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. 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
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
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.”
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
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/
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
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
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
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
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
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
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— 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
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.”
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.
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
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
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 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
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-
Liquid architecture. It’s like jazz—you improvise, you work together, you play off each other, you make something, they make something. And I think it’s a way of—for me, it’s a way of trying to understand the city, and what might happen in the city.”
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
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
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
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
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 …
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
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Ferrari-Hardoy is one of the most important architects of Argentina. He belongs to the generation of Argentinean architects that advocated the ideas of modernism.
Ferrari-Hardoy studied until 1937 at the renowned “Escuela de Arquitectura” in Buenos Aires. He then went to Europe and spent a few months in Paris. Inspired by Le Corbusier who – as a representative of the „Congres Internationaux d’Architecture Moderne“ (CIAM) – had a particular interest in Latin America, Ferrari-Hardoy worked closely with him on the elaboration of a first urban master plan for Buenos Aires. In addition, Ferrari-Hardoy was lecturer at the “Escuela Industrial” in La Plata, the “Escuela de Arquitectura y Urbanismo de la Universidad del Litoral” and at the University of Buenos Aires.
Edificio Los Eucaliptus / Jorge Ferrari Hardoy + Juan Kurchan
His Architectural firm, Austral developed pioneering projects, discussed the relevant aspects of contemporary architecture, and participated in exhibitions, competitions and conferences. Moreover, the group members were actively seeking international exposure; they exchanged ideas with architects from other countries and published the magazine “Nosotros”. In addition, Austral organized cultural events and included painters, sculptors, musicians, photographers, doctors, sociologists and educators in their work.
image via The Modern View – Weinbaum
Starting in 1937 the office had been charged with the planning works for a university town on the site of the old port of Buenos Aires, residential buildings in the southern part of the city as well as the construction of hospitals, sports facilities and schools along the central avenue Corrientes. At all their works, Ferrari-Hardoy promoted the use of composable industrial elements and employed curved glass panels and sun visors, as evidenced by the “Ateliers” (1938) at the corner Suipacha and Paraguay. Together with Juan Kurchan he developed from 1941 to 1944 a residential complex in the district of Belgrano. The building became quickly popular because of its implanted tree inside the patio. The Modern View _ Weinbaum
Colorful Marimekko KIVET fabric adorns these cheerful butterflies. Don’t you just love the way they stand out against the colors in the landscape? by Jeffrey Gordon Smith Landscape Architecture http://bit.ly/1DDPB0C
The BKF chair is a modern update of the Paragon chair which was first made for use as campaign furniture in the 1870s. A later version of the design was known as the Tripolina chair, a portable chair introduced in the early 20th century. Jorge Ferrari Hardoy along with Antonio Bonet and Juan Kurchan developed the BKF in 1938 for an apartment building they designed in Buenos Aires. On July 24, 1940, the chair was shown at the 3rd Salon de Artistas Decoradores exhibition where it was discovered by the Museum of Modern Art. At the request of MoMA design director Edgar Kaufmann Jr., Hardoy sent 3 pre-production chairs to New York. One is in the MoMA collection and one is at the Frank Lloyd Wright house Fallingwater, but no one knows where the third chair went. Naming the BKF as one of the “best efforts of modern chair design,” Kaufmann accurately predicted that it would become extremely popular in the US. Wikipedia
Jorge Ferrari-Hardoy butterfly chair from Stella Harasek’s home. http://bit.ly/1CtxhG1
Found on houseandhome.com
Bored with the monotony of suburbia? So was Harry Seidler when he arrived from America in 1948.
The potential of the Australian landscape fascinated him, but our boxy homes did not. As a result he embraced a modernist philosophy to create this liveable, functional sculptural home for his parents Rose and Max. However, their Viennese furniture was all but banned from the house by Seidler who favoured features such as open-plan living spaces, minimal colour schemes and built in wardrobes. Thanks to Harry they all made their Australian debuts here.
The mural at Rose Seidler House (designed by Harry Seidler) sundeck and reproduction Hardoy chairs. Photographer: Justin Mackintosh
The Rose Seidler House was designed by Harry Seidler for his parents, Max and Rose, and is located in Wahroonga, on the outskirts of Sydney. Built in the late 1940s, it was his first Australian commission. It is a minimalist, open-plan design with all the modern conveniences of the day. Found on blog.selector.com
Appreciated by connoisseurs, hipsters and students alike, the butterfly also presaged the disposable-furniture onslaught a half-century later. “It appeared at a moment when there was such a demand for cheap furniture, but furniture that identified with a new aesthetic,” Kinchin says. “You’ve got this burst of color and fun really coming into midcentury modern interiors.” Today MoMA holds a Hardoy in its permanent collection, and Walmart sells one for $39. Somehow it all makes sense.“It’s so minimal,” Dror Benshetrit, designer of the well-regarded Peacock Chair, says of its high-low appeal. “It’s so effortless.” By HILARY GREENBAUM and DANA RUBINSTEIN NYTimes Magazine 2012
Jorge Ferrari Hardoy-Butterfly
W82 x D85 x H96 cm
Manufactured by Knoll International of USA,
designed by Jorge Ferrari Hardoy, 1938.
An example of some of the chairs other monikers: the B.K.F. Chair, Hardoy Chair, Butterfly Chair, Safari Chair, Sling Chair, or Wing ChairAn estimated 5 million of these chairs were produced during the 1950′s by numerous manufacturers under various names.The tubular steel frame was enamelled and the sling seat was leather. http://bebob.eu/en/designer/hardoy-ferrari/
The B.K.F. chair, patented in 1877, was originally mass-produced by Artek-Pascoe. In 1945 Knoll took over production and it was a tremendous success. Unlicensed knock-offs and the loss of a Knoll copyright suit have made this one of the most copied chairs of modern design and it became one of the most widely copied chairs in existence. http://bebob.eu/en/designer/hardoy-ferrari/
Life of and Architect http://www.lifeofanarchitect.com/knoll-hardoy-butterfly-chairs/
Found on m.cb2.com 1938 bergama butterfly chair on the wings of a classic. Bright new angles pop modern in a graphic twist on the 1938 Hardoy Chair, aka the “Butterfly.” Envisioned by Brooklyn-based designer Aelfie Oudghiri as a Turkish kilim, the handwoven flatweave dhurrie is inspired by the colorful coastal scene of American beach towns. Aqua, sour apple and white geometric forms radiate bold on a sunny orange backdrop, reflecting the iconic seascape dotted with ice cream shops, hot dog stands and surfers. Hand-whipstitched edge to edge in sour apple on a substantial tubular iron frame antiqued light zinc.
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