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FIFTY

FIFTY

CH IRS

CH IRS

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ESIGN

ESIGN

-.-.... -.-....

MUSEUM

MUSEUM

FIFTY

FIFTY

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CH IRS

TH T

TH T

CH NGED

CH NGED

THE

THE

WORLD

WORLD

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  I TY

  I TY

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CH IRS

6 Introduct 6 Introductonon Side Chair

Side 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

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FIFTY

FIFTY

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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.

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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 Thonet

Right: 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

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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 Mackintosh

Mackintoshs 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.

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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 forwardthe 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 Moser

Right: 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

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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 columncolumn 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 Hoffmann

Right: Even the name

Right: Even the nameofof Josef Hoffmon

Josef Hoffmon SitzmoschineSitzmoschine

seems

seemstotoinougurateinougurate newnew

functionalist approach

functionalist approachtoto chair

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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 Hoffmann

Right: 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.

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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

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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 Breuer

Right: 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

(12)

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 atleastleast 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 todisputedispute 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 MartStam

Right: 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.

(13)

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 Gray

Right: 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

(14)

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 Breuer

Right: 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

(15)

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 Rohe

Rohe 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.

(16)

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 scrollbreathing. 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 Aalto

Right 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

(17)

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

(18)

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

Gerrit

Gerrit 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.

(19)

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 Aalto

Right 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.

(20)

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 ray

Right: 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

(21)

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 stylestyle

consc

(22)

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

(23)

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

(24)

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

(25)

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 Bertoia

Harry Bertoia

Right: The d

Right: The dagrammatic wireagrammatic 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

References

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