Posts Tagged ‘Eero Saarinen’

Architecture | Design | Objects des Architects

Friday, November 23rd, 2012

Arts Décoratifs du XXe siècle & Design Contemporain
Sotheby’s
Paris, France
Exhibition: 22nd, 23rd, 24th & 26th November, 2012
Sale: 27th November, 2012

If it isn’t a contradiction in terms, the phenomenon of modern architects creating furniture, and sometimes decorative items, for use in the buildings they design and elsewhere might well be termed a ‘tradition’. And the importance of this tradition is confirmed in the upcoming Arts Décoratifs du XXe siècle & Design Contemporain sale at Sotheby’s, Paris, which features items by, among others, Le Corbusier (with Pierre Jeanneret), Gio Ponti and Tadao Ando: architects whose work overlapped in a time span stretching from early 20th century modernism, through mid-century modern to whatever label we’re currently attaching to 21st century contemporary.

Sir Norman Foster, and Foster and Partners, responsible for many of the world’s key buildings of the last 30 years have designed sofas, lamps, bookcases, door handles and even sanitary ware for a range of clients, including Knoll, Molteni & Co, Acerbis and Nomos. There’s even a Gherkin lamp available from Kundalini. If modernism hadn’t already caught up with the future, Zaha Hadid’s and Amanda Levete’s respective oeuvres might still be referred to as futuristic. Zaha Hadid ArchitectsZ-Scape Furniture, designed in 2000 and produced by Sawaya & Moroni, is an ensemble of lounge furniture, whose forms derive from geology, glaciers and natural erosion but the company has also created equally-arresting and sculptural vases, lamps and tables. At Future Systems and currently, at AL_A, Levete has produced sinuous benches for Established & Sons and, in collaboration with Phillips, lighting, notably the Edge light. Always keen to control every aspects of the furnishing of his interiors, John Pawson, too, has had several of his spare furniture pieces produced by Driade. Common amongst all of the products created by these architects is quality design and a high degree of craftsmanship.

The fine, glazed earthenware Classical Conversation/’L'architetto’ bowl included in the Sotheby’s sale was produced by him around 1924, just one year after Gio Ponti began his career as an architect, during a period when he was influenced by and associated with the Milanese, neo-classical Novecento Italiano movement. Ponti would go on to become one of his country’s most important 20th century modernist architects, industrial designers, artists and publishers – he founded and was twice editor of Domus magazine. Building offices for Fiat during the war years, the attention attracted by his Pirellone/Pirelli Tower (completed, 1960), in Milan, earned him worldwide fame and international commissions, including the Denver Art Museum, 1971. His renowned furniture designs for Cassina include the 1957 Superleggerra/Superlight chair, and he produced lights for, among others, Artemide and Fontana Arte.

Le Corbusier – still probably the most famous architect in the world, and certainly of the 20th century, his array of built work too vast and familiar to list here – and his cousin Pierre Jeanneret’s wood and partially grey lacquered free-standing cabinet, was made in 1927, having been designed for The Poplars/Maison Guiette residence. Built by the practice in Antwerp, the house is an early and classic example of the International Style. Having been joined by Charlotte Perriand, Le Corbusier and Jeanneret presented their new concepts in furniture design at the 1929 Paris Salone d’Automne. That same year, Ludwig Mies van der Rohe, whom Le Corbusier had probably met, along with Walter Gropius during a sojourn in Berlin, created the Barcelona chair for his avant garde German pavilion at the Barcelona Exposition. Although only two Barcelona chairs were made for the exposition, the design was put into production and became so popular that, with the exception of a sixteen-year period, it has been continuously manufactured. Earlier, In 1908, Le Corbusier had studied architecture under Joseph Hoffman in Vienna – himself an architect who loved to design furniture – and would have been familiar with Hoffman’s designs, based famously on the square, and particularly the Kubus chair, 1910, which was almost certainly an influence on his and his co-designers’ very cubic Grand Confort armchair, albeit the construction is entirely different. Centre-piece of the Salone d’Automne show, the famous design was reissued by Cassina in 1965. The company makes some fourteen other Le Corbusier furniture items, including the equally familiar LC4 chaise longue and LC6 dining table.

In a kind of reversal of the process, in 1924, furniture-maker, Gerrit Rietveld built the Rietveld Schröder house and filled it with objects he designed. When Eileen Gray, famous for her sumptuous Art Deco lacquered screens suddenly became a modernist convert, she built her exquisitely modern home, Villa E1027, designing for it radical, but equally luxurious pieces that required production by skilled craftsmen. Her Bibendum chair, originally created for the the rue de lota apartment in Paris, in 1925, lay largely forgotten until an original re-surfaced in a 1972 auction, which prompted a new production of the design classic. Eero Saarinen, studied sculpture in Paris and architecture at Yale before working on furniture design with Norman Bel Geddes and practicing architecture with his father, Eliel. His furniture for Knoll includes dining and low tables, the Executive chair, the Tulip chair, and the Womb chair and ottoman.

During the 1980s, when Alberto Alessi took over the management of the Italian Alessi kitchen utensil company, he began collaborations with designers, and especially with architects, to produce high-end, exclusive products. Among the best known of the company’s product range from this period are Richard Sapper’s kettle with a two-tone whistle and Michael Graves‘ kettle with the bird shaped whistle.

By 1941, when future Pritzker Prize winner (1995), Japanese architect Tadao Ando was born, modern architecture was firmly on the world map. Having taken no formal training Ando travelled the world visiting buildings by Le Corbusier, Ludwig Mies Van der Rohe, Frank Lloyd Wright and Louis Kahn, then established Tadao Ando Architect and Associates in Osaka, in 1968. Strongly influenced by his traditional Japanese background his architectural style emphasises empty space to represent the beauty of simplicity, placing the inner feeling of a structure before its appearance. Working primarily in exposed cast-in-place concrete, from a formidable list of 154 completed projects, Ando is best known for The Church of Light in Osaka, 1989, The Pulitzer Foundation for the Arts in St Louis, 2001, and the Modern Art Museum of Fort Worth, 2002. Current projects include a mausoleum for fashion designer, Tom Ford. His minimal buildings are designed to contain little in the way of furniture, however he has lately collaborated with Danish furniture company Carl Hansen & Son on a project to develop a prototype chair honoring the aesthetic of the late Danish designer Hans Wegner, which will be available in 2013. In 2011, to mark their 90th anniversary, he created a limited edition vase for leading Venetian glassmakers, Venini, established in Murano in 1921. At an estimated sale price of €35,000-45,000, a set of three of these vases, all signed and dated and coming from a private collection in Germany, is included in the Sotheby’s sale.

Objects included in the Sotheby’s sale, from top
Tadao Ando
Set of three coloured glass vases in anthracite, red and ochre, 2011, for Venini
Estimate €35,000-45,000

Le Corbusier and Pierre Jeanneret
Wood and partially grey lacquered wood, double-sided cabinet, circa 1927
Estimate €12,00-15,000

Gio Ponti
Glazed earthenware bowl, Classical Conversation/’L'architetto’, 1924
Estimate €15,00-20,000

Photographs ©Sotheby’s/ArtDigital Studio

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Sculpture & Design | Harry Bertoia, Sculptor

Friday, December 9th, 2011


Forthcoming auctions of Harry Bertoia sculptures in the USA
Important Design Wright, Chicago. December 15th, 2011
Important 20th Century Design Sotheby’s, New York. December 15th, 2011
20th Century Decorative Arts Bonhams, New York,December 14th, 2011

My idea for this post – having noticed that many originals were coming up for sale in a series of auctions, all in the US – was to do something on collectable modern chairs. By chance, however, researching, I happened across Harry Bertoia’s sculpture work. His Diamond Chair furniture series are beautiful and ubiquitous, sculptural objects – somewhat easier on the eye than on the seat of the pants – but I have to admit it came as news to me that Bertoia was a sculptor and, more than that, a musician of sorts. It turns out that, initially, the chair design provided the cash that allowed the designer to develop his sculpture work; the artist discovered a way of making music with the sculptural objects, which are now being bought and sold for many thousands of dollars.

Born in Italy in 1915, aged fifteen Harry Bertoia emigrated with his parents to Canada, then to Michigan, USA. He went to college in Detroit and later to the Cranbrook Academy of Art founded by Finnish immigrant, Eliel Saarinen – father of Eero Saarinen – and intended as an American equivalent to the Bauhaus, in Michigan. Charles Eames had been a contemporary of Eero at Cranbrook, as had Ray Eames (then Ray Kaiser). Afterwards, Bertoia worked briefly with the Eames duo in California on designs for bentwood furniture. At Cranbrook Academy, he had also made the acquaintance of Florence and Hans Knoll and after working as a furniture designer throughout the 1940s, setting up his own business in 1950, he began work on his first chair for the Knoll company: the Model 420 Diamond. The now familiar design of chromium-plated steel was an instant best-seller; the royalty payments were huge; it and it’s variants remain marketed and produced by Knoll. Freed from the restrictions of having to earn a living by design, Bertoia now devoted himself exclusively to the sculpture work he had begun in the late 40s.

Produced during the 60s and starting out as an exploration of natural forms, the highly complex and labour intensive Bush Sculpture series resemble eccentric bonsai trees and are executed in wire or brass-coated iron that over time took on a green patina.

Watching and listening to Harry Bertoia – who died in 1978 – playing his sound sculptures on this You-Tube video, he looks totally relaxed, in his element, enthralled, strolling, never rushing, from one piece to the next – a one-man Balinese gamelan orchestra – gently stroking the metal rods of a tall piece, setting them in motion, striking what might be a table-sized gong then clashing the steel lozenges of another standing piece so as to combine the various sounds produced to create a minimal, ambient sort of unstructured music. A series of vinyl albums, Sonambient, were recorded, produced and released by the artist himself, who also designed their minimal packaging. In the late 1990s, Bertoia’s son, Val, rootling around in the barns in Pennsylvania that were used as studio space, discovered a large collection of unopened, album sets, which he sold for large sums. Some of the music was re-issued by a Japanese company and can be found at Discogs.

Images, from top
Untitled, Gong, 1965
Hand-hammered copper with applied patina
Estimate $200,000–300,000
Courtesy of Wright

Untitled, circa 1950
Steel
Estimate $60/80,000
Courtesy of Sotheby’s

Untitled, circa 1943
Copper and partially-painted steel
Estimate $50/70,000
Courtesy of Sotheby’s

Untitled
, circa 1960
Welded copper and patinated bronze
Estimate $50/70,000
Courtesy of Sotheby’s

Welded Wire Sculpture, circa 1955
Estimate US$5,000 – 7,000
Property from the Dorothy
& Marshall M Reisman Foundation
Courtesy of Bonhams

Bertoia Group, Courtesy of Wright

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