Favorite Picks: Wright: Modern Design

. Monday, March 25, 2013
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DAN JOHNSON's gazelle chair in sculpted aluminum




Wright opens their 2013 auction season with Modern Design, an auction featuring works by the most celebrated designers of the past century. These are my favorite picks.

EDWARD WORMLEY sofa for dunbar
POUL KJAERHOLM PK80 daybed
UELI BERGER, ELEANORA PEDUZZI-RIVA AND HEINZ ULRICH's organic sofa
ROBERT SONNEMAN Table lamps
Dezza sofa by GIO PONTI
coffee table by GIO PONTI
set of superleggera chairs by GIO PONTI
ARREDOLUCE floor lamp
Angelo lelli ceiling lamp
LUDWIG MIES VAN DER ROHE barcelona chair elevation for gerald griffith
(note the crisp and clean base intersection vs. knoll's below)
LUDWIG MIES VAN DER ROHE blueprint for knoll's barcelona chair
cloud sculpture by harry bertoia
a beautifully worn Jean Prouve compass table
A set of stitched leather chairs by jacques adnet
a rare desk organizer by paul mccobb
a rare set of donald knorr chairs for knoll with even rarer upholstery pads
A rare and intricate motion-notion clock by george nelson associates

Modern Design takes place in Chicago, March 28th.  See the full preview here.

Watch: Leslie Williamson's Handcrafted Modern Europe: At Home with MidCentury Designers

. Sunday, March 3, 2013
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Help Leslie make this book a reality! Handcrafted Modern Europe will feature an intimate look inside the homes of thirteen of the most important mid-twentieth century architects and designers in Europe, including Alvar and Aino Aalto, Bruno Mathsson, Finn Juhl, Carlo Mollino, and more.

Visit here for all the project details, and please share this post!



Listen: Gary Clark Jr.: Things are Changin' (Live)

. Sunday, February 17, 2013
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Just discovered him. Magic.

Happy Valentines Day!

. Thursday, February 14, 2013
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With its minimalist black-and-white style, the short follows the story of a lonely young man (George) in mid-century New York City, whose destiny takes an unexpected turn after a chance meeting with a beautiful woman (Meg) on his morning commute. Convinced that the girl of his dreams is gone forever, he gets his second chance when he spots her in a skyscraper window across the avenue from his office. With only his heart, imagination and a stack of papers to get her attention, his efforts are no match for what fate has in store for him.

Driven by a deep attachment to the hand-drawn, John Kahrs opted to shy away from the stylized photorealism of computer-generated environments instead opting to include the original pre-production drawings in the film. The final outcome emanates a nostalgic feel, generated by an expressive tonal scale and a touch of old-Disney charm. Kahrs manages to create a rich dimensional world that never breaks the spell of illusion, making us believe that it is really out there. In typical Disney style, the short strikes a chord with the eternal romantics by praising the power of big hopes and dreams while reminding us to never give up. Swept away by his determination to drop everything for the object of his affection, we found ourselves rooting for the Paperman, his unbreakable spirit and his never-ending will to succeed in the chase of the impossible. After all, it’s only the power of LOVE.


Via Yatzer.

Classic Spaces: Miller House

. Thursday, January 31, 2013
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Exterior detail of the Eero Saarinen/Alexander Girard/Dan Kiley masterpiece, Miller House, as captured by the late great photographer Balthazar Korab. See my earlier full feature on the Miller House and Garden here.

Throwback Track: Lords of the Underground: Chief Rocka: 1993

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Another trip back to the golden age of hip-hop.

Icons: Le Corbusier + Albert Einstien Hanging Out

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Back in 1946, Le Corbusier meet Albert Einstein at Princeton after traveling to New York to present at the United Nations his project for the UN Headquarters.

I had the pleasure of discussing the “Modulor” at some length with Professor Albert Einstein at Princeton. I was then passing through a period of great uncertainty and stress; I expressed myself badly, I explained the “Modulor” badly, I got bogged down in the morass of “cause and effect”… At one point, Einstein took a pencil and began to calculate. Stupidly, I interrupted him, the conversation turned to other things, the calculation remained unfinished. The friend who had brought me was in the depths of despair. In a letter written to me the same evening, Einstein had the kindness to say this of the “Modulor”: “It is a scale of proportions which makes the bad difficult and the good easy.” There are some who think this judgement is unscientific. For my part, I think it is extraordinarily clear-sighted. It is a gesture of friendship made by a great scientist towards us who are not scientists but soldiers on the field of battle. The scientist tells us: “This weapon shoots straight: in the matter of dimensioning, i.e. of proportions, it makes tour task more certain.”

- Le Corbusier, The Modulor (1954)

Via AwesomePeopleHangingOutTogether.

RAW Gallery of Architecture & Design presents: Y_WG: The Quiet Influence

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RAW Gallery of Architecture & Design presents Y_WG: The Quiet Influence. Curated by Craig Alun Smith, the exhibition (and forthcoming book) features an important collection of contemporary design by both emerging and established designers from the city of Winnipeg.

Excerpts from the curatorial essay:

Why Winnipeg? What is it about this place that fosters such a strong cultural community to flourish? How can a small Canadian city of only 700,000 inhabitants produce the likes of Neil Young, Marshall McLuhan, Gabrielle Roy, Lenny Breau, Guy Maddin, The Guess Who, Weakerthans, Carol Shields and Tyler Brûlé. The typical, “mytho-poetic” answer is that it has something to do with isolation and separation, a city on the vast open prairie landscape, alone at the centre of a cold continent. The myth tells of the remoteness and long harsh winters forcing the city’s inhabitants to band together for warmth and safety and somehow in this communal attachment, a great collective cultural conciseness is born. But that’s the myth, the one we tell because we don’t really know the truth. Could it be that the truth has just as much to do with broader interconnectivity? Winnipeg has always been a transportation hub, the gateway to the west. It has never truly been isolated. It is a city with a transient population; people come and go, we work and live in other cities but still call Winnipeg home, always maintaining a connection. Do these invisible connections allow the city to spread a tentacle like network out into the world connecting the city's cultural innovators to ex-pats and counterparts in major world centres? If it were simply a case of isolation creating great artists then Davis Inlet, Prince Rupert or Flin Flon would be the cultural capital of Canada.
......
Each generation of Winnipeg’s designers is forced to create its own path, to navigate on its own, to invent and reinvent itself over and over in order to move forward. We continually innovate, we continually create our own design language anew because with so few reference points to benchmark ourselves against we can not tell if we are failing or succeeding, Failure becomes irrelevant. We are always creating something new, our design vernacular continually shifts and we invent new languages based on our environment and understanding of place in the world. Winnipeg will always be on the periphery of the design world but this may be the advantage. Designers from established design centres such as Germany, Italy or Holland may have rich creative and cultural history on which to draw but this richness also forces them to design to specific languages in order to comply. German design and its functional, minimalist, Bauhaus-inspired aesthetic, Italian design, a balance between classical elegance and modern creativity, and Dutch design with its experimental, innovative, quirky, and humorous vocabulary – these are all national design identities but they are also limiting to some extent by the pressure to adhere to a specific design language. Canadian Designers and more specifically Winnipeg designers, have no such confinements. We can take inspiration from the outside world. We can take our inspiration from anywhere, and we do, because we have to, we have few reference points on the prairies. 

RAW Gallery of Architecture & Design is located at 290 McDermott Avenue.  The exhibition runs until February 16th.

Curated designers:
Roan Barrion
Ilana Ben-Ari
Michael Erdmann
Thomas Fougere 
Matthew Kroeker
Craig Alun Smith
Nils Vik

Competition winners:
Eduardo Aquino
Matt Barnlund
Ben Borley
Daniel Ellingsen
Stephen Grimmer
Evan Marnoch
Crystal Nykoluk
Zach Pauls
Claudine Perrott
Sean Radford
Renee Struthers


Many thanks to Jacqueline Young for these photos.







Spaces: Paris VI by Elodie Sire of D.mesure

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An amazing Paris home by Elodie Sire of D.Mesure. Labeled simply on their site as project Paris VI, this family home features a wealth of elegant architectural details, complimented by the perfect mix of vintage mid-century, brocante, and high-end contemporary design. The most notable pieces are the pair of Warren Platner lounge chairs, and a Campana Brothers Boa Sofa.

My favorite feature: the incredible metal doors which I think are by Gilbert Poillerat.

See many more photos and project details at desiretoinspire.

Listen: Led Zeppelin Vs. The Beatles: Whole Lotta Helter Skelter

. Saturday, January 5, 2013
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Not bad, not bad at all.

Watch: Finding Charles Pollock

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Charles Pollock, the man behind some iconic designs for both Herman Miller and Knoll, reminisces about his early years working with George Nelson and Florence Knoll.

 Via Bernhardt Design.

Classic Spaces: A collection of 1971 interiors by Robert Harling

. Friday, December 28, 2012
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A few photos from Robert Harling's 1971 Modern Furniture and Decoration, featuring a wealth of 20th Century design classics, including Kjaerholm, Panton, Castiglioni, and Sarfatti. It's really amazing how timeless these interiors are, and how current this jacket description is:  

"The contemporary revolution in interior design has a very tolerant philosophy. It accepts with delight unusual combinations of periods, motifs, products, colors, notions. An eighteenth-century commode, an Art Nouveau lampshade, a rare Benin head, a mass-produced poster—any one of these is equally likely to be placed in a room alongside a Breuer tubular chair, an Italian lamp, or a Saarinen table. Present-day designer-decorators see the whole world as a quarry from which to carry away their material. They can now choose natural wool from merino or vicuna, or synthetic fibers from the chemical engineer; steel from the mills or metallic paints; glass from the floater or blower or clear plastic from the molder. Their new ideas will appeal to the young in heart, if not in years, and give rise to a new tradition based on ingenuity and imagination. 

The rooms shown here, assembled and described by Robert Harling, Editor of House & Garden (London), come from many countries and serve many purposes. They range from one-room apartments furnished with plastic inflatable sofas to multi-purpose living-areas featuring Le Corbusier's steely reinterpretation of the traditional chaise longue. But all of them have one very important thing in common: they are rooms marked "Personal". 

Thanks to pdxmod for the scans.





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