Among the most important furniture designs of the 20th century, Eames’ and Saarinen’s prize-winning entry for seating in the famous Organic Design in Home Furnishings competition held at the Museum of Modern Art, New York in 1941 was comprised of various armchairs, a sectional sofa and the present side chair. With their single-piece compound-moulded plywood seat shells, the chair designs were exceptionally innovative and signalled a totally new direction in modern furniture.
Charles Eames and Eero Saarinen chair from the Museum of Modern Art Organic Design Competition 1940 manufactured by Haskelite Corporation/Heywood-Wakefield (Estimate: $15,000–20,000) at Wright
Since the introduction of CAD drawings everything has been easier and more precise, but simultaneously more rigorous and rigid. What could never have been possible by hand can now be done with digital drawings. Even the most complicated forms and daring joints have become simple.
These are the More than good errors, sought not to make mistakes but to stimulate the search for fresh forms and slight distortions, minute misalignments, missing symmetries and so on. Because making mistakes also means searching when the answer is not clear; it means wandering in order to arrive. Error as the spring of composition can give rise to more surprising, sensitive and exciting objects.
The technique, dating from Etruscan times, is called bucchero. Using dark grayish clay, it is done in three exclusively manual phases. The piece is worked on the lathe, smoothed with boxwood sticks to polish its surface and baked at a high temperature.
The evident imprecision’s in the showcases are not only deliberate in their structure, but actually pursued with great effort, for they are very difficult to achieve. The attainment of slight obliquities entailed the use of advanced manufacturing technologies such as laser cutting and other numeric control systems normally adopted to get straight and absolutely regular lines. We had to examine them so carefully and to understand them so thoroughly that we could bend them to the accomplishment of our own more than good errors.
More Than Good Errors, Limited Editions, by Michele De Lucchi, for Design Gallery Milano
Z33 has presented an extensive exhibition entirely devoted to Studio Job. The Belgian gallery is continuing its journey exploring the edges between visual art and design.
Exhibition: Studio Job, at Z33
Georg Jensen silver from Denmark has a tactile quality all its own, probably because it is handmade. It gets only better with age, and the prices fetched at auction are also improving with age. Time to take a closer look of that Scandinavian silver tucked away in your closet.
Eel dish, model 1054, sterling silver, 1957, by Henning Koppel, sold at Objects D’affection auction for $102,000, at Wright
Gagosian has released an edition of 3000 porcelain puppy vases signed and numbered by the artist Jeff Koons. Having first made a splash on the contemporary art scene back in 1998, the design took cues from Koons’s mongo-sized puppy sculpture (1992), which was filled with over seventeen thousand flowers. “The vase is a symbol of love, warmth, and happiness,” says Koons.
A quirky gallery space in Japan with very thin walls.
Gallery Sakuranoki, Nagano, Japan, by Designer, for Hiroshi Nakamura & NAP
Selected architects and the class of the Städelschule art academy present a personal installation showing their associations with a red room. Each participant worked separately on their own presentation.
Exhibition: Ampelphase 3: raumrot, Vitra Showroom, Frankfurt am Main, Germany,
August 13 – September 6
Wallpaper* magazine is offering limited edition prints of their unique archive of work by Jonathan de Villiers, Mauricio Alejo, Jonathan Frantini, Christopher Griffith, Stefan Ruiz, Daniel Stier, Benedict Redgrove and Joël Tettamanti. Produced in editions of 10, 20 or 30 and signed and numbered by the artists. All of the works have appeared in Wallpaper*, having been commissioned especially for the magazine, but have never before been available to buy.
Wallpaper* Selects Limited Editions
Like a silk cocoon, 52 German design students have created a temporary exhibit. The entire space was created by lashing together over 1.3 million cable ties.
Windshape was an ephemeral structure commissioned by the Savannah College of Art & Design (SCAD) as a venue and gathering space near their Provence campus in France. Built by nARCHITECTS and a team of SCAD students over a period of five weeks, Windshape became the small town’s main public meeting space, and hosted concerts, exhibitions, and ceremonies. By varying the degree of tension in the string, Windshape can respond to the wind in several ways, from rhythmic oscillations to fast ripples across its surfaces. During heavy winds, Windshape moved dramatically, and made a hissing sound akin to dozens of jump ropes.