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Books > Arts & Architecture > Art forms, treatments & subjects > Decorative arts & crafts > Furniture & cabinetmaking
As featured in Bookforum, ELLE Decor, and Interior Design Magazine
The first and only monograph on the life and work of the iconic
Danish-American mid-century furniture designer Jens Risom - an
unsung hero of Mid-Century Modern design Jens Risom, a key figure
in mid-century modern design, was one of the first designers to
introduce Scandinavian design to the United States and his highly
collectible original work is currently selling for large sums at
auction. In 1942, Risom's designs formed the majority of the
inaugural collection of original furniture for the iconic Hans
Knoll Furniture Company and many of his key pieces are still in
production today, by leading manufacturers including Knoll, Design
Within Reach, De Padova, Camira, and Ralph Pucci. This, the first
authoritative biography of Risom, spans his education in Denmark,
early collaborations with Georg Jensen and Hans Knoll, the creation
of his own company - Jen Risom Design - his celebrated prefab house
on Block Island, RI, as well as his legacy and presence in the 21st
century. With unique access to a plethora of never-before-seen
sketches, photographs and ephemera, this book proves, as the
immortal slogan in his iconic ad campaign shot by Richard Avedon
tells us, 'The answer is Risom'.
The modular did not have to be invented: it can be found
everywhere. We divide surfaces into grids, spaces into parts, and
time into rhythmic units. Modular structures are also increasingly
being recognized as a way of communicating, where the aim is not to
construct a universal principle but to facilitate interplay between
different systems. Building on the visionary design system that
architect Fritz Haller and engineer Paul Scharer developed in 1965
for Swiss furniture company USM, Rethinking the Modular brings
together specially commissioned essays and interviews with leading
designers, architects and thinkers to present the wide-ranging
importance and influence of modular design over the past fifty
years. In revealing the broad possibilities created by balancing
structure with flexibility, the timely publication redefines the
place of modularity in modern design history, and offers a rich
resource for designers today.
Berlin-based architect and rapper Van Bo Le-Mentzel is the founder
of the popular Hartz IV Moebel initiative and website, whose
rallying cry is "Build more Buy less " Hartz IV Mobel was born when
Le-Mentzel registered for a weekend woodwork class. At the end of
the class, he had constructed a chair; he posted the design online,
dubbed it the "24-Euro Chair" and Hartz IV Mobel was born.
Crowd-sourcing further ideas online, Le-Mentzel created a
subculture of DIY enthusiasts, who are constructing beautiful
modernist furniture at incredibly low cost. Proudly declaring
itself a "crowd-sourced book," "Hartz IV Moebel" shows you how to
build your own furniture with minimal resources and cost (Hartz IV
is the name of Germany's social welfare benefit). Amateurs
worldwide have followed these instructions and built a cube sofa, a
"Berliner Hocker," a "24-Euro Chair" or a "100-Second Lamp." This
inspirational volume offers both a practical guide and manifesto
for affordable furniture.
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!
Luke Hughes & Company's enduring and meticulously engineered
furniture, an eloquent response both to the architecture it
inhabits and to the true Arts and Crafts spirit, has been placed at
the forefront of the 'craft-led renaissance in British
manufacturing.' Flexible in use, commercially viable and
environmentally sustainable, the work furnishes many of the world's
most distinguished buildings, from Westminster Abbey, the Tower of
London and most of the Oxford and Cambridge University colleges to
the Keystone Academy in Beijing and one of New York City's most
vibrant synagogues. Through an introduction to the studio and 25
case studies, Furniture in Architecture explores the company's
place in the Arts and Crafts tradition and examines the philosophy
and work of founder Luke Hughes. Aidan Walker sheds light on how
the studio balances modern manufacturing technologies with abiding
craft values, rendering the small furniture workshop a relevant and
profitable proposition even when fulfilling large-scale
commissions. This fascinating survey defines the elements of
successful design and addresses the meaning of craft and
craftsmanship in the digital age.
An Assembly of Iconic, Forgotten and New Vitra Characters During
Milan's Design Week 2018, the Vitra exhibition "Typecasting,"
curated by Robert Stadler, presented 200 objects in the former
sports hall La Pelota in the city's Brera district. In addition to
generous photographic documentation of the event, this eponymous
publication , designed by Zak Group, critically investigates how
design evolves under the influ ence of social media. By presenting
the objects as characters, "Typecasting" is as much about furniture
as it is about ourselves. Whereas furniture's practical function is
a given, its representational role has dramatically evolved:
furniture and objects become props for self-staging on social media
and online.
"Eames: Beautiful Details celebrates the seamlessness and fluidity
in which Charles and Ray Eames operated as both a husband and wife
team and as designers unrestricted by traditionally professional
boundaries. Select details of their life and work, from their
refined designs to their innovative experiments, and even including
images depicting the everyday poetic moments of their lives, and
are shared here in this exhibit within a book. Inspired by
Charles's immersive and original slideshows, in which he expertly
selected and grouped images together that communicated information
in an aesthetic, direct, and accessible way, this book strives to
visually create the Eameses' life and work by taking the viewer
through a delightful journey, focusing on their ""beautiful
details."" The packaging design of the Eames: Beautiful Details
slipcase is a pattern inspired by the triangles and colors of one
of their most inventive, if lesser known, designs for children,
simply called, ""the toy."" It also pays homage to the patterns
they used on their well loved House of Cards. The Eameses brought a
sense of humor and joy to everything they created, and the design
and layout of the book aims to convey that spirit in a visual feast
for the eyes. It is a testament to the Eameses and the lasting
value of good design that their Eames lounge chair, created in
1956, endures today as perhaps the most recognizable and coveted
piece of mid century furniture design. Their experiments in
technological innovations, like molded plywood and fiberglass,
resulted in such classic pieces as the bent plywood LCW and DCM
Chairs, the Molded Plastic Chairs, and the Aluminum Group; all of
which are still in production by Herman Miller. Likewise, Charles
and Ray designed and built their own home in 1949 in Pacific
Palisades, and it is still revered as a landmark of modern
architecture. Built as part of the Case Study program in
California, sponsored by Arts & Architecture magazine, it was
one of the earliest experiments in pre fab construction, using off
the shelf industrial parts. But unlike the austerity of much of
modern architectural design, their factory like shell was lovingly
lived in along with their personal collections of folk art,
treasures from their travels, and everyday objects refreshingly
displayed with affection and without pretense. In exhibition design
as well, ""Mathematica: A World of Numbers ... and Beyond, 1961,""
for IBM is considered groundbreaking as an interactive,
educational, and experiential way to communicate the wonder and
magic of math. Similarly, their seminal film, Powers of Ten, 1977,
expresses the mathematical concept of multiplying to the tenth
power, in a very direct, simple, and powerful way. Unlike any other
book previously published on Charles and Ray Eames, this unique
monograph is a visual celebration of their work and life, and was
created in true collaboration with Charles s grandson, Eames
Demetrios, and other members of the Eames family."
An authoritative and insightful study, surveying the life and work
of "the greatest of the English artist-craftsmen" This study of the
renowned designer-maker Ernest Gimson (1864-1919) combines
biography with analysis of his work as an architect and designer of
furniture, metalwork, plaster decoration, embroidery, and more. It
also examines Gimson's significance within the Arts and Crafts
Movement, tracing the full arc of his creative career, ideas, and
legacy. Gimson worked in London in the 1880s, joining the circle
around William Morris at the Art Workers' Guild and the Society for
the Protection of Ancient Buildings. He later moved to the
Cotswolds, where he opened workshops and established a reputation
for distinctive style and superb quality. Gimson's work influences
designers today and speaks directly to ongoing debates about the
role of craft in the modern world; this book will be the standard
reference for years to come.
Trimmings are often overlooked as mere details of a furnished
interior but in the past they were seen as vital and costly
elements in the decoration of a room. They were used not only on
curtains and beds but also on wall hangings, upholstered seat
furniture and cushions, providing a visual feast for the eye with
their colour and intricate detail. Sometimes more expensive than
the rich fabrics they enhanced, trimmings are often the only
surviving evidence of a lost decorative scheme, reapplied to
replacement textiles or found as fragments in the attic. This book,
the first of its kind, traces their history in Britain and Ireland
from 1320 to 1970, examining the design and usage of tassels,
fringe, braid (woven lace), gimp and cord and their dependence on
French fashion. Lavishly illustrated with new photography, the
substantial text links surviving items in historic houses and
museums to written evidence, paintings, drawings and other primary
sources to provide a firm framework for dating pieces of
less-certain provenance. The importance of the 'laceman', the maker
of these trimmings, is also examined within an economic and social
context, together with the relationship to the upholsterer and
interior decorator in the creation of a fashionable room.
In line with the works on decorators of the 1940s, '50s, '60s, and
'70s, this book plunges us into the world of '80s and '90s. These
have witnessed unprecedented experiments in the world of design and
architecture. Composed of a rich introduction which gives a
synoptic vision and 38 monographs that describe its many faces,
this book makes and exceptionally creative period intelligible, and
reveals through an abundant iconography, often unpublished, its
formidable aesthetic richness. A new generation of designers stands
out; among them Shiro Kuramata, Philippe Starck, Ron Arad, Bob
Wilson, Elizabeth Garouste and Mattia Bonetti. All regenerate
creation by refusing the elitism of their predecessors and by
favouring the use of new materials. Some turn to recovery, such as
the Creative Salvage group, and offer inventive and provocative
furniture thanks to welding and assembly. Others, gathered in Italy
around Ettore Sottsass and Memphis, combine unexpected colours and
patterns to the playful use of plastic laminate. Sliding until the
end of the '90s, the achievements presented in this book mark the
desire for a dialogue between artistic references with a new
relationship to the industrial aspect, at the dawn of the 21st
century and its technological innovations. Text in English and
French.
With his interiors and furniture design regularly gracing the pages
of Architectural Digest, T Magazine, Elle Decor, Wallpaper*, and
more, French interior-architect Pierre Yovanovitch has cemented his
status as one of his generation s most in-demand talents. The
designer s highly anticipated first book explores his refined yet
subtle style and signature haute couture aesthetic through an array
of extraordinary interiors. Specially commissioned photographs take
readers on a journey across the globe to discover Yovanovitch s
unique style rooted in pared-back refinement. Stunning private
residences in New York, Paris, London, Tel Aviv, and the Swiss Alps
underscore Yovanovitch s mastery of volume tempered by strict
lines, as well as his use of authentic materials including wood,
stone, and metal. Known for his ability to reenvision centuries-old
spaces into modernized demeures, Yovanovitch s expertise shines
through in a seventeenth-century chateau in Provence, as well as a
renovation of the Patinoire Royale in Brussels, a skating rink
converted into a private contemporary-art museum. This ode to
Yovanovitch s work is a necessary addition to design libraries of
industry masters and aficionados alike.
A vivid company biography of leading furniture manufacturer Walter
Knoll based on its formative figures Wilhelm, Hans, and Walter
Knoll, and most recently, Markus Benz. Walter Knoll, the book,
charts the one-and-a-half-century-old history of this remarkable
furniture dynasty, tracing the evolution of its designs in relation
to key cultural and historical developments. When the Thomas Mann
House in Los Angeles was recently bought by the Federal Republic of
Germany and transformed into a representative "transatlantic
meeting place," it was Walter Knoll furnishings that defined its
interior design and showcased German creativity and performance in
arts and business. Based in Herrenberg, near Stuttgart, the
150-year-old furniture business is one of the most successful
furniture companies of the modern era and a global leader in
high-end furnishing manufacturing. Walter Knoll's impressively long
history dates back to Wilhelm Knoll, the founding father of the
Knoll dynasty, who first set up a leather shop in Stuttgart in
1865. Knoll rose from being a cobbler to the court purveyor to the
House of Wurttemberg. When his sons, Willy and Walter, took over
the company in 1907, they began producing chairs - introducing the
first club armchair to Germany and becoming the industry's first
exporter. Their advances marked a revolution in upholstered
furniture. After founding his own company in the 1920s, Walter
Knoll was a breakout sensation in the avant-garde interior design
world with a landmark exhibition at the Weissenhof Estate in
Stuttgart, under the direction of the Mies van der Rohe, in 1927.
His son, Hans Knoll, went to the U.S. in the 1930s and himself
founded his own company, Knoll Inc., and with it, re-wrote design
history. In 1993, Markus Benz, the son of Rolf Benz, joined the
Knoll ranks, continuing the successful cooperation with
internationally-renowned architects and designers. This fascinating
company story shows how the Stuttgart area, one of the strongest
economic regions in the world, was also a wellspring of modern
design and culture.
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.
Influenced by the currently very popu-lar do-it-yourself movement,
the contemporary design scene is increasingly shaped by a creative
fusion of production and consumption. When it comes to the
development of a self-made furniture culture, this book project
combines for the first time design history research and consumerism
theory with numerous historical and contemporary construction
instructions and interior design recommendations. Across five
chapters, design history and everyday culture are vividly and
closely examined. What are their ori- gins? Which media and
channels are used to pass on experiences and prac-tical
instructions? Who exchanges in-formation with whom and under what
circumstances? And what has changed since the advent of the era of
digital modernity?
Covering the period from the publication of Thomas Chippendale's
The Gentleman and Cabinet-Makers' Director (1754) to the Great
Exhibition (1851), this book analyses the relationships between
producer retailers and consumers of furniture and interior design,
and explores what effect dialogues surrounding these transactions
had on the standardisation of furniture production during this
period. This was an era, before mass production, when domestic
furniture was made both to order and from standard patterns and
negotiations between producers and consumers formed a crucial part
of the design and production process. This study narrows in on
three main areas of this process: the role of pattern books and
their readers; the construction of taste and style through
negotiation; and daily interactions through showrooms and other
services, to reveal the complexities of English material culture in
a period of industrialisation.
Designed to be a companion to our classic title 1000 Chairs, this
edition contains an awesome selection of over 1000 lights.
Presented chronologically by decade are the 20th century's most
interesting electric lights, from Tiffany's beautiful leaded-glass
shades to completely outrageous designs from the late 1960s and
1970s to the latest high-tech LED lamps. All major styles are
represented here-Arts & Crafts, Art Nouveau, Art Deco, Modern
Movement, De Stijl, Postwar, Pop, Radical, Postmodern, and
Contemporary-in 640 pages of truly illuminated works. This
definitive reference work is a must-have for collectors and design
fans. About the series Bibliotheca Universalis - Compact cultural
companions celebrating the eclectic TASCHEN universe!
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