The upcoming Important Design Auction at Wright includes this rare lamp, designed for the 1958 Venice Biennale. This example comes from the collection of Maruizio Albarelli, the director of Vetri Seguso d’Arte. Sold with original framed drawing and framed vintage photograph of this work.
Floor Lamp, by Flavio Poli, Exhibited: Venice Biennale, 1958, Italy, Estimate: $20,000–30,000, Auction at Wright
An unambiguously future oriented rendering of a ‘traditional’ clock and barometer combination (no reason to suppose that the future should not contain inconstant atmospheric conditions). Figures set in Akzidenz provide a connection to the earliest phase of the Braun programm, when it was first adopted as the corporate typeface. Beautifully sealed up within these perspex vitrines. Domoset is wall-mountable. Clock and barometer swivel in their cases to permit a vertical or horizontal arrangement; they can be removed altogether and hung independently. A detachable stand allows use as a desk set. The domoset forms part of the first analogue wall clock series, formed of domodisk, domo fix, domo flex and domo desk.
Braun AB 21 domoset, by Dietrich Lubs, Available at das programm
In the year 2008, the American designer George Nelson (1908-1986) would have celebrated his 100th birthday. To commemorate this occasion, the Vitra Design Museum exhibited the first comprehensive retrospective of his work. Nelson was one of the most influential figures in American design during the second half of the twentieth century. With an architectural degree from Yale, he was not only active in the fields of architecture and design, but was also a widely respected writer and publicist, lecturer, curator, and a passionate photographer. His office produced numerous furnishings and interior designs that became modern classics, including the Coconut Chair (1956), the Marshmallow Sofa (1956), the Ball Clock (1947) and the Bubble Lamps (1952 onwards).
As design director at Herman Miller, a leading US manufacturer of modern furniture design, Nelson had a major influence on the product line and public image of the company for over two decades. He played an essential role in bringing the company together with designers such as Charles Eames, Alexander Girard and Isamu Noguchi. Early on, Nelson was convinced that design should be an integral part of a company’s philosophy, and by promoting this viewpoint, he also became a pioneer in the areas of business communication and corporate design.
As an architect, designer and writer, Nelson was deeply interested in the topics of domestic living and interior furnishings. In the bestselling book Tomorrow’s House (1945, co-authored with Henry Wright), he articulated the groundbreaking concept of the “storagewall”. The walls of a house, Nelson explained, could be used to store things by transforming them into floor-to-ceiling, two-sided cabinets. A revolutionary idea at the time, it anticipated the flood of consumer goods that the economic boom in the western world would soon produce, turning the single-family home into a small warehouse.
Nelson designed several private homes, including a New York town house for Sherman Fairchild (1941, together with William Hamby) and Spaeth House on Southampton beach (1956, together with Gordon Chadwick). As a committed proponent of industrial building methods, Nelson published numerous texts on the topic of prefabricated architecture. In the 1950s he developed the “Experimental House”, a modular system of cubic volumes with Plexiglas roof domes which owners could assemble into personal habitations according to their own spatial requirements.
In addition to his preoccupation with architecture and the domestic interior, Nelson intently pursued the topic of office furnishings. Besides designing the first L-shaped desk, he played a major role in the development of Herman Miller’s Action Office, and in the 1970s he created his own office system, Nelson Workspaces. Similar to Nelson’s home furnishings and experimental architecture, this system was based on a variety of modular elements that could be freely combined.
The extraordinary diversity of design tasks taken on by the Nelson office extends far beyond the field of furniture design, although the latter forms the basis of his reputation today. Numbering among his clients were many large corporations including Abbott, Alcoa, BP, Ford, Gulf, IBM, General Electric, Monsanto and Olivetti, as well as the United States government. In his New York office, which he established in 1947 and ran for more than three decades, Nelson employed over fifty people at times, including familiar figures such as Ettore Sottsass and Michael Graves. Along with exhibitions, restaurant interiors and showrooms, George Nelson & Company designed kitchens, flatware and dishes, record players and speakers, birdhouses and weathervanes, computers and typewriters, company logos and packaging, rugs and tiles.
Anyone who has yielded to the luxurious embrace of an Eames lounge chair is well acquainted with its sensual and aesthetic pleasures but Charles and Ray Eames, the husband and wife team behind the enduring classic furniture designs are less familiar.
Their partnership and multifaceted careers — they’re credited with both reinventing the concept of the chair and putting the playfulness back into modernism — are explored in Eames: The Architect and the Painter, Jason Cohn and veteran broadcast producer Bill Jersey’s well-crafted, straightforward and insightful documentary. A must for those with an interest in modern design, the film’s portrait of an unconventional marriage during the 1950s, and the alchemy that fueled a professional collaboration between intensely creative personalities, who perfectly complemented one another, should extend its appeal beyond the ranks of subscribers toArchitectural Digest and Dwell.
Narrated by James Franco, the First Run Features doc opens theatrically in New York and L.A. November 18, and will have its broadcast premiere December 19 as part of the PBS American Masters series.
Described by those who knew them as a union between “a painter that didn’t paint and an architecture school drop-out who never got his license,” the pair initially dedicated themselves to a utopian vision of promulgating beauty to a broad audience through high quality, low cost, mass produced furnishings. Together they helped transform 20th century design in the post-war era.
A photographer, furniture designer and a filmmaker who made over 100 shorts including the much imitated Powers of Ten, Charles was a charismatic, workaholic visionary driven by a voracious intellectual curiosity. Their Venice, California studio, likened to a circus and Disneyland by those who reminisce about working there, was built on the model of Renaissance art studio with the master at the top of the pyramid and a host of talented assistants executing his vision.
Not surprisingly, Charles often overshadowed his wife but the film goes to some lengths to correct the misperception that he was the only Eames who counted. A painter with a keen design sense, exceptionally gifted in the realm of color and a notorious perfectionist, Ray’s aesthetic contributions to the design process were crucial to their success, a fact not lost on her husband who once acknowledged, “Anything I can do, she can do better.”
She was also an obsessive collector and maker of notes on cigarette papers. Her illustrated letters to Charles, along with some 350,000 photographs and voluminous documents archived at the Library of Congress, and shared with the filmmakers, are a delightful reflection of a teeming creative mind.
The doc incorporates archival photographs, television appearances, clips from Eames’ films as well as footage of the futuristic IBM Pavilion at the 1964 New York World’s Fair and the couple’s trendsetting Pacific Palisades home, perched on a bluff overlooking the ocean and filled with fine art and an evolving collage of objects and contraptions that caught their eye. Family members, historians, critics and fellow artists, who worked with or simply admired them, add pertinent commentary, while editor, Don Bernier, smoothly integrates a wealth of material and contributions by multiple lensers.
Buy it here: Amazon
Fifty years ago, the IBM Selectric typewriter was introduced to the public. In the 25 years that followed, more than 13 million of the typewriters were sold. The machine, designed by Eliot Noyes over a period of seven years, transformed typewriting by allowing the use of different fonts and dramatically increasing the speed at which most people could type. Unlike other typewriters, which struck the paper with hammers, it used golf ball-like type heads embossed with a full set of alphanumeric characters. The ball zipped along in close proximity to the paper, tilting and rotating as necessary to lay down characters on the page almost instantly. Thanks to that head, the typewriter was the first of its kind to eliminate carriage return.
The aesthetic design of the Selectric was the responsibility of Eliot Noyes, an architect and industrial designer who served as consulting design director to IBM for 21 years. Noyes drew on some of the sculptural qualities of Olivetti typewriters in Italy. The result was a patented, timeless shape, and a high-water mark for IBM’s industrial design and product innovation.
The US Post office has included the Selectric in the new series of stamps in honor of Pioneers of American Industrial Design.
In this fresh look at the work of Charlotte Perriand (1903-1999), the Petit Palais reveals for the first time the part played by photography in her creative process, both as a source of inspiration and sometimes as an actual component of her pieces. When she joined the Le Corbusier/Pierre Jeanneret studio as furniture design associate in 1928, she at once began using photography for her preliminary studies, then as a means for observing the “laws of nature” — in the mountains, especially — and the urban context. This provided her with inspiration for her experiments with forms, materials and spatial arrangements. The exhibition also particularly emphasises her passion for objects found in the course of her walks; in their distancing of the rationalist spirit of the 1920s, these brought greater flexibility and formal freedom to her work.
Charlotte Perriand 1903-1999: From photography to interior design
April 7 – September 18, Petit Palais, Musée des Beaux-Arts de la Ville de Paris
Wright is set to auction this sofa designed by Alexander Girard for Herman Miller client, Braniff International Airways. Signed with applied inventory label to leg: [Braniff International Airways Property No. 107089].
Sofa, model 66303, by Alexander Girard, for Herman Miller, 1967, Auction at Wright, Estimate: $6,000–8,000
Wright is set to auction a spectacular set of clocks designed by George Nelson for the Howard Miller Clock Company of Zeeland, Michigan.
Triangle Wall Clock, model 2225A, 1955; Clocknik Table Clock, model 2270, 1959; Wall Clock, model 2237, 1957; Platter Wall Clock, model 2274A, 1959, by Howard Miller Clock Company, Auction at Wright
Cassina presents two new re-editions of the iconic 699 Superleggera chair designed by Gio Ponti for the Cassina I Contemporanei Collection. Alongside the current natural ash-wood, black lacquered and white lacquered chairs with an Indian cane seat, new variants taken from Cassina’s late 1950’s production are available with colourful padded seats in removable leather or fabric. This version, with 450 possible combinations, has a natural ash-wood frame that can be open pore varnished in black or white, elegantly revealing the true essence of the wooden structure. The second re-edition, inspired by a model designed by Ponti in the 1950’s for exhibitions but which was never serially produced, has a stunning bicolour black and white lacquered frame and padded white or graphite leather seat. “In the darkness” said Ponti “it will be even lighter because it will be supported by just two legs”.
Gio Ponti regarded the Superleggera chair as one of his three masterpieces (together with the Pirelli Tower in Milan and the Concattedrale of Taranto). It represents a symbol of perfection and balance between solidity and lightness, with a triangular section of just 18 millimetres and a minimum weight of 1,700 grams. It is the fruit of Gio Ponti’s research and the experimental and creative ability and expertise of Cassina and its craftsmen, who have produced this chair non-stop since 1957.
699 Superleggera Chair, by Gio Ponti, for Cassina
Gio Ponti (1891–1979) was one of Italy’s most influential designers whose work includes automobiles, furniture, interiors, and buildings. Working in a multitude of materials, he is a pivotal figure in the history of twentieth-century architecture and design, and his work continues to inspire young designers who are increasingly rediscovering it today. This expansive and exhaustively researched monograph chronicles the complete spectrum of Gio Ponti’s output, from early ceramic work as design director for Richard Ginori to his last and most famous architectural works, Milan’s Pirelli Tower and the Museum of Modern Art in Denver. Also featured are Ponti’s automobile designs for Alfa Romeo, interiors for Italian luxury liners, bathroom fixtures for American Standard, the famous Superleggera chair for Cassina, and the Alitalia offices in New York.
Gio Ponti, Edited by Ugo La Pietra, Hardcover, 8-7/8 x 11, ISBN: 9780847832705
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Chess grand master Bobby Fischer specifically requested the Time Life Lobby Chair designed by Charles and Ray Eames while he competed in the World Chess Championship in Reykjavik In 1972. He said he could concentrate well in the chair. When his opponent Boris Spaasky saw it, he refused to play until he got one too. Vitra has produced a short video on this historical event.
Time Life Lobby Chair, by Charles and Ray Eames