Le Corbusier, Assembly Hall (Chandigarh, India) Roof model (1964).
Plaster and painted wood
UNStudio (Ben van Berkel and Caroline Bos) Mercedes-Benz Museum Model (2001-2006) Stuttgart, Germany. Composite board, plastic and paint
Jürgen Mayer H, Mensa Karlsruhe Dining Hall model (2005-2006) Karlsruhe, German. Laser-cut polystyrene, glue, white airbrushed paint
Curated by Barry Bergdoll - the Philip Johnson Chief Curator of Architecture and Design – and curatorial assistant Margot Weller, Building Collections, at MoMA New York, highlights recent acquisitions made by the museum’s Department of Architecture and Design. Covering eight distinct themed areas that encompass the full range of the collection – which dates from 1890 to the present – the exhibition includes everything from delicate sketches by the likes of Heinz and Bodo Rasch (Suspension Houses Project) to the complete paraphernalia of the design process, such as the models, sketches and plans for UNStudio’s Mercedes Benz Museum in Stuttgart. The vast majority of pieces on display are being shown exclusively for the very first time.
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
This pioneering exhibition of approximately 180 objects from the collection of the National Museum in Warsaw, featuring the most important examples of Polish design, rarely seen in the west, explores the significance of the objects of everyday use in shaping modernity and the modern Polish identity emerging during the post-thaw period.
The collection of post-1945 design in the National Museum in Warsaw is the most comprehensive in Poland, and the exhibition benefits from it, showing a whole range of applied arts of the period, including ceramics, glass, textiles, furniture, and other household objects, periodicals, photographs, and films.
Polish Design 1955-1968: We Want to Be Modern, at The National Museum in Warsaw, February 4th – April 17th
A series of chairs named Moon will be shown at the Moroso showroom during the upcoming Salone Internazionale del Mobile in Milan. The chairs will be presented in an installation called Twilight.
“The installation Twilight, releasing the infinitive light rays in the white space, creates a scene as if the light breaks through the cloud, and the crepuscular rays pour into the ground. The crepuscular rays is a beatiful natural phenomenon known as angel’s ladder. This heavenly light profiles the chair Moon. The light reflects on the surface of the chairs and reveals the beauty of the textures exists in the various white materials.”
Exhibition: Twilight-Tokujin Yoshioka, by Tokujin Yoshioka, April 12 – April 17, at Moroso Showroom, Milan
At the Milan Furniture Fair Dilmos presents a series of mirrors that contain historical references combining the present with the past and that, like the nine lives of a cat, represents the possibility of inner lives. In the series 9 mirrors Ron Gilad suggests that the mirrored image contains a hypocrisy which reflects only our exterior selves. He is asking us to contemplate a more complex and poetic possibility of reality. The title, like the nine lives of a cat, represents the possibility of inner lives or the soul of the mirror.
Gilad’s mirrors are simple rectangular wooden frames that have been injected with stories. The reflection of the spectator is no longer only objective but contains more than the present. The functional aspect becomes secondary; the cords over the glass, the voided gilded frames and the bronze sconce in front of the user’s face are not here to decorate the mirrors. Some of the mirrors contain historical references combining the present with the past; a reference to other lives besides our own. Others play with structure, distorting our perception of the mirror as an object.
A retrospective of Ronan and Erwan Bouroullec’s industrial product design and architecture work arranged in six areas with more than 800 framed documents, drawings and photographs.
Lounge Chair. c. 1944. All rights reserved, Charles Eames and Ray Eames, 2011, United States. Molded plywood and steel rod, 28 3/4 x 30 1/8 x 30″ (73 x 76.5 x 76.2 cm). The Museum of Modern Art, New York. Gift of the designers, 1973.
Butterfly Stools. 1956. All rights reserved, Sori Yanagi, 2011, United States. Molded plywood and metal, 15 1/2 x 17 3/8 x 12 1/8″ (39.4 x 44.1 x 30.8 cm). Manufactured by Tendo Co., Ltd., Tokyo. The Museum of Modern Art, New York. Gift of the designer, 1958.
Lounge Chair. 1934. All rights reserved, Gerald Summers, 2011, United States. Bent birch plywood with pigmented lacquer, 29 5/8 x 23 1/2 x 35″ (75.2 x 59.7 x 88.9 cm). Manufactured by Makers of Simple Furniture, Ltd., London. The Museum of Modern Art, New York. Barbara Jakobson Purchase Fund and Peter Norton Purchase Fund and Gift of Robert and Joyce Menschel, 2000.
“Plywood,” explained Popular Science in 1948, “is a layercake of lumber and glue.” In the history of design, plywood is also an important modern material that has given 20th-century designers of everyday objects, furniture, and even architecture greater flexibility in shaping modern forms at an industrial scale. This installation features examples, drawn from MoMA’s collection, of modern designs that take advantage of the formal and aesthetic possibilities offered by plywood, from around 1930 through the 1950s. Archival photographs illuminate the process of design and manufacture in plywood. Iconic furniture by Alvar Aalto, Charles and Ray Eames, Eero Saarinen, and Arne Jacobsen appear alongside Organic Platters by Tapio Wirkkala (1951), Sori Yanagi’s Butterfly Stool (1956), an architectural model for a prefabricated house by Marcel Breuer (1943), and experimental designs for plywood in the aeronautics industry.
Exhibition: Plywood: Material, Process, Form, February 2 – Ongoing, at MoMA, New York
After an architectural training Jan Slothouber (1918 – 2007) and William Graatsma (1925) worked as architects / designers from 1955 for the Dutch State Mines (DSM). Here they designed the packing, product applications, advertisements and exhibitions and gave the company a recognizable face. Within the information service of DSM the two had an unique position: they could build their own world and developed the principle of cubic constructions. The cubic as a main point brought restriction but also clearity in the multiplicity of possibilities according to Slothouber and Graatsma. The use of several materials adds each time new aspects to the functioning of the cubic constructions.
With their work Slothouber and Graatsma had a clear social intention. The designers considered themselves in fact as ‘ anonymous ‘ discoverers of the many applications of cubics. In democratic passing these possibilities, in which the useful construction exceeds the personal, artistic claim, lies the meaning of their activities. On one hand their working method was entirely new, on the other hand it had been linked with an old idealistic tradition, which propagated an important role for art and design in society.
Cubics Jan Slothouber + William Graatsma, January 9 – February 27, at Vivid Gallery, Rotterdam, Netherlands
We assembled square planes to create a sense of motion in this series of objects. One part of the bookshelf is frozen in its cascade of tumbling shelves, creating variety in the way books can be stacked. The stool’s twist endows it with visual play. Lamps roll about but are stable, thank to their planes, and cast light in different directions. The table leans as though falling away, but maintains its function as a table, and makes objects placed on it seem to sink into its folds and sways. The different ‘movements’make balance and unbalance overlap, as though we are watching the planes themselves dance.