FIFTY
FIFTY
CH IRS
CH IRS
ESIGN
ESIGN
-.-.... -.-....MUSEUM
MUSEUM
FIFTY
FIFTY
CH IRS
CH IRS
TH T
TH T
CH NGED
CH NGED
THE
THE
WORLD
WORLD
I TY
I TY
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CH IRS
6 Introduct 6 Introductonon Side ChairSide Chair No.No.141418591859
High-backed chair for Miss Cranston
High-backed chair for Miss Cranstons Tea Roomss Tea Rooms19001900 12
12 Armchair for the Purkersdorf SanatoriumArmchair for the Purkersdorf Sanatorium1904·-51904·-5 14
14 SitzmaschineSitzmaschinec1905c1905 16
16 Chair NoChair No728 for the Cabaret Fledermaus728 for the Cabaret Fledermaus19071907 18
18 Red/Blue chairRed/Blue chair1917-181917-18
20 B3 20 B319251925 22 Cantilever 22 Cantilever19261926 24 Transat 24 Transat19271927 26 B32 26 B3219281928 28 Barcelona 28 Barcelona19291929 30
30 Paimio lounge chairPaimio lounge chair1930-11930-1 32
32 Stacking Stacking Stool Stool Model Model NoNo606019321932 34 Zig-Zag 34 Zig-Zag1932--41932--4 36 36 Chair NoChair No 4064061938-91938-9 38 38 LandiLandi19391939 40
40 LCW LCW (Lounge (Lounge Chair Chair Wood)Wood)19451945
42 LAR
42 LAR DAR and RARDAR and RAR19481948 44
44 AntelopeAntelope19501950 46
46 DKR DKR Wire Wire Mesh Mesh chairchair19511951 48 48 DiamondDiamond1952-31952-3 Rocking Stool Rocking Stool19541954 52 52 ModelModel3131070719551955 54 54 TulipTulip1955-61955-6 56
56 Eames lEames lounge chair ounge chair The 670The 67019561956 58 58 MezzadroMezzadro1954 71954 7 60 60 SuperleggeraSuperleggera19571957 62 62 PolypropPolyprop1962 31962 3 64 64 UniversaleUniversale1965 71965 7 66
66 Blow Blow chairchair19671967 68 Sacco 68 Sacco19681968 70 Panton 70 Panton19681968 72
72 Up5 DonnaUp5 Donna19691969 74 74 BirilloBirillo19711971 76 76 Synthesis 45Synthesis 4519711971 78 78 OMKSTAKOMKSTAK19711971 80
80 Wiggle side chaWiggle side cha 19721972 82
82 Supporto chairSupporto chair19791979 84 Rover
84 Rover19811981 86
86 Queen Anne chairQueen Anne chair19851985 88
88 How High the MoonHow High the Moon19861986 90
90 Plywood Plywood chairchair19881988 92 S-chair
92 S-chair19911991 94
94 Louis 20Louis 2019911991 96
96 Aeron Office chairAeron Office chair19921992 98
98 FPE FPE chairchair19971997 Air-chair Air-chair19991999 1
1 Tree Trunk BenchTree Trunk Bench20002000 104
104 SamouraiSamourai20022002 1
1 ChairChair OneOne20032003 1
1 IndexIndex 112
FIFTY
FIFTY
CH IRS
CH IRS
It would
It wouldbebepossible to trace the history ofpossible to trace the history ofdesigndesignininthe past the past 150150 years
yearssimplysimplythroughthrougha sequencea sequenceof chairsof chairs AtAtthethevery beginningvery beginning the story would
the story wouldtrace the work of the Austrian comptrace the work of the Austrian company Thonet,any Thonet, whose transformation
whose transformationof furniture-makingof furniture-makingintointoan industrial processan industrial process through
throughthetheabolition of craft skills could be taken asabolition of craft skills could be taken asrepresentingrepresenting the
theimpactimpactof mass production on design of mass production on design of all kindsof all kindsThe use ofThe use of tubular
tubularsteel by Marcel Breuer had a similar impsteel by Marcel Breuer had a similar impact andact and significance,
significance, did Charles and Ray Eamesdid Charles and Ray Eamess work with plastics.s work with plastics. The iconic, representative role played b
The iconic, representative role played by the chair has beeny the chair has been something of a self-fulfilling prophecy. Because chairs have something of a self-fulfilling prophecy. Because chairs have become such important markers of stylistic and technological become such important markers of stylistic and technological shifts, architects and designers who want to be considered shifts, architects and designers who want to be considered important have to have designed at least one successful example important have to have designed at least one successful example to demonstrate their credentials
to demonstrate their credentials A chair is itself but it is alsoA chair is itself but it is alsososo much more
much more
Chairs have a long history
Chairs have a long history so long that the word hasso long that the word has become deeply embedded into language
become deeply embedded into languageWe have chairmenWe have chairmen and chairwomen
and chairwomenseats of powerseats of power exexcathedracathedra from the chairfrom the chair pronouncements
pronouncements and so onand so on Chairs can symbolize authorityChairs can symbolize authority identity and domesticity. And because they provide
identity and domesticity. And because they provide such asuch a restricted canvas, they give their designers very little room to restricted canvas, they give their designers very little room to hide
hide a chair is a poem, rather than a novel.a chair is a poem, rather than a novel.
For all these reasons, the Design Museum values its For all these reasons, the Design Museum values its collection of contemporary chairs, and this book provides an collection of contemporary chairs, and this book provides an introduction to 50 of the
introduction to 50 of thekeykeychairschairsthatthathave shaped the storyhave shaped the story of design
of design Deyan Sudjic
Deyan Sudjic Director, Design MuseumDirector, Design Museum
Right: Alvar Aalto Right: Alvar Aaltos stackings stacking stools Model No
stools Model No60 laid60 laidoutout in rows in the Lecture in rows in the LectureRoomRoom of
ofthe Viipuri Public Librarythe Viipuri Public Library (1933
(19335)5)DuringDuringthethe twentieth century many twentieth century many Modern
Modernst deSigners andst deSigners and architects made chairs for architects made chairs for specific contexts. specific contexts.
SIDE
SIDE
CHAIR
CHAIR
NO 14
NO 14
The gestural twists and compressed arcs
The gestural twists and compressed arcsofofthe Thonet Sidethe Thonet Side chair No
chair No14 evoke the timeless romance of a pavement cafe14 evoke the timeless romance of a pavement cafe They give little away
They give little awayhoweverhoweverabout the revolution in modernabout the revolution in modern mass manufacture that this unobtrusive and overfamiliar piece mass manufacture that this unobtrusive and overfamiliar piece of furniture
of furniture represents.represents.
Until the late nineteenth century
Until the late nineteenth century chairs were by and largechairs were by and large handmade. However, evolving
handmade. However, evolving demand provoked manufactudemand provoked manufacturersrers to develop methods of mass manufacture that relied on new to develop methods of mass manufacture that relied on new technologies and embraced new commerci
technologies and embraced new commercial markets. By 1859al markets. By 1859 the Austria
the Austrian-based furnn-based furniture manufacturer Thoneiture manufacturer Thonet -t - founded byfounded by Michael Thonet (1796-1871)
Michael Thonet (1796-1871) the 1830s the 1830s had succeshad successfullysfully developed a chair made of just six pieces of steam-be developed a chair made of just six pieces of steam-bent woodnt wood ten screws and two washers
ten screws and two washers Cheap and fast to make, lightweightCheap and fast to make, lightweight and durable
and durableeasy to disassemble and transporteasy to disassemble and transport Side chairSide chair No.14 often
No.14 oftenknown by its German nicknameknown by its German nicknamethethe onsumstu l-onsumstu l-rapidly became one of the most successful industrial products rapidly became one of the most successful industrial products of the nineteenth century
of the nineteenth century Of chair No
Of chair No14 Le Corbusier is said to have stated14 Le Corbusier is said to have stated NeverNever was a better and more elegant design and a more precisely was a better and more elegant design and a more precisely crafted and practical ite
crafted and practical item ever created. m ever created. The chair has remainedThe chair has remained synonymous with relaxed cafe culture
synonymous with relaxed cafe cultureVariations of the shapeVariations of the shape are still made today
are still made todaythough oftthough often out of mateen out of materials -rials -such assuch as welded
weldedmetalmetal that have little to do with the original conceptionthat have little to do with the original conception of what was perhap
of what was perhaps the first piece of flatpack furniture.s the first piece of flatpack furniture.
859
859
Thonet ThonetRight: An ubiquitous addition Right: An ubiquitous addition to cafes
to cafes bars and publicbars and public spaces
spacesthe Thonet Sidethe Thonet Side choir
choir probably one ofprobably one of the most recognizable the most recognizable most produced most producedand mostand most reinterpreted choirs of reinterpreted choirs of allall time. Below: The choir is time. Below: The choir is mode out
mode outofofa series ofa series of moss
mossproduced bentwoodproduced bentwood components that ore then components that ore then screwed together screwed together
HIGH-BACKED CHAIR FOR
HIGH-BACKED CHAIR FOR
MISS CRANSTON S TEA ROOMS
MISS CRANSTON S TEA ROOMS
The
Theturnturnof the twentieth century brought with it a wave ofof the twentieth century brought with it a wave of groundbreaking designers and architects who helped pioneer groundbreaking designers and architects who helped pioneer the Modern movement.
the Modern movement. Scotland, Charles Rennie MackintoshScotland, Charles Rennie Mackintosh (1868-1928)
(1868-1928)eloquently fused traditional Celtic craftsmanshipeloquently fused traditional Celtic craftsmanship with fashionable
with fashionablejaponistejaponisterigourrigour to create a distinctive styleto create a distinctive style suspended between Art Nouveau
suspended between Art Nouveau Arts and Crafts, and CentralArts and Crafts, and Central European Secessionism. Mackintosh
European Secessionism. Mackintoshs work s work ofteoften carrien carried outd out in
incollaboration with his wifecollaboration with his wife Margaret MacDonaldMargaret MacDonald(1865-1933)(1865-1933) spanned the disciplines of architecture
spanned the disciplines of architecture decorative painting anddecorative painting and furniture to produce experiential interiors of startling
furniture to produce experiential interiors of startlingmo rnity-mo rnity-the design equivalent of rnity-the Wagnerian
the design equivalent of the WagnerianGesamtkunstwerkGesamtkunstwerkoror total
totalartworkartwork 1900
1900 Catherine Cranston commissioned Catherine Cranston commissioned Mackintosh toMackintosh to design a ladies
design a ladieslunch room for her extensive Tea Rooms atlunch room for her extensive Tea Rooms at 205 Ingram Street, at the heart of Glasgow
205 Ingram Street, at the heart of Glasgows mercantile s mercantile district.district. Mackintosh
Mackintoshs finished interior was at once austere ands finished interior was at once austere andluxurious- luxurious-the full-height windows and high wood panelling insisten the full-height windows and high wood panelling insistentlytly emphasizing the dramatic verticality of his design. The severe emphasizing the dramatic verticality of his design. The severe geometric form of the high-backed chair
geometric form of the high-backed chairpositioned along thepositioned along the tea tables
tea tablesininnear-military rows, continued the theme, and wasnear-military rows, continued the theme, and was softened only by such decorative detailing as the play of arced softened only by such decorative detailing as the play of arced forms found in the pierced headrest
forms found in the pierced headrestupholstery and panel betweenupholstery and panel between the back legs.
the back legs. Mackintosh
Mackintoshs elegant architectural compositions would haves elegant architectural compositions would have a far-reaching influence on the development of early twentieth a far-reaching influence on the development of early twentieth centur
century European desiy European design -gn - most notablmost notabl perhapsperhapson the work ofon the work of the Austrian Josef Hoffmann and other deSigners associated with the Austrian Josef Hoffmann and other deSigners associated with the Wiener Werkstatte (see pages 12-17)
the Wiener Werkstatte (see pages 12-17)The simple, forthrightThe simple, forthright high
highbacked backed chairs themselves chairs themselves of of which Mackintosh producedwhich Mackintosh produced many vari
many variations -ations -have remainehave remained a d a classclassic.ic.
1900
1900
Charles Rennie Charles Rennie Mackintosh Mackintosh Right: The Right: Theelongatedelongated geometrically geometricallyinfluencedinfluenced shape of Charles shape of CharlesRennieRennie MackintoshMackintoshs chair fors chair forMissMiss Cranston
Cranston Tea Raoms wasTea Raoms was at
atthe forefront of developingthe forefront of developing new visual language new visual languageforfor twentieth-century design. twentieth-century design.
RMCH
RMCH
IR
IR FOR
FOR
THE
THE
PURKERSDO
PURKERSDO
RF
RF
S
S
N
N
TORIUM
TORIUM
This radically geometric chair typifies the work of the Wiener This radically geometric chair typifies the work of the Wiener Werkstatte
Werkstattethe influentthe influential ial Viennese craft Viennese craft workshops workshops foundedfounded 1903
1903 Vie
Vienna Secessnna Secession -ion - notably thnotably the graphic designer Koloman Mosere graphic designer Koloman Moser 1868-1918)
1868-1918)and the architect Josef Hoffmannand the architect Josef Hoffmann 1870-1956)1870-1956) The founders of the Wiener Werkstatte took their
The founders of the Wiener Werkstatte took their inspirationinspiration from C R Ashbee
from C R Ashbees Guild of Handicraft set up in Londons Guild of Handicraft set up in Londons Easts East End in
End in18881888 An exhibition of British-crafted objects in Vienna An exhibition of British-crafted objects in Vienna inin 1900
1900 and visits to the city by notable British designers includingand visits to the city by notable British designers including Ashbee and Charles Rennie Mackintosh (see pages
Ashbee and Charles Rennie Mackintosh (see pages10-11),10-11),helpedhelped ensure British influence among the Viennese design community ensure British influence among the Viennese design community Like the Guild
Like the Guild the Wiener Werkstatte valued both good forwardthe Wiener Werkstatte valued both good forward thinking design and high-quality traditional craftsmanship. thinking design and high-quality traditional craftsmanship.
Like Mackintosh
Like Mackintoshs high-backed chairs high-backed chair MoserMosers armchair wass armchair was designed as part of a coordinated project
designed as part of a coordinated projectlinking architecture andlinking architecture and interior design
interior designThe Purkersdorf SanatoriumThe Purkersdorf Sanatorium 1904-5)1904-5)designeddesigned by Hoffmann
by Hoffmann was the Wiener Werkstattewas the Wiener Werkstattes first major commissions first major commission which the des
which the desgners took responsibility for everything from thegners took responsibility for everything from the iron-and-concrete building itself to every last detail of the interior. iron-and-concrete building itself to every last detail of the interior. Moser
Mosers armchairs stoods armchairs stood the sanatorium foyerthe sanatorium foyer arranged neatlyarranged neatly around tall octagonal tables. The boxlike structure and checked around tall octagonal tables. The boxlike structure and checked seating replicat
seating replicated the ed the square square theme found on the theme found on the walls and thewalls and the floor and created an atmosphere of luxurious modernity for what floor and created an atmosphere of luxurious modernity for what was essentially a fashionable hotel and health farm.
was essentially a fashionable hotel and health farm.
904 5
904 5
Koloman Moser Koloman MoserRight: With its rhythmically Right: With its rhythmically repetitive cage
repetitive cagelike structurelike structure and chequered seat and chequered seatMaserMaser armchair for the Purkersdorf armchair for the Purkersdorf Sanatorium heralds an Sanatorium heralds an aesthetic for the modern age aesthetic for the modern age
SITZMASCHINE
SITZMASCHINE
the
theearliest years of the twentieth centuryearliest years of the twentieth centurydesigners were notdesigners were not only challenging preconceptions about how things should look but only challenging preconceptions about how things should look but also exploring the ways in which design impacted on people also exploring the ways in which design impacted on peoples lives.s lives. The world was changing rapidly and very visibly
The world was changing rapidly and very visiblyNewNew columncolumn frame
frameconstruction techniques were thrusting buildings high intoconstruction techniques were thrusting buildings high into the
thesky, while early motor vehicles were sky, while early motor vehicles were intruding nOisilintruding nOisily into they into the urban
urbanstreet scenestreet sceneThe aptly named SitzmaschineThe aptly named Sitzmaschine( machine( machine for sitting
for sitting) -) -one of Josef Hoffmannone of Josef Hoffmann innovationsinnovationscreated for thecreated for the luxurious
luxurioushealth spa at Purkersdorfhealth spa at Purkersdorf(see(seepagespages12-13) -12-13) - is anis an important
importantexample of how mechanization was filtering into designexample of how mechanization was filtering into design as a major new theme
as a major new theme
While the Sitzmaschine is undeniably a desc
While the Sitzmaschine is undeniably a descendant of the Artsendant of the Arts and Crafts Morris chair designed by
and Crafts Morris chair designed byPhilip WebbPhilip Webb 1831-1915)1831-1915)inin 1866,
1866,in its rationalized form and construction this was a chair thatin its rationalized form and construction this was a chair that had its sights set firmly on the Machine Age. With its streamlined had its sights set firmly on the Machine Age. With its streamlined form made up of
form made up of sweeping bent-beechwood cursweeping bent-beechwood curves and sycamoreves and sycamore panels pierced with geometric grids of square and rectangular panels pierced with geometric grids of square and rectangular apertures
apertures the Sitzmaschinethe Sitzmaschines aesthetic echoes the movings aesthetic echoes the moving components of a belt-driven engine
components of a belt-driven engine The chair has mechanized functions of i
The chair has mechanized functions of its own, ts own, too -too -thethe backrest tilts and is then secured with a rod that rests on one backrest tilts and is then secured with a rod that rests on one of a succession of pairs of spherical knobs
of a succession of pairs of spherical knobs For all its vauntedFor all its vaunted utilitarian functionality
utilitarian functionalityhoweverhoweverthe Sitzmaschine isthe Sitzmaschine is above allabove all an elegant exercise in geometric abstraction
an elegant exercise in geometric abstraction
c 1905
c 1905
Josef Hoffmann Josef HoffmannRight: Even the name
Right: Even the nameofof Josef Hoffmon
Josef Hoffmon SitzmoschineSitzmoschine
seems
seemstotoinougurateinougurate newnew
functionalist approach
functionalist approachtoto chair
CHAIR
CHAIR
NO
NO
728 FOR
728 FOR
TH
TH
CABARETFLEDERMAUS
CABARETFLEDERMAUS
1907 the Wiener Werkst
1907 the Wiener Werkstt itte completed anotht itte completed another ambitiouser ambitious project
-project -the design for the Cabaret Fledermaus at 22 Kt irthe design for the Cabaret Fledermaus at 22 Kt irtnertner StroBe
StroBe VienVienna -na - which encompawhich encompassed not only the interissed not only the interior decoror decor but also the furnishings
but also the furnishings tableware and even the badge worn bytableware and even the badge worn by the usherettes. Involved in t
the usherettes. Involved in the collaboration were such illuhe collaboration were such illustriousstrious names as Gustav Klimt and Oskar Kokoschka and
names as Gustav Klimt and Oskar Kokoschka and of courseof course the Werkstt itte
the Werkstt itte genius locigenius lociJosef HoffmannJosef Hoffmann Hoffmann
Hoffmanns most remarkable contribution was undoubtedlys most remarkable contribution was undoubtedly this simple
this simple clean-cut chairclean-cut chairwhich was arranged around thewhich was arranged around the similarly restrained round tables
similarly restrained round tablesalso Hoffmann-designed. Thealso Hoffmann-designed. The design
designs modesty and lack of ostentation was the ps modesty and lack of ostentation was the perfect foil forerfect foil for the Jugendstil splendour of the rest of the decor
the Jugendstil splendour of the rest of the decor most notablymost notably the exuberant 7,000-piece majolica mosaic by Bertold Loffler the exuberant 7,000-piece majolica mosaic by Bertold Loffler and Michael Polwony
and Michael Polwony A critic of
A critic of the time described the whole ethe time described the whole effect of the Cabaretffect of the Cabaret Fledermaus in glowing terms
Fledermaus in glowing terms [it is)[it is)wonderful thewonderful theproportionsproportions the light atmosphere, cheerful flowing lines
the light atmosphere, cheerful flowing lines elegant light fixtureselegant light fixtures comfortable chairs
comfortable chairsofofnew shape andnew shape and finallyfinallythe whole tastefulthe whole tasteful ensemble
ensemble Genuine HoffmannGenuine Hoffmann
1907
1907
Josef Hoffmann Josef HoffmannRight: Josef Hoffmann Right: Josef Hoffmann clean-cut chair pictured clean-cut chair picturedinin th
th meticulously designedmeticulously designed inter
inter for which it wasfor which it was made
made BelowBelowThe minimalistThe minimalist st
stuctureuctureofofthe Cabaretthe Cabaret Fledermaus chair made it Fledermaus chair made it radically modern radically modern Only theOnly the small black spheres beneath small black spheres beneath the armrests and seat add the armrests and seat add a faint note of whimsy. a faint note of whimsy.
RED BLUE
RED BLUE
CHAIR
CHAIR
The Red/Blue chair designed by the architect Gerrit Thoma The Red/Blue chair designed by the architect Gerrit Thoma Rietveld
Rietveld 1888-1964)1888-1964)was at the forefront of the experimentswas at the forefront of the experiments undertaken by different members
undertaken by different membersofofthe Dutch-based the Dutch-based De StijlDe Stijl movement. Founded in
movement. Founded in1917,1917,the group sought to instil Neoplatonicthe group sought to instil Neoplatonic thought into design
thought into designcreating ultimate objects that expressed thecreating ultimate objects that expressed the perfection and spiritual harmony of geometry and primary colour. perfection and spiritual harmony of geometry and primary colour. The Red/Blue chair was among the first experiments to apply The Red/Blue chair was among the first experiments to apply the De Stijl philosophy to 3D form and is a rigorous constructi the De Stijl philosophy to 3D form and is a rigorous construction ofon of straight lines and flat planes of primary colour
straight lines and flat planes of primary colourthree-dimensionalthree-dimensional form has been turned into an elemental expression of pure form has been turned into an elemental expression of pure abstraction
abstraction The chair was originally paintedThe chair was originally paintedininthe typical the typical De StijlDe Stijl palette of grey, black and white,
palette of grey, black and white, but inbut in19181918Reitveld repainted it Reitveld repainted it inin red
red blue, yellow and black to echo the paintinblue, yellow and black to echo the paintings of fellow De Stijlgs of fellow De Stijl member Piet Mondrian
member Piet Mondrian 1872-1944)1872-1944)
The startling aesthetic of this piece of furniture caused a The startling aesthetic of this piece of furniture caused a sensation, and
-sensation, and - asaswith Mondrian s gwith Mondrian s grid ike paintirid ike paintings -ngs -the chairthe chair has continued to evoke the look of abstract moder
has continued to evoke the look of abstract modernity up to thenity up to the present day. While Rietveld had originally intende
present day. While Rietveld had originally intended the chair ford the chair for mass production
mass production(it(itwas made out of standard lengths of woodwas made out of standard lengths of wood that required little skill to construct), this never,
that required little skill to construct), this never, in factin fact, occurred, occurred Today the Red/B
Today the Red/Blue chair remains an iconic one-off lue chair remains an iconic one-off as a realizedas a realized idea
ideaof a chairof a chair in the Toledo Museum of Art in Ohioin the Toledo Museum of Art in Ohio
1917 18
1917 18
Gerrit
Gerrit homashomasRietveldRietveld
Right: Gerrit Thomas Right: Gerrit Thomas Reitveld
Reitvelds sculpturals sculpturalandand brightly coloured choir brightly coloured choir abandoned traditional abandoned traditionalstylesstyles and motifs
and motifs favour of purefavour of pure abstraction
abstractionasasthe waythe way forward for
LATE
LATE
R KN
R KN
OWN AS
OWN AS
THE
THE
WASSILYCHAIR
WASSILYCHAIR
The Model B3 was one of the earliest products to emerge The Model B3 was one of the earliest products to emerge fromfrom the Oessau Bauhaus and helped consolidate the school the Oessau Bauhaus and helped consolidate the school reputation as the leading force in functional desig
reputation as the leading force in functional desig It was one ofIt was one of the earliest designs
the earliest designstootoo to exploit tubular steelto exploit tubular steel whose structuralwhose structural strength
strengthlightness and starklightness and stark sleek looks enabled the creation ofsleek looks enabled the creation of striking new furniture forms
striking new furniture forms Its designer
Its designerMarceMarcel Breuer (1902l Breuer (1902-81) --81) -the head of thethe head of the Bauhau
Bauhaus cabinet-ms cabinet-making workshop -aking workshop -is said to have taken someis said to have taken some of his inspiration from t
of his inspiration from the tubular-steel handlehe tubular-steel handlebars of his belovedbars of his beloved Adler bicycle
Adler bicycle Breuer gave one of the earliest prototypes to Breuer gave one of the earliest prototypes to hishis Bauhaus colleague
Bauhaus colleague the painter Wassily Kandinskythe painter Wassily Kandinskyafter whomafter whom the chair was eventually to be renamed when
the chair was eventually to be renamed when ititwaswasreissued inreissued in the 1960s. T
the 1960s. The chair was initially manufacturhe chair was initially manufactured by the pioneeringed by the pioneering Austrian furniture company Thonet (see pages
Austrian furniture company Thonet (see pages8-98-9 and wasand was available in black
available in blackwhite or wire-mesh fabricwhite or wire-mesh fabricand in both foldingand in both folding and non-folding forms
and non-folding forms
The Model B3 was a solution to the technical challenge of The Model B3 was a solution to the technical challenge of redefining what a chair should look like and how it should be made redefining what a chair should look like and how it should be made While its refined structure
While its refined structureoutlined by thin nickel-plated pipes ofoutlined by thin nickel-plated pipes of metal
metal make it look rather like a technical line drawingmake it look rather like a technical line drawingin fact itsin fact its broad volume and simple styling produce the perfect chair broad volume and simple styling produce the perfect chair
1925
1925
Marcel Breuer Marcel BreuerRight: Built from the same Right: Built from the same material as his beloved A material as his beloved Aderder bicycle
bicycleMarcel BreuerMarcel Breuer chair is one chair is oneofofthe firstthe first example
example of tubular-steeof tubular-stee technology filter technology filterngngintointo furnitur
CANTILEVER
CANTILEVER
Marcel Breuer was not the only designer experimen Marcel Breuer was not the only designer experimenting withting with tubular-steel furniture.
tubular-steel furniture.InIn1925 the Dutch architect Mart Stam1925 the Dutch architect Mart Stam
(1899-(1899-1996) -1996) -at the tat the time resideime resident in Bernt in Berlin -lin -developed a chairdeveloped a chair without any
without any back legs back legs that relied instead that relied instead in appearance atin appearance atleastleast on the strength of a single twisting piece of piping to supp on the strength of a single twisting piece of piping to support andort and counterbalance the weight
counterbalance the weightofofa seated persona seated person Stam
Stams design was perhas design was perhaps -ps -the matter is opethe matter is open ton todisputedispute the first
the first manifestation of manifestation of the cantilever chair the cantilever chair an innovation thatan innovation that was to have a massive impact on the course o
was to have a massive impact on the course of furniture designf furniture designinin the mid twentieth century. Stam
the mid twentieth century. Stams design was rigid and somewhats design was rigid and somewhat uncomfortable
uncomfortable however, and it would be left to other furniturehowever, and it would be left to other furniture designers to
designers to develop the develop the bouncebouncethat would make the experiencethat would make the experience of perching on such a chair feel like sitting on
of perching on such a chair feel like sitting onas Breuer pas Breuer put it on,ut it on, an elastic pillar of air
an elastic pillar of air . .
Such developments were swiftly adopted by
Such developments were swiftly adopted by contemporarcontemporariesies such
suchasasBreuer (see pagesBreuer (see pages26-726-7 and Mies van der Rohe andand Mies van der Rohe and rival adaptations were patented within the same year
rival adaptations were patented within the same yearThis led toThis led to legal wrangling between Stam and Breuer in the German courts legal wrangling between Stam and Breuer in the German courts to determine to whom the copyright should be attributed to determine to whom the copyright should be attributedStamStam eventually won, but this bitter struggle demonstra
eventually won, but this bitter struggle demonstrates just how vitaltes just how vital the cantilevered breakthrough must have seemed to pioneering the cantilevered breakthrough must have seemed to pioneering designers at the time.
designers at the time.
926
926
MartStam MartStamRight: Sleek
Right: Sleek simple .simple ...andand revolutionary
revolutionaryMort StamMort Stam created his experimental created his experimental cantilever chair out of cantilever chair out of commercial gas pipes and commercial gas pipes and jOint fittings. His pioneering jOint fittings. His pioneering work was very rapidly taken work was very rapidly taken up by other avant-garde up by other avant-garde designers and was to have designers and was to have an enormous impact on mid an enormous impact on mid twentieth-century design. twentieth-century design.
TRANSAT
TRANSAT
With
Withitsitsexactness of fexactness of finish and diagrammatic composition ofinish and diagrammatic composition of structure
structureand formand form the Transat chair is an important precursorthe Transat chair is an important precursor of the aesthetic
of the aesthetic of mass manufacture and mechaniof mass manufacture and mechanical processcal process Its deckchair format evokes the luxurious ease of transatlantic Its deckchair format evokes the luxurious ease of transatlantic travel
travel fromfromwhich it took its namewhich it took its name
For many years the Irish designer and architect
For many years the Irish designer and architect Eileen GrayEileen Gray 1878-1976)
1878-1976)has been a forgotten pioneer of the Modernhas been a forgotten pioneer of the Modern movement
movementovershadowed by more heralded contemporariesovershadowed by more heralded contemporaries such
such Le CorbusierLe Corbusier 1887-1965)1887-1965)and Robert Malletand Robert MalletStevensStevens 1886-1945).
1886-1945).She was a rare womanShe was a rare womaninina world dominated by malea world dominated by male designers and architects
designers and architectsand was all the more isolated becauseand was all the more isolated because unlike many other women designers
unlike many other women designerswhowhomade an impact onmade an impact on early twentieth-century design
early twentieth-century designshe did not work alongside ashe did not work alongside a male collaborator
male collaborator Of independent means
Of independent meansGray was able to finance her ownGray was able to finance her own education and creative pursuits
education and creative pursuitsswitching disciplinesswitching disciplines herher interests
interestsevolved. Initially she studied painting at the Slade evolved. Initially she studied painting at the Slade SchoolSchool of Fine Art in London
of Fine Art in London but she turned to design after becomingbut she turned to design after becoming absorbed in the painstaking craft of lacquerwork
absorbed in the painstaking craft of lacquerworkLargely basingLargely basing herself in Paris
herself in Paris she gradually won both commercial and she gradually won both commercial and criticalcritical acclaim
acclaim leading to ever larger commissions that eventuallyleading to ever larger commissions that eventually included whole interiors.
included whole interiors.
The Transat became one of Gray
The Transat became one of Grays signas signature pieces ture pieces one inone in which she combined her
which she combined herknowledge of intricately worked andknowledge of intricately worked and finished wood with a geometric framework that would now be mor finished wood with a geometric framework that would now be mor closely associated with extruded and welded steel. Gray closely associated with extruded and welded steel. Grays searchs search for innovation and perfection of form ranks her as a visionary for innovation and perfection of form ranks her as a visionary who helped redefine how things should look and be made in the who helped redefine how things should look and be made in the Machine Age Machine Age
927
927
Eileen Gray Eileen GrayRight: Eileen Gray Right: Eileen Graycreatedcreated the
theTransatTransatchoirchoirforfor House E
House E10271027 the holidoythe holidoy home
homenearnearMonacoMonacoshe shoredshe shored and
andco-designedco-designedwith herwith her lover
loverthe Romanian architectthe Romanian architect Jean
JeanBadovici. TheBadovici. Thechoirchoir sleek
sleek luxuriousluxuriousform evokesform evokes the
thesun-drenchedsun-drenchedpleasurespleasures of ocean
83
83
Following on from Mart Stam
Following on from Mart Stams work (see pagess work (see pages22-322-3 MarcelMarcel Breuer s own researches into the cantilever chair found Breuer s own researches into the cantilever chair found its mostits most perfect resolution i
perfect resolution in the Model B32 n the Model B32 widely considered to bewidely considered to be the most refined of al
the most refined of all the pioneering cantilevered desil the pioneering cantilevered designs thatgns that emerged in the late 1920s. Another fruit of Breuer
emerged in the late 1920s. Another fruit of Breuers Bauhauss Bauhaus cabinet-making workshop (see pages
cabinet-making workshop (see pages20-120-1 this chair hasthis chair has survived the test of time
survived the test of time, regaining , regaining popularity after being reissuedpopularity after being reissued in the 1960s and 1970s
in the 1960s and 1970s
By adding wooden frames to act as seat and backrest, Breuer By adding wooden frames to act as seat and backrest, Breuer cleverly removed the need for the additional supports and hidden cleverly removed the need for the additional supports and hidden tubes that had been present in earlier versions, including Stam s tubes that had been present in earlier versions, including Stam s This made for a simplified lightweight structure that combined This made for a simplified lightweight structure that combined the warmth and transparency of woven cane with the harsher the warmth and transparency of woven cane with the harsher aesthetics of the industrial metal frame
aesthetics of the industrial metal frame Breuer al
Breuer also experimenso experimented with variationted with variations -s - the B64 addedthe B64 added armrests to create a striking armchair version o
armrests to create a striking armchair version of the B32f the B32
928
928
Marcel Breuer Marcel BreuerRight: With its slick and Right: With its slick and slender tubular metal and slender tubular metal and traditional woven-wicker traditional woven-wicker seat and backrest seat and backrestthe B32the B32 has sat comfortably has sat comfortably modern interiars from the modern interiars from the 1920s to the present day. 1920s to the present day. Below
Below Marcel BreuerMarcel Breuer cantilever chair is an instantly cantilever chair is an instantly recognizable classic recognizable classicofof twentieth-century design twentieth-century design
B RCELON
B RCELON
The Barcelona chair
The Barcelona chairremainsremainsthe ubiquitous choice for anonymousthe ubiquitous choice for anonymous corporate office foyers across the globe
corporate office foyers across the globe Its originsIts origins howeverhoweverareare altogether more illustrious
altogether more illustrious 1929
1929 the German architect Ludwig the German architect Ludwig Mies vanMies van ererRoheRohe (1886-1969)
(1886-1969)collaborated with his compatriotcollaborated with his compatriot the the interior designerinterior designer Lilly Reich
Lilly Reich(1885-1947),(1885-1947),on the German Pavilion on the German Pavilion at the 1929at the 1929 Ibero-American Exposition in Barcelona. The pavilion was to be Ibero-American Exposition in Barcelona. The pavilion was to be used for the exhibition
used for the exhibitions opening ceremony and accordingly neithers opening ceremony and accordingly neither expense nor effort was spared
expense nor effort was spared MarbleMarbletravertinetravertine brass andbrass and plate glass were deployed to majestic effect, and within the cool plate glass were deployed to majestic effect, and within the cool calm interior
calm interiorthetheBarcelona chairs and accompanying ottomansBarcelona chairs and accompanying ottomans took on a monumental presence
took on a monumental presence
The chairs were luxurious and sleekly modern
The chairs were luxurious and sleekly modern combiningcombining reflective
reflectivechrame withchrame withivoryivorypigskin leatherpigskin leather(later(laterversions usuallyversions usually used black bovine leather instead)
used black bovine leather instead) LowLow braad and slightly tilted,braad and slightly tilted, the chair managed to suggest both comfort and formality the chair managed to suggest both comfort and formality lUxurylUxury and spareness
and spareness Unlike many other Modernist designersUnlike many other Modernist designers who atwho at least claimed to be designing affordable products
least claimed to be designing affordable products Mies vanMies van erer Rohe unabashedly aimed for the high
Rohe unabashedly aimed for the high end of the market.end of the market. The Barcelona chair went into
The Barcelona chair went into commercial production ocommercial production onlynly in
in1953 w1953 when Mies van der Rohe sold the hen Mies van der Rohe sold the rights to Knollrights to Knoll and itand it continues to be manufactured by that US company today continues to be manufactured by that US company today TheThe chair currently
chair currently sells at sells at upwards of upwards of 000000 though unlicensedthough unlicensed replicas are commonplace. Those in search of the real thing might replicas are commonplace. Those in search of the real thing might like to make the pilgrimage to Barcelona
like to make the pilgrimage to Barcelona where the Germanwhere the German Pavilion
Pavilion complete with the iconic chairscomplete with the iconic chairs was rebuilt in the was rebuilt in the 1980s.1980s.
929
929
Ludwig Mies van Ludwig Mies van erer RoheRohe Lilly ReichLilly Reich
Righ
Right:t:BarcelonoBarcelonochoirschoirsinin the interior
the interiorofofthe Germonthe Germon Povilion
Poviliondesigned by Ludwigdesigned by Ludwig Mies
Miesvon der Rohe ondvon der Rohe ond Lilly Reich for Lilly Reich forthethe19291929 Ibero-Americon Exhibition Ibero-Americon Exhibitioninin Barcelona.
Barcelona. the foregroundthe foreground are examples of
are examples ofthethe accompanying Barcelona accompanying Barcelona ottoman.
ottoman.Below: TheBelow: Thechairchair has
hasbecomebecome classicclassic somesome might add
might addhackneyedhackneyed statement
statementof modernityof modernityinin corporate
corporatebuildbuildngs acrosngs acros the world.
P IMIO
P IMIO
LOUNG
LOUNG
CH IR
CH IR
As the
As thetwentiethtwentiethcentury progressedcentury progressed new technologies andnew technologies and ideologies
ideologieswere combined as designers challengwere combined as designers challenged the past anded the past and sought to
sought toshape ashape adifferentdifferent and betterand betterfuturefuture They were still farThey were still far from finding mass-market approval
from finding mass-market approvalhoweverhoweverand one stratagemand one stratagem that many architects and designers adopted was to use that many architects and designers adopted was to use commissions
commissionsforformunicipal projects suchmunicipal projects suchasashospitals and schoolshospitals and schools to develop and manufacture new radical work
to develop and manufacture new radical work One who did so was the Finnish arch
One who did so was the Finnish architect Alvar Aaltoitect Alvar Aalto 1898- 1898-1976) who
1976) whoin the late 1920sin the late 1920sdesigned the building, fixtures anddesigned the building, fixtures and fittings for the Paimio Sanatorium
fittings for the Paimio Sanatorium(completed(completed1932), a tuberculosis1932), a tuberculosis hospital in western Finland
hospital in western FinlandAalto approached the commission withAalto approached the commission with a deep sense of empathy for the sanatorium
a deep sense of empathy for the sanatoriums future patients ands future patients and was insistent that every aspect should contribute to the was insistent that every aspect should contribute to the healinghealing process
process This included the meticulous planning oThis included the meticulous planning of the buildingf the building layout
layouta bra brght and cheering choice of paint to adorn the wallsght and cheering choice of paint to adorn the walls and robust
and robustcomfortable furniture. The whole hospitalcomfortable furniture. The whole hospital he saidhe said was to be a
was to be a medical instrument .medical instrument .
The sanatorium had large sun terraces where patients The sanatorium had large sun terraces where patients were encouraged to spend many hours
were encouraged to spend many hoursasaspart of their treatment.part of their treatment. The Paimio lounge chair was the climax
The Paimio lounge chair was the climax of three yearsof three yearsofof experimentation to create a chair that would feel comfor
experimentation to create a chair that would feel comfortable to sittable to sit in over lon
in over long periods and help ease patients g periods and help ease patients breathing. The scrollbreathing. The scroll like seat
like seatwaswasmoulded from a single piece of birch plywoodmoulded from a single piece of birch plywoodwhilewhile its flex
its flexing structure made the wood feel ing structure made the wood feel softsoftand welcomingand welcoming
1930 1
1930 1
Alvar Aalto Alvar AaltoRight abov
Right above:e:The PaimioThe Paimio lounge
lounge hairhairofferedofferedcomfortcomfort and
andsupportsupportto patients atto patients at the
theFinnishFinnishsanatoriumsanatorium Right below
Right belowTheThechairchairalsoalso si
si ellellwithwithn a modernn a modern dome
dometicticinteriorinteriorpicturedpictured here with a
here with astacking stoolstacking stool Model No
Model No6060also by Alvaralso by Alvar Aalto
ST
ST
CKING
CKING
STOOL
STOOL
MODE
MODE
L NO
L NO
. 60
. 60
Alvar Aalto originally designed this simple
Alvar Aalto originally designed this simple elegant stool for theelegant stool for the Viipuri Library (now Vyborg
Viipuri Library (now Vyborg Russia)Russia) a High Modernist buildinga High Modernist building designed by Aalto in the early 1930s
designed by Aalto in the early 1930sWhile Aalto was profoundlyWhile Aalto was profoundly influenced by the tubular-metal designs of contemporaries such influenced by the tubular-metal designs of contemporaries such as Marcel Breuer
as Marcel Breuer he was determined to nurture his own distinctivehe was determined to nurture his own distinctive style using traditional Finnish materials such as
style using traditional Finnish materials such as birch.birch. The stacking stool is
The stacking stool is unadorned and unassuunadorned and unassumingmingbutbut owingowing to the colour and texture of the varnished wood
to the colour and texture of the varnished woodwarm andwarm and welcoming nonetheless
welcoming nonethelessWhen seen in seWhen seen in serried groups -rried groups -as in aas in a well-known 1930s photograph of the auditorium with its wavelike well-known 1930s photograph of the auditorium with its wavelike wooden roof (see
wooden roof (see page 7) page 7) the stool can the stool can appear clonelikeappear clonelikebutbut as an individual piece it nevertheless manages to communicate a as an individual piece it nevertheless manages to communicate a quirky personality with its squat proportions and curve-topped legs quirky personality with its squat proportions and curve-topped legs
1933 A
1933 Aalto exhibited the stool alongsialto exhibited the stool alongside his Paimio loungde his Paimio loung chair at London
chair at Londons s famed famed Fortnum Fortnum Mason Mason department department storestore where it caused a sensation
where it caused a sensationThese pieces of furniture wereThese pieces of furniture were na longer
na longer ust for ust for the studiousthe studious convalescent. They now alsoconvalescent. They now also represented aspirational modern living
represented aspirational modern livingas Modernism beganas Modernism began to develop into a luxury internationa
to develop into a luxury internationabrandbrand
932
932
Alvar AlvarAaltoAalto
Right: When the Model No. 60
Right: When the Model No. 60
sta
sta kedkedthe legs formthe legs form
a sculptural spiral. Below
a sculptural spiral. Below
This
This impleimplesturdy andsturdy and
rsatile piece of furniture
rsatile piece of furniture
has become a classic for
has become a classic for
public and private interiors
ZIG ZAG
ZIG ZAG
Although Gerrit Thomas Rietveld broke with
Although Gerrit Thomas Rietveld broke with De StijlDe Stijlinin19281928 hishis Zig-Zag chair is another statement of abstraction that succi Zig-Zag chair is another statement of abstraction that succinctlynctly puts into practice the principles of the Dutch design
puts into practice the principles of the Dutch designmovementmovement As with his Red/Blue chair of a decade and a hal
As with his Red/Blue chair of a decade and a half earlier (see pagesf earlier (see pages 18-19)
18-19) the Zig-Zag is a pared-down representation of form andthe Zig-Zag is a pared-down representation of form and colour that abandons any reference to
colour that abandons any reference to natural form or tradition.natural form or tradition. essence
essenceof courseof course the Zig-Zag is also yet another examplethe Zig-Zag is also yet another example of the cantilever chair
of the cantilever chair that had so preoccupied the avant-garthat had so preoccupied the avant-gardede in the previous decade. Here the problem is resolved
in the previous decade. Here the problem is resolved in a seriesin a series of shee
of sheer wooden planer wooden planes -s -originoriginally, oak -ally, oak -to creatto create a strikinglye a strikingly sculptural form
sculptural form The strong diagonal lines owe much to an acuteThe strong diagonal lines owe much to an acute understanding of structural engineering
understanding of structural engineering but they are also saidbut they are also said to
tohavehavebeen a response to a call by Rietveldbeen a response to a call by Rietvelds former colleagues former colleague the De St
the De Stijl theoristThijl theoristTheoeovanvanDoesburgDoesburg 1883-1931),1883-1931),for thefor the introduction of oblique lines into interior design.
introduction of oblique lines into interior design.
1932 4
1932 4
GerritGerrit homashomas tveldtveld
Right: An origami squiggle Right: An origami squiggle of a
of a chair -chair -the radical the radical visualvisual simplicity of Gerrit Thomas simplicity of Gerrit Thomas Rietveld
Rietvelds design belies thes design belies the sophisticated understanding sophisticated understanding of structural principles that of structural principles that underlie it.
CHAIR
CHAIR
NO
NO
4
4
At the time of its conception in the
At the time of its conception in the late 1930slate 1930schair No. 406 wouldchair No. 406 would have seemed a miracle of gravity-defying design. With its S-shaped have seemed a miracle of gravity-defying design. With its S-shaped outline and thin birch frame, this elegant
outline and thin birch frame, this elegantcantilevered chair wouldcantilevered chair would have challenged most contemporary preconceptions of how timber have challenged most contemporary preconceptions of how timber
that most tradit
that most traditional of domestic deSional of domestic deSign materials -ign materials -could be usedcould be used The miracle
The miraclewas made possible by the tensile qualitieswas made possible by the tensile qualities laminated wood
laminated wood with which several designers were experimentingwith which several designers were experimenting at this time
at this time Before this periodBefore this period innovation in furniture design hadinnovation in furniture design had been dominated by experimentation with metal. Now designers been dominated by experimentation with metal. Now designers such as
such asAlvar Aalto in Finland, Marcel Breuer, then in EnglandAlvar Aalto in Finland, Marcel Breuer, then in England and Bruno Mathsson (1907-88) in Sweden
and Bruno Mathsson (1907-88) in Swedenwerewererereembracingembracing and pushing the technical boundaries of wood to forge a new and pushing the technical boundaries of wood to forge a new more humanized Modern
more humanized Modernist aesthetic that is still familiar todayist aesthetic that is still familiar today While designing chair No
While designing chair No406, Aalto was also working on 406, Aalto was also working on thethe Finnish Pavilion for the 1939 New York World
Finnish Pavilion for the 1939 New York Worlds Fair. For a briefs Fair. For a brief moment the public caught a glimpse of the emerging Scandinavian moment the public caught a glimpse of the emerging Scandinavian style that would develop and proliferate in the de
style that would develop and proliferate in the decades followingcades following World War World WarIIII
1938 9
1938 9
Alvar Aalto Alvar AaltoRight and below
Right and belowMadernismMadernism meets Nature
meets Natureininchair Nochair No406406 Far Alvar Aalto
Far Alvar Aaltothe use afthe use af wood in both design and wood in both design and architecture was an architecture was an express an of Finnish express an of Finnish national identity
national identityIn the widerIn the wider cantext
cantext EuropeanEuropean Modernism
Modernismit was also a wayit was also a way of humanizing the sometimes of humanizing the sometimes harsh
harshintronsigent effectsintronsigent effects of a functionalist aesthetic. of a functionalist aesthetic.
LANDI
LANDI
The Landi chair got
The Landi chair gotitsitsname after becoming one of the mostname after becoming one of the most remarked-upon
remarked-uponobjects shown atobjects shown atthetheSchweizerischeSchweizerische Landesausstellung
Landesausstellung(Swiss(SwissNational Exhibition)National Exhibition)ininZurich in 1939Zurich in 1939 Its designer was
Its designer wasthethenow little-known Hans Coraynow little-known Hans Coray(1906-91),(1906-91),whowho was part of the Swiss group
was part of the Swiss groupofofavant-garde designers and artistsavant-garde designers and artists
known
knownas the Zurcher Schuleas the Zurcher SchulederderKonkretenKonkreten(Zurich(ZurichSchool ofSchool of
Concrete Artists). Concrete Artists).
The Landi was designed as an advertisement for The Landi was designed as an advertisement for Switzerland s burgeoning aluminium
Switzerland s burgeoning aluminiumindustryindustryand exploited bothand exploited both the physical and aesthetic qualities of that mediu
the physical and aesthetic qualities of that medium to the full.m to the full. The flexible yet strong shell
The flexible yet strong shellisismade from a single mass-producedmade from a single mass-produced shape
shape while the legs are while the legs are utterly rigidutterly rigidThe circular apertures cutThe circular apertures cut into the backrest give the chair an airy quality
into the backrest give the chair an airy quality wellwell givinggiving structural strength to the form
structural strength to the form The chair has an attractiveThe chair has an attractive crystalline sheen
crystalline sheen the result of what were then cutting-edgethe result of what were then cutting-edge heat and chemical treatments
heat and chemical treatments Lightweight
Lightweight weatherproof and beautifully proportioned,weatherproof and beautifully proportioned, the Landi has spawned hundre
the Landi has spawned hundreds of imitations and remains ands of imitations and remains an icon
iconof Swiss industrial design. Yet despite the success of hisof Swiss industrial design. Yet despite the success of his chair, Coray largely abandoned design in the 1950s chair, Coray largely abandoned design in the 1950s
939
939
Hans Co ray Hans Co rayRight: The aluminium Landi Right: The aluminium Landi was lightweight
was lightweightrobust androbust and easy to clean
easy to clean The L-shapedThe L-shaped seat cradled on
seat cradled on four-leggedfour-legged base
basewould have anwould have anenduringenduring impact on subsequent impact on subsequent stackable chair stackable chairdesignsdesigns
LCW
LCW
LOUNGE CHAIR WOOD
LOUNGE CHAIR WOOD
Soon after their arrival in the forward-thinking and optimisti Soon after their arrival in the forward-thinking and optimistic Losc Los Angeles of the early 1940s
Angeles of the early 1940s husband and wife Charles (1907-78)husband and wife Charles (1907-78) and Ray (1912-88) Eames began experimenting with plywood and Ray (1912-88) Eames began experimenting with plywood structures
structures Using wood and glue smuggled out of the MGM StudioUsing wood and glue smuggled out of the MGM Studio workshops
workshopswhere Charles worked as a film-set designerwhere Charles worked as a film-set designertheythey laminated away in the seclusion of their apartment.
laminated away in the seclusion of their apartment. By 1945 theyBy 1945 they had created a coded range of furniture that included the DCW had created a coded range of furniture that included the DCW (Dining Chair Wood) and LCW (Lounge Chair Wood). (Dining Chair Wood) and LCW (Lounge Chair Wood).
The couple
The couples initial intention had been to fashion the ses initial intention had been to fashion the seatat and backrest out of a single angled sheet. However, the plywood and backrest out of a single angled sheet. However, the plywood proved prone to cracking when bent at such a sharp angle proved prone to cracking when bent at such a sharp angleandand their solution was to split the form into a separate seat and their solution was to split the form into a separate seat and backrestbackrest joined by an elegant twisting plywood spine
joined by an elegant twisting plywood spineRubber fixings at theRubber fixings at the jOi
jOints allowed for a slight flexing that could nts allowed for a slight flexing that could respond to the respond to the bodybody shape of the sitt
shape of the sitter -er -a pioneering feata pioneering feature that demonstrature that demonstrated theed the Eames
Eames determination to design furniture that was as good to usedetermination to design furniture that was as good to use as it was good to look at and cheap to buy
as it was good to look at and cheap to buy Robust
Robust comfortable and refreshingly affordable, the LCWcomfortable and refreshingly affordable, the LCW was the perfect chair for the United States s growing popu was the perfect chair for the United States s growing population oflation of homemaking young families in the post-World
homemaking young families in the post-World arar eraera For theFor the Eames
Eames it proved the major breakthrougit proved the major breakthrough in their career.h in their career.
945
945
Charles and Ray Eames Charles and Ray Eames
Right
Right Constructed fromConstructed from
severol components of
severol components of
lominated wood
lominated wood the Eamesthe Eames
LCW provided modern and
LCW provided modern and
affordable
affordable tyle for thetyle for the
United States
United Statess boomings booming
market of young
market of young stylestyle
consc
LAR
LAR
DAR
DAR
AND
AND
RAR
RAR
Another of Charles and Ray
Another of Charles and Ray EamesEamess aspirationss aspirations(see(seepages 40-1)pages 40-1) was
wastotodesign furniture that could adapt to the owner s changingdesign furniture that could adapt to the owner s changing needs
needsTheThe mixmixand match LARand match LAR(Lounge(LoungeArmchair Rod), DARArmchair Rod), DAR (Dining
(DiningArmchair Rod) and RARArmchair Rod) and RAR(Rocker(RockerArmchair Rod)Armchair Rod) developed
developedforforthe Low-Cost Furniture Design Competition heldthe Low-Cost Furniture Design Competition held at New York
at New Yorks Museum of Modern Art in 1948, were brilliants Museum of Modern Art in 1948, were brilliant demonstrations of how this might be achieved.
demonstrations of how this might be achieved.
The fibreglass-reinforced plastic seats could be attached to The fibreglass-reinforced plastic seats could be attached to any of three components
any of three components an elegantan elegantEiffelEiffel ow row r-shaped base;-shaped base;
tapering metal rod legs; or two curved ba
tapering metal rod legs; or two curved bands of wood, or rockersnds of wood, or rockers (see
(seepicture on page 2)picture on page 2). An innovative welded shoc. An innovative welded shock moundk mound developed by the US automotive giant Ch
developed by the US automotive giant Chrysler was used torysler was used to attach the
attach thetwotwobasic componentsbasic componentsallowing for some movementallowing for some movement between seat and legs. Initially the chairs were available on between seat and legs. Initially the chairs were available only inly in a somewhat dispiriting grey
a somewhat dispiriting greygrey-green and beige, but this rangegrey-green and beige, but this range was quickly amplified
was quickly amplified
Manufactured by Herman Miller in collaboration with Zenith Manufactured by Herman Miller in collaboration with Zenith Plastic
Plastics, LAR, DAR and RAR were the first mass-produs, LAR, DAR and RAR were the first mass-produced plasticced plastic chairs
chairsThe EamesThe Eamess playful,s playful,inventiveinventivedesigns were harbingers ofdesigns were harbingers of the new Contemporary
the new Contemporarystyle in interior designstyle in interior design with its emphasiswith its emphasis on lightness, fluidity and open-plan living.
on lightness, fluidity and open-plan living.
1948
1948
Charles and Ray Eames Charles and Ray Eames
Right: The fibreglass
Right: The fibreglassseatseat of this cheap-to-produce yet of this cheap-to-produce yet stylish chair could stylish chair couldbe mixedbe mixed
and matched with different
and matched with different
bases
bases herehereononthetheso-calledso-called Eiffel
EiffelTowerTowerbase. Belowbase. Below
The
Thesame seatsame seatmountedmountedonon four-legged base
ANTELOPE
ANTELOPE
In
In 9595 with the air-raid sirens long silenced but rationinwith the air-raid sirens long silenced but rationing stillg still
largely in place
largely in place the Festival of Britain the Festival of Britain turned London turned London into a hotbedinto a hotbed
of new ideas and starry-eyed optimism. The
of new ideas and starry-eyed optimism. The FestivalFestivals principals principal
aims
-aims -ininthe centenary year of the Great Exhibitionthe centenary year of the Great Exhibition was towas to
promote British design and industry and to pr
promote British design and industry and to provideovide oneone
government minister
government ministerHerbert MorrisonHerbert Morrisondeclareddeclared a tonic fora tonic for
the nation
the nationwith its promise of a brighter futurewith its promise of a brighter future
Almost 8
Almost 85 million people visited the remodelled South Bank5 million people visited the remodelled South Bank
and its array of
and its array of glass-walled pavilions and airy public bglass-walled pavilions and airy public buildingsuildings
including the still-extant Royal Festival Hall. It was a multisensual
including the still-extant Royal Festival Hall. It was a multisensual
and immersive experience from the moment you entered the
and immersive experience from the moment you entered the
Festival grounds
Festival grounds and this included where you walkedand this included where you walkedwhat youwhat you
saw
saw even where you sat downeven where you sat down The carefully considered seatingThe carefully considered seating
included the now-iconic Antelope chai
included the now-iconic Antelope chair by Ernest Race (1913-64).r by Ernest Race (1913-64).
With its whimsical frame of bent-steel rods
With its whimsical frame of bent-steel rods its seat of mouldedits seat of moulded
plywood
plywood painted in the Festival colours of yellowpainted in the Festival colours of yellow blueblue red or greyred or grey
and its balled feet inspired by molecular physics
and its balled feet inspired by molecular physicsthe Antelopethe Antelope
was a jaunty addition to t
was a jaunty addition to the grey concrete terraces that surroundedhe grey concrete terraces that surrounded
the Festival Hall. It had a companion piece
the Festival Hall. It had a companion piecein the form of thein the form of the
stackable Springbok chair
stackable Springbok chair Both pieces went into commercialBoth pieces went into commercial
production after the end o
production after the end of the Festival.f the Festival.
19
19
Ernest Race
Ernest Race
Right
Right The playfulThe playful
arabesques
arabesquesofofthe Antelopethe Antelope chair capture the optimistic
chair capture the optimistic
spirit of early-1950s
spirit of early-1950s Britain.Britain.
Below
BelowErnest Race producedErnest Race produced
a bench version of the chair
a bench version of the chair
also used as seating
also used as seating in thein the
South Bank
South Banks Festival ofs Festival of
Britain grounds
DKR
DKR
WIRE
WIRE
MESH
MESH
CH
CH
IR
IR
By the early 1950s
By the early 1950s Charles and Ray Eames Charles and Ray Eames (see pages(see pages40-340-3 werewere turning their innovative design skills to structures made from bent turning their innovative design skills to structures made from bent and welded steel. Like the plywood chairs of the previous decade and welded steel. Like the plywood chairs of the previous decade the DKR used technologies developed for military use during World the DKR used technologies developed for military use during World War
War The concave shape of the DKR echoThe concave shape of the DKR echoes that of the Eameses that of the Eames plastic seating but is here constructed as a series of horizontal and plastic seating but is here constructed as a series of horizontal and vertical shiny steel contour lines
vertical shiny steel contour lines The structure is cleverly bracedThe structure is cleverly braced within a thicker steel rim that visually hems in the mesh structure within a thicker steel rim that visually hems in the mesh structure and gives it strength. Although heavy to lift
and gives it strength. Although heavy to lift the result is an airythe result is an airy piece of furniture that looks like a 3D drawing
piece of furniture that looks like a 3D drawing
Once again the Eames applied their clever mix-and-match Once again the Eames applied their clever mix-and-match system of alternative bases so the DKR could perform differen system of alternative bases so the DKR could perform differen functions for different people in different places
functions for different people in different placesOn steel stackableOn steel stackable legs the chair was a storable and movable ad
legs the chair was a storable and movable addition to a meetingdition to a meeting room. On
room. On the elegant the elegant Eiffel Eiffel Tower Tower base it could add modern gracebase it could add modern grace to any domestic dining room
to any domestic dining room AndAnd for the icing on the cakefor the icing on the cake thethe chair could be provided with a wide variety of covers
chair could be provided with a wide variety of covers designeddesigned by Alexand
by Alexander Girard (1907-9er Girard (1907-93) -3) -from glamorous black leatherfrom glamorous black leather to a range of patterned
to a range of patterned fabrics.fabrics.
The Wire Mesh chair was manufactured by Herman Miller The Wire Mesh chair was manufactured by Herman Miller until 1967 and reissued in 2001
until 1967 and reissued in 2001 Research into wire seating wasResearch into wire seating was continued by Harry Bertoia in his Diamond chair (see
continued by Harry Bertoia in his Diamond chair (see pages 48pages 48 9)9)
95
95
Charles and Ray Eames Charles and Ray Eames
Right
Right Charles and RayCharles and Ray
Eames
Eamess Wire Mesh choirs Wire Mesh choir
on on Eiff
on on Eiffl Towerl Towerbose.bose.
Such light ond oiry designs
Such light ond oiry designs ame
ameto typify the 1950sto typify the 1950s
Contemporary
DI MOND
DI MOND
If you look at these chairs
If you look at these chairs you will see that they are mainlyyou will see that they are mainly
made of air
made of air ust like light sculpturesust like light sculptures said Harry Bertoia of whatsaid Harry Bertoia of what
is perhaps his best-known creation
is perhaps his best-known creationthe Diamond the Diamond chair. chair. SpaceSpace
goes clean through them
goes clean through them
During the 1940s
During the 1940sBertoia (1915-78)Bertoia (1915-78)an Italian-born designeran Italian-born designer
had worked alongside Charles and Ray Eames in
had worked alongside Charles and Ray Eames in the developmenthe developmen
of moulded plywood and
of moulded plywood and played a key role in the creation of theplayed a key role in the creation of the
LCW (see pages
LCW (see pages40 140 1 InIn19501950 howeverhoweverhe set up his ownhe set up his own
studio in Pennsylvania and soon after developed a collection for
studio in Pennsylvania and soon after developed a collection for
the pioneering US design company Kroll
the pioneering US design company Krollininwhich the Diamondwhich the Diamond
chair was the signature piece
chair was the signature piece
Despite
Despite a patent dispute a patent dispute with Herman Miller with Herman Miller thethe
manufacturer of the Eames
manufacturer of the Eamess own wis own wire chair re chair the Diamondthe Diamond
chair proved a huge commercial success and subsequently
chair proved a huge commercial success and subsequently
enabled Bertoia to devote himself exclusively to sculptu
enabled Bertoia to devote himself exclusively to sculpturere
1952 3
1952 3
Harry BertoiaHarry Bertoia
Right: The d
Right: The dagrammatic wireagrammatic wire
mesh structure ofthe Diamond
mesh structure ofthe Diamond
chair
chair nablesnablest to performt to perform
its function with a minimum
its function with a minimum
of volume and mater