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Architects and Their Chairs “L”

Posted by Lynne van den Berg On December 15th

 

                                “L” Is For Loos

Adolf Loos, 1922 /Trude Fleischmann /sc                                                       Adolf Loos, 1922 /Trude Fleischmann /sc

 “What I call culture is that balance between our physical, mental and spiritual being which alone can guarantee sensible thought and action.”       Adolf Loos

 

Adolf Loos was born in Brünn in the Austro-Hungarian Empire (now Brno, Czech Republic) in 1870 and died on August 23, 1933. “He was one of the most influential European architects of the late 19th century and is often noted for his literary discourse that foreshadowed the foundations of the entire modernist movement.” archdaly

 

"Knieschwimmer" easy chair by Adolf Loos, 1905

              “Knieschwimmer” easy chair by Adolf Loos, 1905

                                      Adolf Loos and the Vienna Secession
A group of artists and designers in Austria become known as the Vienna Secession. In 1897 they withdrew from the Vienna Academy in protest because the Academy would not accept modernist works. Gustav Klimt the painter headed up the group.

In Austria the Vienna Secession group of artists and designers created a form of Art Nouveau. The Vienna Secession group of creative individuals had a great impact on what we call modern design.    CreativeBuzzingwordpress.com

 

Set of 6 Adolf Loos Thonet Vienna Café Museum Art Nouveau Bentwood Chairs

Set of 6 Adolf Loos Thonet Vienna Café Museum Art Nouveau Bentwood Chairs

 

Adolf Loos studied architecture in Bohemia and Dresden and was influenced by a three-year stay in the United States (1893-96) where he was impressed by the innovative efficiency of American industrial buildings. Speaking about the development of his Raumplan design in 1930, Adolf Loos said: “My architecture is not conceived in plans, but in spaces (cubes). I do not design floor plans, facades, sections. I design spaces. For me, there is no ground floor, first floor etc…. For me, there are only contiguous, continual spaces, rooms, anterooms, terraces etc. Storeys merge and spaces relate to each other. Every space requires a different height: the dining room is surely higher than the pantry, thus the ceilings are set at different levels. To join these spaces in such a way that the rise and fall are not only unobservable but also practical, in this I see what is for others the great secret, although it is for me a great matter of course.”                               http://www.e-architect.co.uk/architects/adolf-loos

socks-studio.com bit.ly/2hKZQxY

                                     socks-studio.com bit.ly/2hKZQxY

Villa Müller in Prague was designed by architect Adolf Loos, assisted by architect Karel Lhota, in 1930 for František Müller and his wife, Milada Müllerová. The client was the owner of a company that specialized in reinforced concrete, so the house was to be a showcase of this (at the time) pioneering technique as well as of the influence of the architect’s theories. The Villa, with its cubic shape and its white and austere façade, embodies in its exterior appearance the principles expoused by the architect in his seminal essay “Ornament and Crime”.     socks-studio.com

 

Adolf Loos, Villa Muller, 1928-1930.                                                             Adolf Loos, Villa Muller, 1928-1930.

mullerovavila.cz                                                             Adolf Loos, Villa Muller, 1928-1930.

 

“The best draftsman can be a poor architect, the best architect a poor draftsman.” Adolf Loos

‘Adolf Loos led the way towards the International Style with several built projects and essays, like his seminal 1908 work ‘Ornament and Crime’. In Le Corbusier’s own words: ‘Loos swept right beneath our feet, and it was a Homeric cleansing — precise, philosophical and logical. In this Loos has had a decisive influence on the destiny of architecture.’    Read more at: wallpaper.com

 

His work has influenced so many architect’s and continues to make it’s impact still today. “The Raumplan concept, developed by Loos in the 1920s as an alternative to traditional stacked floor levels. Instead, he proposed dividing a house’s interior into interconnected multi-level spaces arranged on the basis of their importance.

 

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Adolf Loos Armchair FO Schmidt Austria, 1900 mahogany, brass, leather, brass-plated steel

Adolf Loos Armchair FO Schmidt Austria, 1900 mahogany, leather, brass-plated steel

Elegant Pair of Club Chairs with Bolster Att to Adolf Loos image via 1stdibs

Elegant Pair of Club Chairs with Bolster Att to Adolf Loos image via 1stdibs

1930's Design, Furniture, Applied & Decorative Arts Adolf Loos

1930’s Design, Furniture, Applied & Decorative Arts Adolf Loos
Austria. Loos Drinking Set, c. 1930 // designer Adolf Loos: Lobmeyer

 

Adolf Loos was involved with the group but became concerned with what he thought was a superficial decorative slant in the movement. His work includes bentwood furniture for Thonet.

Adolf Loos was involved with the group but became concerned with what he thought was a superficial decorative slant in the movement. His work includes bentwood furniture for Thonet.

The purpose of of this page is to to provide information and images about mid century and modern architects, their architecture and their furniture designs. We are not providing these posts with the intent of profit, but purely for intersted parties.
We try to supply the correct information and credits to those who originated the intellectual properties. If we have incorrectly stated anything please contact us and we will correct it immediately.

Architects and Their Chairs “K”

Posted by Lynne van den Berg On May 18th

                   “K” is for Kurokawa

 

Organic design … Kisho Kurokawa with a model. Photo: Rob Gilhooly

Organic design … Kisho Kurokawa with a model.  Photo: Rob Gilhooly

 

Kisho Kurokawa struggled to get commissions early in his career and was so poor he made his models from noodles, photographed them after they were dry, then cooked and ate them. SMH.comau

 

image via deviant art http://daaakota.deviantart.com/art/Kisho-Kurokawa-101663852

image via deviant art http://daaakota.deviantart.com/art/Kisho-Kurokawa-101663852

 

*Kurokawa, was a founding member of the influential Metabolism Movement, which advocates buildings that are flexible, organic and replaceable.

* Metabolism (新陳代謝 shinchintaisha?) was a post-war Japanese architectural movement that fused ideas about architectural megastructures with those of organic biological growth. Wikipedia

* Kurokawa, who was fluent in English, was an articulate advocate and a prolific writer of deeply philosophical books that discussed the “age of life” rather than the “age of the machine”. SMH.comau

Kisho Kurokawa was very innovative in his creation of the Nakagin Capsule Tower in 1972, which was the first capsule architecture design. The module was created with the intention of housing traveling businessmen that worked in central Tokyo during the week. It is a prototype for architecture of sustainability and recycleability, as each module can be plugged in to the central core and replaced or exchanged when necessary. ArchDaily

 

Nakagin Capsule 1972 Image via arch daily ©arcspace

Nakagin Capsule  Image via ArchDaily ©arcspace

 

Nakagin Capsule 1972 Image via arch daily ©arcspace

Nakagin Capsule 1972 Image via ArchDaily ©arcspace

 

Fractal Chair by Kisho Kurokawa

Fractal Chair by Kisho Kurokawa

 

Kisho Kurokawa - Edo chair

Kisho Kurokawa – Edo chair

 

Kisho Kurokawa, Edo Armchair, for Tendo Co.

Kisho Kurokawa, Edo Armchair, for Tendo Co.

 

 

The purpose of of this page is to to provide information and images about mid century and modern architects, their architecture and their furniture designs. We are not providing these posts with the intent of profit, but purely for intersted parties.

We try to supply the correct information and credits to those who originated the intellectual properties. If we have incorrectly stated anything please contact us and we will correct it immediately.

 

 

 

Video   https://youtu.be/XKGKe4x5XTw

Kisho Kurokawa – Key Buildings

Designs by Kisho Kurokawa, alphabetical:

Astana – Masterplan, Kazakhstan
1998-2004
Kisho Kurokawa: design competition win

Fukui City Museum of Art, Fukui, Japan
1993-96

Hiroshima City Museum of Contemporary Art, Hiroshima
1988-89

Kibi-cho City Hall / Kibi Dome, Wakayama, Japan
1993-95

Kuala Lumpur International Airport, Kuala Lumpur, Malaysia
1992-98

Louvain-La-Neuve Museum, Belgium
1990-92

Melbourne Central, Melbourne, Australia
1986-91

The Museum of Modern Art Wakayama, Wakayama, Japan
1990-94

Nagoya City Art Museum, Nagoya, Japan
1983-87

Nakagin Capsule Tower, Ginza, Tokyo, Japan
1970-72

Nara City Museum of Photography, Nara, Japan
1989-91

National Gallery in Tokyo, Roppongi, Tokyo
2000-05
Design: Kishō Kurokawa Architects & Associates ; Nihon Sekkei Inc.
Worlds Spectacular Museum Buildings
photo : Kevin Hemphill
National Art Center Tokyo

National Museum of Ethnology, Osaka, Japan
1973-77

Osaka International Convention Centre, Osaka
1994-2000

Saitama Prefectural Museum of Modern Art, Saitama, Japan
1978-82

Singapore Flyer – observation wheel, Marina Bay, Singapore
2005-08
Kisho Kurokawa Architect & Associates with DP Architects

Sony Tower, Osaka, Japan
1972-76

The Sporting Club at Illinois Center, Chicago, USA
1987-90

Toyota City Stadium, Toyota City, Japan
1997-2001

Van Gogh Museum – New Wing, Amsterdam, Netherlands
1990-98

Zenit Stadium, St.Petersburg, Russia
2006-09

Bauhaus color

Posted by Lynne van den Berg On March 23rd

The walls are painted to match the architectonic divisions of the room precisely. Just as the room is divided into two sections, the ceiling is divided into two rectangular fields of color.

Sourced through Scoop.it from: thecharnelhouse.org

great images and written as a diary….fabulous feeling of being there in that visit…touches on the philosophy of the Bauhaus Movement…fantastic!

Originally published as “Im Bauhaus,” Zwrotnica 12 (1927) . Translated from the Polish by Steven Lindberg. From Between Two Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930. (The MIT Press. Cambridge, MA: 2002).

See on Scoop.itMid-Century Modern Architects and Architecture

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 “I”

Posted by Lynne van den Berg On May 14th

                         “I” is for Isozaki

Image via Architects Architecture Archtectuul

Image via Architects Architecture Archtectuul

Arata Isozaki was born in Oita City, Japan, in 1931. He studied with Kenzo Tange, one of Japan’s leading modern architects, at the University of Tokyo from 1950 to 1954.  He worked for Tange for a number of years and then went out on his own, but continued to collaborate with KT into the 70’s. This attitude is in keeping with native Japanese practices that stress collaboration and cooperation, rather than competition, among professionals. Encyclopedia.com

Architecture writer Martin Filler called Isozaki and his wife, sculptor Aiko Miyawaki, “true cultural citizens of the world.” Raised in a home where his businessman father wrote haiku poetry, he later was attracted toward the avant-garde and readily called his tastes “radical” in everything from music to literature. LA Times:Tastemakers

 

              Furniture & Architecture

 One can see how Japanese design is as much about emptiness as it is about structure – a perspective that comes naturally to the country that gave Zen Buddhism to the world. Japan-ness In Architecture  Arata Isozaki

“What is the essence of Japanese design? Perhaps it is best exemplified in the clean lines of the Marilyn Chair , designed by architect Arata Isozaki in 1972. Isozaki combined the curves of Marilyn with the narrow, vertical lines found in the Mackintosh high-back chair.”  Book: Japanese Design:A Survey Since 1950  Charles Rennie Mackintosh (1868-1928), was in turn influenced by Japanese design. In its curved side view, the chair makes reference to the body shape of Marilyn Monroe. The chair is constructed of bent laminated wood and a solid beech frame. It retains its original leather-covered upholsteredseat.  Denver Museum of Art

 

Marilyn Monroe Chairs image via www.invaluable.com

Marilyn Monroe Chairs image via www.invaluable.com

 

 

image via: Arata Isozaki at 1stdibs Oval Dining Table and Marilyn Monroe Chairs

image via: Arata Isozaki at 1stdibs
Oval Dining Table and Marilyn Monroe Chairs

 

 

A Pair of Arata Isozaki Monroe Chairs made of ebonized beech image via: https://www.aspireauctions.com/

A Pair of Arata Isozaki Monroe Chairs made of ebonized beech
image via https://www.aspireauctions.com/

 

 

 In 1963 he established Arata Isozaki & Associates, the base from which he continued to work ever since. From his 1960s work such as Oita Prefectural Library, to his 1990s work in locations as far afield as Barcelona, Orlando, Kraków, Nagi in Okayama Prefecture, Kyoto, Nara, La Coruña, Akiyoshidai in Yamaguchi Prefecture and Berlin, to his 21st century work in the Middle East, China, Central Asia, and elsewhere, Isozaki has created an architecture so personal in its ideas and spaces that it defies characterization in any single school of thought. At the same time he resists the temptation to apply a signature style to his jobs, preferring instead to create architectural solutions specific to the political, social and cultural contexts of the client and site in question.  YCAM Re-Mark

 

via Arch Daily Architects: Arata Isozaki Location: Barcelona, Spain Project Year: 2011 Photographs::© Filippo Poli

via Arch Daily
Architects: Arata Isozaki
Location: Barcelona, Spain
Project Year: 2011
Photographs:© Filippo Poli

 

Inflatable concert hall by Anish Kapoor and Arata Isozaki in Matsushima, Japan 52-Weeks-52-CIties-by-Iwan-Baan_Ark-Nova-Isozaki_dezeen_22 Baan is known for eschewing the traditional approach of shooting buildings in isolation. He says his aim with every shoot is to capture the life both within and surrounding the built environment.

Inflatable concert hall by Anish Kapoor and Arata Isozaki in Matsushima, Japan 52-Weeks-52-CIties-by-Iwan-Baan_Ark-Nova-Isozaki_dezeen_22  Baan is known for eschewing the traditional approach of shooting buildings in isolation. He says his aim with every shoot is to capture the life both within and surrounding the built environment.

 

GreatBuildings.com Image - Team Disney Building by ARATA ISOZAKI

GreatBuildings.com Image – Team Disney Building by ARATA ISOZAKI

 

Isozaki draws from a wide-ranging store of references. MOCA’s pyramid-shaped skylights do indeed reflect Egyptian pyramids, for instance, but they are also simple geometric forms. Influenced first by his teacher, the prominent Japanese architect Kenzo Tange, by Le Corbusier and, later, by Otto Wagner, the architect builds on rather than discards his traditional training.

 

Image via The Vintage Poster

Image via The Vintage Poster

 

As the first museum ever to be entirely dedicated to the human species, Domus shines as a source of pride for Galicia. Japanese architect Arata Isozaki designed the Domus complex, which contains a museum, restaurant and IMAX theater, to look like a ship sail. davidsbeenhere

Domus shines as a source of pride for Galicia. Japanese architect Arata Isozaki designed the Domus complex.

Domus shines as a source of pride for Galicia. Japanese architect Arata Isozaki designed the Domus complex

 

Arata Isozaki was instantly recognizable by his distinctive style of dress. He often wore traditional Japanese clothing, and he favored the color black. He appeared on the cover of the New York Times Magazine in 1986, dressed in a “dazzingly” fashionable Issey Miyake creation. By presenting himself as being sartorially distinct from the crowd, Isozaki provided a contemporary parallel to the flamboyant Frank Lloyd Wright, the famous American architect (and admirer of Japanese culture) who continued to affect Victorian dress long after it passed out of style. Encyclopedia.com

 

Bar Italia News Arata Isozaki

Bar Italia News Arata Isozaki

 

Irata Isozaki, Japanese architect, teacher and theorist. He will be remembered as the designer of such prestigious international projects as Barcelona’s Olympic Stadium, the Los Angeles Museum of Contemporary Art, the Tokyo University of Art and Design, the Team Disney Building in Orlando, FL…..and the list goes on.

I feel compelled to share this other aspect to his architectural aesthetic that came up often in my research and should be considered when you look at his body of work. Being Japanese brought both light and darkness to the architecture.

 There is thus always an undercurrent of morbid scepticism lying beneath the exuberance of his aesthetic form—a darkness of spirit that became overt from time to time. In his Electric Labyrinth (1968), designed for the Triennale in Milan, for example, the exhibition was haunted by an image of the devastated Hiroshima, combined with traditional Japanese ghosts and demons representing the revengeful spirits of the nuclear disaster. MOMA.org

 

Iraklis/Tumblr

Iraklis/Tumblr

 

 

We work hard to accurately credit all of our resources, both words and images. If we have made any errors or omissions please contact us and we will correct our information.

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

 

Mid-Century Modern Lighting for Every Style

Posted by Charu Gureja On January 23rd

We welcome our friend and guest blogger, Charu Gureja. “I’m an interior designer, passionate about interior spaces, architecture, furniture, lighting and art. Generally speaking, I enjoy anything and everything related to art and design! Growing up in countries like Egypt, Japan, Sri Lanka, India and Singapore, I’ve come to appreciate a wide variety of design principles.”  Pocket Full of Design . Charu brings to us her global point of view and her specific interest in modern lighting.

 

Like other elements of Mid-century Modern design, lighting fulfills both the aesthetic and functional needs of a space while eliminating the need for extraneous decoration. The fixtures have simple yet sculptural forms, which make them versatile enough to fit into spaces of any style, be it traditional, industrial, eclectic or contemporary.

Through the following examples I hope to inspire you to create your own unique look using Mid-century Modern lighting. The Paradigm Gallery website and blog are a great resource in terms of inspiration and products to help you along and I’m thankful to them for inviting me to share my thoughts here!

 

Read the rest of this entry »

Cheers and Chairs 2014!

Posted by Lynne van den Berg On December 31st

Paradigm Gallery is proud to offer products from several new partners. While we are restyling our website we have not shown the full  array of our new modern furniture options, but they will be coming soon. The new year, 2014, is an important beginning for Paradigm Gallery’s emphasis on modern designs manufactured in the USA and Europe. The emphasis is on environmental awareness in sourcing the materials and quality furniture.

 

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The Osaka Chair

 

 

Lounge22 retail furniture and rental furniture is hand crafted in Los Angeles, California. Lounge22′s product is designed and fabricated with the highest level  of integrity.

Osaka Chair:  The Osaka makes use of future-forward technology to literally bend matter; in this case, sustainable bamboo. This beauty’s smart design and unequaled craftsmanship make it a timeless addition to any room. A signature addition to our collection, the Osaka Chair is part of Lounge22′s Green Line. Made from sustainable bamboo.

 

 

 

 

 

B&T       B&T B&T

The Nuans Collection is very young, utterly attractive modern furniture collection.Commercial grade, minimally designed, very unique furniture line. Nuans Collection specializes in hospitality seating in general and dining chairs in particular. The entire line is manufactured under one roof in our factory in Turkey, following European specifications.

B & T Design the words better, desirable, and worthy of choice lie at the heart of the brand

 Kubicoff artgallery

With use of modern materials Kubikoff Italy was able to reinterpret authentic icons of design. In this restyling, they collaborated with brilliant young architects, such as Sander Mulder, Ruud Bos, Jutta Friedrichs and the Stolt Design group.

The Kubikoff project is the result of international spirit and Italian labor. The winning commercial idea is to release immediately recognizable products at an accessible price. Today, Kubikoff manages to be one of the most attractive European design firm. Kubikoff is manufacturing tomorrow’s classics.

KubikoffLab

 

 

 

Zifg Zag Armchair Designer: Shell: Kubikoff lab / Base: Jutta Friedrichs

Zifg Zag Armchair Designer: Shell: Kubikoff lab / Base: Jutta Friedrichs

 

 

 

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Diamond Patchwork Rock

 

 

 

 Made In Detroit  Möbel Link

 At Möbel Link, the passion for design is matched only by an unflagging commitment to operate in a manner that preserves and protects the earth’s resources. All Möbel Link furniture is made from sustainably grown and harvested, formaldehyde-free, multi-veneer Baltic birch plywood. The Forest Stewardship Council (FSC) has certified the plywood used in Möbel Link furniture as environmentally appropriate, socially beneficial and economically viable for  management of the world’s forests

Founder Alan Kaniarz is known around Detroit as a brilliant craftsperson and an innovator in the world of furniture design. Alan’s furniture can be seen at the Detroit Institute of Arts in the Modern wing. He was also recently chosen to re-create furniture for the Frank Lloyd Wright-designed Turkel-Benbow House in Detroit.

 

 

The ZagZig chair responds to your movements. Handcrafted in Detroit, and made from sustainably grown and harvested plywood

The ZagZig chair responds to your movements. Handcrafted in Detroit, and made from sustainably grown and harvested plywood

 

 

 

mod-furniture-7

Made in Detroit: Impeccable Craftsmenship

Made in Detroit the new modern look of American Furniture

Paradigm Gallery wishes all of our readers a New Year of Peace, and good health….cheers!

 

Gotham Lounge Chair from J Persing made in Pennsylvania

Gotham Lounge Chair from J Persing made in Pennsylvania

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