Posts Tagged ‘Aram Store’

Interview | Philippe Garner on Aram on Kuramata

Friday, May 16th, 2014

Solaris, 1977
Set of drawers. Original production by Ishimaru Co Ltd.
Painted wood
with metal base in anodised aluminium.
Estimate €50,000 > 70,000

Mouth to Mouth Interview
Philippe Garner, Christie’s International Head of 20th Century
Decorative Art & Design interviews owner / manager of
the Aram Store, London, UK – established in 1964 –
Zeev Aram OBE

Born in Israel and having relocated to London in 1957 to study design, Zeev Aram opened an office and retail showroom in London’s King’s Road in 1964. It was the first in the UK to sell the work of iconic modern designers including Achille Castiglioni, Marcel Breuer, and Le Corbusier. Aram also holds the worldwide licence for Eileen Gray. Mostly gathered by him in 1981 on the occasion of the first exhibition dedicated to the Japanese designer Shiro Kuramata in Europe, the 19 pieces in the forthcoming sale at Christie’s in Paris come from Aram’s personal collection, where they have remained for more than 30 years

Philippe Garner | This packing list of the Shiro Kuramata pieces shipped from Tokyo to London in 1981 for your exhibition reminds me of how many years ago it was that you connected with him. How did you meet him?

Zeev Aram | I was introduced by a mutual friend, the architect John Pawson, who had been working in Japan. I met Kuramata when he came to London in 1980. Then I went to see him in Tokyo; we spent four days together. He was a wonderful host. We went to Kyoto and all over the place. And I chose whatever we should show; the exhibition was the result.

Was that his first showing in Europe?


And what sort of exposure had he already had in Japan?

Quite good but not enormous. People like Isozaki and Issey Miyake – the guys at the top of fashion, design, and architecture – knew of him because he was really exceptional, the way he designed things, especially interiors, the most fantastic interiors, which was unusual. On my visit to Tokyo, we went to a small, perfect sashimi bar he had created. It could only accommodate a very small number of people. It was so pure, a wonderful space.

Kuramata was received there like a God – in the nicest possible way. It was the same in Kyoto, because they don’t give private rooms so easily to people in these very old inns, with the Geishas serving you. So he was known, but within a certain community.

So it was within a relatively small, informed circle. He wasn’t a commercial success at that stage.

No, the bigger recognition came later. I have an invitation to his exhibition at the Hara Museum of Contemporary Art in 1996, fifteen years after my show.

So was your exhibition the most extensive exhibition of furniture that he had put on at that stage?

Abroad, certainly. It was anyway the first substantial one.

OBA-Q lamps, 1972
Set of drawers. Original production by Ishimaru Co Ltd.
Painted wood
with metal base in anodised aluminium.
Estimate €50,000 > 70,000

Furniture in irregular forms, side 1, 1970
Set of drawers. Original production by Aoshima Shoten Co Ltd.
Painted birch, Formica and aluminium, mounted on casters
Estimate €50,000 > 70,000

You have kept for over thirty years the majority of the pieces that you showed in 1981. Was it because you found no takers, and would you have staged it anyway, for the furniture’s sake, if you had realised it would not be a commercial success?

Was it a commercial exercise? In a roundabout way, like my initial interest in Eileen Gray. I took my chance, and I said I like it and if I like it, hopefully some people will like it. We re-ordered some pieces from Japan, but I knew that I could not produce these models. I rely on manufacturers and because of the complication of his designs I knew it would be horrendously expensive. Anyway, to give a short answer, my prime interest was in his designs and his products; we sold some, but by no means a significant quantity.

Did you then make the conscious decision that, having tried, enjoyed the experience, realised it wasn’t the right commercial moment, you were just going to put the collection out of sight?

Well, what also happened, unfortunately, is that he died. He died quite young, in 1991. He wrote me the most wonderful letter in 1988 – by then he allowed himself to call me Zeev; before that it was always ‘Dear Mr Aram’ He wrote, ‘In the oriental expression, you dug a well for me. I’m very grateful for your kind collaboration. The exhibition triggered a new book, with an essay by Ettore Sotsass. Interesting. My exhibition was well received.

So you had a good critical response. I love the reference here, ‘On show at Aram Designs is a collection of furniture… in the middle of the great Anglo-Japanese love affair which has been consuming London,’ The Architectural Review, September 1981. Do you have any particular favourites among the collection?

He had a period when he was obsessed with drawers. Then he produced the 49-drawer cabinet and I said, ‘This one is very odd.’ I could see the mathematical progression, because the diagonal is made of squares that change proportion sideways. And he said, ‘That’s the only way I could solve it to make it attractive. Every time we face drawers we decide what to put where, but in this instance the drawer also has a say, because if I want to put in a shirt here, I can’t, but if I want to put the pants, I can put, you know? So the size matters.’ So I say, ‘OK it’s very, very Zen and interesting,’ and we laughed.

But that was a period when he was really obsessed, literally obsessed with containers, drawers, and how we live our life in them. You put things [in them] from your own momentary intimacy, which are sometimes left there for years and it becomes a memory bank, a part of your biography. And we are not doing it consciously. We are just putting things in there and forgetting them.

So he invites the drawers themselves to play a part in the process?


Can you recall other interesting comments that he made?

Maybe I shouldn’t tell you this – I said, ‘Listen, the Japanese are so well known for joinery joints because of all the houses and beams so beautifully pieced together, almost like a puzzle, and they just put the peg in and the whole thing is held together, so how come the furniture, especially the drawers, [are] made in such an unusual way?’ And he said, ‘What do you mean, unusual?’ And I replied, ‘Well, we don’t do drawers like this, with nails and so on.’ And he asked, ‘Oh, how do you do it? At the exhibition opening, he was accompanied by three gentlemen, and they were the managing directors or the owners of the glassworks, the joinery, and the metalwork companies, respectively. And they came out of respect for him. In the evening when we prepared the layout, each of them had an apron on; they put them on over their beautiful suits, and they were handling the furniture. I said ‘My God, if these were Italians they would be stood a mile away.’ So he said, ‘Do me a favour; please see Mr Aoshima tomorrow.’ And I said ‘OK, “OK, but I’m not a joiner.’ And so we had this quick session the next day, when I went and showed him [Aoshima] how you use dovetails – he didn’t know what a dovetail was – though once I showed him he understood. Or secret dovetails, where you don’t show the ends. When it came to modern furniture they kept absolutely to the design but the details of manufacturing went back almost to model-making.

So what was visible was impeccable?


But I think the story is worth telling, because that’s what distinguishes your pieces from the later production pieces.

Yes, then of course there were the pieces produced by Cappellini, which people I suppose should know. The licensing to Cappellini came later, from 1987, but I don’t think Cappellini is doing it anymore.

Tell me about the 1985 ‘Homage to Hoffman’ chair

It’s very simple, the story is very simple. He considered Thonet to be one of the initiators of modern design and he knew that Joseph Hoffman designed the famous armchair for them. Not the coffee-house chair Model 14, which was the famous model, but this one. So he said, ‘Well, how can I somehow involve the spirit of Hoffman, pay homage to him, and at the same time tell everyone that this was the beginning of the beginning?’ So he took an original Thonet chair, wired it up and he set light to it. He incinerated it. Then he just polished it [the wire], that’s all.. And what remains is the wire, and just a trace of the original.

Where did this happen, where was the event?

In Japan. Also he says that only Issey Miyake and I have this chair. There are only two because he doesn’t want to produce any more.

So presumably, because they’re wrapped in wire in a very spontaneous way, the two chairs will not be identical?

No, they couldn’t be.

So the chair was an artistic happening, a conceptual event.

Let me tell you a story about the wiggle form of the tall drawer cabinet. Apparently Isozaki had two made. And Shiro went to visit him and saw that Isozaki put them symmetrically against the wall, not near the wall but with drawers facing the wall, not facing into the room. And he asked Isozaki why they were facing the wall, did he not want to use the drawers? Isozaki said, ‘Because I want to experience the shape going around it.’ Such a Japanese expression! Just to go around it to experience the shape. Because it was two different shapes, if you go this way or that way.

Had he made a mirror pair?

No, two of the same.

I love Solaris; on those long legs it looks like an alien spaceship that has landed.

Yes, or like an oil-drill platform.

It’s wonderfully illustrative of the over-riding importance to Kuramata of the imaginative, metaphorical, and philosophical dimension of his creations.

Exactly. It was those qualities that made his designs so attractive to me all those years ago; and they have lost nothing of their exceptional character. Shiro Kuramata was a unique figure and I am very, very fortunate to have known and worked with him.

This is an edited version of an interview of 8th January, 2014, published in full in the catalogue Christie’s Design sale, Shiro Kuramata: Collection Zeev Aram, on 20th May, 2014, at their showroom in Paris, France. The pieces can be viewed there until May 20th

All furniture designed by Shiro Kuramata (1934 > 1991)
All images © Christie’s Images Limited 2014

Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that interests us, which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

Share this post
Facebook Twitter Linkedin

Design | Italy in Paris

Friday, April 4th, 2014

Osvaldo Borsani
Model at16 coatstand
in leather, brass and walnut
Produced by Tecno, 1961
Est €6,000 > 8,000

Italian Design
PIASA Rive Gauche
Paris | France
Exhibition: 10th April > 14th April 2014
Sale: 15th April 2014

In the 1980s London fell in love with design. It was cool to kit out your home with slick and beautifully made contemporary Italian furniture and lighting from Zeev Aram and newly-established shops, such as Atrium, and The London Lighting Company. From its launch in 1983, the names of architects and designers Vico Magistretti, Achille Castiglioni, as well as that of Ettore Sotsass, figured regularly and prominently in the British magazine Blueprint. At about the same time, and although I and other like-minded Londoners spoke no Italian, we began subscribing to, and each month poring over, great-looking Italian architecture and design magazines. Domus was one, Abitare another – the latter art directed and edited by the legendary Italo Lupi (former art director of Domus) in which the work of the designers mentioned above would also feature, alongside that of Carlo Mollino, Gio Ponti (Domus’s founder) and Piero Fornasetti – each still relevant but more representative of an earlier era. However the list of lots in PIASA Rive Gauche’s forthcoming auction, reveals other important Italian figures, who are perhaps less familiar, or were lost in translation, and also includes anonymous pieces.

After training as an architect and designer, Osvaldo Borsani (1911 >1985), see image top, joined the family furniture-making business Atelier Varedo (later Arredamento Borsani). Very prolific as a designer of storage furniture and seating, in 1953 with his brother Fulgencio, Osvaldo founded the technology based company, Tecno, which still exists and is a well-known producer of innovative furniture for offices and public buildings.

Unknown designer
Sofa in wool and brass, c 1950
Est €18,000 > 25,000

Ico Parisi
Suite of six chairs
in painted wood
and leatherette
c 1955
Est €6,000 > 9,000

Ico Parisi’s (1916 > 1996) style epitomised the modern Italian look of the 1950s. Trained as architect, he spent time in the 1930s as a film-maker and went on to design everything from interiors to jewellery, sometimes working with his wife, Luisa, a former student of Gio Ponti.

Pucci de Rossi
Rocking chair
in steel, prototype, 2001
Est €10,000 > 15,000

Born in Verona, Italy, artist, sculptor and designer, de Rossi (1947 > 2013) lived and worked in Paris from 1979. Post-modern by nature, rather than producing useful functional objects and furniture, he sought to imbue his creations with imagination, humour and irony.

Trolley in metal and wood
One-off piece, designed for a
Milanese apartment, 1959
Est €4,000 > 6,000

Set up in Milan in 1932, BBPR was a studio of modern movement architects, planners and designers, composed of Gian Luigi Banfi, Ludovico Barbiato di Belgiojoso, Enrico Peressutti and Ernesto Nathan Rogers, who were responsible for the post World War II reconstruction of the city. They produced chair designs for Arflex – now back in production – and BBPR’s Olivetti showroom on Fifth Avenue, New York City (1954), is regarded as among the most innovative small-scale projects of the period.

Pierre Cardin
Table lamp in metal and glass
Produced by Venini c1970
Est €3,000 > 4,000

Significantly, because the Italian approach to production of furniture and lighting has always been crafts-based – which attracted designers from around the world to produce work for or with Italian companies – the PIASA Rive Gauche Italian Design sale features pieces by non-Italians, including, appropriately – it taking place in Paris – Frenchman Pierre Cardin (1922 >), who happens to have been born in Italy.

Tell us what you think
The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

Share this post
Facebook Twitter Linkedin