purist yet playful objects, Castiglioni has shown that form and function, while certainly the main ingredients for successful design, cannot be a designer’s only concerns. He has thus contributed invaluably to updating modernist design to contemporary modern.

Paola Antonelli
Associate Curator
Department of Architecture and Design

Excerpt from MOMA exhibition

 

Overview of all products by designer Achille Castiglioni

 

We apologize if we have failed to credit a quote or an image to the correct source. Please let us know and we will correct the error.

 

The Essence of a Miesian Dwelling

Posted by Lynne van den Berg On November 22nd

A winter view of the house in 1971, showing the original insect screening of the porch, and the roller shades added by the owner after the curtains were damaged by flood waters. image via Wikimedia Commons

A winter view of the house in 1971, showing the original insect screening of the porch, and the roller shades added by the owner after the curtains were damaged by flood waters. image via Wikimedia Commons

The Farnsworth House is a 1,500 sq.ft home designed and constructed by Ludwig Mies van der Rohe between 1945-51. It is a one-room weekend retreat in a once-rural setting. The design is recognized as a masterpiece of the International Style of architecture and was designated a National Historic Landmark in 2006, after joining the National Register of Historic Places in 2004.  The cost of project was $74,000 in 1951 ($648,000 in 2012 dollars). There was a cost overrun of $15,600 over the approved pre-construction budget of $58,400.  This created havoc,  lawsuits and counter lawsuits  ensued until the courts ordered Dr Farnsworth to pay her bill.

 

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At his inaugural lecture as director of the department in 1938, Mies stated:

“In its simplest form architecture is rooted in entirely functional considerations, but it can reach up through all degrees of value to the highest sphere of spiritual existence into the realm of pure art.”

  This sentence summarized what had become Mies van der Rohe’s consistent approach to design: to begin with functional considerations of structure and materials, then to refine the detailing and expression of those materials until they transcended their technical origins to become a pure art of structure and space.

The dominance of a single, geometric form in a pastoral setting, with a complete exclusion of extraneous elements normally associated with habitation, reinforces the architect’s statement about the potential of a building to express “dwelling” in its simplest essence.

 

As Mies stated on his achievement, “If you view nature through the glass walls of the Farnsworth House, it gains a more profound significance than if viewed from the outside. That way more is said about nature—it becomes part of a larger whole.” Farnsworth House is the essence of simplicity in the purest form, displaying the ever-changing play of nature.

 

 

 

image via farnsworthhouse.org http://www.farnsworthhouse.org/history.htm

image via farnsworthhouse.org http://www.farnsworthhouse.org/history.htm

 

Information for this post was obtained from the following resources:   Wikipedia          http://www.farnsworthhouse.org/history.htm

 

How cool is it to have a local public library using chairs at tables and computer workstations that are referred to as Recycled Seat Belt Chairs (custom designed Rock and Stop Chairs)?  Composed of solid natural wood frames with seat belt webbing, they are both green and very comfortable. Enter the Gotham Rocker, designed by  J.Persing  the same small niche U.S. company that built the library chairs mentioned above, called the Rock and Stop Chairs. Again using surplus automotive seatbelts Paradigm Gallery offers these environmentally friendly chairs which are dyed with non-toxic water-based inks.  Its light weight form is intentional:  great design with minimal material.  America is truly coming back!                                                                                 

Clearly thinking out of the box, Edgar Blazona learned from corporate America and yet decided, by leaving, that he could create his own story in a way that many of us could appreciate and admire.

Edgar anchored his reputation within the modernist design community with the launch of Modular Dwellings, custom mobile, prefabricated dwellings, that elegantly blend form and function for affordable modernist living. In 2004 Modular Dwellings was listed among Metropolitan Home magazines Top 100 Designs of the year.

Those of us that have loved Mid-Century Modern, and Danish Modern furniture, unfortunately,  could never afford these cool looking pieces. Thankfully, over the past several years, interpretations of many of the classics have become available at affordable prices without sacrificing the quality and integrity that many of these great pieces were originally known for.

Edgar eloquently expressed his views on this  subject in an interview at  handful of salt,  “One of  our complaints is that if you want clean, simple design, there are relatively few options between IKEA and Design Within Reach.  True Modern steps bravely into that wide open, slightly scary space with value-conscious modernist design.”  Thank you, Edgar, for fearlessly going to a  place where others would not go.  You have clearly claimed your place in the world of furniture design with your fine upholstered chairs, sofas, sectionals, and wood furniture, a cool aesthetic with  “true modern” design.

Nine More Reasons To Love Mies van der Rohe

Posted by Lynne van den Berg On March 26th

If you love Mies as we do then  we are  pleased to direct you to this awesome article. The photography is by Corine Vermeulen ( for Placement Project), and produced by Whitney Dangerfield of the New York Times.  Credit should also be given to the audio by Danielle Aubert. Make sure to read the related article and the comments, and hoorah, there will be a book by the talented women at Placement (www.placementpublication.org), Danielle Aubert, Lana Cavar, and Natasha Chandani.

If These links do not work use the Blogroll linkswell worth the viewing

http://www.nytimes.com/interactive/2010/10/15/opinion/20101015_Lafayette.html

http://www.opinionator.blogs.nytimes.com/2010/10/14/living-with-mies/

There are so many interesting aspects to this piece. For starters, we revisit an important part of the Mid Century Modern Movement in America, and learn some of the why’s and how’s of its beginnings.  We also experience a socio/cultural view of life and lifestyles in Lafayette Park.  This is a feast for the senses between the audio and visual experiences and the “stories” of those currently residing there.  Take the time to read the comments  at the end of the article.  There is a vast array of emotions expressed in the comments and some strong opinions about Mies Architecture.

My growing interest in anything Mies comes from inheriting a home built by an architect who studied with Mies in Chicago.  Please visit us at  http://www.pgmod.com to learn more, and check out,  “About”, http://www.pgmod.com/content/4-about-us If you have a minute I would love to hear your comments about how these mini visits into the lives of the current residents of Lafayette Park  resonates with your interests in  the Mid Century Modern experience.