Carl Arne Breger is one of those designers that emerged in the fifties and sixties that served the industry exceptionally well by being both technically innovative and completely in tune with the expectations of the users. The Duett Pitcher and Juicer made a cameo in the cult series Space 1999.
Duett is now part of the permanent collection of the Museum of Modern Art (MoMA).
Carl Arne Breger was trained between 1943 and 1948 as a decoration painter and model maker at Stockholm’s Konstfack he started as a scene and billboard painter for Svensk Filmindustri. His design career started when in 1953 he joined Stig Lindberg at Gustavsberg.
Duett Pitcher and Juicer, 1957 (now out of production) by Carl Arne Breger, for Gustavsberg
In his brief but brilliant career, Joe Colombo (1930-1971) produced a series of innovations which made him one of Italy’s most influential Italian product designers.
The Acrilica lamp design came about from Colombo’s work on a hotel project in Sardinia in which he utilized the perspective of a counter-ceiling to produce a particular mode of indirect lighting. It is this idea that ultimately gives birth to the Acrilica lamp which utilizes a curvature of methacrylate to diffuse light indirectly.
The Acrilica lamp is included in the permanent collection at the Museum of Modern Art (MoMA).
Acrilica lamp, by Joe Colombo, for Oluce
In our first icon series on the Polaroid SX-70, the camera is described as an “instant design classic”. A film made by Charles and Ray Eames reveals in great detail how an image is made on the film, as well as getting inside the camera to show how “form follows function”. This film goes a long way to explain why the Polaroid SX-70 is a Design Icon.
In his brief but brilliant career, Joe Colombo (1930-1971) produced a series of innovations which made him one of Italy’s most influential Italian product designers. Elda was the first large chair to utilize a self-supporting fiberglass frame. Its seven sausage-like cushions, rotating base and generous proportions provide a great deal of comfort. This is one of Colombo’s first furniture designed and named after his wife Elda
The Elda lounge chair is exhibited at the Museum of Modern Art (MoMA) in New York and the Louvre in Paris.
Elda Lounge Chair, by Joe Colombo, An Original 1967 Joe Colombo Elda chair is available at City Furniture
From the 1920s to the 1940s Constantin Brancusi was preoccupied by the theme of a bird in flight. He concentrated not on the physical attributes of the bird but on its movement. In “Bird in Space” wings and feathers are eliminated, the swell of the body is elongated, and the head and beak are reduced to a slanted oval plane. Balanced on a slender conical footing, the figure’s upward thrust is unfettered. Brancusi’s inspired abstraction realizes his stated intent to capture “the essence of flight.” This particular conception of “Bird in Space” is the first in a series of seven sculptures carved from marble and nine cast in bronze, all of which were painstakingly smoothed and polished.
“Bird in Space” has broken the world auction record for a sculpture in 2005 by fetching $27,456,000 at Christie’s New York to an anonymous buyer.
Bird in Space by Constantin Brancusi
A set of first class UK stamps are to be issued in January next year commemorating ten icons of British design. The Royal Mail’s new series offers up a discernably nostaligic look at some British Design Classics, largely culled from the 1930s and 1960s. A “prestige stamp book”, issued alongside the stamps, will provide a more extensive background and history of the designs.
Google has made available images from LIFE magazine. The Industrial designer Raymond Loewy was the icon of the age and often photographed for lifestyle magazines as well as featured on the cover of Time. These images date from 1947 and 1948.
Raymond Loewy House, Palm Springs, California, USA, Photographed by Peter Stackpole, for LIFE
Ten principles defined Dieter Rams’ approach to “good design”:
Good design is innovative
Good design makes a product useful
Good design is aesthetic
Good design helps us to understand a product
Good design is unobtrusive
Good design is honest
Good design is durable
Good design is consequent to the last detail
Good design is concerned with the environment
Good design is as little design as possible
Back to purity, back to simplicity
In 1971 Braun introduced the AB1 Alarm Clock, designed to do what is required — keep accurate time and wake you up in the morning — no more no less. By adhering to design principles, Dieter Rams and Dietrich Lubs, created an icon of modern design.
For nearly 30 years Dieter Rams served as head of design for Braun until his retirement in 1998. He continues to be a legend in design circles and most recently designed a cover for Wallpaper* magazine. Many of his designs — clocks, coffee makers, calculators, radios, audio/visual equipment and office products — have found a permanent home at many museums over the world, including MoMA in New York.
Braun AB1 Alarm Clock, by Dieter Rams, Dietrich Lubs, 1971, for Braun
Designed by Mies van Der Rohe for the Bauhaus in 1927. The wicker-work for the chair was created by Lilly Reich, assistant to Mies Van Der Rohe. It is the Icon of Modern Furniture Design. This chair is one of the classics in the history of furniture. Bauhaus became a dominant force in architecture and the applied arts in the 20th century. The main theory was that all design should be functional as well as aesthetically-pleasing.
For over a century, wooden gabled grain elevators, known as Wheat Kings, have defined the Canadian prairies. They are faintly anthropomorphic, with a pointy head, sloping shoulders, and stout torso. But one by one, they are vanishing, going the way of the small-town railroad station and manned lighthouses.
The first grain elevator sprang up alongside the tracks of the newborn Canadian Pacific Railway at Gretna, Manitoba, in 1881-four years before Riel’s Northwest Rebellion. By 1933, close to 6,000 grain elevators dotted Manitoba, Saskatchewan, and Alberta. These simple and durable railside appurtenances became focal points in prairie social and economic life.
But the consolidation of small farms into mega-farms and the abandonment of railway branch lines spell the end for the traditional elevator. Today’s farmers increasingly ship their grain by long-haul tractor-trailer to regional “high-throughput grain handling centres” where super-efficient, steel and concrete plants each do the work of a dozen old-style elevators.
Fewer than 1,200 prairie cathedrals remain standing, a handful may survive as heritage artifacts. The rest will succumb to demolition crews.
Flickr Set: I Love Grain Elevators