An essential new look at the design philosophy that interrogated modern living against the turbulent political landscape of 1960s Italy In the mid-1960s, reacting to contemporary social and political upheaval, young Italian architects and designers began developing a new style that openly challenged Modernism. Known as "Radical design," this movement probed possibilities for visually transforming the urban environment. Radical design's proponents also applied it to items such as furniture and lighting, utilizing alternative materials and an innovative formal vocabulary. Radical: Italian Design 1965-1985 surveys the work of these pioneering designers through nearly 70 objects and architectural models-including rare prototypes and limited-production pieces. Cindi Strauss insightfully explores the aesthetic inspiration and changing cultural mores that informed the movement, and her research is complemented by an essay from Germano Celant, the acclaimed author and curator who coined the term "Radical design." Importantly, the book includes seven interviews with Radical designers and architects, offering fresh insights into the individuals who were at the vanguard of this groundbreaking movement. Published in association with the Museum of Fine Arts, Houston Exhibition Schedule: Museum of Fine Arts, Houston (February 14-April 26, 2020) Yale School of Architecture Gallery (September 3-November 20, 2021)

For the past twenty years, New York-based design gallery R & Company has been a pioneer in discovering, curating, archiving, and presenting rare, exceptional, and iconic works to individuals and institutions. Through their groundbreaking exhibitions and publications, the gallery has been at the forefront of the collectible design movement. Published on the occasion of the R & Company's twentieth anniversary, this book offers four new critical perspectives on the designers, themes, and emerging trends R & Company has uncovered, re-discovered, and elevated, including: the emergence of a market for Brazilian design; the championing of un- heralded American midcentury masters; the fostering of a craft-forward contemporary design program; and the gallery's passion for so-called "difficult" design. Unfolding through essays from leading writers on art, design, and craft, and illustrated by hundreds of archival, new, and behind-the-scenes gallery images, interior photos of the collectors' homes, and designers' studios, it is a dynamic overview of the design market's explosive past two decades, and its vibrant future.

More than any other piece of furniture, the chair has been subjected to the wildest dreams of the designer. The particular curve of a backrest, or the twist of a leg, the angle of a seat or the color of the entire artifact; each element reflects the stylistic consciousness of an era. From Gerrit Rietveld and Alvar Aalto to Verner Panton and Eva Zeisel, from Art Nouveau to International Style, from Pop Art to Postmodernism, the history of the chair is so complex that it requires a comprehensive encyclopedic work to do it full justice. They are all here: Thonet's bentwood chairs and Hoffmann's sitting-machines, Marcel Breuer's Wassily chair and Ron Arad's avant-garde armchairs. Early designers and pioneers of the modern chair are presented alongside the most recent innovations in seating. This dedicated compendium displays each chair as pure form, along with biographical and historical information about the pieces and their designers. An illuminating tome for design aficionados and an essential reference for collectors! About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

Hubert Le Gall is an aesthete with eclectic and unclassifiable talent who refuses to be pigeonholed in a style or trapped by routine. Constantly coming up with new associations of quirky ideas, switching between set design, art, and decoration, Hubert Le Gall takes great delight in playing with traditions and derision, with forms, light and cast shadows, contents and containers, solids and things untied...Pic poissons Pedestal table, Taureau cabinet, Pot de fleurs armchair, Marguerites table, Spot Dog lamp, Dorian mirror, his playful and poetic pieces never fail to enchant or to surprise.

Upcycling is the process of transforming seemingly low value items into something new. Today's upcyclists are creating stunning furniture, lighting and art objects that combine values of superb craftsmanship and design with ideas of how "waste" can be both inspiring and informing. While the environmental and financial benefits of upcycling are readily acknowledged here, these designers and makers show how the practice can result in pieces that are as aesthetically exciting as anything created using only raw materials. Based on the author's popular website, upcyclist.co.uk, this book extends far beyond the site's contents. Featuring hundreds of creations from an international collection of today's most exciting designers, the book is organised by material, with chapters dedicated to wood, metal, glass and ceramics, textiles, plastic, paper and mixed media. Reclaimed tree branches and barn doors are transformed into exquisite pieces of furniture; bicycle chains into chandeliers; t-shirts into rugs; saris into upholstery. Filled with an enormous range of materials and objects, this unique book will inspire any designer or design-conscious consumer to incorporate upcycling into their creative practice or interior design projects.

A master furniture maker, designer, sculptor, and educator, Wendell Castle is in his sixth decade of a fruitful and creative career that began in 1958 and that parallels the emergence and growth of the American studio craft movement. The solo exhibition at the Museum of Arts and Design that this book accompanies runs from October 20 2015 to February 28 2016.

The five countries known collectively as Scandinavia were the source of some of the most important furniture designs of the twentieth century and the influential concept of "Scandinavian modern." Today, a new generation of designers continues the tradition, creating pieces that are functional, comfortable, and appealing to look at. This book-the first American summary of modern design in Denmark, Finland, Iceland, Norway, and Sweden in more than two decades-updates the history of design in the Nordic nations and illustrates in full color more than five hundred of the best current furniture from over seventy producers. The Sourcebook also includes detailed product specifications and sources, biographies of important Nordic designers, and a helpful bibliography. It is an invaluable reference for everyone who loves modern furniture, and is an essential tool for interior designers, architects, collectors, and students with a special interest in Scandinavian design. CD-ROM included: easy-to-use screen resolution files of all the illustrations for use on Mac or PC.

The book explores the design boom in the Pacific Northwest, the fundamental principles to this creative field and over 40 remarkable makers and designers behind this extraordinary area of design. Set against striking photography, the book navigates the landscape and settings which inspires this area and talks with leading designers in the industry. The Pacific Northwest is paving a new path in the design world with a rich and varied set of designers producing outstanding pieces and trends. IDS Vancouver is the centre-point for all things design in the Pacific Northwest and we are pleased to present their first book. Including contributions from ANDlight, Base Modern, Niels Bendtsen, Bosque Design, Becki Chan, Pat Christie, Brent Comber, Electric Coffin, Dahlhaus Studio, Fieldwork, fruitsuper, The Granite, Phil Gray, Hinterland Design, John Hogan, Shawn Hunt, Jeff Martin Joinery, Knauf and Brown, Karen Konzuk, Merkled Studio, molo, Darin Montgomery, PHLOEM STUDIO, Pigeon Toe, Shawn Place, Charlotte Pommet and Elliot Kendall, Propellor, Selek, Sholto Design Studio, Studio Gorm, Cathy Terepocki and Annie Tung. About IDS Vancouver Founded in 2004 by Jason Heard, IDS Vancouver has grown in size and in ambition at equal pace with the city it is so proud to support. Taking place once a year in September the IDS Vancouver design fair has grown to include diverse programing and workshops for youth, for students and for the design trade as well as collaborative installations and experiences both off site and on. Drawing attention to the region as a heavy hitting design destination, IDS Vancouver actively engages with and participates at other international fairs all year long as a way to profile the talent of the region and to source and stay informed with design internationally.

Text in English & German. The way we sit simultaneously defines privileges, social status, power, and taboos. Parallel to the presentation of China as the guest of honour at the Frankfurt Book Fair 2009, the Museum fur Angewandte Kunst in Frankfurt presents a panorama of Chinese sitting culture through a period of five centuries. Exclusive, noble Ming chairs stand side by side with chairs of the 18th and 19th century used by the middle class of that time. Limited sitting sculptures by renowned artist designers such as Shao Fan, Freeman Lau, Kenneth Cobonpue, XYZ-Design and Ji Liwei, who is also in charge of the interior design of the Chinese pavilion at the book fair, are confronted with the bourgeois sofas and sitting of the Chinese middle class of today. The "Bastard Chairs" of migrant workers and the homeless, day-to-day seats improvised out of pure need and made of trash and leftover materials, are commented in the sitting contexts of celebrities: emperors and courtesans, politicians and pop stars, athletes and students of product design show how sitting was done formerly and is done today. It ranges from a man of letters from the Ming era to the Qianglong emperor on the throne to Mao and Nixon in characteristic armchairs in Mao's best room. The most famous contemporary Chinese artist, Ai Weiwei, will also be represented with an excerpt of his grandiose chair performance at the Dokumenta XII. Of course, product piracy, which -- as the typical Chinese dipping figure "Shanzhai" -- has mean-while adopted characteristics that define society, is also dealt with.

When the inscription "Made by Nathan Lumbard Apl 20th 1800" was found in the late 1980s on a chest of drawers, the identity of an unknown craftsman suddenly surfaced. Crafting Excellence introduces the striking achievements of cabinetmaker Nathan Lumbard (1777 1847) and a small group of craftsmen associated with him. Working initially in the village of Sturbridge, Massachusetts, these artisans fashioned an array of objects that rank among the most colorful and creative of Federal America. Recent scholarship has revealed Lumbard's connection with the cabinetmaker Oliver Wight, from whom he likely learned his trade and gained an understanding of neoclassicism. Careful study of objects linked to Lumbard, Wight, and nearby artisans has produced a framework for identifying their work. The discovery of Lumbard's name three decades ago led the authors on a pioneering journey, culminating in this handsome volume, an insightful contribution to American furniture history. Distributed for the Winterthur Museum, Garden & Library

The Chippendale cabinet-making firm, founded by Thomas Chippendale senior in about 1750, became famous partly through the successful publication of The Gentleman and Cabinet-Maker's Director (1754, re-published 1755 and 1762), but also through the fine furniture supplied to a number of illustrious clients. Chippendale senior ran the workshop for just over twenty years and his eldest son, Thomas Chippendale junior, continued the business for over forty years; the first two decades in partnership with Thomas Haig. Chippendale senior's work has been well documented but Chippendale junior's work has never, until now, been thoroughly researched. The Life and Work of Thomas Chippendale Junior repairs the omission. His patrons included members of the Royal Family, aristocrats, landed gentry and antiquarians; he was adept at satisfying their demands, whether they required lavish gilt or simpler, often mahogany, pieces. Where family archives and original settings survive, as at Harewood House, Paxton House and Stourhead, they reveal the variety and quality of Chippendale's output. An analysis of client's invoices, even when the furniture can no longer be traced, for the first time provides a colourful view of what customers chose and what prices they paid.

Chinese furniture design had been improved through the centuries, maturing during the 14th century. The Qing furniture developed from Ming style furniture; it was attractive with ornate novel decorative elements. In the olden days of China, those who had resources could afford to live in a gracious residence such as the four-closed courtyard house (siheyuan). The four-closed courtyard house is the Chinese art of enclosing space to create an ideal environment for habitation. The multifunctional Chinese classical furniture facilitates the indoor and outdoor activities of its inhabitants. Siheyuan is divided into chambers such as the Hall, female chamber etc. This book provides details on which pieces of furniture should be displayed in each chamber, as well as full-colour illustrations and diagrams of how each piece was made and assembled. This includes three-dimensional drawings by Philip Mak and perspective views of the interior of various rooms. The author guides the readers through them, narrating the placement of furniture with inherent social implications. For easy reference, each piece is numbered and a more detailed description available in the catalogue section of this book. Text in English and Chinese.

"Abandoned, forgotten form is reborn in the arms of an all-embracing nature, an envelope within which the origin of the human being, of a society gives us a sensibility, a presence of a fertility." - Vincent Dubourg A graduate of the Ecole nationale superieure des Arts Decoratifs in Paris, Vincent Dubourg is a designer and a plastic artist. In 2004, he caught the eye of Julien Lombrail, founder of the Carpenters Workshop Gallery, where he has been exhibiting since 2006. Present at major salons and shows - the Pavillon des Arts et du Design, Paris; Design Miami Basel - he has received many public commissions from institutions such as Galeries Lafayette, Swarovski, Vienna, the musee de la chasse et de la nature, Paris, and the Sketch restaurant in London, among others. Vincent says that he feeds himself on the capitals like Paris and New York, which he regularly visits, and digests them in his isolated studio in the Creuse department in France. There, he questions contemporary furniture through the prism of nature and the five elements, like a perfect control of metal. With him, buffet, table and chairs become hallucinatory objects shifting between sculpture and functional furniture. A major exhibit will be devoted to him at the Carpenters Workshop Gallery in New York in late 2017. Solo Show, Carpenters Workshop Gallery, New York, November 2017.

Thos. Moser Cabinetmakers has set the standard for fine woodworking and meticulously hand-crafted furniture for more than forty years. In this modern age of inexpensive mass production, Moser furniture stands out because every piece is hand-made by a master craftsman (or woman). Generally minimalist in style, the pieces are highly sophisticated in their construction. And though Moser has been influenced by Shaker and Japanese furniture makers, the elegant and graceful lines give each piece an aesthetic all its own. In Legacy in Wood, Thomas Moser reflects on his long career and offers his thoughts on creativity, inspiration, and his design aesthetic. It gives an intimate look into the life and work of a pioneering craftsman, whose example shows that you can build a career working with your hands the old-fashioned way. Thos. Moser remains an iconic Maine company and holds to its traditional Yankee origins. The shop remains a family-run and oriented company. All of Moser's sons have worked in the shop, and all but one are still there as master craftsmen and designers. The other employees have been with the company an average of 20 years-a clear reflection of the value Moser puts on his workers and the respect and love for their work they give in return. Yet the timeless appeal of the furniture has given Moser nationwide recognition and allowed the company to open galleries and show rooms in Boston, Greenwich, New York, Philadelphia, and San Francisco.

In recent years, there has been a real revival and appraisal of the works of the mid-century modern movement among architects and interior designers: the furniture, lighting and objects designed by Alvar Aalto, Charles & Ray Eames, Eileen Gray, Poul Henningsen, Arne Jacobsen, Pierre Jeanneret, Finn Juhl, Vladimir Kagan, Poul Kjaerholm, Florence Knoll, Le Corbusier, Ludwig Mies van der Rohe, Borge Mogensen, Serge Mouille, George Nakashima, George Nelson, Verner Panton, Ico Parisi, Charlotte Perriand, Gio Ponti, Jean Prouve, Sergio Rodrigues, Jean Royere, Eero Saarinen, Arne Vodder, Jules Wabbes, Ole Wanscher, Hans J. Wegner, Jorge Zalszupin and many others is integrated in their most exclusive projects and their best pieces are sold at record prices at Christies, Philipps, Sotheby's... In the U.S., the mid-century modern movement in interiors, product and graphic design and architecture was a reflection of the International and Bauhaus movements including the works of Gropius, Florence Knoll, Le Corbusier and Ludwig Mies van der Rohe. Brazilian and Scandinavian architects were very influential, with a style characterised by clean simplicity and integration with nature. In Europe, the influence of Le Corbusier and the CIAM resulted in an architectural orthodoxy manifest across most parts of post-war Europe that was ultimately challenged by the radical agendas of the architectural wings of the avant-garde. A critical but sympathetic reappraisal of the internationalist oeuvre, inspired by the Scandinavian Moderns and the late work of Le Corbusier himself, was reinterpreted by groups such as Team X, including structuralist architects and the movement known as New Brutalism. This chic, over-sized coffee table book is an essential object for all mid-century design aficionados, interior designers with a passion for the modernist 1950s and for refined readers seeking inspiration for their own interiors. In 20 reports, interior designers and passionate collectors of mid-century furniture, lighting, objects and artworks show how carefully selected touches of high-end mid-century modernism can contribute to a unique living environment.

Borrowing its title from the French national motto, "Liberty, Equality, and Fraternity" provides a vibrant picture of design in France from the 1940s to today. A catalogue for a 2011 exhibition presented by The Wolfsonian-Florida International University in collaboration with M/M and Alexandra Midal, it investigates how objects embody the ideas that have defined French public life for more than two centuries. Featured objects include furniture, industrial design and craft by some of the most celebrated French designers of the present and recent past, including Roger Tallon, Pierre Paulin, Philippe Starck and the Bouroullec Brothers. "Liberty, Equality, and Fraternity" includes essays by Marianne Lamonaca, Emilia Philippot and Alexandra Midal, each providing a framework for understanding French design and its relationship to national identity. A visual essay, organized in nine thematic clusters, offers color images of each object in the exhibition.

Unique in style, Chinese furniture has long been celebrated for its elegant, artistic lines and strong, durable structure. Ranging from pieces designed simply to display the beauty and texture of natural woods, to magnificent pieces decorated with lavish carvings, lacquer or precious metals and stones, Chinese furniture is an outstanding representative of the oriental arts. This book provides an accessible, illustrated introduction to the history, production techniques and rich variety of Chinese furniture, revealing the important part that this furniture has played in the development of China's culture.

In Personalities, people open doors into their very personal immediate surroundings: their homes and spaces of creative work. As different as they are, what connects them is something very special: the USM modular furniture system.We set out on a journey into their lifeworlds and let them tell the stories behind the pieces of furniture-each one as individual as their owners. While the stories constitute the heart of Personalities, well-known specialist authors supplement the subject of "personality" with a psychological and sociological perspective.We take a trip into personality psychology, cast a glance in the direction of popular culture, and ultimately take a look at personality in the field of tension between having and being, between material culture and lifestyle.The diversity of those portrayed is reflected in the variety of the accompanying essays, which call attention to the facets around the concept of personality in an entertaining and unexpected way.

The first comprehensive study of Knoll's innovative textile designs and the company's role within the history of interior design In 1940, Hans Knoll founded a company in New York that soon earned a reputation for its progressive line of furniture. Florence Schust joined the firm and helped establish its interior design division, the Knoll Planning Unit. In 1947, the year after their marriage, Hans and Florence Knoll added a third division, Knoll Textiles, which brought textile production in line with a modern sensibility that used color and texture as primary design elements. In the early years, the company hired leading proponents of modern design as well as young, untried designers to create textile patterns. The division thrived in the late 1940s through 1960s and, in the following decade, adopted a more international outlook as design direction shifted to Europe. In the late 1970s and 1980s, Knoll tapped fashion designers and architects to bolster its brand. The pioneering use of new materials and a commitment to innovative design have remained Knoll's hallmarks to the present day. With essays by experts, biographies of about eighty designers, and images of textiles, drawings, furniture, and ephemera, Knoll Textiles, 1945-2010 is the first comprehensive study devoted to a leading contributor to modern textile design. Highlighting the individuals and ideas that helped shape Knoll Textiles over the years, this book brings the Knoll brand and the role of textiles in the history of design to the forefront of public attention. Published for the Bard Graduate Center: Decorative Arts, Design History, Material Culture Exhibition Schedule: The Bard Graduate Center, New York (05/18/11-07/31/11)