Jun
21

Jun
19

GIO PONTI, SUPERLEGGERA CASSINA UNIVERSAL CHAIR BY JOE COLOMBO K VICARIO CHAIR VICO MAGISTRETTI FOR PLIA CHAIR BY PIRETTI FOR A FIRST CHAIR DE LUCCHI FOR MENPHIS 1983 UMBRELLA CHAIR BY GAETANO PESCE 1995 CINECITTÀ CHAIR BY ENZO MARI

The history and evolution of the chair has determined and influenced at the same time the history of design. The chair between  all the objects that populate our visual landscape, is the summary of the principal values of its formal and functional industrial design.  The models that have become real objects of “cult” continue to be produced for decades by the  corporations that are increasingly running out of ideas. Our days are characterized by the collapse in consumption, and the design continues to be heavily penalized by the crisis of the Real Estate. The market seem to be influenced by globalization and also by the economic strategies of the multinational corporations. Industry and designers need to adapt to these new  dynamics, just to identify the new  successful  ideas. The Italian design is struggling to awaken from its torpor and to revive the Italian style that is recognized by the whole world.

Waiting for a new rebirth of ideas and cultural movements here is a roundup of unforgettable Italian “cult “ objects.     

GIO #PONTI, #SUPERLEGGERA FOR #CASSINA 1955

UNIVERSAL CHAIR  BY JOE #COLOMBO FOR KARTEL 1965 

VICARIO CHAIR VICO #MAGISTRETTI  FOR   #ARTEMIDE 1966 

PLIA CHAIR BY GIANCARLO #PIRETTI FOR ANONIMA #CASTELLI 1969

FIRST CHAIRDE LUCCHI FOR #MENPHIS 1983 

UMBRELLA CHAIR BY #GAETANO #PESCE 1995 FOR #ZERODISEGNO

CINECITTÀ CHAIR  BY ENZO #MARI FOR #MAGIS 2001

Jun
15

GIO PONTI Montecatini Chair 1935 JOE COLOMBO 4801 Chair 1965 LE CORBUSIER JEANNERET PERRIAN Lc4

The vintage triumphs not only in fashion but also in the collections of the 2012 design firms.
The reissues viewed at the last Milan Design week have been many, all linked by the use of technologies, innovative materials and finishes that allow great design icons of the past to be reborn according to modern requirements. This is not just a trend but a real cultural attitude that responds to real needs of industry and especially the market that loves to discover objects that have made the history of the modern design.
#Molteni & C has reissued some of the furniture designed by Gio Ponti, the great master of the 900 after a long selection and study of various prototypes, with the cooperation and signed an exclusive agreement with the Ponti family. They have redone the magnificent chair Montecatini (1935) which was part of the furnishings of the fanastic palace of Via Moscova  a Milano.

#Kartel among others, has reissued the 4801 chair designed by Joe Colombo in 1965 designed as plastic object was produced in those years only in wood, and now with the wisdom of Kartel is masterfully revived in plastic.

Great reissue also for  LC2 and LC4  the famous  chair designed in 1924 by Le #Corbusier, Jeanneret, Perrianda and produced now  by #Cassina.

All masterpieces that come back to live again in our homes and that help the Italian brands to export in the world.

 

Plenty of designers work to the sound of hip-hop, but the Milan based Martino Gamper may be the only one who follows its principles. He builds his works from fragments of other people’s furniture “the way musicians would sample something,” he says, Skyping from his studio in London. For his most famous project, called 100 Chairs in 100 Days and first shown in 2007, he amassed a vast store of used furniture. Then he broke those pieces down and assembled new chairs from their parts, allowing himself 24 hours to finish each work. Gamper, who is 40, started life helping out on the family farm in Merano, Italy. He was apprenticed to a local cabinetmaker at age 14, eventually became a sculptor in Vienna, then a drafting-table slave in Milan, and finally graduated from the Royal College of Art in London. His eureka moment came in 2001, when he and a roommate, fellow designer Rainer Spehl, needed to furnish a flat: “We kept finding furniture on the street, and it seemed natural to make something out of it.” They were invited to participate in an outdoor fair organized by the great Victoria and Albert Museum for decorative arts and decided to follow up on their idea, producing hybrids on the spot from old tables and chairs. “People could choose the elements … and we would make something ad hoc out of it,” Gamper remembers. “There was something there that I liked, that I said should be part of what design can be.” He also sees a “slightly political sense” in his methods, “showing the world what you can do with something that seems to have left the cycle of consumption.” More recently, as his career has soared, the “leftovers” he uses have sometimes gone upmarket. Gamper’s gallery in Milan, called Nilufar, which will be showing his $1,500 “PostMundus” chair at the Basel design fair, has acquired objects by the great Italian modernist Gio Ponti for Gamper to use as source material. Gamper insists that his “remixes” show respect for his modernist forefathers, but he also sees himself as very far from their vision of utopias midwifed by design. “I’m not designing to create a new future,” he says. “I’m kind of living today, with the past.”

Plenty of designers work to the sound of hip-hop, but the Milan based Martino Gamper may be the only one who follows its principles. He builds his works from fragments of other people’s furniture “the way musicians would sample something,” he says, Skyping from his studio in London. For his most famous project, called 100 Chairs in 100 Days and first shown in 2007, he amassed a vast store of used furniture. Then he broke those pieces down and assembled new chairs from their parts, allowing himself 24 hours to finish each work.

Gamper, who is 40, started life helping out on the family farm in Merano, Italy. He was apprenticed to a local cabinetmaker at age 14, eventually became a sculptor in Vienna, then a drafting-table slave in Milan, and finally graduated from the Royal College of Art in London. His eureka moment came in 2001, when he and a roommate, fellow designer Rainer Spehl, needed to furnish a flat: “We kept finding furniture on the street, and it seemed natural to make something out of it.”

They were invited to participate in an outdoor fair organized by the great Victoria and Albert Museum for decorative arts and decided to follow up on their idea, producing hybrids on the spot from old tables and chairs. “People could choose the elements … and we would make something ad hoc out of it,” Gamper remembers. “There was something there that I liked, that I said should be part of what design can be.”

He also sees a “slightly political sense” in his methods, “showing the world what you can do with something that seems to have left the cycle of consumption.” More recently, as his career has soared, the “leftovers” he uses have sometimes gone upmarket. Gamper’s gallery in Milan, called Nilufar, which will be showing his $1,500 “PostMundus” chair at the Basel design fair, has acquired objects by the great Italian modernist Gio Ponti for Gamper to use as source material.

Gamper insists that his “remixes” show respect for his modernist forefathers, but he also sees himself as very far from their vision of utopias midwifed by design. “I’m not designing to create a new future,” he says. “I’m kind of living today, with the past.”

Source thedailybeast.com

Jun
14

Multi Chair

 designed by
Joe #Colombo a cult figure for the audacity of his utopian projects. He studied painting at the #Milan Brera Academy while attending also Politecnico. After working in various fields of art, from painting to the informal production of furniture and objects, ihe is become devoted entirely to industrial production.
 
Joe #Colombo ” told:

“The possibilities presented by the extraordinary development of audiovisual processes are enormous…… Distances will no longer have much importance; no longer will there be any justification for the ‘megalopolis’….Furnishings will disappear…the habitat will be everywhere… Now, if the elements necessary to human existence could be planned with the sole requirements of maneuverability and flexibility…,then we would create an inhabitable system that could be adapted to any situation in space and time.

Source youtube.com

The iconic Red Blue Chair was designed by Gerrit Thomas #Rietveld  in 1917 and is still in production by #Cassina.  Among the aims of the movement De #Stijl (The #Style), founded by Rietveld, Piet Mondrian and Theo van Doesburg in 1918, is a commitment to design works consist of primary elements and balanced proportions so as to help create a sense of harmony in individuals. The visual language of the Neoplasticism  to be universal, is governed by the rules of classic gold and uses simple geometric shapes and primary colors, red yellow and blue: the art should reflect the mystery and the order in the universe, and permeate ‘human existence because “the goal of nature is man, man’s objective is style”.  All the colors of this chair obey o the De #Stijl dogma . The colors scheme is the first matter, yellow is the vertical movement of the sun, the blue sky is the horizon that contrasts with the yellow, and red is the union of the two, which occurs at dawn and dusk . De Stijl sees color in a construction material and not just a decorative element, each part contributes, in the tension of opposites, to be realized in a higher harmony ‘“the total artwork”. This virtual invisibility of the black supporting frame has the effect, certainly envisaged by Rietveld, of an apparent weightless suspension of the colored seat and backrest. He thus achieved an impression of the main ergonomic elements floating in space.

The iconic Red Blue Chair was designed by Gerrit Thomas #Rietveld  in 1917 and is still in production by #Cassina.  Among the aims of the movement De #Stijl (The #Style), founded by Rietveld, Piet Mondrian and Theo van Doesburg in 1918, is a commitment to design works consist of primary elements and balanced proportions so as to help create a sense of harmony in individuals. The visual language of the Neoplasticism  to be universal, is governed by the rules of classic gold and uses simple geometric shapes and primary colors, red yellow and blue: the art should reflect the mystery and the order in the universe, and permeate ‘human existence because “the goal of nature is man, man’s objective is style”.  All the colors of this chair obey o the De #Stijl dogma . The colors scheme is the first matter, yellow is the vertical movement of the sun, the blue sky is the horizon that contrasts with the yellow, and red is the union of the two, which occurs at dawn and dusk . De Stijl sees color in a construction material and not just a decorative element, each part contributes, in the tension of opposites, to be realized in a higher harmony ‘“the total artwork”.

This virtual invisibility of the black supporting frame has the effect, certainly envisaged by Rietveld, of an apparent weightless suspension of the colored seat and backrest. He thus achieved an impression of the main ergonomic elements floating in space.

Flo is a contemporary ethnic and refined chair. It owes its success to the contrast between form plastics and tribal motifs, expressed in a pattern of lozenges in a wicker seat and in the lining of the geometrical structure of tubular steel. In an ongoing dialogue between technology and creativity. For a collection of cutting-edge, #Driade license plate, which, in addition to the chair: stool, armchair and coffee table. All strictly for internal use. Despite appearances. Flo designed by Patricia Urquiola for @Driade

The lightweight and harmony of forms characterize Candy, chair of the linear and clean design. Designed Marco Maran for Parri, the new chair has a perimeter with absolutely no corners or edges for a final effect of incredible sweetness. The solid lines and fluid stresses on the edge of the shell with different thicknesses, the result of a sophisticated processing designed Digita il testo o l’indirizzo di un sito web oppure traduci un documento. Annulla

The lightweight and harmony of forms characterize Candy, chair of the linear and clean design. Designed Marco Maran for Parri, the new chair has a perimeter with absolutely no corners or edges for a final effect of incredible sweetness. The solid lines and fluid stresses on the edge of the shell with different thicknesses, the result of a sophisticated processing designed

Digita il testo o l’indirizzo di un sito web oppure traduci un documento.

Jun
11

Moore by Philippe #Starck for #Driade Moore is an armchair, with base and swivel seat in laquered nylon available in different  versions.  The original seat is characterized by a surface on which is grafted to the seat which looks like a flower in size extra large, a sort of little bell.

Moore by Philippe #Starck for #Driade

Moore is an armchair, with base and swivel seat in laquered nylon available in different  versions.  The original seat is characterized by a surface on which is grafted to the seat which looks like a flower in size extra large, a sort of little bell.

SURF  the relaxing polyhedric chair, designed by Pio & Tito #Toso for Rossi di #Albizzate, that offers numerous seating possibilities: from a chaise-longue to a sunbed.

SURF  the relaxing polyhedric chair, designed by Pio & Tito #Toso for Rossi di #Albizzate, that offers numerous seating possibilities: from a chaise-longue to a sunbed.

Source rossidialbizzate.it

Jun
09

In the first image you can see the Basket Chairs Designed by Vico Magistretti for De Padova. This fantastic chair is on sale at Convivio Milan (half price).

The second image depicts some posters prepared by the artists.

#Convivio is not just “shopping for a good purpose.”Convivio is a chance to act.

Source conviviomilano.it