10 legendary seats

wp:paragraph At the end of 2018 and the beginning of 2019, the Vitra Design Museum presented an exceptional exhibition entitled "Chairs of Power". It explored how approaches to political, social and economic power continue to be expressed in our seating. Chairs and armchairs have been an extraordinary field of experimentation for twentieth-century designers, often enabling them to achieve international recognition... and in turn to exert a power of attraction with major publishers... We have selected 10 legendary chairs that continue to fascinate... At the end of 2018 and the beginning of 2019, the Vitra Design Museum presented an exceptional exhibition entitled: "Chairs of Power". It explored how approaches to political, social and economic power continue to be expressed in our seating. Chairs and armchairs were an extraordinary field of experimentation for twentieth-century designers, often enabling them to achieve international recognition... and in turn to attract the attention of major publishers... We have selected 10 legendary chairs that continue to fascinate... /wp:paragraph wp:image {"align": "center", "id":17864, "width":780, "height":519, "sizeSlug": "large", "linkDestination": "none"} As well as hosting temporary exhibitions, such as "Seats of power" - Chairs of power - the design Vitra Museum has arguably the finest collection of modern and contemporary chairs. Here, an image from the 90-minute film dedicated to 125 iconic chairs from the museum's collection, entitled "Titled Chair Times: A History of Seating". Hook Films, courtesy of Vitra /wp:image wp:paragraph The geometric lines, austere, almost "military" appearance and colours reminiscent of a Mondrian painting are still astonishing and astonishing as ever... In 1918, the Dutch designer, architect and cabinetmaker Gerrit Rietveld (1888-1964) made a major impact with his Red and Blue Chair, or Rietveld Chair. For a time a fellow traveller in the Dutch De Stijl art movement, Rietveld redefined modernity. The Rietveld chair is the symbol of the neoplastic aesthetic advocated by Piet Mondrian and Théo van Doesburg. In 1918, Dutch designer, architect and cabinetmaker Gerrit Rietveld (1888-1964) made a major impact with his red and blue chair, or Rietveld chair. For a time a fellow traveller in the Dutch De Stijl art movement, Rietveld redefined modernity. The Rietveld chair is the symbol of the neoplastic aesthetic advocated by Piet Mondrian and Théo van Doesburg. /wp:paragraph wp:image {"align": "center", "id":17865, "sizeSlug": "large", "linkDestination": "none"} Red and Blue Chair, design Gerrit Rietveld. To be exact, Rietveld designed a 1st version of the famous chair in 1917. It wasn't until 1923 that he gave it its primary colours, after officially joining the De Stijl movement and meeting Piet Mondrian. © Cassina Red and blue chair, design Gerrit Rietveld. To be exact, Rietveld designed a 1st version of the famous chair in 1917. It wasn't until 1923 that he gave it its primary colours, after officially joining the De Stijl movement and meeting Piet Mondrian. © Cassina /wp:image wp:paragraph Let us render unto Caesar that which is Caesar's. This is how we might introduce the presentation of the cult LC4 chaise longue, also known as the Chaise Longue. Charlotte Perriand (1903-1999), with her famous infinitely adjustable chaise longue, created one of her first pieces for and with the great master Le Corbusier and Pierre Jeanneret. A masterpiece of ingenuity. Although officially signed by the 3 authors Le Corbusier, Charlotte Perriand and Pierre Jeanneret, it was not until the late 2010s that the design of the seat was recognised as the work of Charlotte Perriand. Render unto Caesar the things that are Caesar's. This is how we might introduce the presentation of the cult LC4 chaise longue, also known as the Chaise Longue. Charlotte Perriand (1903-1999), with her famous infinitely adjustable chaise longue, created one of her first pieces for and with the great master Le Corbusier and Pierre Jeanneret. A masterpiece of ingenuity. Although officially signed by the 3 authors Le Corbusier, Charlotte Perriand and Pierre Jeanneret, it was not until the late 2010s that the design of the seat was recognised as the work of Charlotte Perriand. /wp:paragraph wp:image {"align": "center", "id":17868, "width":731, "height":497, "sizeSlug": "large", "linkDestination": "none"} LC4 chaise longue, design: Charlotte Perriand, 1928. To create this piece, Charlotte Perriand used materials that were modern for their time, tried and tested in the aeronautical and automotive industries (chromed metal tubing). Cassina LC4 Lounge chair, design: Charlotte Perriand, 1928. To create this piece, Charlotte Perriand used materials that were modern for their time, tried and tested in the aeronautical and automotive industries (chromed metal tubing). Cassina /wp:image wp:image {"align": "center", "id":17870, "width":733, "height":550, "sizeSlug": "large", "linkDestination": "none"} Charlotte Perriand comfortably seated on the Chaise longue LC4. Photo by Pierre Jeanneret. The seat frame was designed to vary the sitting position and stabilise it without the need for a locking system. Pierre Jeanneret Charlotte Perriand comfortably seated on the Chaise longue LC4. Photo by Pierre Jeanneret. The seat frame was designed to vary the sitting position and stabilise it without the need for a locking system. Pierre Jeanneret /wp:image wp:paragraph History will record that the great German architect Ludwig Mies van Der Rohe (1886-1967) designed the Barcelona lounge chair to gracefully adorn the German pavilion at the Barcelona World Fair in 1929. But the famous, classy chaise longue was also designed with his most loyal collaborator, Lilly Reich (1885-1947). The "Barcelona", still considered one of the most emblematic works of 20th-century decorative arts, remains a model of timeless elegance. History will recall that the great German architect Ludwig Mies van Der Rohe (1886-1967) designed the Barcelona armchair to gracefully adorn the German pavilion at the Barcelona Universal Exhibition in 1929. But the famous, classy chaise longue was also designed with his most loyal collaborator, Lilly Reich (1885-1947). The "Barcelona", still considered one of the most emblematic works of 20th-century decorative arts, remains a model of timeless elegance. /wp:paragraph wp:image {"align": "center", "id":17871, "width":733, "height":530, "sizeSlug": "large", "linkDestination": "none"} Barcelona fireside chair, design: Ludwig Mies van der Rohe and Lilly Reich, 1929. The X-shaped base and the use of chromed steel and leather make the Barcelona chair a model of distinction. Today the Barcelona is manufactured in Italy under licence by the American company Knoll. Knoll Barcelona armchair, design: Ludwig Mies van der Rohe and Lilly Reich, 1929. The X-shaped base and the use of chromed steel and leather make the Barcelona chair a model of distinction. Today the Barcelona is manufactured in Italy under licence by the American company Knoll. Knoll /wp:image wp:paragraph Attention, cult model! So much so that the seat we are presenting to you was awarded the title of "the most beautiful chair in the world" by American Interiors magazine in 1950. In 1949, the Danish designer Hans Wegner (1914-2007) designed the Round chair, a seat characterised by the simplicity and elegance of functional forms, served by perfect joinery. For Wegner, "a chair can't be looked at from the back. It must be beautiful from every angle". The Round chair, an icon of Scandinavian design, stands in stark contrast to the cold metal of the Bauhaus style. Watch out, it's a cult model! So much so, in fact, that the chair we are now presenting was named "the most beautiful chair in the world" by American Interiors magazine in 1950. In 1949, the Danish designer Hans Wegner (1914-2007) designed the Round chair, a seat characterised by the simplicity and elegance of functional forms, served by perfect joinery. For Wegner, "a chair can't be looked at from the back. It must be beautiful from every angle". The Round chair, an icon of Scandinavian design, contrasts with the cold metal of the Bauhaus style. /wp:paragraph wp:image {"align": "center", "id":17872, "sizeSlug": "full", "linkDestination": "none"} : The Round chair, designed by Hans Wegner, 1949. Model in soap-treated freine. Photograph © Jens Mourits Sørensen. : The Round chair, design Hans Wegner, 1949. Model in soap-treated freine. Photograph © Jens Mourits Sørensen. /wp:image wp:image {"align": "center", "id":17874, "width":567, "height":454, "sizeSlug": "large", "linkDestination": "none"} Pair of Round chairs, oak models © 1StDibs Pair of Round chairs, oak models © 1StDibs /wp:image wp:paragraph They have become icons of American and world design. Charles and Ray Eames (1907-1978 / 1912-1988) influenced post-war design with their work on moulded plywood. In 1956, they decided to modernise the famous English club chair, and created the Fauteuil Lounge chair, also known as the Eames Long Chair and Ottoman, for the publisher Herman Miller. Its success is due to its superb moulded rosewood plywood shell, which blends perfectly with the leather. And what comfort! They have become icons of American and world design. Charles and Ray Eames (1907-1978 / 1912-1988) influenced post-war design with their work on moulded plywood. In 1956, they decided to modernise the famous English club chair, and created the Fauteuil Lounge chair, also known as the Eames Long Chair and Ottoman, for the publisher Herman Miller. Its success was due to its superb moulded shell made of rosewood plywood, which blends perfectly with the leather. And what comfort! /wp:paragraph wp:image {"align": "center", "id":17876, "width":725, "height":483, "sizeSlug": "large", "linkDestination": "none"} Lounge chair and ottoman, designed by Charles and Ray Eames for Herman Miller, 1956. The Eames did more than revisit the English club chair... More modern, light and elegant, the Lounge chair has become a great vintage design classic. Vitra Lounge chair and ottoman, designed by Charles and Ray Eames for Herman Miller, 1956. The Eames did more than revisit the English club chair... More modern, light and elegant, the Lounge chair has become a vintage design classic. Vitra /wp:image wp:image {"align": "center", "id":17877, "width":727, "height":409, "sizeSlug": "large", "linkDestination": "none"} Incredible photograph of the Eames couple. Ray is comfortably reclining on the Lounge chair, whose reclining seat relieves pressure on the spine. Vitra Incredible photograph of the Eames couple. Ray reclines comfortably on the Lounge chair with its reclining seat to relieve pressure on the spine. Vitra /wp:image wp:paragraph 2 years later, organic design triumphed with the Egg chair by Arne Jacobsen (1902-1971), designed for the lobby and reception areas of the Royal Hotel in Copenhagen. The Egg chair is a perfect symbol of the 'cosiness' that is intrinsic to Scandinavian design: a comfortable, enveloping seat that provides a degree of intimacy for the user. It's ideal for lounges and waiting areas, as well as for the home, where its poetic sculpturality is a marvel! 2 years later, organic design triumphed with the Egg chair by Arne Jacobsen (1902-1971), designed for the lobby and reception areas of the Royal Hotel in Copenhagen. The Egg chair is a perfect symbol of the 'cosiness' that is intrinsic to Scandinavian design: a comfortable, enveloping seat that provides a degree of intimacy for the user. Ideal for lounges and waiting areas, as well as for the home, where its poetic sculpturality is a marvel! /wp:paragraph wp:image {"align": "center", "id":17878, "sizeSlug": "full", "linkDestination": "none"} Egg chair, design by Arne Jacobsen for Danish publisher Fritz Hansen, 1958. In 2021, Fritz Hansen has introduced 4 new finishes for the base, in addition to the classic satin aluminium. Fritz Hansen Egg chair, designed by Arne Jacobsen for Danish publisher Fritz Hansen, 1958. In 2021, Fritz Hansen has introduced 4 new finishes for the base, in addition to the classic satin aluminium. Fritz Hansen /wp:image wp:paragraph Another icon of Scandinavian design, the Ball chair is an armchair designed in 1963 by the Finnish designer Eero Aarnio (1932). The Ball chair is emblematic of the wind of modernity blowing through design in the 60s, at the height of the Pop Art triumph. Its futuristic allure makes it a particularly sought-after collector's item, with a unique look! Another icon of Scandinavian design, the Ball chair is an armchair designed in 1963 by the Finnish designer Eero Aarnio (1932). The Ball chair is emblematic of the wind of modernity blowing through design in the 60s, at the height of the Pop Art triumph. Its futuristic allure makes it a particularly sought-after collector's item, with a unique look! /wp:paragraph wp:image {"align": "center", "id":17883, "width":492, "height":492, "sizeSlug": "full", "linkDestination": "none"} Ball chair, design by Eero Arnio, 1963, launched on the market by the publisher Asko in 1966. Aarnio used fibreglass to design his chair, giving the seat a free, elastic shape © Dominidesign Ball chair, design by Eero Arnio, 1963, launched on the market by the publisher Asko in 1966. Aarnio used fibreglass to design his chair, giving the seat a free, elastic shape © Dominidesign /wp:image wp:paragraph In the mid-1960s, when new materials such as plastic and its derivatives were appearing, as well as polyurethane foam (synthetic foam rubber), which allowed designers of the time to be as daring as possible in terms of form, the designer Olivier Mourgue (1939) In the mid-1960s, when new materials such as plastic and its derivatives were appearing, as well as polyurethane foam (synthetic foam rubber), which allowed designers of the time to be as daring as possible in terms of form, the designer Olivier Mourgue (1939) /wp:paragraph wp:paragraph hit the nail on the head with his famous Djinn armchair. A silhouette so futuristic that it featured in several scenes of Stanley Kubrick's cult film 2001: A Space Odyssey, released in 1968. A silhouette so futuristic that it features in several scenes from Stanley Kubrick's cult film 2001: A Space Odyssey, released in 1968. /wp:paragraph wp:image {"align": "center", "id":17884, "width":481, "height":481, "sizeSlug": "full", "linkDestination": "none"} Djinn armchair, design by Olivier Mourgue for Airborne, 1964-1965. The Djinn armchair is the archetypal example of the evolution of design in the 60s, with an internal tubular steel frame, polyurethane foam padding and removable textile upholstery in wool-blend jersey. ArtZoo Djinn armchair, designed by Olivier Mourgue for Airborne, 1964-1965. The Djinn armchair is the archetypal example of the evolution of design in the 1960s, with a tubular steel frame, polyurethane foam padding and removable cover in wool-blend jersey. ArtZoo /wp:image wp:paragraph Closer to home, how about the delicate poetry of the Miss Blanche armchair by Japanese designer Shiro Kuramata (1934-1991)? Artificial rose petals seem to float in space, more precisely in a block of acrylic (PMMA, transparent plastic) that has been cast in a mould. This is the high point in the career of a singular designer, a pioneer of transparency, combining humour and poetry in light, minimalist pieces... Closer to home, what can we say about the delicate poetry of the Miss Blanche armchair by Japanese designer Shiro Kuramata (1934-1991)? Artificial rose petals seem to float in space, more precisely in a block of acrylic (PMMA, transparent plastic) that has been cast in a mould. The high point in the career of a singular designer, a pioneer of transparency, combining humour and poetry in light, minimalist pieces... /wp:paragraph wp:image {"align": "center", "id":17885, "width":464, "height":581, "sizeSlug": "full", "linkDestination": "none"} Miss Blanche armchair, Shiro Kuramata design, 1988. For the seat, Shiro Kuramata was inspired by the performance of Blanche DuBois (Vivien Leigh) in Elia Kazan's film A Streetcar Named Desire (1951). Phaidon Miss Blanche armchair, design by Shiro Kuramata, 1988. For his seat, Shiro Kuramata was inspired by the performance of Blanche DuBois (Vivien Leigh) in Elia Kazan's film A Streetcar Named Desire (1951). © Phaidon /wp:image wp:image {"align": "center", "id":17886, "width":469, "height":566, "sizeSlug": "full", "linkDestination": "none"} Miss Blanche armchair, Shiro Kuramata design, 1988. A seat that exudes incredible presence! Tumblr Miss Blanche armchair, design Shiro Kuramata, 1988. A seat that exudes incredible presence! © Tumblr /wp:image wp:paragraph Finally, we've selected the Louis Ghost chair by French designer Philippe Starck. Conceived at the start of the new century, this chair takes up the challenge of embodying the past, the present and the future: the spirit of the Baroque in the 21st century! Directly inspired by the Louis XVI style, this chair is made from polycarbonate, a highly resistant plastic. Lightweight, stackable, solid and available in a range of colours, the Louis Ghost resurrects the ghosts of the past with a cheeky modernity... Finally, we have selected the Louis Ghost chair by French designer Philippe Starck. Designed at the start of the new century, this chair takes up the challenge of embodying the past, the present and the future: the Baroque spirit in the 21st century! Directly inspired by the Louis XVI style, this chair is made from polycarbonate, a highly resistant plastic. Lightweight, stackable, solid and available in several colours, the Louis Ghost resurrects the ghosts of the past with a cheeky modernity... /wp:paragraph wp:image {"align": "center", "id":17887, "sizeSlug": "full", "linkDestination": "none"} Louis Ghost chairs, design Philippe Starck for Kartell, 2002. Kartell Louis Ghost chairs, design Philippe Starck for Kartell, 2002. ©Kartell /wp:image wp:paragraph {"align": "right"} François BOUTARD François BOUTARD /wp:paragraph

10 legendary seats

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