The first American exhibition devoted exclusively to the work of one of the most influential and innovative figures of post-war French design. Featuring rare examples presented in historical living environments, the exhibition encompasses thirty unique pieces–many of which have never before been shown publicly–bringing to light the remarkable works of an oft-overlooked Modernist.
Born in France in 1925, Motte was part of a younger generation of post-war designers dedicated to an optimistic vision of industrialization and modern design’s ability to improve the lives of the masses. Following the reconstruction period, this group of designers embraced mass production as well as newer, affordable industrial materials as a means of realizing radically inventive forms.
A stolid devotion to contemporary forms, expressed using both traditional and newly invented industrial materials, established Joseph André Motte as one of the most visionary figures of his generation. Joseph André Motte: The Art of Living highlights the diverse breadth of materials that characterize Motte’s oeuvre and presents many of his most significant innovations in modern style. Featuring rare examples of Motte’s early work in rattan of 1954 to his transition to production furniture with Charron in 1958-60, the show is divided into two spaces that each focus on a distinctive period of this illustrious designer’s oeuvre.
Based on a 1954 Charron presentation, the first space will focus on Motte’s early work in plywood and rattan, and will feature a pair of the iconic 1949 Tripod Chairs and the 1954 rattan Sabre Chair, placed within a living room interior. These iconic designs exemplify Motte’s distinctive use of traditional techniques used to craft innovative modernist forms.
Motte’s designs for mass production and his experimentation with new affordable materials such as plastic, foam, and Formica will be represented in the second space, which will focus on Motte’s designs of the 1960s. This environment presents a 1960s chambre and includes a rare vinyl bed, the 1959 Light Table and a pair of nightstands made in luminous white opaline glass.
Joseph André Motte: The Art of Living, November 8 – February 9, at Demisch Danant, New York
Tadao Ando’s design for the Koshino House features two parallel concrete rectangular confines. The forms are partially buried into the sloping ground of a national park and become a compositional addition to the landscape. Placed carefully as to not disrupt the pre-existing trees on the site, the structure responds to the adjacent ecosystem while the concrete forms address a more general nature through a playful manipulation of light.
The northern volume consists of a two-storey height containing a double height living room, a kitchen and a dining room on the first floor with the master bedroom and a study on the second floor. The southern mass then consists of six linearly organized children’s bedrooms, a bathroom and a lobby. Connecting the two spaces is a below grade tunnel that lies beneath the exterior stairs of the courtyard.
Ando used the space within the two rectangular prisms as a way to express the fundamental nature of the site. This space reveals a courtyard that drapes over and contours to the natural topography. A wide set of stairs follows the sloping land into the enclosed exterior space and allows the light that penetrates through the canopy of trees into the sunken courtyard. This self-governing space represents the fold of nature that has been bound by the conditioned structures and become synthetic.
Narrow apertures have been punched through the façades adjacent to the exterior staircase and manipulate complex crossings of natural light and shadow into the interior spaces. The patterns provide the only amount of ornament to the simple rooms. Other slots are cut from various planes of the two modules to produce the same effect of complexity throughout the entire house.
Børge Mogensen’s widow, Alice, died recently. Since his untimely death in 1972, she had preserved the arrangement of the family’s house in Gentofte, as it was then. Bo Bedre magazine was invited to be one of the last allowed to visit the house before it was put up for sale, and was able to create a photographic document for posterity from a unique universe of old prototypes and carpenter willing details created by one of Denmark’s major designers.
Børge Mogensen died in 1972, when he was just 57 years old. From 1958 the family lived in the house at Soløsevej in Gentofte north of Copenhagen.
During his years at the Copenhagen School of Arts and Crafts the young Mogensen developed a close partnership with his mentor Kaare Klint and subsequently also assumed Klint’s approach to simple and functional furniture design. Later on Mogensen was to work as Klint’s teaching assistant at the Royal Academy.
Functional is the word which best describes Børge Mogensen’s design. The majority of his furniture was designed with industrial production in mind and is characterized by strong and simple lines. His true genius is to be found in his almost scientific analysis of the functionality of a piece of furniture.
A smaller but essential part of Mogensen’s work was the cabinetmade pieces, one of them being “the Hunting chair” from 1950 made by Erhard Rasmussen. A simple low easy chair with an oak frame from where the strong natural leather seat and back is stretched.
Other important pieces include “The Spokeback Sofa” designed in 1945, which with its lightness and simple, open construction differed from most sofas at the time, and “The Spanish Chair” from 1959, a low, robust easy chair.
LIFE republishes a series of photographs by photographer Frank Scherschel from a feature that ran in the March 1, 1957 issue of LIFE, at the same time that the architect’s signature achievement — the 38-story Seagram Building on Park Avenue in New York — was nearing completion.
Titled “Emergence of a Master Architect,” the LIFE article made clear from the outset that until the mid-1950s, “Mies was renowned chiefly among fellow architects and his revolutionary ideas were known chiefly through models, a few buildings in Europe and the work of disciples.
Emergence of a Master Architect, Photography by Frank Scherschel, for LIFE
“A chair is not just a seat — it is the key to the whole interior”
A documentary film about Ilmari Tapiovaara (1914–1999), by Artek
In March, Ludwig Mies van der Rohe’s Tugendhat Villa reopened after an $8.8 million, two-year reconstruction. Using family photographs, archival material, visiting Mies’ other buildings in the U.S. and Europe, the Tugendhat redesign team focused on, as Villa Director Iveta Cerna said “identifying authenticity.”
The Villa, built in 1930, was the family home of the Tugendhats only until 1938 when they fled the country due to World War II. Fritz and Greta Tugendhat worked closely with Mies, who designed the site-specific building to make excellent use of steel, glass and concrete, and flowing spatial srrangement. The building was not well maintained under communism. Many of the original furnishings and other elements went missing and structural work needed to be done. Work included removing things added in the years after the Tugendhats had left, as well as hunting down original furniture, and when those couldn’t be found painstakingly making exact copies. The result is a renewed near-perfect example of one of Mies’s “space must be felt” creations.
Tugendhat Villa, Brno, Czech Republic, by Ludwig Mies van der Rohe’s, via: Dwell
Heritage status defined the transformation of the modern architect’s only service station into an intergenerational community centre. It was necessary to cover and then restore the building, while allowing for integrating new mechanical equipment and power without affecting the heritage the building. The architectural interventions try to radicalize the inherent qualities of building by accentuating the formal simplicity, the continuity of the roof and transparency of the pavilions.
Ludwig Mies van der Rohe Gas Station, Nun’s Island, Montreal, Quebec, Conversion by Les Architectes FABG
In the late ’80s, before he became famous as a member of the Compton, Calif., gangsta-rap group N.W.A., Ice Cube studied architectural drafting at a trade school in Arizona. In the video, made for “Pacific Standard Time: Art in L.A. 1945-1980,” the sprawling Getty Institute-organized collection of exhibitions on the postwar Southern California art scene, Ice Cube tours the Eames House in the Pacific Palisades neighborhood, marveling at the resourcefulness of the husband-and-wife team.
“Got off-the-shelf factory windows, prefabricated walls,” he says, sounding as if he were admiring a tricked-out low rider. “They was doing mash-ups before mash-ups even existed.”
For the exhibition Ice Cube wanted to recreate this famous photograph by Charles Eames sitting on a rare 1953 DAT-1 Chair.
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