When artistic creation seems to have lost all function and interest, creativity and inspiration are now in the design.
Or perhaps it is the new art?
SEVEN Table, 2016
Simple and with a strong visual impact.
ACORN Armchair, 2015
Extraordinary design, truly inspiring.
NOMOS Table, 1986
Table belonging to the furniture "Nomos", chrome steel structure and glass top, 1986. The legs are adjustable so that the height can be varied ...1
GRAFFITI Shelves, 1984
To install it, you do not need a drill, dowels, or screws, as it simply rests against the wall. Rubber parts, similar to the handlebars of bicycles, prevent the shelves from slipping.1
Table, early 50s
The support structure is the main element in the design of these tables. The organic design, sometimes of great dynamism, leaves the floor and ascends branching, until arriving at the top, multiplying the support points or anchorage points of it. The visual lightness of these three-dimensional structures is accentuated as the contact points with the floor and the anchorage points to the top are reduced to sharp points. Like everything beautiful, they catch our look and captivate it.
Table created in the early fifties. It was one of the first Italian furniture to be produced in the United States.1
EAMES Chair, 1950
Charles y Ray Eames
Designed for the "Low-Cost Furniture Design" competition organized by the Museum of Modern Art in New York in 1950.
HARDOY Chair, 1938
Jorge Ferrari Hardoy, Antonio Bonet y Juan Kurchan
The so-called "Hardoy chair", rounded steel skeleton with linen seat. The model picks up an earlier design that, as early as 1877, had been patented by Joseph Barly Fenby. It was first built at the beginning of the century in wood and was presented at the Universal Exhibition of San Luis in 1904. Around 1940, the Argentine architect and designer Ferrari-Hardoy developed, in collaboration with other artists, this well known metal version. After World War II it became one of the most successful models of the Knol company. 1
ZIG ZAG Chair, 1932-34
Seat with back and leg, a single shape repeated twice. Only one material, cherry wood.
BARCELONA Armchair, 1929
Mies van der Rohe
The Barcelona Armchair, together with the bean bag chair, were designed by Mies van der Rohe for the German Pavilion at the 1929 Barcelona International Exhibition.
"Less is more," Mies van der Rohe's most famous maxim is reflected in these two pieces. The supporting structure is reduced to two thin and elegant curved lines that intersect and get confused into the reflection of the chrome surface; so that the cushions appear to be floating in the air. The cushions, of traditional finish, are flat and simple volumes that combine the modern and the artisanal.
TUBE D'AVION Table, modelo LC6, 1928
Le Corbusier, Pierre Jeanneret y Charlotte Perriand
The conceptual idea of the horizontal plane as a support surface for writing, eating ... finds in the glass an ideal functional solution.
Le Corbusier believed that the materials and products of the industry were well suited for the modern housing equipment. They were functional, practical and had no unnecessary ornament.1
The diaphanous space under the desk is the main element of this design. In this space the wooden footrest is suspended, just like the desk itself, by a subtle and elegant metal structure, which tries to disappear after its own reflection and leave the space empty.
Female desk presented at the "Exhibition of bureaux de dames" which took place in Paris in 1928.1
WASSILY Chair, 1925
As in other early steel models, continuous nickel tube was used, but chrome tube was soon used to achieve 'Pure and gleaming lines in the inner space'. Marcel Breuer explained: ' In this shiny wavy line, not only a symbol of technique was was seen, but the technique itself'. In the early 60's, the Italian Dino Gavina managed to obtain from Marcel Breuer the rights to manufacture this chair. In Italy it is traditional that the furniture has its name and "Wasily" was born from model B3, as it appeared in the 20's catalog. This name was in memory of Wassily Kandisky, who was a teacher at la Bauhaus. Breuer had designed the chair for him.1
ALBERS BOOKCASE, 1923
Albers poses in this bookstore a vision of the Cartesian space. It makes an allegory to its properties of continuity and infinity by an indefinition of the positions of its elements within a marked vertical symmetry.
RED AND BLUE Chair, 1917
Rietveld proposes as a structural and formal rule of this design the use of three unique concepts: straight lines (black), planes and simple volumes. The lines exceed their own volume (yellow) with cartesian perpendicularity. And it seeks, in an experimental attempt, the ergonomics and the comfort in the inclination of the two support planes. (blue and red).
Rietveld was convinced that the chairs, tables and cabinets he built would become "abstract-real sculptures in the inner space of the future."1
HILL HOUSE Chair, 1903
Charles Rennie Mackintosh
Mackintosh makes this chair, as a unique piece, for the bedroom of the Helensburg Hill Houseen Villa. (Glasgow).
The chair was placed between two white cabinets, ... it had not been designed to serve as a seat but, at best, to put on the top hat, the hard neck and the cufflinks.1
Music Room Chair, 1899
Riemerschmid presents a chair without arms so that the musicians had more freedom of movement. Structurally, in search of rigidity and stability, it props up the effort that receives the backrest by tilting the back legs and tightening diagonally the front legs from the back with a very elegant curved shape. In a design in which no part is superfluous and all details are adapted to constructive and structural needs, it maintains the aesthetic taste of Modernism in harmony with its destiny.
Oak chair designed for the Music Room of the Dresden exhibition of 1899 ... The chair was declared as the most successful seat of German modernism.1
Wooden folding chair
Popular and humble, it is a functional design with the charm that brings you the natural material.
1 Diseño del mueble en el siglo XX. Klaus-Jürgen Sembach, Gabriele Leuthäuser y Peter Gösel. Editorial TASCHEN. 1989.