Bauhaus color

Bauhaus color

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

Sourced through Scoop.it from: thecharnelhouse.org

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

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

See on Scoop.itMid-Century Modern Architects and Architecture

Architects and Their Chairs “J”

Architects and Their Chairs “J”

  “J” is for Juhl

 

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

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

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

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

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

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

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

 

Finn Juhl: Pelikan Take Sunset LA

Finn Juhl: Pelikan Take Sunset LA

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

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

 

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

 

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

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

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

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

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

Modernist Architecture 

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

 

Finn Juhl Architecture, Estate photo courtesy Finn Juhl Estate

Finn Juhl Architecture, Estate photo courtesy Finn Juhl Estate

 

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

Finn Juhl Homeoffice via Dansk Mobel Kunst

 

Architects and Their Chairs “I”

Architects and Their Chairs “I”

                         “I” is for Isozaki

Image via Architects Architecture Archtectuul

Image via Architects Architecture Archtectuul

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

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

 

              Furniture & Architecture

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

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

 

Marilyn Monroe Chairs image via www.invaluable.com

Marilyn Monroe Chairs image via www.invaluable.com

 

 

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

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

 

 

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

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

 

 

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

 

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

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

 

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

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

 

GreatBuildings.com Image - Team Disney Building by ARATA ISOZAKI

GreatBuildings.com Image – Team Disney Building by ARATA ISOZAKI

 

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

 

Image via The Vintage Poster

Image via The Vintage Poster

 

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

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

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

 

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

 

Bar Italia News Arata Isozaki

Bar Italia News Arata Isozaki

 

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

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

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

 

Iraklis/Tumblr

Iraklis/Tumblr

 

 

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

Architects and Their Chairs “H”

Architects and Their Chairs “H”

                      “H” is for Henningsen

 

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

 

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

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

 

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

 

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

 

 

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

Quotes from PH

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

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

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

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

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

 

 

 

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

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

 

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

 

 

 

 

               Poul Henningsen Chair Designs

 

PH Vintage Snake Chair

PH Vintage Snake Chair

 

Pope Chair

Pope Chair

 

Dining Chair

 

 

Poul Henningsen Sprawl Chair

Poul Henningsen Sprawl Chair

 

 

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

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

 

 

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

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

 

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

 

 

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

Architects and Their Chairs “G”

Architects and Their Chairs “G”

                        “G” is for Gehry

 

Frank-Owen-Gehry

 

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

 

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

image via  Ruarte Contract

 

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

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

 

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

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

 

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

 

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

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

https://www.foga.com/


“a sculptor that studied architecture”

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

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

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

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

 

In His Own Words:

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

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

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

 

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

 

 

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

 

                                                                                    Furniture

 

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

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

 

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

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

 

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

Frank O. Gehry, Easy Edges lounge chair, 1972

www.sfmoma.org

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

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

www.archithings.com

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

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

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

 

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

 

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

 

Architects and Their Chairs  “D”

Architects and Their Chairs “D”

         “D” is for Deganello

 

Paolo Deganello via Interiors - Culture dell'Abitare

Paolo Deganello via Interiors – Culture dell’Abitare

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

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

 

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


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

 

 

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

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

 

 

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

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

 

 

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


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

 

                                                   AEO 1973

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

 

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

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

 

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

Paolo Deganello  06/30/2010

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

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

from Experimenta Magazine Spain

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