Furniture - World Styles From Classical To Contemporary

["CHAIRS AND STOOLS 499 1945\u20131970 VICARIO CHAIR CHINESE CHAIR WISHBONE CHAIR FIBREGLASS CHAIR Moulded from one piece of plastic, this chair has This chair was so named because its design is The top rail of this chair curves round to form Part of the Fibreglass Group of chairs, this a squared back above a wide, rectangular seat; based on that of ancient Chinese chairs. It has a the armrests, while the backrest is of black armchair has a free-form seat in ivory with a cut- indents in the square-section legs add strength. light, oak-and-plywood frame with a woven-rope leather. A wishbone-shaped back splat continues out back, on a steel pedestal base. Designed by Designed by Vico Magistretti, Italy. c.1970. seat. Designed by Hans Wegner for Fritz Hansen, down to form a back leg. The seat is a glossy Erwine and Estelle Laverne, USA. H:75cm \u25cfH:63.5cm (25in); W:71cm (28in). BonBay 1 \u25cfDenmark. 1943. H:79cm (31in). BonE 1 \u25cfblack. c.1960. H:73.5cm (29in). LOS 3 \u25cf(291\u20442in); W:61cm (24in); D:51cm (20in). SDR 2 SIDE CHAIR SIDE CHAIR ZITHER CHAIR GRAND PRIX CHAIR This mahogany side chair has a slender, curved This side chair has a plywood seat and back The chair has several turned back rails between This chair\u2019s seat and back are made from a single crest rail and two tapering backposts. The supported on a painted metal frame that leather-upholstered seat cushion has a webbed terminates in metal feet. The chair was two tapering supports. The solid maple seat has sheet of bent, laminated beech that is covered in seat support and is raised on tapering legs. designed by Egon Eiermann, Germany. moulded edges and rests on a wrought-iron base. black leather. The shaped and tapered legs are of \u25cfDenmark. H:80.5cm (313\u20444in). DRA 1 \u25cf1948. BonBay 2 Designed by Paul McCobb, USA. H:86.5cm teak. Designed by Arne Jacobsen for Fritz \u25cf(34in); W:45.5cm (18in); D:48cm (19in). LOS 1 \u25cfHansen, Denmark. H:77.5cm (31in). FRE 1 SWIVEL CHAIR SKANDIA CHAIR POLYPROP CHAIR NIKKE CHAIR The armchair has a seat shell of white plastic, This rosewood stacking chair has a seat and back The body of this extremely popular stackable This bent-plywood stacking chair is of teak protruding armrests, and a suspended chair back. made from a series of single slats moulded to fit chair is a white, injection-moulded shell; it veneer, and is raised on enamelled steel legs. The base is plasticized metal. Designed by Luigi the shape of the sitter. The legs are chromium- stands on tubular-steel supports. Designed Designed by Tapio Wirkkala, Finland. Colani, Germany. c.1969. H:84cm (33in); plated steel-rod. Designed by Hans Brattrud for by Robin Day and manufactured by Hille. c.1950s. H:82cm (321\u20442in); W:44cm (17 1\u20443in); \u25cfW:65cm (252\u20443in); D:57cm (22 1\u20442in). DOR 2 \u25cfHove Mobler, Denmark. 1957. DN 2 \u25cf1962\u201363. 1 \u25cfD:54cm (211\u20444in). 1","500 MID-CENTURY MODERN 1945\u20131970 lounge chairs THE INCREASING DOMINANCE of the As the economic situation in WOMB CHAIR The seat is raised on a varnished steel-rod television within households meant countries across the globe brightened frame. The armchair comes with a matching that, more than ever, the living room during the 1950s, however, the plush, The Womb chair takes its name from the ottoman on a similar frame. The pair were had become the focus of many homes. generously proportioned armchair womb-like form of the sculpted seat. The designed by Eero Saarinen for Knoll With the fashion for fitted storage came back into favour. Colourful, and armchair\u2019s seat is made from a fibreglass International. 1950s. Armchair: H:96cm units forcing shelving into the even patterned, upholstery became shell, and the chair is upholstered in foam background, coupled with the demise increasingly common, as people were padding and covered in turquoise fabric. (373\u20444in); W:84.5cm (331\u20444in); D:102.5cm of the imposing dining table, it was eager to put the austerity of the war left to the lounge chair to assume years behind them. The fabric has an eye- \u25cf(401\u20443in). QU 3 centre stage. catching, hound\u2019s-tooth The development in the mid check pattern. The lounge chair was produced in 1950s of foam and rubber padding an incredible variety of shapes and offered new opportunities for sizes in the post-war years and made in designers, who could now make a diverse range of materials. The early chairs that were soft, yet sleek. trend of the mid 1940s was for lounge Stretch fabrics also increased the chairs of modest, minimal form. The possibilities of lithe outlines, as the most celebrated of these was the LCW appearance of lounge chairs became by Charles and Ray Eames. This was a increasingly refined. In the mid moulded plywood chair that many 1960s, the availability of new plastics consider to be the most complete blew the field of chair design right achievement of the Modern era. A open once again, although this new \u201ccompletely integrated and harmonious material ultimately had less impact expression of form, function, and on lounge chairs than on other materials\u201d was how design critics types of chair design. Charlotte and Peter Fiell put it. The chair\u2019s cover is attached to the base with buttons so that it can be removed. WOODPECKER CHAIR This armchair has a steel-rod frame with a coil- sprung upholstered seat. The black-painted legs have ball feet and support wooden armrests. Designed by Ernest Race. c.1952. H:66cm (26in); W:66.5cm (261\u20444in); D:57cm (221\u20442in). R20 The steel legs are brass- Latex foam upholstery ensures GILDA ARMCHAIR plated to give a richer that the chair is comfortable. visual effect. This Italian armchair has an oak-dyed ash frame Balls stop the chair legs with bronzed-brass hardware and a leather seat MARTINGALA SOFA from slipping on or digging and back. Designed by Carlo Mollino in 1954, this is a 2004 Zanotta re-issue. H:93cm (36 2\u20443in); This two-seater sofa has a high, upholstered back and sculptural, into the floor. W:79cm (31in); D:113cm (441\u20442in). ZAN down-swept arms. The low arms give the impression that the piece is compact and takes up very little space; the narrow, covered in red and black chequered fabric. The seat cushion tapered legs also add to this overall sense of lightness. The sofa is made from polyurethane foam and polyester fibre. The frame is has a steel frame with band stretchers and foam upholstery that is raised on brass-plated legs that end in black-rubber, knobbed- shaped end fittings. Originally produced as a suite with two matching armchairs, the sofa was designed by Marco Zanuso for Arflex, Italy. 1954. H:86.5cm (34in); W:147.25cm (58in); \u25cfD:81cm (32in). QU 5","LOUNGE CHAIRS 501 1945\u20131970 SADIMA ARMCHAIR P32 ARMCHAIR BOBO SEAT RELAX ARMCHAIR This armchair has a foam base and a This armchair has an adjustable, swivelling frame This monoblock seating unit is made from This plush armchair has a spring seat-support; its removable stretch fabric cover. It is raised on on a black-painted steel base. The foam seat is polyurethane foam. It was intended for use as frame and seat cushion are upholstered in brown an ivory-coloured polyester base. Designed by upholstered in yellow-green wool fabric. Designed either a lounge chair or a sofa when more than mohair. The chair is supported on cylindrical, Luigi Colani and distributed by Sadima, by Osvaldo Borsani for Tecno, Italy. H:83cm one piece was side by side. Designed by Cini blonde-wood feet. Designed by Jean Royere, \u25cfGermany. c.1970. H:69cm (271\u20444in). DOR 3 \u25cf(322\u20443in); W:82cm (321\u20444in). WKA 3 \u25cfBoeri, Italy. 1967. H:60cm (232\u20443in). SDR 1 \u25cfFrance. 1940s. H:101.5cm (40in). SDR 4 EGG CHAIR DIAMOND ARMCHAIR PLATNER ARMCHAIR PK-20 EASY CHAIR This chair has a flattened ovoid form and is made The chair\u2019s seat and back are made of sculpted, This chromium-framed armchair has a leather- This easy chair has a cane seat and back on a black-vinyl-coated wire mesh; they are raised on padded back and arms and a mesh support. The cantilevered steel frame. It has a matt, chrome- of fibreglass. The hinged lid opens to reveal an enamelled supports. Designed by Harry Bertoia leather cushion rests on a mesh base. Designed plated spring-steel base. Designed by Poul for Knoll International, USA. 1952. H:71.75cm by Warren Platner for Knoll International, USA. Kjaerholm for Fritz Hansen, Denmark. 1967. upholstered seat. Designed by Peter Ghyczy for (281\u20444in); W:140cm (45in); D:80cm (311\u20442in). L&T \u25cfc.1966. H:72.5cm (281\u20442in). L&T 1 \u25cfH:84cm (33in); W:68cm (263\u20444in). Bk 2 Reuter Produkts, Germany. 1968. H:98cm \u25cf(381\u20442in); W:76cm (30in); D:89cm (35in). L&T 2 HIGH-BACK AIRCHAIR NO 53 EASY CHAIR SUPERCOMFORT CHAIR BAMSE ARMCHAIR This lounge chair has an angular seat and back, This chair has a teak frame with horn-shaped This lounge chair has an unusual rosewood- The Bamse \u201cPapa Bear\u201d armchair has a high raised on flaring wooden legs. The upholstery arms and brass hardware. It is upholstered in faced plywood frame. Its padded seat, back, and upholstered-and-buttoned back and down- is burgundy damask and the trim is brocade. green fabric. Designed by Finn Juhl, Denmark. removable armrests are covered in black leather. sweeping arms. The square upholstered seat Designed by Ico Parisi, Italy. H:120cm (44in); 1953. H:74.25cm (291\u20444in); W:71cm (28in); Designed by Joe Colombo and produced by with a cushion is raised on splayed teak legs. \u25cfW:71cm (28in); D:89cm (35in). SDR 3 \u25cfD:63.5cm (251\u20442in). SDR 2 \u25cfComfort, Denmark. c.1964. BonBay 3 \u25cfc.1951. H:98.5cm (383\u20444in). Bk 1","","PostModern And Contemporary 1970 onwards","1970 ONWARDS504 POSTMODERN AND CONTEMPORARY social unease characterized by increased cynicism and individualism, the late 20th century also saw rapid technological advances, leading to improved communication of thoughts and ideas. BY THE TIME THE 1970S arrived, the swinging 60s The utopian visions of a mechanized future, Postmodernists were losing momentum. Interest rates and touted by Modernist architects and designers inflation were rising, and unemployment figures since the 1920s, were finally laid to rest during believed, and the were spiralling out of control. To add to the the 1970s, as a deep cynicism began to course global sense of gloom, scientists were ringing through contemporary culture. Punks, only appropriate warning bells about the damage that people conceptual artists, and satirical writers were were doing to the environment. all coming to the same nihilistic conclusions. response was to Against this backdrop, a crippling blow was Such was the sense of disillusionment that plunder the past. Table by Mich\u00e8le de Lucchi This dealt to the West by a group of oil-rich Arab when economies did begin to pick up again By the end of the table, designed for Memphis, is nations. In 1973, in reaction to the West\u2019s support at the start of the 1980s, there was little of the animal-like in form. A circular, for Israel, oil supplies from the Middle East were communal spirit of optimism that characterized decade, however, laminated table top emerges from cut, sparking a worldwide energy crisis. As the the boom years of the mid century. Rather, there consumers had the rectangular \u201cbody\u201d on a thin, industries of the United States, Europe, and Japan was a more self-interested attitude of \u201cgrab grown tired of the blue-painted steel \u201cneck\u201d. The struggled with the knock-on effects of the oil what you can\u201d. Such predatory instincts were seeming anarchy of four steel legs have flat feet. embargo, consumer confidence plummeted, and only encouraged by the governments of Britain 1983. H:60.5cm (233\u20444in); W:47cm by 1975 a global recession was underway. and the United States, led by Margaret Thatcher and Ronald Reagan respectively, who made (181\u20442in); D:63.5cm (25in). MAP much of the economic necessity for a strong entrepreneurial and capitalist culture. revivalist styles that were rampaging across all areas of design, while the economic crash of 1987 had dealt a blow to the culture of greed. The discovery of a hole in the ozone layer and the Chernobyl disaster of 1986 forced environmental issues back onto the international agenda. The 1990s, then, were greeted with a rather chastened outlook. Perhaps the most significant cultural trend of the 1990s was driven by advances in both the POSTMODERNISM COMES INTO FOCUS computer and telecommunications industries. During the 1980s, the concept of Postmodernism \u2013 an idea that had been gaining momentum Through portable phones and via the internet since the 1960s \u2013 came firmly into focus. The subject of much discussion by everyone it now became possible to remain in close from philosophers to fashion designers, Postmodernism was characterized by a loss of proximity to both home and office when faith in the forward momentum of Modernism. Culture had reached a cul-de-sac, so physically distanced from them. The increased ease of communication also had the effect of turning the wheels of culture ever faster. With ideas and images being disseminated like quicksilver across the mass media, cultural developments seemed to come and go in the Centre Georges Pompidou, Paris The bright blue utility pipes and blink of an eye. Since the arrival of the new shiny metal frame give this Postmodern building a visually anarchic exterior. Completed in 1977, it marked a move away millenium, keeping up with current cultural from the streamlined aesthetic that had dominated Modernism. trends has become increasingly onerous. TIMELINE 1970\u20132000 signify a move away from the desire to Piano-designed Pompidou Apple Mac called One Off Ltd, achieve pure form. The Punk movement Centre in Paris. in London and creates 1970 Shiro Kuramata gains global attention and unique pieces of furniture highlights young 1980 The launch of MTV, using inexpensive, designs his Irregular people\u2019s growing industrial materials. Forms chest of frustration and a 24-hour music channel drawers for Fujiko. desire to dismantle that gives voice to an 1982 The first fax the old order. energetic youth culture. 1973 Recession machines and domestic 1977 Completion 1981 Memphis, a design camcorders first become begins across available in Japan. Europe following of the Richard group led by Ettore OPEC oil-price rises. Rogers- and Renzo Sottsass, shows its first 1984 Apple launches its furniture collection in 1976 Mario Bellini Ettore Sottsass chair Milan. Ron Arad, an Israeli Mac computer with mouse, designer, opens his studio, revolutionizing the industry. designs the Cab chair; its steel skeleton and removable leather skin","St Martin\u2019s Lane Hotel French designer Philippe Starck has captured the energy, fun, and colour of the age in his design for the St. Martin\u2019s Lane Hotel, London \u2013 one of the Schrager group of hotels. The hotel lobby is an eclectic mix of Postmodern and period-style furniture and decor, creating a truly contemporary effect. Typical features of the age are the muted gold-beige colours with occasional bright splashes, combined with the free-form shapes of the furniture. Felt Chair This armchair has a reinforced fibreglass body supported on a polished aluminium leg. It was designed by Marc Newson for Cappellini. 1994. H:86cm (34in); W:67cm (261\u20442in); D:106cm (412\u20443in). SCP 1985 Driade, an Italian furniture 20th-century objects. Terence Conran\u2019s 1993 Droog, a Netherlands-based design manufacturer, produces the first Design Museum opens in London. Jasper collective, debuts at the Milan Furniture fair. chair designs by Philippe Starck. A hole is discovered in the ozone layer. Morrison\u2019s Plywood chair signifies a shift 1994 The Channel tunnel opens between 1986 A Soviet nuclear reactor at away from a brash, England and France. Chernobyl in Russia explodes. energetic aesthetic to 1997 Frank Gehry\u2019s Guggenheim Museum 1987 The American stock something a little more opens in Bilbao, Spain. The first adult mammal \u2013 a sheep called Dolly \u2013 is market crashes. restrained. The Berlin successfully cloned. Microsoft becomes Wall comes down. the most valuable company in the world. 1989 The Vitra Design Museum 1991 The Single 2000 Issey Miyake\u2019s Parisian A-Poc store is Guggenheim Museum in Bilbao opens in Germany: its collection is almost entirely made up of European Market lifts designed by the French brothers, Ronan and Erwan Bouroullec. The estimated number of worldwide internet users reaches 295 million. trade restrictions within Philippe Starck chair the EEC.","1970 ONWARDS506 POSTMODERN AND CONTEMPORARY POST-1970 FURNITURE AS EARLY AS 1966, ROBERT VENTURI, an American The second strand of design to emerge during the Little Beaver armchair and ottoman Both these pieces are made of architect and theorist, aired the ideas that would 1970s was one that many people at the time referred laminated cardboard. Designed by Frank Gehry for Vitra, they form eventually become known as Postmodernism. In to as \u201cHigh Tech\u201d (after a book of the same name part of his \u201cExperimental Edges\u201d series, which exploited the his influential text Complexity and Contradiction by Joan Kron and Suzanne Slesin). This expressive qualities of corrugated cardboard. This example is marked in Architecture, Venturi wrote of his admiration for predominantly American trend was a return with a brass tag showing it to be No.54 out of the 100 made. 1987. \u201celements which are hybrid rather than \u2018pure\u2019, to the severe, rational principles of early Chair: H:81cm (32in); W:85cm (33 1\u20442in); D:96.5cm (38in). SDR compromising rather than \u2018clean\u2019, distorted rather Modernism, prompted by the belt-tightening than \u2018straightforward\u2019, ambiguous rather than going on within the furniture industry. the 1980s trend for conspicuous consumption. \u2018articulated\u2019\u201d. Venturi was boldly rebelling against Designers also claimed that their pursuit of Memphis products were part furniture, part art, Modernism\u2019s zealous drive for refinement. It was timeless, durable designs would counter the and part fashion accessory. Any consideration for not until the 1980s that Postmodernism became culture of disposability that scientists had practicalities was purely perfunctory. the dominant theme of design, however. warned was destroying the earth. By the end of the decade, a new, rather more cool During the 1970s two broad strands of design THE HEYDAY OF POSTMODERNISM and calm look was beginning to emerge in furniture existed. The first strand was widely labelled \u201cAnti- The defining movement in furniture design of the design. Designers from Japan, Belgium, Britain, and Design\u201d. Most prominently pursued in Italy, designers early 1980s was Memphis. Although based in Milan, Italy all subscribed to the determinedly international of this persuasion took furniture to ever more Memphis was a loose collective of international style described variously as \u201cNew Minimalism\u201d, extremes in order to express their frustration with designers who nonetheless developed a highly \u201cLate Modern\u201d, or simply \u201cDematerialization\u201d. what they perceived to be a damagingly dysfunctional distinctive style. Purposefully combining both Unadorned furniture designs became the order of the society. Although some designers, such as Studio 65, expensive and inexpensive materials, as well as day, with materials such as clear acrylic and wicker claimed their use of bright, clashing colours and borrowing decorative motifs from various ethnic finding favour. As the 1990s progressed, however, kitsch, cartoon-like forms was an attempt to achieve cultures and periods of history, the Memphis look designers quickly recovered their sense of adventure popular appeal, others, such as Global Tools, insisted was an attention-grabbing, highly eclectic (and as a healthy injection of humour entered the that the sheer oddness of their designs would deter entirely Postmodern) aesthetic that fitted well with furniture industry. Droog, another loose collective buyers, forcing them to make furniture of their own. of designers, led the way with a witty take on design that often incorporated the use of found objects. Delo-Lindo table A witty twist on an existing form, designers Delo-Lindo have In the 1990s, computers became an essential tool incorporated two canvas magazine bags for many designers, who could now develop their into the corner of their coffee table. work on-screen rather than going through the laborious process of drawing up designs and making models. Many furniture designs acquired the smooth, technical appearance that had long defined the look of electronic consumer goods but had only lately entered the lexicon of furniture design. THE ROLE OF ART American Pop artist Claes Oldenburg was one of Mendini\u2019s Lassu chair the first to adopt the language of furniture design This archetypal chair form Art and furniture design might have been bedfellows for his sculptures, believing it would allow his art perched on top of a plinth for centuries, but by the 1970s it had become, in some to communicate with a far wider audience. was burnt for art\u2019s sake by cases, virtually impossible to distinguish the two. \u201cThe Mendini in 1974. main characteristics [of new design]\u201d, wrote the designer Throughout the 1970s and 1980s, various artists and theorist Alessandro Mendini in 1978, \u201cis to regard produced functional furniture designs, the most objects not in their functional capacity but to think in prominent being the American artists Donald Judd and terms of their expressivity\u201d. Four years earlier, Mendini Richard Artschwager. In the 1990s, the trend continued had made the same point with actions rather than as British furniture manufacturer SCP launched their words, by setting fire to a chair placed on a plinth. \u201cPlease Touch\u201d collection, a range of furniture designed by artists, including Rachel Whiteread, Julian Opie, and While designers at the end of the century were Richard Wentworth. veering ever closer to the territories of art, a number of artists were flirting heavily with furniture design.","MODULAR COLOURED CUBES a pivotal role in the development of Anti-Design POST-1970 FURNITURE 507 1970 ONWARDS (see p.452). Attempting to puncture the high-minded Like many furniture designs produced in the final few idealism and restraint that had long been associated of the design initiative to the consumer \u2013 who, decades of the 20th century, Massimo Morozzi\u2019s Paesaggi with Modernism, the pioneers of \u201cAnti-Design\u201d can theoretically, is an amateur \u2013 is a gesture entirely Italiani storage system (1996) is visually exhilarating be seen as proto Postmodernists. in keeping with the spirit of Anti-Design. The disco- (Paesaggi Italiani translates as \u201cItalian Landscapes\u201d) but lights effect of the coloured cubes can also be entirely rudimentary from a functional standpoint. It Like many storage systems designed in the 1990s, the considered as a mockery of the stern, perfectionist illustrates perfectly that it was aesthetic and conceptual pixel-like Paesaggi Italiani is modular, meaning that it streak that characterized much Modernist design. concerns, as opposed to practical ones, that dominated can assume innumerable shapes and sizes. The boxes, the thoughts of many designers of this era. too, are available in a broad palette of colours, allowing Paesaggi Italiani storage system This modular furniture system the whims of the owner to dictate the ultimate functions as a room divider on one side and as a storage system During the late 1960s, Morozzi was a member of appearance of the Paesaggi Italiani. This surrendering on the other. It is made of coloured, lacquered, translucent plastic the radical architecture and design group Archizoom, and is available in up to 75 colours. It is also available in any a flamboyant, Florence-based collective that played arrangement of size and shape to order. The bright array of colours The repeated cube motif used for the unit makes the of the system resembles design reminiscent of 1960s children\u2019s building blocks, furniture designs. emphasizing the playful nature of the design. The door panels are made from translucent plastic so that the contents of the storage units can be seen. The small door handles are discreetly tucked into the corners of the door panels so as not to disturb the overall visual effect. Vacant spaces emphasize Each cubic unit is the same size and the \u201cbuilding block\u201d shape, ensuring that extra units can nature of this design. be added or taken away at will.","1970 ONWARDS508 POSTMODERN AND CONTEMPORARY ELEMENTS OF STYLE The emergence of Postmodernism in the late 1970s led Easy Edges stool by Frank Gehry Plastic-laminated cabinet furniture designers of this period to become less concerned with function and structure and more fascinated by the Asymmetry Plastic laminates communicative qualities of furniture\u2019s surface. With aesthetic In order to demonstrate their rejection Widely used during the 1980s to cover and conceptual matters increasingly occupying of the strict, rational ideals that had wooden furniture, plastic laminates designers during the 1980s and 1990s, materials and defined the Modern era, many were often exotically patterned. Their forms were often used for ornamental, rather than Postmodern designers incorporated attention-grabbing nature emphasized practical purposes. In an effort to divert attention an awkward asymmetry into their the fact that function was of minor towards the more ideological message of their work, work. Often this was expressed concern to designers \u2013 it was surface many designers turned their backs on the ostentatious through colour, but more daringly decoration that they were interested it was also expressed through form. in. Plastic-covered wood was a gleeful use of technologies, preferring to utilize rudimentary Postmodern riposte to the \u201ctruth to materials and construction techniques. Some materials\u201d mantra of earlier decades. designers (particularly those with a training in architecture) did embrace a more sophisticated, structural style that was variously labelled \u201cHigh Tech\u201d or \u201cMatt Black\u201d. The 1990s also saw a return of interest in the technological aesthetic as the possibilities of computer- aided design and production became too enticing to ignore. Injection-moulded chair MDF bureau plat Detail of glass dining table Injection-moulding Humour Minimalism While designers had largely tired As designers\u2019 interest in structure and After the visually cacophonous of using plastic during the 1970s engineering waned during the 1980s, an Postmodern movement, many designers and 1980s, the material did return to increasingly mischievous streak entered reverted to a quieter style of design at popularity in the 1990s as increasingly furniture design. While Postmodern the end of the 1980s. Glass and clear sophisticated techniques for moulding designers of the 1980s often made acrylic became popular materials were developed. High-pressure esoteric jokes \u2013 as in the table above, amongst designers during the 1990s, injection-moulding enabled greater printed with an 18th-century table as did the use of untreated wood precision of forms and prompted a design \u2013 there was a growing seam of and brushed metals. This look was spate of sculptural designs similar to softer humour in the 1990s that often sometimes referred to as \u201cLate Modern\u201d those seen in the revolutionary 1960s. incorporated anthropomorphism. by commentators.","ELEMENTS OF STYLE 509 1970 ONWARDS Marble table base Rover car seat Queen Anne back splat Detail of carved chest of drawers Marble Recycling Appropriation Handcrafts Marble symbolized permanence, Increased awareness of environmental As designers began to lose faith in the The demise of the Modern machine purity, and the high ideals of Classical issues during the 1970s meant that by forward momentum of Modernism, aesthetic, and the subsequent fall antiquity to Postmodern designers, the 1980s recycling was a common they increasingly looked to the past from favour of plastics, opened the door who frequently challenged such and much-discussed activity. It was for inspiration. Postmodern designers for a return of handcrafts in the late symbolism by combining it with not only for environmental reasons, habitually borrowed motifs from bygone 1970s. Increased affluence in the 1980s more lowly materials, such as plastic, however, that designers of the 1980s styles of furniture design, although, also meant that many people in Britain glass, or garishly painted wood. The and 1990s recycled found objects in unlike many Modernists who did the and the United States had the disposable attractive veining of marble was also their furniture. As with Ron Arad\u2019s car same thing, they were not interested income to spend on laboriously wrought appreciated at a time when surface seat above, it was also a celebration of in their structural qualities, merely the objects that were, more often than not, decoration was once again in favour. the defiantly anti-corporate DIY spirit. symbolic message they conveyed. enormously expensive. Comic table leg CD chest Modular seating Brightly upholstered chair Cartoon look Casters Modular furniture Colour Cartoons were an important source of Casters became an increasingly Modular seating systems had become During the 1980s, when communication inspiration for Pop artists of the 1960s, common feature of office furniture fashionable during the 1960s. In the became just as important as function who appreciated their popular, anti- from the 1970s onwards as the rigidity 1990s, designers tentatively returned to in furniture design, designers became intellectual appeal. Designers picked of office environments was steadily this theme, although it was in shelving increasingly enthusiastic about the up on this influence in the early relaxed. Postmodern designers also design that modularity became an decorative use of colour in their 1970s, and Postmodern designers applied casters to items of domestic enduring feature. Modular furniture had pieces. This trend continued, in of the 1980s enjoyed the provocative furniture in an attempt to question always been associated with a technical part, well into the 1990s, although irony of translating an essentially two- the values of permanence and aesthetic but by the 1990s designers had designers of this decade toned down dimensional cartoon-like look into a universalism preached by followers lent a degree of lyricism to the modular earlier Postmodern designers\u2019 exuberant three-dimensional piece of furniture. of Modernist principles. look in terms of colour and materials. use of pattern.","510 POSTMODERN AND CONTEMPORARY 1970 ONWARDS MEMPHIS AND ALCHIMIA the group of designers who formed memphis in 1980 built on the ideas of Mendini\u2019s studio alchimia, to define postmodernism in furniture design. IN APRIL 1981, A MOTLEY GROUP of designers by the SUPER LAMP D\u2019ANTIBES CABINET name of Memphis showed their work to the public Designed by Martine Bedin, this George Sowden\u2019s two-door cabinet has for the very first time. The exhibition, held in a small moulded plastic light stands on four four tall, square-section legs. Made of showroom in Milan at a time when most of rubber wheels, so it can move around. plastic-laminated wood, it is brightly the world\u2019s furniture industry was in the city The six naked light bulbs all screw coloured, with red door frames, blue feet, for the annual Salone del Mobile, was a sensation. into different coloured sockets. and patterned panels on the sides. 1981. Roadblocks choked the streets surrounding the showroom as thousands of people clamoured to catch 1981. H:35.5cm (14in); W:61cm (24in); H:160cm (63in); W:60cm (232\u20443in); D:40cm a glimpse of what the Memphis group described as (153\u20444in). MAP the \u201cNew International Style\u201d. D:18cm (7in). MAP The book shelves Led by Ettore Sottsass, a designer who had played are laminated an active role in the Anti-Design scene of the with brightly 1960s and 1970s, Memphis was the latest, and most coloured plastic. persuasive, attempt by Italian designers to snuff out the flame of Modernism. \u201cMemphis tries to separate the object from the idea of functionalism\u201d, said Sottsass. \u201cIt is an ironic approach to the Modern notion of philosophical pureness. In other words, a table may need four legs to function but no one can tell me that the four legs have to look the same.\u201d MULTICULTURAL MELTING POT The slanted book ends The appearance of Memphis furniture was frenetic, are reminiscent of characterful, and saturated with colour. Although no Aztec architecture. explicit allusions were made to bygone, popular, or primitive cultures, it was obvious that the Memphis group had an enthusiasm for all three. Indeed, the name Memphis \u2013 taken from the title of a Bob Dylan song that was playing when the group first met \u2013 was chosen for its associations with both Rock\u2019n\u2019Roll and ancient Egypt (of which Memphis was the capital). The multicultural, melting-pot character of Memphis was asserted further by the fact that the group\u2019s designers, which included Sottsass, Michele de Lucchi, Michael Graves, and George J. Sowden, hailed from a broad range of nations \u2013 Italy, Spain, Japan, Austria, Britain, France, and the United States. One notable absentee from the Memphis group was Alessandro Mendini. It was Mendini\u2019s Studio Alchimia, founded in Milan in 1976, that laid much of the ground on which Memphis was to build. In 1978, Mendini introduced a series of designs (or \u201credesigns\u201d as he called them) to illustrate his ideas on \u201cBanal Design\u201d (see p.512), the most celebrated of which is the Proust armchair (1978). Mendini based his chair on an 18th- century French form, but covered it with dabs of colour similar to those in pointillist paintings. CARLTON BOOKCASE Designed by Ettore Sottsass, this bookcase is one of the most iconic Postmodern pieces. The symmetrical unit has plastic-laminated shelves and compartments above a small central case with two drawers. It also works as a room divider. 1981. H:198cm (78in); W:190.5cm (75in); D:33cm (13in). MAP","POST-MEMPHIS MEMPHIS AND ALCHIMIA 511 1970 ONWARDS MANY OF THE ORIGINAL MEMBERS OF THE MEMPHIS GROUP WENT ON TO FORM THEIR OWN Just as ancient alchemists attempted to turn SUCCESSFUL COMPANIES, WHILE POST DESIGN CONTINUES TO KEEP THE MEMPHIS SPIRIT ALIVE. base ingredients into gold, Mendini and his fellow members of Studio Alchimia (which included Sottsass By the time Memphis disbanded in 1988, the original for a short period) sought to transform elements of members had become major players within the design popular culture into products of high design. Studio industry and many went on to form their own Alchimia\u2019s \u201cbau. haus\u201d collection of 1979 was, of companies. Ettore Sottsass and his Sottsass Associati course, ironically titled as, rather than the refined, company completed a number of private houses in rational designs of the sort produced in Dessau, the locations as far-flung as Singapore and Hawaii. He also furniture on show was a frenzied blend of Dada, continued to work with great success on smaller-scale, Cubist, and Pop art influences. more personal projects. Michele De Lucchi, meanwhile, adopted a more modest and rational style. Focusing on IMPROVISATION AND COMMUNICATION industrial design and architecture, De Lucchi went While Mendini\u2019s attitude towards design was on to run the multi-award-winning company AMDL. essentially an academic one, Sottsass always espoused a more instinctive, sensual approach. Michael Graves, whose ambitious and highly The unorthodox forms of much Memphis furniture stylized aesthetic made him one of the most talked- demonstrate the importance that the group placed about members of Memphis, continued to work as an on improvization and free-association, as opposed architect and designer in much the same vein. At the to more rigorous, ideological thinking. end of the 1990s and into the 21st century, Graves\u2019s work once again came under the spotlight as his Sottsass has described Memphis design as \u201ca designs for Target, the American chain of low-cost way of discussing life\u201d, and communication was homeware stores, met with great critical and of far greater concern to Memphis designers than commercial success. He now carries out regular practicality. In an effort to create the maximum commissions for Alessi. communicative impact with their furniture, Memphis designers often used eccentrically Memphis Milano, the manufacturing arm of patterned plastic laminates (usually applied Memphis, continues to produce and sell the group\u2019s to a base made from chipboard). older designs. In 1997, Memphis Milano\u2019s managing director, Alberto Albrichi, founded Post Design, a Such was the attention-grabbing effect of Memphis company dedicated to keeping the Memphis spirit furniture that it soon became an international alive. In Post Design\u2019s prominent gallery space in phenomenon, proving particularly popular in the Milan, exhibitions are held of new collections by United States and Japan. Realizing the commercial Sottsass and other ex-Memphis members, as well as potential of Memphis design, Ernesto Gismondi, the the work of younger generations of designers, such director of the Artemide lighting firm, financed the as Johanna Grawunder and Pierre Charpin, whose foundation of a manufacturing company dedicated work developed from the Memphis style. to producing the group\u2019s furniture. This company, Memphis Milano, still exists to this day. Pierre Charpin Bookshelf Designed for Post Design, this bookshelf is made of red-dyed maple, with an arrangement of open shelves and compartments. Although restrained in appearance, the influence of Sottsass\u2019s work is clear. 1998. H:226cm (89in); W:112.5cm (441\u20443in); D:39cm (151\u20443in). MAP BRANZI\u2019S STAZIONE SIDEBOARD PROUST ARMCHAIR This sideboard has a rectilinear case supported at one end on Designed by Alessandro Mendini for Cappellini, this armchair was four square-section legs and at the other by a single columnar inspired by Louis XV furniture. The elaborately carved wooden leg. The piece combines a range of storage options: small frame is painted in the style of the French pointillist painter, Paul drawers; top-opening cupboards; and D-end open shelves. 1979. Signac, and upholstered in matching multicoloured fabric. 1978.","512 POSTMODERN AND CONTEMPORARY 1970 ONWARDS italy IN 1972, THE MUSEUM of Modern attempting to stimulate and educate BANAL DESIGN Art in New York held the landmark the Italian consumer \u2013 was labelled The dominant voice in Italian exhibition \u201cItaly: The New Domestic \u201cReformist\u201d. The 1990s, a decade furniture design in the latter half of Landscape \u2013 Achievements and when professionalism reigned in the 1970s belonged to Alessandro Problems in Italian Design\u201d. A Italian design, was described by Mendini. A tireless agent provocateur, remarkably diverse exhibition, it was Ambasz as \u201cConformist\u201d. Mendini introduced to the furniture accompanied by a catalogue in which industry the concept of \u201cBanal the curator, Emilio Ambasz, identified By the time Ambasz\u2019s exhibition Design\u201d, in many ways a more cynical three emerging strands of Italian was held in New York, groups such as development of Anti-Design. With design: \u201cConformist\u201d, \u201cReformist\u201d, Archizoom, Superstudio, and Gruppo \u201cBanal design\u201d, Mendini posited the and \u201cContesting\u201d. The \u201cContesting\u201d Strum had already begun to question rather apocalyptic idea that, since trend (rooted in the late-1960s Anti- the central tenets of Modernism. the walls of Modernism were coming Design movement) dominated the Their brand of brash, provocative crumbling down, there would soon 1970s, while the 1980s \u2013 with Ettore Pop design had been developed Sottsass and the Memphis group during the late 1960s, and had Interior of the Una Hotel Vittoria in Florence Designed become increasingly confrontational. by Fabio Novembre, this hotel interior creates a welcoming atmosphere. The restaurant\u2019s long, graceful \u201cS\u201d-shaped table and colourful Renaissance - inspired light invite guests to socialize. 2003. The polyurethane foam is soft and gives when a person sits down. QUADERNA SERIES This console table and bench each have a honeycomb core frame that has been covered with white plastic laminate. The tile-effect design is a silk-screen print with a black grid pattern. Designed by Superstudio for Zanotta, they are still available. 1970. Table: H:84cm (33in); W:180cm (711\u20444in); D:42cm (161\u20442in). ZAN The chair\u2019s ridges give arms of the chair. The pure white colour of the foam chair 543 BROADWAY CHAIR it a close resemblance to makes it look as if it were made from heavy stone, marble, either a truncated Classical or alabaster and the elastic paint that covers the polyurethane This chair has a bright orange translucent resin seat and back on a column or a machine cog. makes the chair splash-proof, so that it can be washed easily. stainless tubular-steel frame. Each of the nylon feet incorporates The chair\u2019s name is taken from the ancient Greek territory a metal spring, which adjusts to the posture of the sitter. The ATTICA CHAIR of Attica, a reference to the chair\u2019s columnar form. 1972. chair was designed by Gaetano Pesce for Bernini. 1993. H:45cm H:70cm (27 1\u20442in); Diam:66cm (26in). Bonbay (173\u20444in); W:50cm (193\u20444in); D:39cm (151\u20443in). SDR This simple chair was made by Gufram from flexible polyurethane foam. It is small in size, emphasizing the fact that it is a chair designed for perching on rather than lounging in. The polyurethane has been modelled to look like a fluted Ionic column and is cut on the diagonal to provide the backrest and","ITALY 513 be only a vacuous world in which appropriation of past styles. Soon, new wave of professionalism swept Citterio, both of whom adopted a 1970 ONWARDS designers could operate. The task of however, Mendini\u2019s dogmatic approach into the industry. Many companies succinct, technologically sophisticated furniture designers in the future, then, was eclipsed by that of the Memphis that had operated at the cutting edge style that favoured \u201cprecision\u201d over would comprise little more than group (see pp.510\u201311). The sheer during the 1960s and 1970s (for experimentation. \u201cDesign should buffing up old designs found in effusiveness of the Memphis furniture example, B&B Italia, Poltrona search for an unequivocal result the rubble of the past. of the early 1980s signalled the end of Frau, and Cassina) had by now based on the relationship between the essentially destructive, antagonistic become thriving businesses and production techniques, form, and Mendini\u2019s extreme theories can be streak that had coursed through Italian were accordingly less willing to court functionality,\u201d Lissoni has said. defined as Postmodern, although his design since the late 1960s. controversy. A few manufacturers, nihilism is somewhat at odds with the such as Cappellini and Edra, did By the beginning of the 21st century, American Postmodern attitude, which GROWING COMMERCIALISM continue to produce daring and Italy had become the undoubted was far more celebratory in its At the start of the 1990s, flamboyant furniture but their commercial capital of the global much of the passion collections were often dominated furniture industry, with the annual and excitement that had by non-Italian designers. Salone del Mobile in Milan established fuelled Italian furniture as the premier international event in design for the last 20 Perhaps the most successful Italian the furniture design calendar. In terms years had abated as a furniture designers of the 1990s of its creative reputation, however, were Piero Lissoni and Antonio Italy had sadly lost much of its gloss. REEF SEATING SYSTEM This sofa has no armrests, but each end of the seat can be tilted in two different positions, converting them into head supports or armrests. Designed by Piero Lissoni for Cassina, the upholstered foam seat is raised on an exposed painted- steel frame. 2001. H:60.5cm (233\u20444in); L:300cm (118in); D:84.5cm (331\u20443in). CAS SISTEMA STORAGE SYSTEM This very versatile range of storage units was designed by Piero Lissoni for Cappellini. It comes in modules, which can be stacked on top of each other or joined side by side. It is available in numerous finishes. H:32\u201392cm (121\u20442\u2013361\u20444in); W:30\u201390cm (113\u20444in\u2013351\u20442in); D:30\u201360cm (113\u20444in\u2013232\u20443in). VIA CAB CHAIR TORSO ARMCHAIR POLARIS TABLE LAMP This armchair has an enamelled-steel skeletal frame over which Designed by Paolo Deganello, this armchair has an asymmetric, This rare Polaris table lamp has three azure glass balls on a the leather upholstery has been zipped. The leather functions as fabric-upholstered back and a leather-upholstered seat, which chrome stand with a Carrara marble base. When the light is a supporting material. The padded polyurethane foam seat is rises at the sides to form arms. The seat is raised on short, turned on, the balls appear to be white. It was designed by also upholstered in leather. It was designed by Mario Bellini. enamelled legs. 1972. H:150.5cm (451\u20442in); W:90cm (43in); Superstudio for Design Centre and manufactured by Poltronova. 1977. H:52cm (201\u20442in); W:82cm (321\u20444in); D:47cm (181\u20442in). D:86.5cm (34in). SDR 1969. H:50cm (192\u20443in); D:50cm (192\u20443in). DOR","514 POSTMODERN AND CONTEMPORARY 1970 ONWARDS France THE 1970S WERE QUIET years for French \u201cdesigner-maker\u201d who met with SPINE CHAIR furniture design. Pierre Paulin and considerable success during the Pascal Mourgue, two designers who 1980: Andr\u00e9 Dubreuil. A master This sculptural chair was made by hand using 10mm- had established their reputations craftsman who spent much of his time (1\u20443in-) diameter, black-lacquered, flat-iron wire. Despite during the 1960s, continued to in London, Dubreuil lent an air of its heaviness, the structure has a visual transparency. The produce their familiar, ribbon-like Gallic elegance to Britain\u2019s \u201cCraft chair\u2019s design combines familiar elements from Victorian designs but beyond this, little of real Revival\u201d scene (see p.518). garden furniture of the mid to late 19th century with consequence came to light. Neo-Rococo scrolling. It was designed by Andr\u00e9 Dubreuil The 1980s was also the decade that for AD Decorative Arts. 1988-89. H:89cm (35in). BK One of the earliest significant events saw the emergence of Philippe Starck, in French furniture design during the a designer who masterfully combined 1980s was the \u201cNew Barbarians\u201d both the rational and more flamboyant exhibition in 1981, a showcase of tendencies of French design. Amazingly work by Elisabeth Garouste and Mattia prolific in output, Starck\u2019s design style Bonetti. Inspired by France\u2019s colonial was clear, concise, and, more often past, Garouste\u2019s and Bonetti\u2019s designs than not, came with a witty twist. liberally employed tribal motifs and materials to imbue their furniture with Such was Starck\u2019s phenomenal a sense of exoticism. Labelled \u201cneo- worldwide success that by the end of primitivism\u201d at the time, it was not a the decade he was able to run a heavily look that lasted for long. peopled studio in Paris. During the late 1980s and early 1990s, this served as INNOVATIVE DESIGN something of a finishing school for In 1981, the government set up VIA young French designers. Matali Crasset (Valorisation de l\u2019Innovation dans and Christophe Pillet are the most l\u2019Ameublement) to support innovations notable of Starck\u2019s enfants. Both in French furniture design. One of the functionalists at heart, they go to first beneficiaries was Martin Szekely. considerable lengths to enliven their The Parisian designer\u2019s cool, geometric essentially practical designs with the use designs, such as the Pi chaise longue of of energetic colour and engaging forms. 1983, helped establish a more serene design style. Also resisting the excesses A NEW DIVERSITY of the Postmodern style was architect Having established such Jean Nouvel. During the 1980s, Nouvel hegemony over the French produced numerous furniture designs design world, it was only in a spare, unforgiving style. natural that a small band of designers should rebel against Running counter to Nouvel\u2019s strict, Starck\u2019s influence in the mid rational style was the work of a 1990s. Designers such as Pierre Charpin and Delo Lindo developed an BRICK BOOKSHELF Cappellini. The brothers are considered to be instinctive, experimental style among the best industrial designers of recent that brought a new diversity to This modular bookcase system is made up years. They are gifted at taking concepts the world of French design. of a number of honeycomb-shaped plywood and traditional forms and giving them a shelves stacked one on top of the other. They truly contemporary feel. Their designs look By the end of the 1990s, have a white matt lacquer finish and are held simple, yet are extremely modern, and they talk about French design in place by plywood book-stops. Available in never lose sight of the ultimate purpose of a centred on two young brothers a range of different colours, the system was piece. 2001. Basic module: H:50cm (193\u20444in); from Brittany, Ronan and Erwan designed by Ronan and Erwan Bouroullec for W:300cm (118in); D:40cm (15 3\u20444in). SCP Bouroullec. The Bouroullecs\u2019 urbane style owed much to the measured aesthetic of the British designer Jasper Morrison. The international success of the Bouroullecs, coupled with the strength in depth of the Parisian design scene, proved that at the end of the millennium, French furniture design was thriving. The interior of the Hi hotel in Nice Designed in an innovative and contemporary style by Matali Crasset, the simple, functional furniture and pastel shades create an inviting atmosphere that does not overwhelm. 2003.","FRANCE 515 A small \u201cconnection\u201d links 1970 ONWARDS the two chairs and acts as an interconnecting table. The low seats suggest that the chairs are meant primarily for informal use. BARBARE CHAIR This chair, designed by Elisabeth Garouste and Mattia Bonetti for Neotu, is inspired by African tribal art. Animal hide laced onto the patinated steel frame creates the chair\u2019s back and seat. 1981. H:117cm (46in); D:59cm (22in). The contrasting colours articulate the simple structure of the design. INTERFACE SEATING Splayed back legs give the DELO-LINDO TABLE chairs greater stability. Designed by Matali Crasset specifically for the ultra- The square table tops are raised on L-section contemporary Hi Hotel in Nice, these modular armchairs come with \u201cconnections\u201d legs. The designers have added a surreal and can be arranged to offer a variety of different permutations of seating touch with their use of warped perspective. arrangements. Some of them are even designed to take laptop computers. They The tables were designed by Delo-Lindo for are made of brightly coloured polyurethane-coated fabric over high-density foam Ligne Roset. and have brushed stainless-steel square-section legs. 2003. H:115cm (451\u20444in); W:58cm (227\u20448in); D:75cm (291\u20442in). MCP Philippe starck INTERIOR DESIGNER, ARCHITECT, AND FURNITURE AND PRODUCT DESIGNER, PHILIPPE STARCK ROSE TO PROMINENCE IN THE 1980S AND HIS BOLD DESIGNS REMAIN INFLUENTIAL TODAY. Born in Paris in 1949, Starck became something of a household nightclubs, and it was not until 1982, name during the 1980s and 1990s because of his unrivalled talent for self-promotion and his knack of producing slick, commercial when he completed the interior design products that retained a strong sense of individual charm. scheme for President Mitterrand\u2019s Starck first rose to prominence in 1969 when, aged just 20, he became the art director of the furniture arm of the Pierre Cardin private apartments in the Elys\u00e9e empire. Starck spent much of the 1970s designing and furnishing Palace in Paris, that he received the international attention he craved. Philippe Starck During the 1980s and early 1990s, Starck was prolific, designing projects for everything from a mail-order house to organic food, but it was his furniture and lighting designs that won him the most plaudits. He produced such era-defining designs as the WW stool for Vitra (1990) and the Ara lamp for Flos (1988). Often blending primitive imagery (the Ara lamp resembles a bull\u2019s horn) with references to high-brow culture (the WW stool was originally designed for the arthouse film director Wim Wenders), Starck has managed to stimulate the appetites of a remarkably broad audience. Paramount Hotel interior The The WW Stool This stool exemplifies interior of this \u201ccheap chic\u201d the streamlined, elongated horn motif hotel in New York, is brimful of that Starck often uses. The stool has the witty and whimsical touches a varnished sand-cast aluminium frame so characteristic of Starck\u2019s with a pale green enamel finish. 1990. bold Postmodern design style. H:98.5cm (383\u20444in); W:53cm (21in). BK","516 POSTMODERN AND CONTEMPORARY 1970 ONWARDS britain AT THE HEIGHT OF the boom in 1960s Polish-born Jerzy Olejnik, Bryan stacking chair that paved the way for launched in London to support youth culture, there was no hipper Morrison, and Rodney Kinsman, a new, technical aesthetic in British designers who practised a more hand- place to be than London. This enviable typical of the era. \u201cIt is irresponsible to furniture design. crafted style. The attitude of these reputation stood the city in good stead design things that don\u2019t last\u201d, Kinsman Craft Revival designers (see pp.518\u201319) for the next 30 years, as ambitious stated, alluding to the 1960s\u2019 obsession The \u201cHigh-Tech\u201d look continued was similar to the DIY approach of the young artists and designers continued with ephemeral furniture. \u201cYou can\u2019t to prove popular with architects and punk movement. to flock there from abroad, in an just rely on colour or some formal designers well into the 1980s. Architects attempt to establish themselves at the gimmick, there has to be something Eva Jiricna (born in Czechoslovakia) In 1979, Margaret Thatcher came to very cutting edge of creative culture. deeper.\u201d OMK\u2019s most successful design and Norman Foster, both of whom also power and began to foster a society of was the Omkstack chair (1971), produced furniture, became associated capitalist enterprise. In this climate, a DESIGN INFLUENCES a concise steel with a style that celebrated the generation of \u201cdesigner-makers\u201d was Those arriving during the 1970s, born, a group which branched out on however, found themselves in a very magnificence of industry. its own, producing limited editions of different Britain to that of the 1960s. Not all British designers experimental work. Ron Arad, who A more earnest atmosphere pervaded subscribed to this had moved to Britain from Israel, the 1970s, with the work of OMK, macho, machine- formed One Off Ltd and spent the a design group founded by the inspired aesthetic. 1980s making rough-edged hunks In 1979, the Crafts of furniture from discarded industrial Council was MINI-BOOKWORM SHELF Designed by Ron Arad, this thin, sheet- steel bookshelf comes tightly coiled in its packaging and is supplied with a number of wall brackets so that users can design a bookshelf to suit their needs. 1993. L:495.5cm (1981\u20448in). QU The orange-red varnish Circular discs provide a space anticipates the rust that on which to place drinks. will set in if the chair MAGIS WAGON is left outside. This small table on wheels was designed by Michael Young for The flat steel back Magis. Its sand-blasted, die-cast aluminium frame on red and seat provide a translucent polyurethane wheels supports an injection-moulded visual contrast with translucent polyurethane tray. 2003. H:28cm (11in); W:68cm (263\u20444in); D:68cm (263\u20444in). CRB the tubular steel legs and arms. The designer\u2019s notes have been The deep seat of the chair incorporated as a feature of encourages users to sit this design, emphasizing the quietly and ponder, as the honesty of its construction. chair\u2019s name suggests. THINKING MAN\u2019S CHAIR settle. The incorporation of designer\u2019s notes, which are written NEMO CHAIR on the chair parts, is reminiscent of the desire for honesty of The frame of this easy chair is made from orange-red varnished construction, which has its roots in Modernism. The chair was This armchair has a moulded Lloyd Loom seat and back raised metal tubes, and the seat and back are composed of contrasting designed by Jasper Morrison shortly after he left the RCA. 1986. on a chromed-steel frame. The thin, tapering legs emphasize the flat metal bars. Each arm has been fitted with a tray for holding H:70cm (271\u20442in); W:57cm (221\u20442in); D:90cm (351\u20442in). SCP lightness of the design. It was designed by Studio Dillon and a glass and this design feature, combined with the deep seat, manufactured by Lloyd Loom of Spalding. 1999. H:73.5cm makes it a chair in which a thinking man could comfortably (29in); W:79cm (31in); D:65.5cm (253\u20444in). DIL","BRITAIN 517 Creek Vean House, Cornwall This house was Conran opened the Design Museum with Jasper Morrison the undisputed 1970 ONWARDS designed in a \u201cHigh-Tech\u201d style by Richard Rogers in London. Numerous bar, restaurant, master. Arad and Dixon also began to and Norman Foster and won an award in 1970. and hotel owners began employing tone down their designs, adopting a designers to inject energy and glamour far more commercial approach. materials. Tom Dixon also employed into their buildings\u2019 interiors. The recycled materials, albeit with rather design departments of London colleges, Many designers chose to work more elegance, to make items of such as the RCA (see below) and together rather than alone. The mid furniture for his \u201cCreative Salvage\u201d Central St. Martins, were also the 1990s saw groups such as El Ultimo company. The architects Nigel Coates focus of much international attention. Grito, Inflate, and Azumi emerge and and Zaha Hadi were intent on making adopt a modest, light-hearted a name for themselves too, and began With such an enthusiastic audience, approach to furniture design. designing experimental furniture. British designers of the 1990s no By the millenium, much of longer needed to make such blunt, the optimistic spirit that CONFIDENCE IN DESIGN attention-seeking statements with had drained from By the early 1990s, London seemed to their furniture. Instead, a smoother, the British design have rediscovered its cutting edge, as more subtle and industry in the confidence within the British design refined style 1970s had industry ran high. In 1989, Terence developed, been restored. PLASTIC LIGHT SHIPSHAPE OMKSTACK CHAIR S-CHAIR This white plastic light in the shape of a \u201cjack\u201d This self-contained storage unit is made from This stackable chair has a tubular-steel frame The metal frame of this chair is covered in was designed by Tom Dixon for Eurolounge. laminated birch. It can also be used as a seat supporting a polished, perforated sheet-steel woven marsh straw, emphasizing the organic Different lights can be stacked on top of one or side table. It was designed for Isokon Plus back and seat, and stands on rubber feet. feel of the structure. It was designed by Tom another. The light can also be used as a stool. by Shin & Tomoko Azumi. 2003. H:40cm It was designed by Rodney Kinsman and Dixon for Cappellini. 1985. H:100cm (391\u20443in); 1997. H:60cm (231\u20442in); W:60cm (231\u20442in). (153\u20444in); W:45cm (173\u20444in); D:29.5cm (112\u20443in). ISO manufactured by OMK. 1972. BouE W:42cm (161\u20442in); D:52cm (201\u20442in). SCP the leading role of the rca ALTHOUGH IN EXISTENCE SINCE 1837, IT WAS ONLY DURING THE 1980S AND 1990S THAT THE ROYAL COLLEGE OF ART COULD REALLY CLAIM TO BE ONE OF THE MOST IMPORTANT INSTITUTIONS IN THE WORLD FOR THE TEACHING OF DESIGN. The RCA is a college that concentrates talented graduates from across the world Air chair by Jasper Morrison This chair was made Aero lamp by Ralph Ball Since graduating from the solely on postgraduate studies and since flocked to London in order to pursue their from a single piece of gas-injected polypropylene. RCA in 1980, Ralph Ball has achieved critical and 1948 it has focused mainly on preparing postgraduate studies. Designed by one of the RCA\u2019s most famous students, commercial success for his work both as a lighting students for future professional practice. it was produced by Magis in Italy. designer and a furniture designer. 1979. Disciplines taught at the RCA include fine By the late 1980s, many of the most art, fashion, vehicle design, animation, prominent figures of Britain\u2019s prospering architecture and, of course, industrial design scene were graduates of the RCA, design and furniture design. and alumni like Jasper Morrison, Jane Dillon, James Irvine, and Ross Lovegrove While Britain lagged somewhat behind only helped to attract an even higher world developments in furniture design calibre of graduates to the college. during much of the early part of the 20th century, it began to forge an identity as a In the mid 1990s, by now referring hotbed of creativity during the 1960s to itself as an \u201cideas factory\u201d, the RCA and 1970s, thanks in large part to the consolidated its already robust reputation progressive teaching taking place at by appointing the furniture designer Ron institutions such as the Architectural Arad as Professor of Furniture Design and Association, the RCA, and the Central the architect Nigel Coates as Professor of School of Art and Design. In response Architecture and Interiors, both of whom to this reputation, many of the most continued to uphold the tradition of progressive teaching.","518 POSTMODERN AND CONTEMPORARY 1970 ONWARDS CRAFT AND TECHNOLOGY two distinct strands of furniture design existed in the 1970s and 1980s \u2013 \u201cHigh tech\u201d and craft revival. in the 1990s, computer technology facilitated their fusion. THE 1970S WAS A DECADE when fractures began to DOLLY FOLDING CHAIR appear within the furniture design industry. While Designed by Antonio Citterio for some designers argued for a more vital, hands-on Kartell, this folding chair combines approach to design, others continued to pursue the Modernist dream of a functional, mechanized future. elegance and lightness with a sophisticated and solid plastic Sophisticated computer technology was still some structural system. The arms of way off. The stark \u201cHigh-Tech\u201d style of the 1970s had the chair are integral to the frame little to do with computers and more to do with design rather than being separate, construction and engineering. Its development was as in regular chair designs. The partly a response to manufacturers\u2019 demands for a chair is available in a variety of skeletal style that scrimped on materials and was colours, and has a padded, wooden, simple to mass produce. In Switzerland, the architect Mario Botta (an ex-employee of Le Corbusier) began or plastic seat. producing furniture from perforated sheet steel that resembled machine parts, while in Britain Rodney CHAISE LONGUE \u201cSOFT\u201d Kinsman worked on a range of Werner Aisslinger\u2019s sensuous design uses high-tech materials: terse, rational designs, also the chaise longue has an aluminium alloy frame and a blue made in metal. In 1986, \u201cTechnoGel\u00ae\u201d seat cushion. The design and materials combine Norman Foster produced to give the piece a lightweight, transparent appearance. ZAN the ultimate \u201cHigh-Tech\u201d furniture range for Tecno \u2013 the Nomos system. Designed for use in open-plan offices, the gleaming glass and steel tables looked like majestic feats of civil engineering rather than humble office desks. CRAFT-BASED STYLES Running counter to the \u201cHigh-Tech\u201d style was the Craft Revival movement. In the United States in the early 1980s, Wendell Castle, Sam Maloof, and Tage Frid worked in a highly contrived Postmodern style, often employing trompe l\u2019oeil effects. Using a laborious, painstaking method to produce off-hand, jokey objects was self-consciously ironic. In Britain, John Makepeace led the Craft Revival movement. He set up the Parnham House Workshops in Dorset in 1977 and produced meticulously crafted objects, often ornamental in style, which sold for vast sums of money. Makepeace\u2019s Ebony and Nickel Silver chair (1978) was typical of his approach: it was constructed of 2,000 separate pieces of ebony. In the late 1980s, a very different facet to the craft-based trend emerged. Designers in London, such as Fred Baier, Ron Arad, Tom Dixon, and Danny Lane, began to self-produce defiantly rough-and-ready furniture. This movement, labelled the \u201cSalvage Look\u201d, the \u201cBig Bang\u201d style, or \u201cNeo-Brutalism\u201d, was raw, energetic, and, to an extent, political. Incorporating discarded manhole covers, smashed glass, old car seats, and rusted steel, these new iconoclastic furniture designs were the equivalent of Vivienne Westwood\u2019s punk outfits.","CRAFT AND TECHNOLOGY 519 1970 ONWARDS MOLLUSC DESK The French designer Andr\u00e9 Dubreuil employed a Designed by John Makepeace, this blacksmith to make his chairs, produced from bent desk is made of washed oak from trees and welded mild steel. Dubreuil\u2019s most celebrated that were planted at Longleat, Wiltshire, creation was his Spine chair (1988) (see p.514), an in the 1760s. The desktop is cantilevered off elegant piece inspired by the designs of 18th-century three curving legs. The legs are laminated France. In the same year, the Italian designer Alberto and connect to a central curving and Meda utilized technologies developed for the laminated beam, which tapers towards aeronautics and space travel industries to produce each edge and the two ends. H:72cm his LightLight chair. Made from carbon fibre, Nomex polyurethane foam, and epoxy resin, the chair was (281\u20443in); W:190cm (743\u20444in); D:110cm appropriately produced in austere matt black. (433\u20444in). JM A NEW SOPHISTICATION PYLON CHAIR The 1990s was a decade of rapid acceleration in Tom Dixon\u2019s design resembles the the field of computer technology. New programs electricity pylons from which it allowed designers to create ever more intricate and takes its name. The chair is made sophisticated designs (and enabled manufacturers to of iron wire with an orange varnish produce them). For the first time, designers could finish. Each individual chair is take a highly personal, craftsman\u2019s approach to made by welding all the pieces design while also embracing advanced technology. of wire together by hand, true to craft ideals. It is produced by The German designer Werner Aisslinger was Cappellini. H:128cm (501\u20443in); one of the first designers to prove that technologically driven furniture could no W:67cm (261\u20443in); D:60cm (232\u20443in). SCP longer be equated with accusations of coldness and inhumanity. Aisslinger\u2019s Soft Cell range (1999) utilized an advanced gel formula borrowed from the medical industry that lent both comfort and a distinctive look to his furniture. By the the beginning of the new millenium, craft and technology were no longer seen as mutually exclusive aspects of design. The rifts that had appeared in the furniture industry during the 1970s and 1980s, it seemed, were beginning to close over. WELL-TEMPERED CHAIR Designed by Ron Arad, this chair consists of four pieces of temper-rolled stainless steel, bent over to form the back, two arms, and seat of the chair, and bolted into place with wing nuts. 1987. H:98.5cm (383\u20444in). QU 1\/2 CONE = CUBE \u2013 CYLINDER = TABLE This unique pair of tables was made by Fred Baier. Each one is formed from an oak cylinder, a burr myrtle cube, and a nickle silver cylinder. They are said to be the first furniture to interpret the minus key in three-dimensional form. H:55cm (212\u20443in). FB","520 POSTMODERN AND CONTEMPORARY 1970 ONWARDS europe DURING THE 1970S, 1980s, and 1990s, it championed regional styles together NEW DESIGN HOT SPOTS emerged strongly in the 1980s, with furniture designers became itinerant with a combination of Classical motifs, As Postmodernism spread across the Barcelona becoming a particular hot to a remarkable degree, with designers often with unconventional materials. world of furniture design in the 1980s, spot for contemporary design. Oscar from across the globe being drawn to Typifying this is the Czech-born nations with a rich history of functional Tusquets Blanca and Javier Mariscal established centres of design, such as designer Borek Sipek who moved Modernism began to fall from represented the more exuberant spirit London, Milan, and Amsterdam, like restlessly between Germany, the prominence. Although there were a of Spanish design, while Jorge Pensi moths to a flame. By the 1990s, it had Netherlands, and Czechoslovakia in few notable exceptions, such as Stefan and Patricia Urquiola followed a more become common practice for aspiring the late 1970s and 1980s, yet whose Wewerka (who combined Bauhaus functional path. designers from less-established design work consistently referred to the principles with a keen knowledge of nations to educate themselves and Baroque traditions of his homeland. art practice and ergonomics) and Peter Despite having designers like Gerrit build up a reputation abroad (often Maly, Germany made little contribution Rietveld and Mart Stam, who were key moving from city to city) before moving Also exemplary of this paradoxical to furniture design during the 1980s, to the development of the early Modern back to the country of their birth. Postmodern trend was Mario Botta, and the same is true of the style, the Netherlands made little impact a Swiss architect and designer who Scandinavian countries. on the world of furniture design during Despite many of its key protagonists worked for periods in Italy, France, being inveterate globetrotters, one and Japan during the 1980s, but still Spain, which has of the most interesting aspects of remained true to the innately Swiss a rather thin history Postmodern design was the fact that spirit of technical engineering. of Modern design, The painted fibreboard back panel is redolent of marble, granite, or even open sky. The interior of the CD CHEST cabinet has been fitted with lights that switch This industrial-looking chest for storing CDs is made from welded on when the door opens. and lacquered steel with industrial glass panels. The upper section of the chest is hinged and rises up to reveal a large storage area. The coppered handles Below this are six drawers for CDs. The case is open to the rear don\u2019t match and are and stands on casters. It was designed by G\u00f6tz Bury in cooperation with Franz West, Germany. 1992. H:95.5cm (371\u20443in). POR slightly offset. The shelves are made from solid ash that has been stained black. The slender doors are set in a thick frame, giving the cabinet a slightly surreal appearance. PO-LAM WARDROBE painted, shelved back panel is made from fibreboard with a ARMCHAIR marble-effect finish. Both the graduated shelves on the back This surreal Postmodern wardrobe was designed by Borek Sipek panel and the fitted interior of the wardrobe are made of black- This armchair was designed by Mario Botta. It has a black-lacquered for Franz Leitner Interior Design, Austria. It has a copper central stained ash \u2013 a mainstay of Postmodern design. Lights inside aluminium frame, and the front legs and arms are shaped as huge section within a fibreboard frame. The central section forms the the cabinet switch on when the doors are opened. The \u201ckeystone\u201d hollow cylinders. The circular back and seat are made of vinyl- wardrobe and has a wide frame, slender doors, and asymmetrical element at the top gives the piece an architectural quality. upholstered foam, in a black and white chevron design. 1980s. handles all made from untreated copper. The primed and 1990. H:220cm (862\u20443in). DOR H:91.5cm (36in); W:98cm (381\u20442in); D:104cm (41in). SDR","EUROPE 521 the post-war years. During the 1980s designer. Grcic\u2019s stated aim of making 1970 ONWARDS and 1990s, however, Dutch design \u201cfurniture that everyone understands flourished as the Dutch became the immediately\u201d illustrates a very leading proponents of a dry, gently different attitude to that shown conceptual style typified by the work by many more wilfully avant-garde of Droog, a collective of designers designers of earlier decades. Born in based in Amsterdam. Droog (which Germany in 1965, Grcic followed the translates as \u201cdry\u201d) summed up much typical pattern of many designers of of the non-dogmatic, playful attitude his generation by studying abroad in of late-1990s European design. \u201cWe London \u2013 where he worked for a short certainly don\u2019t see our designs as the time with Jasper Morrison \u2013 before definitive solution to a problem, or the returning home to Munich to set up one true direction to take\u201d, said Droog\u2019s his own office. Remmy Ramakers. \u201cOur designs are just the door to any number of possibilities.\u201d Apartment by G\u00fcnther Domenig This apartment in the village of Steindorf in Austria is very anti-purist in Konstantin Grcic can also be style and goes against the grain of the clean lines considered a quintessentially 1990s espoused by Modernism. It also illustrates a very personal rather than universal approach to design. PRADO DESK the entire width of the desk and have a curved ARTICO TABLE tapering legs. Colour and form cut-out to allow the sitter to pull up a chair. combine in this table to convey This desk has a simple, rectangular frame The back and sides of the desk are open and The clean lines of this table are emphasized elegance and lightness. It was made from solid American oak, and a flat oak- there is a shallow drawer beneath the desktop. by the materials from which it has been designed by Jorge Pensi for veneered work surface. It is a contemporary The desk is raised on casters. It was designed made. A rectangular sheet of sand-blasted Cassina, Italy. 1998. H:74cm interpretation of a kneehole desk. Below the by Konstantin Grcic for SCP. H:76cm (30in); glass floats on the simple base of light-grey (29in); W:180cm (70 7\u20448in); desktop are two shaped shelves, which span W:165cm (65in); D:80cm (311\u20442in). SCP enamelled aluminium, which has narrow, D:95cm (37 1\u20443in). CAS BENCH FOR TWO Designed by Nanna Ditzel and produced by Fredericia furniture, this bench is made from solid maple and 1.2mm- ( \u2044116in-) thick aeroplane plywood. The whole is covered with a silk-screen print design of concentric circles. In 1990, it was awarded a gold medal at the International Furniture Design Competition, Asahikawa, Japan. 1989. THREE-LEGGED CHAIR \u201c85 LAMPS\u201d CHANDELIER This black-lacquered beech chair has a flat This chandelier uses 85 15-watt light bulbs at upholstered seat, a shaped back rail to allow the the end of narrow, flexible wire stems, which are sitter to sit side on or facing forwards, and three knotted together to form a ball of the 85 plugs. legs. Designed by Stefan Wewerka for Tecta. Designed by Rody Graumans for Droog Design. 1979. H:76cm (30in); W:62cm (241\u20443in). DOR 1993. H:110cm (431\u20443in); W:70cm (271\u20442in). DRO","522 POSTMODERN AND CONTEMPORARY 1970 ONWARDS The americas ALTHOUGH THE IDEAS that would the face of escalating consumerism. BRASH DESIGN eventually go by the name of American designers of the early 1970s During the early 1980s, Postmodernism were first mooted in attempted to become more responsible environmental concerns the late 1960s, there was something of in their approach to design by moving seemed to slip from the United a hiatus in their development during away from the use of plastics and States\u2019 agenda as a culture of the early 1970s. This was a period when favouring more natural materials. conspicuous consumption was theorizing was put to one side in favour The most celebrated example of this ushered in. Wall Street traders of more immediate concerns. The most environmentally conscious outlook were making millions on junk important design book of these years was Frank Gehry\u2019s 1972 collection of bonds while consumer was Victor Papanek\u2019s Design in the Real furniture: \u201cEasy Edges\u201d. Made from confidence returned with World published in New York. biodegradable cardboard, Gehry\u2019s a vengeance. Against a ingenious designs were intentionally background of such rampant In 1970, the US Environmental inexpensive (selling for $35\u2013$100). At demand, the bold ideas of Agency was founded in response to the end of the decade, Gehry returned Postmodernism once again increasing concerns for the planet in to working with cardboard, but this rose to the surface. Bright, time his \u201cExperimental Edges\u201d brash, and self-consciously collection sold for much higher prices. smart, the aesthetic espoused Gehry House Frank Gehry\u2019s own house is a deconstructivist remodelling of a suburban Californian house. Chain-link, plywood, and corrugated aluminium have been used on top of the house\u2019s original timber frame. The haphazard look is deliberate. 1978. STRAP CHAIR LANDSCAPE CHAISE This chair, which is part This chaise longue designed by Jeffrey Bernett for B&B Italia has an orange of an experimental line of felt-covered seat and back suspended on a nickel-coated metal base. Seams furniture, has a light, box- around the edges of the upholstery accentuate its design. The headrest has a like maple frame. It uses magnetic fixing. 2001. H:79cm (311\u20448in); W:61cm (24in); L:161cm (633\u20448in). B&B polypropylene strapping tape to create a lightweight, three- dimensional web as a minimal yet comfortable seating surface. It was designed by Boym Partners. 2000. H:76cm (31in). BOY The glass table top looks The glass table top gives a light but is actually heavier birds-eye view of the flower- than the cardboard base. like shape of the base. The curvaceous shape of the The base is made from layers table base not only provides of corrugated cardboard glued together. It has been visual appeal but also brazenly left uncovered and strengthens its structure. uncoloured. DAISY TABLE PLAZA DRESSING TABLE This extremely rare dining table has a circular, plate glass top raised shape and gives a singularly sculptural quality to the furniture. Although Designed by Michael Graves for Memphis Milano, on a six-cylinder corrugated cardboard base. The six-cylinder base is the cardboard was an ecological choice, the table was not as durable this Postmodern dressing table is made from plastic- constructed of many layers of compressed and laminated corrugated as those made of plastic at the same time. Designed by Frank Gehry, laminated wood. It has an architectural upper section card to give it stability. The nature of the material means it is easy to this table was just one of 14 designs from the \u201cEasy Edges\u201d series with crystal mirrors above six drawers, raised on a flared aimed at producing contemporary furniture at affordable prices. c.1972. plinth. It comes with matching stool. 1981. H:226cm H:58.5cm (23in); Diam:220cm (48in). SDR (89in); W:140cm (551\u20448in); D:54cm (211\u20444in). MAP","THE AMERICAS 523 by the likes of Robert Venturi and 18th-century English design, but the This hands-on approach to design of many American furniture and 1970 ONWARDS Michael Graves perfectly fitted the reference was only surface deep. On and production continued to flourish product designers to work with mood of 1980s America. \u201cLess is a closer scrutiny the bent laminated in the 1990s, although as the 1980s more ecologically sound materials. bore\u201d, proclaimed Venturi, perverting wood chair looked more like a stage economic bubble had now burst there Ludwig Mies van der Rohe\u2019s famous prop than a chair fit for a queen. was a greater emphasis on low-cost Postmodernism fell from favour statement, \u201cLess is more\u201d. (often recycled) materials. Constantin at the end of the 1980s as consumers CRAFT AND ENVIRONMENT Boym, who often worked with his wife deemed it too cerebral and complex. In 1979, Knoll International The 1980s also saw a revival of interest Laurene Leon, was a leading exponent Emerging to fill the void was the work commissioned Venturi to design a in traditional crafts, with American of this style, producing impressive of the ebullient Karim Rashid. Taking series of showroom interiors and designers such as Wendell Castle and collections of furniture from low-grade his cue from the French designer nine chair designs that embodied the Sam Maloof producing one-off, hugely steel and cheap packaging materials. Philippe Starck \u2013 both in his larger- American Postmodern style. Venturi\u2019s labour-intensive objects in a highly than-life personality and sensual Queen Anne chair was based on an personal style. Often referred to as the In 1995, the Museum of Modern design style \u2013 Rashid\u2019s work proved a \u201cWoodcraft\u201d movement, their designs Art in New York, celebrated the hit with buyers. Rashid\u2019s furniture was bore strong similarities to the work of resourcefulness of designers such as bright, bubbly, and designed to bring the British Craft Revival designers the Boyms in an exhibition entitled a smile to the face of its users, rather of the same period. \u201cMutant Materials in Contemporary than the knowing smirk favoured by Design\u201d. This show reflected the desire fans of Postmodernism. campana brothers \u201cBRAZIL IS OUR GREAT FOUNTAIN OF INSPIRATION\u201d, THE CAMPANA BROTHERS ONCE STATED, EXPLAINING WHY THEY HAVE NEVER MOVED FROM S\u00c3O PAULO. QUEEN ANNE CHAIR Humberto and Fernando Campana first attracting attention from beyond South Banquette chair This handmade, limited- established a design office together in 1983, America. Indeed, in 1998, the Museum edition chair is made from a compilation of This modern take on the Queen Anne chairs of Humberto having previously studied as a of Modern Art in New York became so stuffed toy sharks and dolphins on a metal the early 18th century by Robert Venturi for Knoll lawyer and Fernando as an architect. The taken by the obvious ingenuity and base. 2004. H:63.5cm (25in); W:104cm International, has a carved top rail, a solid, vase- brothers\u2019 scant experience of designing and humanity that pervaded the Campanas\u2019 (41in); D:94cm (37in). shaped splat, and cabriole legs. It is made from making furniture forced the pair to utilize work that they showcased their work in bentwood laminates and plastic-laminated rudimentary construction techniques, while an installation entitled \u201cProjects 66\u201d. veneer. 1984. H:98cm (381\u20442in). KNO their lack of financial resources led to a preference for inexpensive, easily available Perhaps the most startling of the materials for their pieces. Campanas\u2019 designs is the Favela, a chair designed in 1991 that pays homage to the Transforming these seeming impediments homebuilders of Brazil\u2019s shanty towns. into a positive feature of their work, the Constructed from scraps of wood, apparently Campana brothers were, by the mid 1990s, banged together at random, the design was taken on by the Italian manufacturer Edra 12 years later and sold (with great success) to the company\u2019s affluent European clientele. The Favela armchair This chair is made from The Edra Sushi chair This chair is made by many pieces of natural wood, glued and nailed rolling up different materials and squeezing together in a similar way to that in which the them into a large flexible tube. The part shacks of the favelas, or shanty towns, are built left uncovered forms a multicoloured seat. in Brazil. Because each chair is made by hand, H:65cm (25 1\u20442in); W:95cm (371\u20442in). no two are exactly the same. 1991. POWERPLAY CHAIR \u201cIdeal House\u201d This The Corallo chair This chair, designed for installation was created Edra, has a large seat formed out of an This chair is made up of wafer-thin strips of by the Campana irregular structure of hand-bent steel wire laminated maple, bent and woven to create a brothers for the 2004 with a coral-pink epoxy paint finish. H:90cm rigid form. The seat back strips have been bent Cologne furniture fair. (351\u20442in); W:140cm (55in); D:100cm (391\u20443in). back, while the seat has been woven. It was The brothers called designed by Frank Gehry and manufactured this \u201cspontaneous by Knoll International. 1990\u201392. BonE architecture\u201d, giving the impression it is built from found objects rather than being a planned design.","524 POSTMODERN AND CONTEMPORARY 1970 ONWARDS japan BY THE 1970S, THE EFFORTS that the attention. In 1981, the recently BOOKSHELF graduate in size. The largest box is in the bottom Japanese furniture industry had made formed Memphis group, based in left-hand corner and the boxes grow smaller to align itself with Western society Milan, invited Isozaki, Kuramata, and This simple, but striking bookcase is made from towards the top right corner. The red crosses are (and thus benefit from selling to a Masanori Umeda to contribute designs matt-white-lacquered strips of wood, which are not part of the piece. It was designed by Shiro thriving Western market) were reaping to its latest collection. Meanwhile, arranged vertically and horizontally to provide Kuramata for Cappellini. H:254cm (100in); rewards. Indeed, so comprehensively Ettore Sottsass travelled to Tokyo in a large number of boxed compartments that W:252.5cm (991\u20443in); D:40cm (153\u20444in). SCP had Japanese designers caught up 1982 where the Italian designer was with their Western counterparts that given a hero\u2019s welcome by a Japanese WINK ARMCHAIR fabric or leather upholstery. 1980. H:102cm when Postmodernism emerged as a public that had become enthusiastic (401\u20444in); W:83cm (323\u20444in); D:90cm (351\u20442in) (min) dominant trend in design, the Japanese consumers of Western design. By the The base of this chair by Toshiyuki Kita can be H:85cm (331\u20442in); D:200cm (783\u20444in) (max). CAS were among its leading exponents. 1990s, Japan would be considered the tilted forward so that it becomes a chaise longue. most important market in the world The headrest is divided into two parts, each with In 1972, Arata Isozaki produced his for progressive design. an independant reclining position; side knobs Marilyn chair, a protean Postmodern adjust the back. The chair has a steel frame and design that borrowed from an unlikely Mutual appreciation between the spectrum of sources. The chair\u2019s worlds of Japanese and European curvaceous back was based on the design in the 1980s and 1990s meant shapely form of Marilyn Monroe, that many Japanese designers worked while the overall shape was clearly for European manufacturers, while derived from the chair designs of numerous European designers plied the early 20th-century Glaswegian their trade in Japan. designer Charles Rennie Mackintosh (see pp.364\u201365). The very particular Making sure he had a foot in both craftsmanship was typically Japanese. camps was Toshiyuki Kita, a designer who kept offices in both Osaka and Also establishing a name for himself Milan. Kita\u2019s most celebrated design during the 1970s was Shiro Kuramata, is his Wink chair for Cassina (1980), a designer whose work was at once a distinctly Postmodern design that lyrical and highly rational. Kuramata conflated several disparate references gave industrial materials a grace and into one object. While the bright sense of humanity that few designers colours and Mickey Mouse ears of the had ever previously achieved. It has chair are redolent of Pop culture, the been pointed out that Kuramata\u2019s chair\u2019s technical construction echoes furniture designs are as much objects the achievements of early Modernism. for contemplation as they are for The enveloping nature of the chair is practical use. reminiscent of aircraft or car seats. At the start of the 1980s, a prosperous WESTERN INFLUENCE decade for Japan, the work of Japanese Sadly, during the 1990s, Japan designers began to attract worldwide became increasingly enamoured with Western culture, and most of its talented young designers moved abroad. Manufacturers in Japan began to collaborate ever more with European designers, such as Philippe Starck and Marc Newson. Masanori Umeda did produce a successful series of Flower chairs during the 1990s (a reminder of Japan\u2019s natural beauty in an increasingly technological age) but Japanese furniture design of the 1990s showed little of the vitality that it had displayed in the 1980s. Indeed, when Shiro Kuramata died in 1991, it became painfully clear that there were few furniture designers left in Japan who could ever hope to replicate the international impact of his work. The Museum of Modern Art, Texas This museum in Fort Worth was designed in 2002 by Tadao Ando. Five long, flat-roofed concrete and glass pavillions, supported by 12m- (40ft-) high, Y-shaped columns are reflected in the water of the adjacent pond.","JAPAN 525 1970 ONWARDS KICK TABLE AKI BIKI CANTA SING SING SING This low table by Toshiyuki Kita has an ovoid wooden top with a This swivel armchair is one of three variations on a theme designed Designed by Shiro Kuramata for XO, this chair has a cantilevered red-lacquered surface. The table top is supported on a dark grey by Toshiyuki Kita. Each chair has an upholstered swivel seat on frame made from coated steel. The seat and back of the chair enamelled steel base, which is regulated by a glass cylinder so a fixed steel base but a slightly different configuration. The Biki are made from wire mesh, which has been welded in place. The that the height can be adjusted, and raised on casters. 1983. (shown here) has a backrest with arms. 2000. H:68cm (263\u20444in); chair\u2019s slight spring adds to its comfort. 1985. H:88cm (342\u20443in); H:40\u201352.5cm (153\u20444-203\u20444in); W:50cm (193\u20444in); D:50cm (193\u20444in). CAS W:72cm (281\u20443in); D:68cm (263\u20444in). W:52cm (201\u20442in); D:64.5cm (251\u20443in). QU Velvet upholstery adds a sensual element to this design. Layers of cushions mimic the petals of a flower. The splayed legs are tapered The metal of the legs has to a thin point to emphasize been brushed to give a the design\u2019s delicate nature. subtle matt surface. ROSE CHAIR The legs are made of turned and brushed aluminium with a MARILYN CHAIR kiln-dried transparent finish coating. H:80cm (311\u20442in); W:90cm Designed by Masanori Umeda for Edra, the seat of this haute (35 1\u20442in); D:82cm (321\u20444in). This chair has a solid birch frame with a bent, laminated wood couture chair is shaped like the open flower of a rose. The frame back and a leather-covered, upholstered seat. Seen from the is made of moulded metal and small sections of shaped wood. side, the chair is a representation of Marilyn Monroe\u2019s figure. The velvet, petal-shaped cushions, which form the padding, are From the front it is clear that the designer, Arata Isozaki, was handmade. They are filled with polyurethane foam and DacronR. inspired by Charles Rennie Mackintosh. 1972. H:140cm (55in); W:54cm (602\u20443in); D:54.5cm (603\u20444in). TDO","526 POSTMODERN AND CONTEMPORARY 1970 ONWARDS MARC NEWSON A prolific and passionate designer who employs the latest computerized techniques, Marc newson draws inspiration for his sculptural designs from the 1950s and 1960s. MARC NEWSON\u2019S WORK embodies many of the EMBRYO CHAIR paradoxes that prevailed in 1990s design. His work This armchair, manufactured by Cappellini, has three legs often alludes to the culture of his home country, made from chromed tubular steel. The polyurethene foam Australia, yet most of his designs have been created padding is covered with bi-elastic fabric. 1988. H:78.7cm in Tokyo, Paris, and London. Newson often employs the latest computerized design and manufacturing (31in); W:83.8cm (33in); D:86.4cm (34in). techniques, but also retains a great appreciation of natural materials and traditional handcrafts. While LEVER HOUSE RESTAURANT, NEW YORK his designs take the pursuit of sculptural form to Newson transformed the 604 square metre (6,500 square unprecedented heights, Newson\u2019s work is underpinned foot), subterranean, windowless restaurant at Lever by an essentially conservative approach to function. House with his design. His use of hexagons and curved surfaces give the room a retro 1950s feel while the use Newson likes to describe his works as \u201cna\u00efve\u201d. By of blonde oak and mirrored glass adds light. 2003 this he means that they are not driven by any grand concepts or ideologies. Indeed, more often than not, Newson has admitted, they are the result of absent- minded doodles. \u201cI approach my designs in a fairly subliminal way\u201d, he once said, \u201cwhich is lucky because I don\u2019t have time to think about it too much!\u201d For this unencumbered approach to design, Newson believes that he has his education in Australia to thank. At the Sydney College of Arts he studied jewellery and sculpture, rather than industrial or furniture design, and the lack of an entrenched design culture in Australia allowed him to pursue his own particular path. WOODEN CHAIR ORGONE LOUNGE CHAIR This elegant chair, created for This lounge chair designed for Cappellini is Cappellini, is constructed from made entirely from fibreglass and is available extremely long strips of bent beech in a range of bright colours. It has an organic, heartwood. Each strip has been looped flowing form, and stands on three tapering legs. back on itself to provide the seat back, seat, and support in one. H:75cm (291\u20442in); 1992. H:50cm (192\u20443in); W:181cm (711\u20444in). BK W:75cm (291\u20442in); L:100cm (391\u20443in). BUCKY CHAIR 50 of these chairs were made for the Bucky Gallery installation at the Cartier Contemporary Art Foundation in Paris. Each chair has a sculptural fibreglass shell electrostatically upholstered in flock and can be stacked (as shown above). 1995.","MARC NEWSON 527 FORD DESIGN VICE PRESIDENT J MAYS (LEFT), MARC Newson\u2019s first major success as a designer was 1970 ONWARDS NEWSON, AND THE FORD 021C CONCEPT VEHICLE the exhibition in 1986 of his Lockheed Lounge at The Ford 021C concept vehicle, created by Newson, was the Roslyn Oxley Gallery in Sydney. An organically- displayed at the Tokyo Motor Show press preview in shaped chaise longue, encased in riveted aluminium Makuhari on 20 October 1999. panels, the Lockheed Lounge resembles a 1940s aircraft fuselage beaten into the shape of a Surrealist 021C CONCEPT FORD sculpture. Newson himself described it as \u201ca giant Built around elements of Ford\u2019s next generation small car glob of mercury\u201d. The design was widely featured platform, this car was, according to Mays, designed \u201cto bring in international design magazines and, by 1989, some fun back to the Tokyo Motor Show\u201d. 1999. Newson was working in Japan for Teruo Kurosaki, whose company Id\u00e9e had established a worldwide CAPPELLINI reputation for innovative furniture design. WITH AN EXACTING EYE FOR DESIGN COUPLED WITH THE COURAGE TO BACK NEW TALENT AND A The beginning of the 1990s saw Newson much GIFT FOR PROMOTION, GIULIO CAPPELLINI CATAPULTED A VAST NUMBER OF DESIGNERS TO FAME. in demand by European furniture manufacturers. The list of designers that have surfaces. This is not to say that Cappellini was afraid Cappellini was his most enthusiastic suitor and of indulging the more fantastic whims of designers; he many of Newson\u2019s most notable designs collaborated with the Italian just insisted that any innovations be driven by structural would be produced by this Italian logic. Keen to steer clear of what he described as the manufacturer. Such was the interest manufacturer Cappellini reads \u201csaturated\u201d aesthetic of Postmodernism, Cappellini gave a in Newson\u2019s work in Europe that he wide berth to anything approximating academic theory. moved to Paris in 1992. References like a Who\u2019s Who of 1990s\u2019 to the beach culture of Sydney, In 1997, the company \u2013 in its 50th year and at the however, consistently cropped up design. Marc Newson, Jasper height of its success \u2013 opened a chain of stores in the in his work, as can be seen in the exclusive shopping areas of Vienna, New York, S\u00e3o Paulo, surfboard-shaped Orgone chaise longue. Morrison, Piero Lissoni, Tom and Paris. Sadly, however, Giulio Cappellini The hourglass shape of the Orgone was affected by the financial became a much-used motif in Newson\u2019s Dixon, Fabio Novembre, pressure that everyone was feeling at the end of the work, and was one that he employed for the Giulio Cappellini Konstantin Grcic, Werner 1990s and, at the turn of the tyre treads and floor carpets of his astonishing century, he sold a controlling concept car for Ford. Designed by Newson in 1999, Aisslinger, Karim Rashid, and Christophe Pillet have stake in the company to the at Ford\u2019s research centre in Turin, the 021C car Poltrona Frau group. catapulted his career onto a whole new level. Soon all had their designs produced in Cappellini\u2019s small, Newson was working on designs for watches, bicycles, aeroplanes, clothing ranges, and much more. but well-resourced factory in Arosio, north of Milan. INSPIRED USE OF TECHNOLOGY As well as having an exacting eye for design, and Despite such high-flying commissions, however, Newson continued to pursue the production of the courage to employ raw talent, Cappellini was also furniture. By the end of the decade, he was working with Benjamin de Haan, an architect who introduced something of a master at generating public and media the designer to many cutting-edge computer technologies. The recent development of Rapid attention. Cappellini promoted his designers as Prototyping \u2013 a process whereby a computer drawing can be immediately realized in plastic without the need personalities and produced lavish, high-concept for making intermediate models or moulds \u2013 perfectly catalogues. He also ensured that his stand at the annual suited Newson\u2019s impulsive approach to design. Although Newson was using up-to-the- Salone del Mobile in Milan was the most conspicuous. minute technologies, he continued to turn to Cappellini has said that the two qualities he the recent past for inspiration. Newson was fascinated with the forms and mechanics values most in furniture designs are \u201cpurity associated with the early developments of space travel, while he has often cited the quick-witted and vitality\u201d. Because of his essentially work of Achille Castiglioni and the domes of Buckminster Fuller as antecedents of his distinctive classicist views, most Cappellini products style. And when Newson was handed his first sizable pay-slip he went out and bought an Aston Martin DB4, have clean lines and rich, monochrome one of the most celebrated car designs of the 1950s. The facility with which Newson ranges across vast Felt Chair This armchair has a lacquer finish, making territories of design \u2013 his sinuous style can be seen it suitable for outdoor use. The design was also in everything from hairdryers to entire restaurants \u2013 produced with fabric upholstery, such as felt and marks him out as one of the most distinguished leather, for indoor use. Designed for Cappellini by talents of the 20th century, alongside Carlo Mollino, Marc Newson. 1994. H:86cm (34in); W:67cm (261\u20442in). Raymond Loewy, Ettore Sottsass, and Philippe Starck.","528 POSTMODERN AND CONTEMPORARY 1970 ONWARDS office furniture DURING THE MID 1960S, many office discussed subject as a growing environments underwent a radical percentage of the world\u2019s workforce change. Places that had previously was sitting down at desks rather resembled either vast classrooms or than standing on the factory floor. rabbit warrens now became intricate, open-plan spaces fitted with modular The arrival, in the late 1970s, of office-furniture systems. computers as a common feature of the office environment proved another spur These changes were first initiated in for designers to rethink office furniture Germany \u2013 where the new look was (the launch of the Apple Mac in 1984 described as the B\u00fcrolandschaft or changed the meaning of the word \u201cOffice Landscape\u201d \u2013 and in the United \u201cdesktop\u201d). In the 1980s, personal States where George Nelson and Robert computers allowed more people to Propst had devised the ground-breaking work from home, prompting many Action Office scheme (1964). dusty studies to become transformed into \u201chome offices\u201d. This sparked a The 1970s, then, were boom years temporary move away from the for the newly revitalized office-furniture technical aesthetic of office furniture. industry. Companies such as Herman Miller Inc. in the United States and The development of hot-desking in Vitra in Germany began to invest large the 1990s further de-formalized the sums of money in researching and office environment. In hot-desking developing office-furniture systems. offices, desks became little more than the equivalent of car parks and were Flexibility soon became the key thus stripped of drawers and other word in office-furniture design, as storage spaces. By this time, too, the chairs were given swivelling seats and increased memory capacities of put on casters, and modular shelving computers reduced the need for systems became increasingly common. expansive filing systems. Ergonomics, too, was another much- The tray is raised and The shelving units are on The shelving units are backed REVOLVING CABINET STORAGE UNIT swivels so it is easy to casters, so they can be with wood, bringing a natural reach papers inside it. moved around the office. element into the office. Designed by Shiro Kuramata for Cappellini, this This Postmodern storage unit was designed by innovative filing system has 20 drawers, each Gaetano Pesce. It has an ebonized frame and of which rotates around a single vertical metal two banks of 13 \u201cmailbox\u201d compartments with bar. H:185cm (72 3\u20444in); W:36cm (14 1\u20444in); hinged fronts in polychromed wood. 1991. \u25cfD:25cm (97\u20448in). BK 3 \u25cfH:167cm (653\u20444in); W: 61.5cm (241\u20444in). SDR 1 The standardized shape of The holes in the desk are the desk allows a number of for electrical cables. them to be placed together. VITRA ATM cables and accessories. It accommodates CORNER TABLE chromed-steel frame, which has an various accessories that organize the desktop, asymmetrical cross-shaped base and four Vitra\u2019s Advanced Table Module (ATM) was such as lamps, file trays, plates, and paper This table forms part of the Sedus reception large, black, padded feet. The angular, designed with practicality uppermost in mind. boxes, and it can fit together neatly with other room furniture designed by the Australian asymmetry of the design gives the table The look is simple and restrained but with tables to form multiple work stations. A mobile architect Peter Wilson (see also his Corner a certain quirky personality of its own. carefully detailed features. The table has an unit provides storage and helps to define the Chair, opposite). The low table has a square, H:40cm (15 3\u20444in); W:70cm (27 1\u20442in); eased edge for comfort, and discreet slots for broader office landscape. 2003. plate-glass top, and is supported on a D:70cm (27 1\u20442in). SED","OFFICE FURNITURE 529 1970 ONWARDS ARCHIMOON CLASSIC JOYN OFFICE SYSTEM Philippe Starck\u2019s version of the classic Designed by Ronan and Erwan Bouroullec for Vitra, this desk lamp makes use of clean lines and system provides a flexible series of work stations. It has a a smooth aluminium finish. The lamp rectangular table top and a number of movable screens that folds and pivots to direct light as needed. can be slotted into the table to form enclosed compartments. H:57cm (221\u20442in); D:68.5cm (27in). 2002. The dimensions vary according to the model. VIT Olivetti OLIVETTI PLAYED A KEY ROLE IN THE DEVELOPMENT OF THE WHOLE OFFICE ENVIRONMENT THROUGHOUT THE 20TH CENTURY. CORNER CHAIR AERON OFFICE CHAIR Olivetti\u2019s products, from Camillo Olivetti\u2019s The Olivetti Establishment in Ivrea, Italy This large first typewriter design in 1908 to its and open-plan, Rationalist-style office space was This asymmetric, upholstered chair is part of This swivel chair has a recycled aluminium- pioneering laptop computers of the 1980s, designed by Luigi Figini and Gino Pollino. a range of reception furniture. The two-tone and fibreglass-reinforced frame with a mesh were always at the cutting edge of product leather seat is supported on an asymmetrical seat and back. It is raised on casters. It was design. And Olivetti\u2019s own offices were lifestyle, appearing more of a fashion chromed-steel frame. H:85cm (33 1\u20442in); designed by Donald Chadwick and William always at the forefront of ideas regarding accessory than a working tool. W:60.5cm (233\u20444in); D:60cm (232\u20443in). SED office environment design. \u25cfStumpf for Herman Miller Inc. 1992. L&T 1 During the 1970s and 1980s, Olivetti In 1939, the designers Gino Pollini ensured that it kept pace with and Luigi Figini designed the company\u2019s technological advances, and was offices and production plant in strict one of the first manufacturers Rationalist style, furnishing the interiors of personal computers (PCs) with tubular-steel chairs. At this time, and fax machines. Marcello Nizzoli was the company\u2019s design director, producing a series of radically advanced typewriter designs. In 1958, Ettore Sottsass took over Nizzoli\u2019s role and stamped his own unique spirit on Olivetti. The company\u2019s offices were soon furnished with bright, ergonomically advanced chairs, and Olivetti\u2019s product range was revamped. The portable Valentine typewriter that Sottsass designed with Perry A. King in 1969 caught the zeitgeist of an on-the-go KANT DESK Olivetti furniture designed by Ettore Sottsass This Synthesis 45 desk chair This injection-moulded office shows some of the technically innovative plastic chair, designed by Ettore Sottsass, is This white-laminate, birch plywood desk has a rectangular work products that Sottsass designed, such as the brightly coloured and has a chunky silhouette. surface that dips towards the back to create a bookshelf. This ergonomic chairs and the pop-inspired Valentine The chair was intended to appeal to young is a basic model to which a number of accessories can be typewriter. 1970\u201371. office workers. 1970\u201371. added, including banks of drawers suspended from the desktop and a monitor panel. 2002. H:74cm (291\u20444in); \u25cfW:160cm (63in); D:105cm (411\u20443in). NHM 2","530 POSTMODERN AND CONTEMPORARY 1970 ONWARDS chairs designers during the 1970s and 1980s. High oil prices had made it a more THE 1970S WAS a decade when many expensive material to use and designers LAZY CHAIRS in a range of materials, including leather, some designers finally relinquished their had a greater awareness of plastic\u2019s of which are easy to remove from the frame. visions of a brave new world: no negative ecological impact. Each of these lounge seats has a fabric sleeve The chairs were designed by Patricia Urquiola matter how many outlandish seating slipped over a stainless steel frame and can be for B&B Italia. 2003. Chair: H:68cm (263\u20444in); systems they devised, they realized Wood returned as a favoured converted from an armchair into a chaise longue W:82cm (321\u20444in); D:108cm (421\u20442in); Chaise that they could do little to alter material, although it was often painted in one single movement. The chairs were designed longue: H:82cm (321\u20444in); W:82cm (321\u20444in); natural human behaviour. or laminated, and high-grade woods for outdoor and indoor use and are still available D:113cm (421\u20442in). B&B were rarely used. Unusual materials, In the face of such a sobering such as wicker, cork, cardboard, realization, the four-legged chair with bamboo, and recycled frying pans a seat and back made a determined (in the case of designer Tom Dixon) comeback. From the mid 1970s were also experimented with in an onwards, designers worried less about effort by designers not only to find more challenging the archetypal form of a environmentally friendly alternatives chair and concentrated instead on the to plastic but also to give their chairs chair\u2019s more superficial appearance. greater communicative impact. The chair became regarded as a canvas for communication. \u201cChairs present The upsurge of Postmodernism in potent declarations about their the late 1970s and 1980s had a riotous designers\u201d, wrote the critic John Pile effect on design, and chairs were in 1990. \u201cWhen sitting on a chair we covered in coloured paint and are in touch not only with the object patterned laminates. The 1990s, but also its human creator.\u201d however, saw this bluster stripped away, as a more restrained style was Plastic, a material that had opened adopted by furniture designers. up so many new vistas in the world of chair design, was largely rejected by The glass has been gently twisted to create a flat back. SPAGHETTI CHAIR NON 2000 The chair has been made by slitting This armchair has a tubular-steel frame This square-framed chair has been moulded and then bending a sheet of glass in PUR rubber in one go. It has an inner steel supporting four tan leather slings. The four legs frame with spring bands in the seat and can warmed in a tunnel furnace. be used indoors and out. It is produced by are straight and the back uprights and seat rail Komplot Design. 2000. H:77cm (30 1\u20443in); W:44cm (17 1\u20443in); D:39cm (15 1\u20443in). KAL curve gently. It was designed by Giandomenico Belotti. 1979. H:71cm (28in); W:68cm (263\u20444in); \u25cfD:59cm (231\u20444in). BonE 1 The seat can take a load of up to The transparency of the glass 150kg (300lb),even though the curved makes the chair appear far crystal glass is a mere 12mm (1\u20442in) thick. lighter than it actually is. GHOST CHAIR While the chair\u2019s construction, combined FRED BAIER ARMCHAIR TOK CHAIR with the transparency of the 12mm- (1\u20442in-) This chair is made from a single piece of thick glass, make it look light, it can in fact This plywood and sycamore Postmodern armchair is The back rail and legs of this three-legged moulded glass that has been slit along its take a load of up to 150kg (300lb). The length and moulded, while hot, to take chair was designed by Cini Boeri and Tomu stained red, purple, and yellow and then lacquered. armchair are made from a single piece of bent its shape. The chair\u2019s form echoes the Katayanagi and produced by Fiam. 1987. traditional British club chair (also adapted H:68cm (263\u20444in); W:95cm (371\u20443in); D:75cm It is a contemporary version of the smoker\u2019s bow, wood. The leather seat and triangular backrest by Marcel Breuer for his Wassily chair). \u25cf(29 1\u20442in). BonBay 4 a type of Windsor chair. Four pairs exist, each are raised on steel supports. The rear support is in a unique colourway. Designed by Tim Wells. splayed at the bottom to form the back foot. \u25cf1983. H:55cm (212\u20443in). FB 3 \u25cfH:77cm (303\u20444in); W:53cm (211\u20448cm). 2","CHAIRS 531 1970 ONWARDS ASTON CHAIR KARTELL ARMCHAIR FELTRI CHAIR IL CAPRICCIO DI UGO This chair, designed by Linley, is a 21st- This chair has a black injection-moulded This armchair is made of thick wool felt This is a steel-framed armchair with a fabric- century interpretation of a gentleman\u2019s club frame with a curved backrest and a deep and the lower section is impregnated with upholstered foam seat and armrests, raised on chair and its fluid shape is inspired by car seat that slopes down towards the backrest. thermostatic resin to stiffen it. The seat back tubular-steel legs. The armrests fold down so upholstery. The chair is available in a variety The seat and rounded arms of the chair are and seat cushion are quilted and sewn together that they can be used as trays. It was designed of fabrics, including leather and silk, and in supported on L-section legs, so shaped for with polyester padding. It was designed by by Matali Crasset, France. 1997. H:77cm colours that range from white, cream, and extra strength. It was designed by Gae Gaetano Pesce for Cassina. 1987. H:130cm (301\u20443in); W:63cm (243\u20444in) (closed), 109cm black, to bright red and electric blue. 2001. (511\u20444in); W:73cm (283\u20444in); D:66cm (26in). (43in) (open); D:63cm (243\u20444in). MCP \u25cfAulenti for Kartell. BonE 1 VINE CHAIR metamorphic furniture MAPLE DINING CHAIR This chair has been made from limewood, SMALLER LIVING SPACES COMBINED WITH A FOCUS ON FUNCTION BY which has been carved and painted to simulate This solid maple dining chair is one of a set DESIGNERS LED TO THE DEVELOPMENT OF TRANSFORMABLE FURNITURE. a seat and back made of vine leaves and legs of 10. The chair has a cane back panel and a resembling tree trunks. It was designed by John curved seat, which is raised on square-section The Japanese have long been used to approach to function than their Modern Makepeace. H:85cm (331\u20442in); W:50cm (193\u20444in); legs. Designed by Studio Dillon for a private compact living spaces. During the 1980s predecessors, and many worked on client. 2001. H:80cm (311\u20442in); W:45cm and 1990s, however, compact living also transformable furniture designs. \u25cfD:50cm (193\u20444in). JM 6 (173\u20444in) D:50cm (192\u20443in). DIL became a key issue in cities across Europe and the United States as spiralling house Typical of this type of design was prices forced people to inhabit ever French designer Matali Crasset\u2019s Teo smaller spaces. With people considering (1999), a stool that could be dismantled how to make the most of such restricted to provide its owner with a mattress. room, the production of multi-functional Other notable multi-functional furniture furniture seemed like a logical idea. The designs of this decade included the 1990s saw a revival of Armchair\u2013Table (1998) and the Wire interest in the functional aspects of furniture by Frame Reversible Bench designers, who found (1999), both by Shin and the idea of multi- Tomoko Azumi, who were purpose furniture brought up in Japan. While particularly appealing. the former design is self- Designers of the 1990s explanatory, the latter is took a more playful best described as a bench that, when flipped over, becomes a chaise longue. AFRICA CHAIR BIBLIOTH\u00c8QUE Teo from 2 to 3 The Siesta piece metamorphoses from One of a pair designed by Tobia and Afra Scarpa, This is one of a set of four limited-edition a stool to a bed. The main this chair has a two-piece cherry-wood back, and Richard Rogers and Renzo Piano biblioth\u00e8que elements of the assembled a black leather-upholstered seat. Its simple frame dining chairs. It has a wire-mesh seat and stool can be dismantled to has a cross-stretcher for extra stability. The chair adjustable back supported on four steel-rod provide a mattress and a \u201cdo back extends to become the back leg. It is uprights, with a tan-leather drop-in seat pad. not disturb sign\u201d. Designed by Matali Crasset. 1999. \u25cfmanufactured by Maxalto. 1975. 1 \u25cfLate 1970s. Bonbay 3 H:52cm (201\u20442in); Diam:40cm (153\u20444in) (closed). MCP","532 POSTMODERN AND CONTEMPORARY 1970 ONWARDS tables obvious value. Dining tables, then, became simple in form and THE POPULARITY OF the coffee table increasingly produced in understated PLATE-GLASS TABLE look. It was designed by Andr\u00e9 Kiskan & Andreas during the 1940s, 1950s, and, to a materials, such as glass, blonde wood, lesser extent, the 1960s and 1970s, and brushed metal. This large, architectural-looking table has Freund, Austria. 1985. H:76cm (30in); W:220cm meant that the large, often a heavily structured frame made from matt cumbersome dining table was The 1990s also saw an increasing anodized aluminium. The trestle-type legs \u25cf(871\u20443in); D:109cm (47in). DOR 3 left somewhat by the wayside. trend for \u201cloft-living\u201d. The conversion support a detachable, rectangular plate-glass top. of many ex-industrial buildings and The table\u2019s colour and form give it an industrial During the 1980s, however, the warehouses into residential dwellings dining table enjoyed something of during this decade allowed for large, a revival in elite circles. This was a open-plan spaces in which the coffee decade of conspicuous consumption table \u2013 usually seen squeezed between and an expansive, authoritative dining the television set and the three-piece table served well as a status symbol. suite \u2013 seemed rather inappropriate. Not only did it declare that the owner It was the rather more footloose had no pressing need to economize on occasional table, then, that began space, it also gave the message that to enjoy a boom in popularity. As they were continually holding ingenuity was a much-admired feature fashionable dinner parties. in furniture design during the 1990s, occasional tables often came in nesting Ownership of a dining table sent out sets of three. much the same message in the 1990s. However, by now it was considered lacking in taste to flaunt objects of The severe shape of these occasional tables is similar to the sculptures made by the Minimalist artist Donald Judd. The black ends of the FREE-STANDING BAR it look as if they have been pierced by the iron table give definition to rods. The bar was designed by B.R.A.N.D. (Boris their shape, emphasizing This intriguing bar has a curved plate-glass Brochard & Rudolf Weber), Austria. B.R.A.N.D. just how thin they are. table top supported on numerous black- was founded in 1983 with an initial symbolic lacquered iron rods. Two lower levels of glass event in which old furniture was burnt in order The matt aluminium shelving have been added. These levels are to create space. c.1985. H:117cm (46in); surfaces give the tables each made of several pieces of glass, making \u25cfW:245cm (961\u20442in). DOR 4 a sense of luxury. An internal panel adds strength to the table\u2019s structure. T60 TABLES square and there is a central reinforcing GLASS DINING TABLE together with steel bolts, spaced apart, to element between the legs, which is also This set of three Antonio Citterio T60 tables made of aluminium. Each outside edge has This table is almost all glass. The thick form a solid-looking leg. The table is typical is produced by B&B Italia. Each table is a 10 mm- (1\u20442in-) thick black border that plate-glass top is supported on two large, made from a single sheet of aluminium with emphasizes the clean, straight lines and square-section legs. Each leg is made up of the quieter style of design at the end of a satin finish, which has been moulded into geometric form of the tables. c.1998. of nine vertical sheets of plate glass, which an upside-down \u201cU\u201d shape. The table top is graduate in size, and have been joined the 1980s, which is sometimes referred to as \u25cfW:59.5cm (231\u20442in). FRE 1 \u25cf\u201cLate Modern\u201d. W:244cm (96in). FRE 2","TABLES 533 1970 ONWARDS MY 082 green, orange, or grey frame. It was designed ROOK TABLE tops. It was designed by Konstantin Grcic for Magis by the English designer Michael for SCP. H:74cm (291\u20448in); W:190cm (751\u20444in); This table has a white rectangular table Young, who is known for his use of expressive The rectangular top of this table is made from D:85cm (331\u20442in). SCP top raised on a black injection-moulded colours. 2001. H:70.5cm (273\u20444in); W:149cm white-laminated beech. It is supported on a polypropylene frame with slender, tapering (582\u20443in); D:68cm (263\u20444in). CRB solid beech frame with rectangular-section, legs. The design is also available with a brown, splayed legs. Versions of this table are also made with beech veneer or reinforced glass CONSOLE TABLE which is a recognized leader in Italian LENS TABLES This simple, rectilinear console table has a industrial design and produces designs The tops and sides of these tables maple table top and sides of equal depth. The are made from sheets of crystal sides are joined by a turned stretcher for extra by internationally famous designers and glass with a special film inserted stability. Below the table top are four pull-out between them, to give a semi- steel units. It is produced by Zanotta of Italy, \u25cfarchitects. W:117.5cm (461\u20444in). FRE 1 transparent, almost kaleidoscope effect. These cubes are made on a simple steel frame and can be used on their own or placed one over the other. Designed by Patricia Urquiola, the tables are manufactured by B&B Italia. H:43cm (167\u20448in); W:43cm (167\u20448in); D:43cm (167\u20448in). B&B TABLE TABLE typical 18th-century features, such as cabriole CENTRAL PARK table was designed by Ettore Sottsass, the This contemporary centre table by Clementine legs, ormolu mounts, Rococo escutcheons, and This table has a square glass top supported on leading member of the Memphis group. The Hope has an 18th-century-style table printed four plastic-coated steel columns. The base on a square-section, medium-density fibreboard a leather-inset top. H:76cm (30in); W:160cm of the table is made from a deep square of group\u2019s main aim was to revive Radical design (MDF) frame. The witty take on the French figured white marble, which forms a stark bureau plat that is printed on the table includes \u25cf(63in). L&T 1 contrast with the black plastic above it. The and break down the barriers between high and low design. The table was manufactured \u25cfby Knoll International. 1982. BonE 1","534 APPENDICES ANATOMY OF FURNITURE Furniture is constantly evolving, and has been Seat rail Stretcher Top rail since the Ancient civilizations of Egypt, Greece, Stile and Rome. As time has gone by, advances in Splat technology, the discovery of new materials, and the Armrest changing fashions of each era have done much to Scrolled arm influence the construction, shape, and ornament of Arm support the prevailing furniture forms that we are familiar Drop-in seat with today. From the mortise-and-tenon joints of Knee the Middle Ages to complex welds of the Industrial Age, and from traditional horsehair stuffing to Pad foot electrostatic flock upholstery, there have been countless changes in the way furniture is made. This book has demonstrated, chapter by chapter, how the three basic forms \u2013 chairs, tables, and case pieces \u2013 have developed since 1600 to the present day: how pieces have become generally lighter and smaller in shape; how hand-crafted pieces differ from their machine-made counterparts; and how social and political events have influenced the various styles. The sheer diversity of design over the last 400 hundred years may lead to confusion when it comes to terminology. However, despite the many guises of the three basic forms, they all share common structural characteristics, many of which are outlined here. Cabriole leg Frieze Drawer Open armchair Cock-beading This George II open armchair is made from solid walnut \u2013 the timber of choice in England for the first quarter of the 18th century. Typical features of the period are the use of solid wood, the wide, drop-in seat, and stiles that are a continuation of the back legs. The shaped top rail and solid, vase-shaped splat were also fairly common features at the time. BONS Stile Serpentine front Ring handle Bow-front chest of drawers Apron Splayed bracket foot Chests of drawers were in common usage from the end of the 17th century, usually for storing clothes. This George III chest of drawers is made from mahogany \u2013 the timber that superseded walnut in popularity in England from the mid 18th century. Typical features are the bow-fronted, graduated drawers, the crossbanding, and the brass ring handles. The serpentine apron and splayed feet were also common features of this period. NA","Drop leaf Frieze drawer ANATOMY OF FURNITURE 535 Gateleg Baluster-turned leg Gateleg table The gateleg dates back to the end of the 16th century and has been made in various styles since then, but it was at its most popular in the 17th century. This example, made from yellow pine, was made in the southern states of America between 1690 and 1740. The defining features of a gateleg table are the drop leaves, supported on legs that swing out from the centre, and the stretchers that connect the legs. SP Cornice Frieze Stretcher Drawer Flattened bun foot Escutcheon Crossbanding Frieze Decorative roundel Cornice Drop handle Plinth Apron Door panel Cup-and-vase leg Drop handle Bracket foot Bun foot Stretcher Linen press High chest of drawers Large case pieces for the storage of household linen were The high chest of drawers, or highboy, was popular in popular from the 17th century onwards, often with two Britain and America during the early 18th century, and doors, as in the French armoire or German Schrank. usually consisted of an upper chest of drawers supported Later, they had two doors above a set of drawers, as here. on a lower, table-like form with long legs. This example This Georgian example is made from mahogany. Typical was made in Boston, America. Typical features include features of the period include the dentilled cornice, the the tiger maple and burr maple veneer, the cup-and-vase panelled doors, and the square bracket feet. L&T legs, and the flat, shaped stretchers. KEN","536 APPENDICES USEFUL ADDRESSES The Furniture History Society National Museum of Finland Norway Design Museum 1 Mercedes Cottages, St John\u2019s Road Mannerheimintie 34, Helsinki Kunstindustrimuseet Shad Thames, London SE1 2YD Haywards Heath Tel: 00 358 9 40509544 Bes\u00f8ksadresse: St. Olavs gate 1, Oslo Tel: 0870 8339955 West Sussex RH16 4EH www.nba.fi Tel: 00 47 22 036540 www.designmuseum.org Tel: 01444 413845 Email: [email protected] Fax: 01444 413845 France Geffrye Museum Email: furniturehistorysociety Mus\u00e9e des Arts D\u00e9coratifs Museet for samtidskunst Kingsland Road, London E2 8EA @hotmail.com Palais du Louvre Bankplassen 4, Oslo Tel: 020 7739 9893 107 rue de Rivoli, 75001 Paris Tel: 00 47 22 862210 www.geffrye-museum.org.uk MUSEUMS AND GALLERIES Tel: 00 33 1 44 55 57 50 www.nasjonalmuseet.no www.paris.org Glasgow School of Art, Australia Portugal 167 Renfrew Street, Glasgow G3 6RQ Powerhouse Museum Mus\u00e9e de L\u2019\u00c9cole de Nancy Museu Nacional de Arte Antiga Tel: 0141 3534500 500 Harris Street Ultimo 36-38 rue de Sergent Blandan Rua das Janelas Verdes 95,1249 Lisbon PO Box: K346 Haymarket 54000 Nancy Tel: 00 351 213 912 800 Hunterian Museum and Art Gallery Sydney NSW 1238 Tel: 00 33 3 83 85 30 72 www.mnarteantiga-ipmuseus.pt and Mackintosh House Gallery Tel: 00 61 2 92170111 Email: [email protected] 82 Hillhead Street, University of www.phm.gov.au Russia Glasgow, Glasgow G12 8QQ Mus\u00e9e du Louvre State Hermitage Museum Tel: 0141 3305431 Austria Pyramide-Cour Napol\u00e9on, A.P. 34 Palace Embankment www.hunterian.gla.ac.uk Museen der Stadt Wien 36 quai du Louvre, 75058 Paris 38 Dvortsovaya Naberezhnaya Karlsplatz, A-1040 Vienna Tel: 00 33 1 40 20 50 50 St. Petersburg Millinery Works Gallery Tel: 00 43 1 5058747 www.paris.org Tel: 00 7 812 1109625 85-87 Southgate Road, London N1 3JS www.museum-vienna.at www.hermitagemuseum.org Tel: 020 7359 2019 Mus\u00e9e d\u2019Orsay www.millineryworks.co.uk \u00d6sterreichisches Museum 62 rue de Lille, 75343 Paris South Africa f\u00fcr Angewandte Kunst Tel: 00 33 1 40 49 48 14 Stellenbosch Museum Victoria and Albert Museum Stubenring 5, A-1010 Vienna www.musee-orsay.fr Ryneveld Street, Stellenbosch, 7599 Cromwell Road, London SW7 2RL Tel: 00 43 1 711360 Tel: 00 27 21 8872902\/8872937 Tel: 020 7942 2000 Germany Email: [email protected] www.vam.ac.uk Belgium Bauhaus Mus\u00e9e Horta Gropiusallee 38, 06846 Dessau Spain The Wallace Collection Amerikaans Straat\/rue Am\u00e9ricaine Tel: 00 49 340 6508251 Casa Museu Gaudi Hertford House, Manchester Square 23-35, 1060 Brussels www.bauhaus-dessau.de Parc Guell \u2013 Carretera del Carmel London W1U 3BN Tel: 00 32 2 5371692 08024 Barcelona Tel: 020 7563 9500 www.hortamuseum.be Germanisches Nationalmuseum Tel: 00 34 93 2193811 www.wallacecollection.org Kart\u00e4usergasse 1, D - 90402 N\u00fcrnberg www.casamuseugaudi.com Denmark Tel: 00 49 911 13310 William Morris Gallery The National Museum of Denmark www.gnm.de Museo Art Nouveau Y Art Deco Walter House, Lloyd Park, Forest Road Frederiksholms Kanal 12 Calle Gibralta 14, 37008 Salamanca London E17 4PP DK 1220 Copenhagen K Staatliche Kunstsammlungen Dresden Tel: 00 34 92 3121425 Tel: 020 8527 3782 Tel: 00 45 3313 4411 Dresdner Residenzschloss www.museocasalis.org www.lbwf.gov.uk\/wmg\/home.htm www.natmus.dk Taschenberg 2, 01067 Dresden Tel: 00 49 3 51\/49 142000 Sweden United States Egypt www.skd-dresden.de National Museum Crabtree Farm Egyptian Museum S\u00f6dra Blasieholmshamnen, Stockholm PO Box 218 Tahrir Square, Cairo Vitra Design Museum Tel: 00 46 8 51954300 Lake Bluff, Illinois, IL 60044 www.egyptianmuseum.gov.eg Charles-Eames-str. 1 www.nationalmuseum.se Tel: 00 1 312 391 8565 D-79576 Weil-am-Rhein Finland www.design-museum.de United Kingdom Delaware Art Museum Alvar Aalto Museum American Museum 2301 Kentmere Parkway Alvar Aallon katu 7, Jyv\u00e4skyl\u00e4 Italy Claverton Manor, Bath BA2 7BD Wimington, Delaware, DE 19806 Tel: 00 358 14 624809 Museo di Palazzo Davanzati Tel: 01225 460503 Tel: 00 1 303 571 9590 www.alvaraalto.fi\/museum Via di Porta Rossa 13, 50122 Florence www.americanmuseum.org www.delart.org Designmuseo The Netherlands Cheltenham Art Gallery and Museum Elbert Hubbard Roycroft Museum Korkeavuorenkatu 23, 00130 Helsinki Rijksmuseum, Jan Luijkenstraat 1 Clarence Street, Cheltenham PO Box 472, 363 Oakwood Avenue Tel: 00 358 9 6220540 Amsterdam Gloucestershire GL50 3JT East Aurora, Erie County, NY 14052 www.designmuseum.fi Tel: 00 31 20 6747000 Tel: 01242 237431 Tel: 00 1 716 652 4735 www.rijksmuseum.nl www.cheltenhammuseum.org.uk www:roycrofter.com\/museum.htm","USEFUL ADDRESSES 537 John Paul Getty Museum France Sweden Temple Newsam House Getty Center, Los Angeles Ch\u00e2teau de Fontainebleau Drottningholm Palace Temple Newsam California, CA 90049-1687 77300 Fontainebleau 178 02 Drottningholm Leeds LS15 0AD Tel: 001 310 440 7300 Tel: 00 33 1 60 71 50 70 Tel: 00 46 8 4026280 Tel: 0113 2647321 www.getty.edu www.musee-chateau-fontainebleau.fr www.royalcourt.se www.leedsgov.co.uk The Metropolitan Museum of Art Ch\u00e2teau de Malmaison Gripsholm Castle Standen 1000 Fifth Avenue Avenue du ch\u00e2teau Box 14, 647 21 Marifred West Hoathly Road New York, New York 10028-0198 92 500 Rueil-Malmaison Tel: 00 46 159 10194 East Grinstead Tel: 00 1 212 535 7710 Tel: 00 33 1 41 29 05 55 www.royalcourt.se Sussex RH19 4NE www.metmuseum.org www.chateau-malmaison.fr Tel: 01342 323029 Stockholm Palace www.nationaltrust.org.uk Museum of Fine Arts, Boston Ch\u00e2teau de Versailles Slottsbacken Avenue of the Arts 834-78008 Versailles Tel: 00 46 8 4026130 Syon House 465 Huntington Avenue www.chateauversailles.fr www.royalcourt.se Syon Park, London Boston Tel: 020 8560 0882 Massachusetts 02115-5597 Germany United Kingdom www.syonpark.co.uk Tel: 00 1 617 267 9300 Neue Rezidenz, Bamberg Castle Howard www.mfa.org Domplatz 8 York, North Yorkshire Y060 7DA United States 96049 Bamberg Tel: 01653 648444 Canterbury Shaker Village The Museum of Modern Art Tel: 00 49 951 519390 www.castlehoward.co.uk Canterbury 11 West 53 Street www.schloesser.bayern.de New Hampshire, NH 03224 New York , NY 10019-5497 Georgian House www.shakers.org Tel: 00 1 212 708 9400 Charlottenhof 7 Charlotte Square www.moma.org Sansoucci Park, Potsdam Edinburgh EH2 4DR The Colonial Williamsburg Tel: 00 49 331 9694223 Tel: 0131 2263318 Foundation, P.O. Box 1776 Stickley Museum Email: [email protected] Williamsburg, Virginia 300 Orchard Street Schlo\u00df Charlottenburg VA 23187-177 Fayetteville, NY 13104 Spandauer Damm 20 Harewood House Tel: 00 1 757 229 1000 Tel: 00 1 315 682 5500 Luisenplatz Berlin 14059 Moor House, Harewood Estate www.colonialwilliamsburg.org www.stickleymuseum.org Tel: 00 49 33 19694202 Harewood, Leeds LS17 9LQ www.schlosscharlottenburg.de Tel: 0113 2181010 Gamble House Winterthur Museum www.harewood.org 4 Westmoreland Place Winterthur, Delaware Schlo\u00df Nymphenburg Pasadena, California DE 19735 Eingang 19, 80638 M\u00fcnchen Hill House CA 91103 Tel: 00 1 800 448 3883 Tel: 00 49 89 179080 Upper Colquhoun Street Tel: 00 1 626 793 3334 www.winterthur.org www.schloesser.bayern.de Helensburgh, Glasgow G84 9AJ www.gamblehouse.org Tel: 01436 673900 The Wolfsonian Museum Italy Hancock Shaker Village of Modern Art and Design Pitti Palace Kedleston Hall Route 20, Pittsfield 1001 Washington Avenue Piazza Pitti 1. 50125 Florence Derby DE22 5JH Massachussetts, MA 01201 Miami Beach, FL 33139 www.polomuseale.firenze.it Tel: 01332 842191 Tel: 00 1 413 443 0188 www.wolfsonian.org www.nationaltrust.org.uk www.hancockshakervillage.org Reale Palace HISTORIC BUILDINGS Piazza Castello, Turin Knole Marston House Tel: 00 39 11 4361455 Sevenoaks, Kent TN15 ORP 3525 Seventh Avenue Austria Tel: 01732 462100 Balboa Park Sch\u00f6nbrunn Palace Portugal www.nationaltrust.org.uk San Diego, California Sch\u00f6nbrunner Schlo\u00dfstrasse 47 Palacio Nacional de Queluz Tel: 00 1 619 298 3142 Vienna Queluz, Lisbon Osborne House www.schoenbrunn.at Tel: 00 351 214 343860 Isle of Wight Nathaniel Russell House Tel: 01983 200022 51 Meeting Street Belgium Russia www.english-heritage.org.uk Charleston H\u00f4tel Solvay Summer Palace South Carolina, SC 29402 224 avenue Louise Letny Sad The Red House Tel: 00 1 843 723 1159 1050 Brussels 191186 St. Petersburg Red House Lane, Bexleyheath DA6 8JF www.historiccharleston.org www.saint-petersburg.com Tel: 01494 755588 Denmark www.nationaltrust.org.uk The Stickley Museum Rosenborg Castle Spain at Craftsman Farms \u00d8ster Voldgade 4 Palacio Nacional Madrid The Royal Pavilion 2352 Rt. 10-West, #5 Copenhagen Calle Bail\u00e9n, 28071 Madrid Brighton BN1 1EE Morris Plains, NJ 07950 Tel: 00 45 3315 3286 Tel: 00 34 91 4548800 Tel: 01273 290900 Tel: 00 1 973 540 1165 www.rosenborg-slot.dk www.patrimonionacional.es www.royalpavilion.org.co.uk www.stickleymuseum.org","538 APPENDICES FURTHER READING Arts Council of Great Britain Chippendale, Thomas, The Fales, Jr., Dean A., American Gusler, Wallace B., Furniture of (The), The Age of Neo-Classicism, Gentleman & Cabinet-Maker\u2019s Painted Furniture 1660-1880, Williamsburg and Eastern Virginia, London, 1972. Director, Reprint of the Third E.P. Dutton and Company, Inc., 1710-1790, Virginia Museum, Edition 1762, Dover Publications New York, 1972. Richmond, Virginia, 1979. Aslin, Elizabeth, Nineteenth Inc., New York, 1966. Century English Furniture, Fastnedge, Ralph, Shearer Gruber, Alain (ed), The History Faber & Faber, London, 1962. Clemmensen, Tove, Danish Furniture Designs from the of Decorative Arts, The Furniture of the Eighteenth Cabinet-Makers\u2019 London Book Renaissance and Mannerism Aronson, Joseph, The Century, Gyldendalske of Prices 1788, Alec Tiranti, in Europe, Abbeville Press, Encyclopedia of Furniture, Boghandel Nordisk Forlag, London, 1962. Publishers, London, 1994. Clarkson Potter\/Publishers, Copenhagen, 1948. New York, 1965. Fiell, Charlotte and Peter, 1,000 Harris, Eileen, The Furniture Delaforce, Angela, Art & Chairs, Benedikt Taschen Verlag, of Robert Adam, Academy Baarsen, Reinier, Dutch Furniture, Patronage in Eighteenth Century Cologne, 2000. Editions, London, 1973. 1600-1800, Rijksmuseum, Portugal, Cambridge University Amsterdam, 1993. Press, New York, 2002. Fiell, Charlotte and Peter, Hayward, Helena, World Scandinavian Design, Benedikt Furniture: An Illustrated History, Baarsen, Reinier, 17th-century Downs, Joseph, American Taschen Verlag, Cologne, 2002. Hamlyn Publishing Group Cabinets, Rijksmuseum, Furniture, Queen Anne and Limited, London, 1982. Amsterdam, 2000. Chippendale Periods, The Fischer, Felice and Hiesinger, Macmillian Company, New Kathryn B., Japanese Design: A Heckscher, Morrison H. Baarsen, Reinier, German York, 1952. Survey Since 1950, Philadelphia and Greene Bowman, Leslie, Furniture, Rijksmuseum, Museum of Art in association American Rococo, 1750-1775: Amsterdam, 1998. Edwards, Clive, Encyclopedia of with Harry N. Abrams Inc., Elegance in Ornament, Harry N. Furniture Materials, Trades and New York, 1995. Abrams Inc., New York, 1992. Baker, Fiona and Keith, 20th Techniques, Ashgate Publishing Century Furniture, Carlton Limited, Aldershot, 2000. Forman, Benno M., American Hepplewhite, George, The Books, London, 2003. Seating Furniture, 1630-1730, Cabinet-Maker and Upholsterer\u2019s Edwards, Clive D., Eighteenth- W.W. Norton & Company, Guide, The Third Edition of 1794, Baker, Hollis S., Furniture Century Furniture, Manchester New York, 1988. Reprint, Dover Publications in the Ancient World, The University Press, Manchester, Inc., New York, 1969. Connoisseur, London, 1966. 1996. Galissa, Rafael Dom\u00e9nech and Luis P\u00e9rez Bueno, Antique Hiesinger, Kathryn B., Design Beard, Geoffrey, The Work of Edwards, I.E.S. et al., Spanish Furniture, Meubles since 1945, Philadelphia Museum Robert Adam, Bloomsbury Tutankhamun: His Tomb and Its Antiguos Espa\u00f1oles, The Archive of Art, Philadelphia, 1983. Books, London, 1978. Treasures, The Metropolitan Press, New York, 1965. Museum of Art and Alfred A. Honour, Hugh, Cabinet Makers Beckerdite, Luke (ed), American Knopf, Inc., New York, 1976. Garnett, Oliver, Living in Style: and Furniture Designers, Hamlyn Furniture 2001, University Press A Guide to Historic Decoration Publishing Group Limited, of New England, Lebanon, New Eidelberg, Martin (ed), Design, & Ornament, National Trust London, 1972. Hampshire, 2001. 1935-1965: What Modern Was, Enterprises Ltd, London, 2002. Harry N. Abrams Inc., New Hornor, William MacPherson, Bowett, Adam, English Furniture, York, 2001. Gilbert, Christopher, The Jr., Philadelphia Furniture, 1660-1714, From Charles II to Life and Works of Thomas Philadelphia, 1935. Queen Anne, Antique Collector\u2019s Escritt, Stephen, Art Nouveau, Chippendale, Studio Vista \/ Club, Woodbridge, 2002. Phaidon Press Limited, London, Christie\u2019s, London, 1978. Hunter, George Leland, Italian 2002. Furniture and Interiors, William Brackett, Oliver, English Furniture Greene Bowman, Leslie, Helburn Inc., New York. Illustrated: A Pictorial Review of Fisher, Volker (ed), Design Now: American Arts and Crafts: English Furniture from Chaucer Industry or Art, Prestel Verlag, Virtue in Design, Los Angeles Hurst, Ronald L. and Prown, to Queen Victoria, The Macmillan Munich, 1989. County Museum of Art with Jonathan, Southern Furniture Company, New York, 1950. Bulfinch, Little, Brown & Co., 1680-1830: The Colonial Fairbanks, Jonathan L. and Trent, Boston, 1990. Williamsburg Collection, Byne, Arthur, Spanish Interiors Robert F., New England Begins: The Colonial Williamsburg and Furniture, William Helburn, The Seventeenth Century, Museum Greenhalgh, Paul (ed), Art Foundation in association Inc., New York, 1922. of Fine Arts, Boston, 1982. Nouveau 1890-1914, V&A with Harry N. Abrams Inc., Publications, London, 2000. New York, 1997.","FURTHER READING 539 Huth, Hans, Roentgen Furniture, Levenson, Jay A. (ed), The Age of Puig, Francis J. and Conforti Symonds, R.W., Furniture Abraham and David Roentgen: the Baroque in Portugal, National Michael (ed), The American Making in Seventeenth and European Cabinet-makers, Sotheby Gallery of Art, Yale University Craftsman and the European Eighteenth Century England: Parke Bernet, London and New Press, Washington, New Haven Tradition 1620-1820, University An Outline for Collectors, The York, 1974. and London, 1993. Press of New England, Lebanon, Connoisseur, London, 1955. New Hampshire, 1989. Ince, William and Mayhew, Massey, Anne, Interior Design of Symonds, R.W., Veneered Walnut John, The Universal System the 20th Century, Thames and Radice, Barbara, Memphis: Furniture, 1660-1760, Alec of Household Furniture, Le Syst\u00e8me Hudson, London, 2001. Research, Experiences, Failures and Tiranti Ltd., London, 1952. Universel de Garniture de Maison, Successes of New Design, Thames 1759-1762, in parts, Reprint, Miller, Judith, The Illustrated and Hudson, London, 1995. Symonds, R.W. and Whineray, Quadrangle Books, Chicago, Dictionary of Antiques and B.B., Victorian Furniture, 1960. Collectibles, Marshall Publishing Rayner, Geoffrey et al., Austerity Country Life Ltd., London, 1965. Ltd, London, 2001. to Affluence: British Art and Design Jaffer, Amin, Furniture from 1945-1962, Merrell Holberton Van der Kemp, Gerald, Hoog, British India and Ceylon, V&A Muir Whitehill, Walter (ed), Publishers in association with The Simone, Meyer, Daniel, Versailles, Publications, London, 2001. Boston Furniture of the Eighteenth Fine Art Society, London, 1997. The Chateau, The Gardens, and Century, University Press of Trianon, Editions d\u2019Art Lys, Vilo Jobe, Brock, et al., Portsmouth Virginia, Charlottesville, 1986. Riccardi-Cubitt, Monique, The Inc., New York, 1984. Furniture, Masterworks from Art of the Cabinet, Thames and the New Hampshire Seacoast, Neuhart, John and Marilyn, Hudson, London, 1992. Van Onselen, Lennox, E., Cape University Press of New England, Eames Design, Harry N. Abrams Antique Furniture, Howard Lebanon, New Hampshire, 1993. Inc., New York, 1989. Sack, Albert, The New Fine Points Timmins, Cape Town, South of Early American Furniture, Africa, 1959. Jobe, Brock and Myrna Kaye, Neumann, Claudie, Design Crown Publishers Inc., New New England Furniture, The Directory: Italy, Universe York, 1993. Verlet, Pierre, French Furniture Colonial Era, Houghton Mifflin Publishing, New York, 1999. and Interior Decoration of the Company, Boston, 1984. Sassone, Adriana Boidi et al., 18th Century, Barrie and Oates, Phyllis Bennett, The Story Furniture from Rococo to Art Rockliff, London, 1967. Ketchum, Jr, William C., The of Western Furniture, The Herbert Deco, Evergreen (imprint of Antique Hunter\u2019s Guide: American Press Limited, London, 1981. Benedikt Taschen Verlag), Ward-Jackson, English Furniture Furniture Chests, Cupboards, Cologne, 2000. Designs of the Eighteenth Century, Desks & Other Pieces, revised O\u2019Brien, Patrick K. (ed), Atlas of Victoria and Albert Museum, by Elizabeth von Habsburg, World History, from the Origins Schmitz, Dr. Herman, The London, 1984. Black Dog & Leventhal of Humanity to the Year 2000, Encyclopaedia of Furniture, Ernest Publishers, New York, 2000. George Philip Ltd, London 1999. Benn Limited, London, 1926. Watson, Sir Francis, The History of Furniture, William Morrow & Klein, Dan, McClelland, Nancy Ostergard, Derek E., Bent Wood Schwartz, Marvin D., The Antique Company Inc., New York, 1976. A., and Haslam, Malcolm, In the and Metal Furniture: 1850-1946, Hunter\u2019s Guide: American Deco Style, Thames and Hudson, University of Washington Press, Furniture Tables, Chairs, Sofas & Whitechapel Art Gallery, Modern London, 2003. Seattle, Washington, 1987. Beds, revised by Elizabeth von Chairs: 1918-1970, London, 1970. Habsburg, Black Dog & Leventhal Kirk, John T., American Furniture: Payne, Christopher (ed), Sotheby\u2019s Publishers, New York, 2000. Whitehead, John, The French Understanding Styles, Construction Concise Encyclopedia of Furniture, Interior in the Eighteenth Century, and Quality, Harry N. Abrams Conran Octopus, London, 1989. Sembach, Klaus-Jurgen et al, Dutton Studio Books, New York, Inc., New York, 2000. Twentieth-Century Furniture 1993. Polano, Sergio, Achille Castiglioni: Design, Taschen, Cologne, 1991. Lessard, Michael, Antique Complete Works, Phaidon Press, Wilk, Christopher (ed), Western Furniture of Qu\u00e9bec, Four London, 2002. Sheraton, Thomas, The Cabinet- Furniture 1350 to the Present Day, Centuries of Furniture Making, Maker and Upholsterer\u2019s Drawing- Philip Wilson Publishers in trans. Jane Macaulay and Alison Prad\u00e8re, Alexandre, French Book, 1793 Reprint, Dover association with The Victoria McGain, McClelland & Stewart, Furniture Makers, The Art of Publications Inc., New York, 1972. and Albert Museum, London, Ltd, The Canadian Publishers, the \u00e9b\u00e9niste from Louis XIV 1996. Qu\u00e9bec, 2002. to the Revolution, Sotheby\u2019s Sheraton, Thomas, Cabinet Publications, Philip Wilson Dictionary, Reprint, Praeger Wright, Louis B. et al., The Arts Publishers Ltd, London, 1989. Publishers, New York, 1970. in America: The Colonial Period, Charles Scribner\u2019s Sons, New York, 1966.","540 APPENDICES DEALER CODES BMN CAL Auktionshaus Bergmann Calderwood Gallery Some of the pieces of furniture shown in this book are followed by a letter code. These codes identify the dealers or auction M\u00f6hrendorfestra\u00dfe 4 1622 Spruce Street houses that are either selling or have sold the piece, or the 91056 Erlangen, Germany Philadelphia, PA, USA museum that houses the piece. Inclusion in this book does not Tel: 00 49 9131 450666 Tel: 001 215 546 5357 constitute or imply a contract or a binding offer on the part of Fax: 00 49 9131 450204 Fax: 001 215 546 5234 any contributing dealer or auction house to supply or sell the www.auction-bergmann.de www.calderwoodgallery.com pieces illustrated, or similar items, at the price stated. BonBay CAS 2RA B&I Bonhams, Bayswater Cassina SPA 2R Antiquit\u00e9s Burden & Izett 10 Salem Road Via Busnelli 1, Meda, Cit\u00e9 des Antiquaires 180 Duane Street London W2 4DL MI 20036, Italy 117, boulevard Stalingrad New York, NY 10013, USA Tel: 020 7313 2727 www.cassina.it 69100 Lyon-Villeurbane, France Tel: 001 212 941 8247 Fax: 020 7313 2703 Tel: 00 33 4 78 93 11 08 Fax: 001 212 431 5018 www.bonhams.com Cato E-mail: [email protected] www.burdenandizett.net Lennox Cato BonE ADE BAM Bonhams, Edinburgh 1 The Square, Church Street Art Deco Etc Bamfords Ltd Edenbridge, Kent TN8 5BD 65 George Street Tel: 01732 865988 73 Upper Gloucester Road The Old Picture Palace Edinburgh EH2 2JL E-mail:[email protected] Brighton, East Sussex BN1 3LQ 133 Dale Road, Matlock Tel: 0131 225 2266 www.lennoxcato.com Tel: 01273 329268 Derbyshire DE4 3LT Fax: 0131 220 2547 E-mail: [email protected] Tel: 01629 574460 www.bonhams.com CCA www.bamfords-auctions.com Christopher Clarke AME BONS American Museum BAR Bonhams, Bond Street The Fosseway, Stow on the Wold Dreweatt Neate, Bristol Gloucestershire, GL54 1JS Claverton Manor, Claverton 101 New Bond Street Tel: 01451 830476 Bath, Somerset BA2 7BD (formerly Bristol Auction Rooms) London W1S 1SR www.antiques-in-england.com Tel: 01225 460503 St John's Place, Apsley Road Tel: 020 7629 6602 www.americanmuseum.org Clifton, Bristol BS8 2ST Fax: 020 7629 8876 CdK Tel: 0117 9737201 www.bonhams.com Caroline de Kerangal AMH Fax: 0117 9735671 Auktionsgalerie am Hofgarten www.dnfa.com\/bristol BOY Tel: 020 8394 1619 Boym Partners Inc E-mail:[email protected] Jean-Paul-Str. 18 BDL 95444 Bayreuth, Germany Bernard and S Dean Levy 131 Varick Street 915 CRB Tel: 00 49 92167447 New York, NY 10013, USA Magis Spa, Via Magnadola 15, Fax: 00 49 92158330 24 East 84th Street Tel: 001 212 807 8210 31045 Motta di Livenza, Italy New York, NY 10028, USA www.boym.com Tel: 00 39 0422 862650 ANB Tel: 001 212 628 7088 Fax: 00 39 0422 862653 Antiquit\u00e9s Bonneton BRU www.magisdesign.com BEA Brunk Auctions Cit\u00e9 des Antiquaires Beaussant Lef\u00e8vre CSB 117, boulevard Stalingrad Post Office Box 2135 Chenu Scrive Berard 69100 Lyon-Villeurbanne, France 32, rue Drouot, 75009 Paris, France Ashville, NC 28802, USA Tel: 00 33 4 78 94 23 36 Tel: 00 33 1 47 70 40 00 Tel: 001 828 254 6846 H\u00f4tel des Ventes Lyon Presqu\u2019\u00eele E-mail: [email protected] Fax: 00 33 1 47 70 62 40 Fax: 001 828 254 6545 Groupe Ivoire, 6, rue Marcel Rivi\u00e8re www.antiquit\u00e9s-bonneton.com www.beaussant-lefevre.auction.fr www.brunkauctions.com 69002 Lyon, France Tel: 00 33 4 72 77 78 01 AR BK BW Fax: 00 33 4 72 56 30 07 Anne Rogers Private Collection Bukowskis Biddle & Webb of Birmingham www.chenu-scrive.com B&B Arsenalsgatan 4, Box 1754 Icknield Square, DC B&B Italia 111 87 Stockholm, Sweden Ladywood, Middleway Delage-Creuzet Birmingham B16 0PP Strada Provinciale 32, no. 15 BL Tel: 0121 4558042 La Cit\u00e9 des Antiquaires 22060 Novedrate, Italy Blanchard Fax: 0121 4549615 117, boulevard de Stalingrad Tel: 00 39 31 795343 www.biddleandwebb.co.uk 69100 Lyon-Villeurbanne, France Fax: 00 39 31 795224 86\/88 Pimlico Road Tel: 00 33 4 78 89 70 21 E-mail: [email protected] London SW1W 8PL CA www.bebitalia.it Tel: 020 7823 6310 Chiswick Auctions DIL Fax: 020 7823 6303 Studio Dillon 1-5 Colville Road, London W3 8BL 28 Canning Cross Tel: 020 8992 4442 London SE5 8BH Fax: 020 8896 0541 Tel: 020 7274 3430 www.chiswickauctions.co.uk E-mail: [email protected]","DEALER CODES 541 DL EIL Terminus Road, Bexhill-on-Sea Tel: 00 45 97 324508 David Love Eileen Lane Antiques East Sussex TN39 3LR Fax: 00 45 97 324502 Tel: 01424 212994 www.hansensorensen.com 10 Royal Parade 150 Thompson Street Fax: 01424 224035 Harrogate HG1 2SZ New York, NY 10012, USA [email protected] ISO Tel: 01423 565797 Tel: 00 212 475 2988 www.gorringes.co.uk Isokon Plus Fax: 01423 525567 Fax: 00 212 673 8669 www.EileenLaneAntiques.com GorL Turnham Green Terrace Mews DN Gorringes, Lewes London W4 1QU Dreweatt Neate EP E-mail: [email protected] Elaine Phillips Antiques 15 North Street, Lewes www.isokonplus.com Donnington Priory Salerooms East Sussex BN7 2PD Donnington, Newbury 1 & 2 Royal Parade Tel: 01273 472503 JAZ Berkshire RG14 2JE Harrogate, North Yorkshire Fax: 01273 479559 Jazzy Tel: 01635 553553 Tel: 01423 569745 www.gorringes.co.uk Fax: 01635 553599 34 Church Street E-mail: [email protected] EVE GYG London NW8 8EP www.dnfa.com\/donnington Evergreen Antiques Gallery Yves Gastou Tel: 020 7724 0837 Fax: 020 7724 0837 DOR 1249 Third Avenue 12 rue Bonaparte www.jazzyartdeco.com Palais Dorotheum New York, NY 10021, USA 75006 Paris, France Tel: 001 212 744 5664 Tel: 00 33 1 53 73 00 10 JK Dorotheergasse 17 Fax: 001 212 744 5666 Fax: 00 33 1 53 73 00 12 John King A-1010 Vienna www.evergreenantiques.com Austria HAD 74 Pimlico Road E-mail: [email protected] FB Henry Adams London SW1W 8LS www.dorotheum.com Fred Baier Tel: 020 7730 0427 Baffins Hall, Baffins Lane, Chichester Fax: 020 7730 2515 DP 5A High Street, Pewsey West Sussex PO19 1UA David Pickup Wiltshire SN9 5AE Tel: 01243 532223 JM Tel: 01672 564892 Fax: 01243 532299 John Makepeace 115 High St, Burford www.fredbaier.com E-mail: [email protected] Oxfordshire, OX18 4RG www.henryadamsfineart.co.uk Designers and furniture makers Tel: 01993 822555 FRE Farrs, Beaminster, Dorset DT8 3NB Freeman's HamG Tel: 01308 862204 DRA Dreweatte Neate Fax: 01308 863806 David Rago Auctions 1808 Chestnut Street www.johnmakepeace.com Philadelphia, PA 19103, USA (Formerly Hamptons) 333 North Main Street Tel: 001 215 563 9275 Baverstock House, JR Lambertville, NJ 08530, USA Fax: 001 215 563 8236 93 High Street, Godalming, Madame Jacqueline Robert Tel: 001 609 397 9374 www.freemansauction.com Surrey GU7 1AL Cit\u00e9 des Antiquaires Fax: 001 609 397 9377 Tel: 01483 423567 E-mail: [email protected] GAL Fax: 01483 426392 117, boulevard Stalingrad www.ragoarts.com Gallery 532 E-mail: [email protected] 69100 Lyon-Villeurbane, France www.dnfa.com\/godalming Tel: 00 33 4 78 94 92 45 DRO 142 Duane Street Droog Design New York, NY 10013, USA HERR KAL Tel: 001 212 964 1282 Herr Auctions K\u00e4llemo AB Staalstraat 7a-7b Fax: 001 212 571 4691 1011 JJ Amsterdam www.gallery532.com WG Herr Art & Auction House Box 605 SE-331 26 V\u00e4rnamo, Sweden The Netherlands Friesenwall 35 Tel: 00 46 370 15000 Tel: 00 31 20 5235050 GDG 50672 Cologne, Germany Fax: 00 46 370 15060 [email protected] Geoffrey Diner Gallery Tel: 00 49 221 254548 www.kallemo.se www.droogdesign.nl Fax: 00 49 221 2706742 1730 21st Street NW www.herr-auktionen.de KAU EDP Washington, DC 20009, USA Auktionhaus Kaupp Etude de Provence Tel: 001 202 483 5005 HL www.dinergallery.com Harris Lindsay Schloss Sulzburg, Hauptstrasse 62 H\u00f4tel des Ventes du Palais 79295 Sulzburg, Germany 25-27, rue Breteuil GK 67 Jermyn Street Tel: 00 49 7634 50380 13006, Marseille, France Gallerie Koller London SW1Y 6NY Fax: 00 49 7634 503850 Tel: 00 33 4 96 110 110 Tel: 020 7839 5767 E-mail: [email protected] Fax: 00 33 4 96 110 111 Hardturmstrasse 102, Fax: 020 7839 5768 www.kaupp.de www.etudedeprovence.com Postfach, 8031 Z\u00fcrich, Switzerland www.harrislindsay.com Tel: 00 41 1 4456363 KEN EGU Fax: 00 41 1 2731966 HS Leigh Keno American Antiques Jaime Equigren E-mail:[email protected] Hansen S\u00f8rensen www.galeriekoller.ch 127 East 69th Street, New York Posadas 1487 - (1011), Vesterled 19 NY 10021, USA Buenos Aires, Argentina GorB DK-6950 Ringk\u00f8bing, Denmark Tel: 001 212 734 2381 Tel: 00 54 1 148162787 Gorringes, Bexhill Fax: 001 212 734 0707","542 APPENDICES KNO 20010 Pregnan Milanese, Milan, Italy Tel: 001 603 433 8400 POOK (P&P) Knoll Inc Tel: 00 39 02 93290663 Fax: 001 603 433 0415 Pook and Pook Fax: 00 39 02 93591202 www.northeastauctions.com 76 Ninth Avenue, 11th Floor E-mail: [email protected] 463 East Lancaster Avenue New York, NY 10011, USA www.memphis-milano.it NAG Downingtown PA 19335, USA Tel: 001 212 343 4128 Nagel Tel: 001 610 269 4040 www.knoll.com MAR Fax: 001 610 269 9274 Marc Menzoyan Neckarstrasse 189-191 E-mail: [email protected] LM 70190 Stuttgart, Germany www.pookandpook.com Lili Marleen Cit\u00e9 des Antiquaires Tel: 00 49 711 649690 117 boulevard Stalingrad Fax: 00 49 711 64969696 PRA 52 White Street, New York 69100 Lyon-Villeurbane, France E-mail: [email protected] Pier Rabe Antiques NY 10013, USA Tel: 00 33 4 78 81 50 81 www.auction.de Tel: 001 212 219 0006 141 Dorp Street, Stellenbosch 7600 Fax: 001 212 219 1246 MCP NOA South Africa www.lilimarleen.net Matali Crasset Productions Norman Adams Ltd Tel: 00 27 21 8839730 Fax: 00 27 21 8839452 LOS 26 rue du Buisson Saint Louis 8-10 Hans Road E-mail: [email protected] Lost City Arts F-75010 Paris, France London SW3 1RX Tel: 00 33 1 42 40 99 89 Tel: 020 7589 5266 PST 18 Cooper Square Fax: 00 33 1 42 40 99 98 Fax: .020 7589 1968 Patricia Stauble Antiques New York, NY 10003, USA E-mail: [email protected] E-mail: [email protected] Tel: 001 212 375 0500 www.matalicrasset.com www.normanadams.com 180 Main Street, PO Box 265 Fax: 001 212 375 9342 Wiscasset, ME 04578 www.lostcityarts.com MJM OVM Tel: 001 207 882 6341 Marc Matz Antiques Otto von Mitzlaff LOT PUR Lotherton Hall 366.5 Broadway, Cambridge Prinzessinnen-Haus Puritan Values MA 02139, USA 63607 W\u00e4chtersbach, Germany Lotherton Hall, Lotherton Lane Tel: 001 617 460 6200 Tel: 00 49 6053 3927 The Dome, St Edmund\u2019s Road Aberford, Leeds LS25 3EB [email protected] Fax: 00 49 6053 3364 Southwold, Suffolk IP18 6BZ Tel: 0113 2813259 Tel: 01502 722211 www.leeds.gov.uk\/lothertonhall MLL PAR E-mail: [email protected] Mallams Partridge Fine Arts Plc LPZ PV Lempertz Bocardo House, 24a St Michaels\u2019 St, 144-146 New Bond Street Patrick Valentin Oxford OX1 2EB London W1S 2PF Neumarkt 3 Tel: 01865 241358 Tel: 020 7629 0834 Antiquit\u00e9s -D\u00e9coration 50667 Cologne, Germany www.mallams.co.uk Fax: 020 7495 6266 Cit\u00e9 des Antiquaires Tel: 00 49 221 9257290 www.partridgeplc.com 117, boulevard Stalingrad Fax: 00 49 221 9257296 MOD 69100 Lyon-Villeurbanne, France E-mail: [email protected] Moderne Gallery PER Tel: 00 33 4 78 91 75 67 www.lempertz.com Perkins 111 North 3rd Street QU LR Philadelphia, PA 19106, USA 195 Highland (Main Street)\/PO Box Quittenbaum Ligne Roset Tel: 001 215 923 8536 1331, Haliburton, Ontario [email protected] K0M IS0 Canada Hohenstaufenstra\u00dfe 1 B.P. 9, 01470 Brioird, France www.modernegallery.com Tel: 001 705 455 9003 D-80801, Munich, Germany www.ligne-roset.com Fax: 001 705 455 9003 Tel: 00 49 89 3300756 MOU E-mail: [email protected] Fax: 00 49 89 33007577 MACK Mouvements Modernes www.perkinsantiques.com E-mail: [email protected] Macklowe Gallery 68 rue Jean Jacques Rousseau PHB R20 667 Madison Avenue 75001 Paris, France Philip H. Bradley Co. Antiques R20th Century New York, NY 10021, USA Tel: 00 33 1 45 08 08 82 Tel: 001 212 644 6400 1101 East Lancaster Avenue 82 Franklin Street, New York Fax: 001 212 755 6143 MSM Downingtown, PA 19335, USA NY 10013, USA E-mail: [email protected] Modernism Gallery Tel: 001 610 269 0427 Tel: 001 212 343 7979 Fax: 001 610 269 2872 Fax: 001 212 343 0226 MAL 1622 Ponce de Leon Boulevard E-mail: [email protected] www.r20thcentury.com Mallett Coral Gables, FL 33134, USA Tel: 001 305 442 8743 PIL RAC 141 New Bond Street Fax: 001 305 443 3074 Salle des Ventes Pillet Race Furniture Ltd London W1S 2BS E-mail: [email protected] Tel: 020 7499 7411 www.modernism.com 1, rue de la Lib\u00e9ration Burton Industrial Park Fax: 020 7495 3179 B. P. 23, 27480 Lyons la For\u00eat, Burton-on-the-Water E-mail: [email protected] NA France Gloucestershire GL54 2HQ Northeast Auctions Tel: 00 33 2 32 49 60 64 Tel: 01451 821446 MAP Fax: 00 33 2 32 49 14 88 Fax: 01451 821686 Memphis srl 93 Pleasant Street www.pillet.auction.fr E-mail: [email protected] Portsmouth, NH 03801 USA www.racefurniture.com Via Olivetti, 9","DEALER CODES 543 RGA SG Fax: 001 212 979 1017 Switzerland Richard Gardner Antiques Sidney Gecker E-mail: [email protected] Tel: 00 41 61 3771726 www.swanngalleries.com Fax: 00 41 61 3772726 Swan House, Market Square, 226 West 21st Street www.vitra.com Petworth, West Sussex GU28 0AH New York, NY 10011, USA SWT Tel: 01798 343411 Tel: 001 212 929 8789 Swing Time VZ Von Zezschwitz ROS SI St. Apern-Strasse 66-68 Rosebery Da Silva Interiors 50667 Cologne, Germany Friedrichstrasse 1a Tel: 00 49 221 2573181 80801 Munich, Germany 74-76 Knight's Hill Stand G095, Alfies Antiques Market Fax: 00 49 221 2573184 Tel: 00 49 89 3898930 London SE27 0JD 13 Church Street, London NW8 BDT E-mail: [email protected] Fax: 00 49 89 38989325 Tel: 020 8761 2522 Tel: 020 7723 0449 www.swing-time.com E-mail: [email protected] Fax: 020 8761 2524 www.alfiesantiques.com www.von-zezschwitz.de www.roseberys.co.uk TDG SK The Design Gallery WAD RY Skinner Waddington's Robert Young Antiques 5 The Green, Westerham 63 Park Plaza Kent, TN16 1AS 111 Bathurst Street, Toronto, Ontario 68 Battersea Bridge Road Boston, MA 02116, USA Tel: 01959 561234 Canada M5V 2R1 London SW11 3AG 357 Main Street E-mail: [email protected] Tel: 001 416 504 9100 Tel: 020 7228 7847 Bolton, MA 01740, USA www.designgallery.co.uk Fax: 001 416 504 0033 Fax: 020 7585 0489 Tel: 001 617 350 5400 www.waddingtons.ca www.robertyoungantiques.com Fax: 001 617 350 5429 TDO www.skinnerinc.com Tendo Mokko WIL S&K Wilfried Wegiel Sloans & Kenyon SLK 1-3-10 Midaregawa Schlapka Tendo, Yamagata, Japan Cit\u00e9 des Antiquaires 4605 Bradley Boulevard Tel: 00 81 23 6533121 117, boulevard Stalingrad Bethesda, Maryland 20815, USA Gabelsbergerstrasse 9 Fax: 00 81 23 6533454 69100 Lyon-Villeurbane, France Tel: 001 301 634 2330 80333 Munich, Germany www.tendo-mokko.co.jp E-mail: [email protected] E-mail: [email protected] Tel: 00 49 89 288617 www.sloansandkenyon.com Fax: 00 49 89 28659988 TEC WKA E-mail: [email protected] Tecta Wiener Kunst Auktionen SBA www.schlapka.de Senger Bamberg D-37697 Lauenf\u00f6rde, Germany Palais Kinsky SOO Tel: 00 49 5273 37890 Freyung 4, 1010 Vienna, Austria Karolinenstr. 8 und 1 Sotheby's Olympia Fax: 00 49 5273 378933 Tel: 00 43 1 5324200 D-96049 Bamberg, Germany www.tecta.de Fax: 00 43 1 53242009 Tel: 00 49 951 54030 London W14 E-mail: [email protected] TNH www.palais-kinsky.com SCP SOT Temple Newsam House SCP Limited Sotheby's WROB Temple Newsam House Junnaa & Thomi Wroblewski 135-139 Curtain Road 1334 York Avenue Leeds L515 0AE London EC2A 3BX New York, NY 10021, USA Tel: 0113 2647321 78 Marylebone High Street Tel: 020 7739 1869 www.leeds.gov.uk\/templenewsam Box 39, London W1U 5AP Fax: 020 7729 4224 SP Tel: 020 7499 7793 E-mail: [email protected] Sumpter Priddy, Inc VH Fax: 020 7499 7793 www.scp.co.uk Van Ham E-mail: [email protected] 601 S. Washington Street SDR Alexandria, Virginia 22314, USA Sch\u00f6nhauser Strasse 10-16 WW Sollo:Rago Modern Auctions Tel: 001 703 299 0800 50968 Cologne, Germany Woolley and Wallis Fax: 001 703 299 9688 Tel: 00 49 221 9258620 333 North Main Street, Lambertville [email protected] Fax: 00 49 221 9258624 51-61 Castle Street, Salisbury NJ 08530, USA www.sumpterpriddy.com E-mail: [email protected] Wiltshire SP1 3SU Tel: 001 609 397 9374 www.van-ham.com Tel: 01722 424500 Fax: 001 609 397 9377 SS Fax: 01722 424508 E-mail: [email protected] Spencer Swaffer Antiques VIA www.ragoarts.com 30 High Street, Arundle Viaduct ZAN West Sussex BN18 9AB Zanotta SED Tel: 01903 882132 1-10 Summer Street Sedus Fax: 01903 884564 London EC1R 5BD Via Vittorio Veneto, 57 www.spencerswaffer.com Tel: 020 7239 9260 20054 Nova Milanese, Italy Sedus Stoll Aktiengesellschaft www.viaduct.co.uk Tel: 00 39 362 4981 Br\u00fcckenstra\u00dfe 15 SWA Fax: 00 39 362 451038 D-79761 Waldshut, Germany Swann Galleries VIT E-mail: [email protected] Tel: 00 49 7751 84278 Vitra Management AG www.zanotta.it Fax: 00 49 7751 84285 104 East 25th Street E-mail: [email protected] New York, New York 10010, USA Kl\u00fcnenfeldstrasse 22 www.sedus.de Tel: 001 212 254 4710 CH-4127 Birsfelden","544 APPENDICES GLOSSARY Acanthus A Mediterranean plant, Aubusson tapestry Tapestries made Bellflower See Husk motif. Bonheur-du-jour A French term for a Acanthus spinosus, with fleshy, in Aubusson in France, which was small, delicate lady\u2019s writing desk scalloped leaves. From antiquity, granted the title of royal manufactory Bentwood A technique perfected by that has a flat writing surface with it was widely used for carved in 1665. They were generally less Michael Thonet in Austria in the tiered drawers and compartments ornament, such as decorative expensive than tapestries produced mid 19th century for producing at the back. It was first seen in the mouldings, and Corinthian and at the Gobelins factory in Paris. bentwood furniture. It involves mid 18th century. Composite capitals. In the 18th bending solid or laminated wood century, it was a popular motif for Bail handle First used from about over steam to make curved sections Boulle marquetry A technique named furniture and metalwork. 1690, this is a loop-shaped handle for table and chair frames. after Andr\u00e9-Charles Boulle, which suspended from two knobs, involves the elaborate inlay of brass Aluminium A lightweight, silvery- sometimes mounted on a backplate. Berg\u00e8re A French term for an into tortoiseshell or ebony and vice white metal extracted from bauxite, informal, deep-seated chair of versa. The process was applied to used by furniture designers after Bakelite A revolutionary synthetic generous proportions. It usually has high-quality furniture \u2013 usually made World World II, and favoured for its plastic invented by L.H. Baekeland a caned or upholstered back and in matching pairs \u2013 from the late malleability and rust-resistance. in 1909. This robust, non-flammable sides and a squab cushion. 17th century onwards. and attractive plastic became Amaranth A South American tropical popular in the 1920s and 1930s Birch A northern European wood with Bow front The front of a piece of case hardwood used for veneering since and is associated with Art Deco. a golden colour, sometimes with a furniture that curves outwards. the 18th century. It is purple in hint of red. It was used in its solid colour when first cut, and ages to Ball foot A round, turned foot used form for chairs and other small Bracket foot A foot used on case a rich, dark brown. It is also known on oak and walnut case furniture pieces in Russia and Scandinavia pieces from the late 17th century as purpleheart and palisander. and chairs during the late 17th from the late 18th century onwards. onwards, made of two brackets that and early 18th centuries. have been mitred and joined Amboyna A decorative hardwood, Bird\u2019s-eye maple An attractive wood together at right angles. varying in colour from light reddish- Baluster A short post or pillar, such from northern Europe and North brown to orange, with a mottled as a table leg, or one in a series America, which has a characteristic Breakfront The front of a piece of figure and tightly curled grain. It supporting a rail and forming a light-brown figuring of tiny rings that case furniture, on which a squared was often used for veneering in the balustrade. Usually bulbous in resemble a bird\u2019s eyes. It was very centre section protrudes further than late 18th and early 19th centuries. shape, the form was inspired by popular as a veneer in the late 18th the sections at either side. Classical vases and has been used and early 19th centuries. Anthemion With origins in ancient since the Renaissance. Buffet A French term for a large, Greece and Rome, this is a fan-like Blackamoor A life-sized carved figure heavy display cupboard with open decorative motif resembling the Banding A decorative strip of veneer of a black slave in brightly coloured shelves, used for displaying silverware honeysuckle leaf and flower. It was in a contrasting wood. Generally clothes. Originating in Venice, in the 16th and 17th centuries. used as a repeated motif for banding used round the edge of drawer blackamoors were used as pedestal on Neoclassical friezes and cornices fronts, table tops, and panels. With supports for torch\u00e8res and similar Bun foot A round foot, flattened at towards the end of the 18th century. crossbanding, the contrasting wood pieces from the 18th century. the top and bottom, that was first runs at right angles to the main used on case pieces in the late 17th Apron The frieze rail of a table, the veneer. In feather, or herringbone Boiserie A French term for wood century and then became popular base of the framework of a piece banding, two narrow strips of panelling elaborately carved with again in the early 19th century. of case furniture, or a shaped, contrasting veneer run diagonally foliage, then painted and gilded. sometimes carved, piece of wood in opposite directions, thus forming It was fashionable in the wealthy Bureau A French term for a fall-front beneath the seat rail of a chair. It a chevron pattern. residences of France in the 17th or cylinder-top writing desk. is also known as a skirt. and early 18th centuries, and was Beading A decorative Neoclassical often complemented with furniture Bureau-bookcase A case piece made Arabesque Stylized foliage arranged border, often used on case furniture, of a matching design. in two sections, that has a writing in a swirling, interlaced pattern and which has applied or embossed desk in the lower section and a combining flowers and tendrils with beads of the same size used in Bolection A moulding, usually with an smaller, glazed or panelled section \u2013 spirals and zigzags. It originated in a single row, or alternating with S-shaped cross-section, used to cover usually with two doors \u2013 above it. the Middle East and was popular in elongated beads, in which case it the joint between two elements whose Europe until the early 17th century. is known as bead and reel. surfaces are not level and often found Bureau plat A French term for a flat- as a framework around panels. topped writing desk. It often has a Armoire A French term for a storage Beech A pale timber with a fine, tooled leather insert on the writing cupboard for clothing and household straight grain, native to Britain and Bomb\u00e9 A French term used to surface and a single drawer in the linen. It usually has two large doors Europe. It is easy to carve and was describe a chest with swelling, shallow frieze below it. and interior shelving. popular in France in the 18th convex sides. The term is usually century, often carved and gilded, and applied to case furniture, such as Burr wood A growth on a tree trunk, Astragal A moulding, that is semi- in Britain during the Regency period, commodes. The style was popular also known as burlwood, slices of circular in cross-section, often used when it was sometimes painted to during the R\u00e9gence period in early which reveal elaborate figuring ideal as glazing bars for bookcases. resemble more expensive woods. 18th-century France. for decorative veneering.","GLOSSARY 545 Cabriole leg A furniture leg with two Chaise longue A French term for an Console table A table that has two Dressing table A small table with an curves forming an attenuated S- upholstered day bed that has a high legs supporting its front, while its arrangement of drawers for holding a shape, like an animal leg. Popular in support at one end. It is also known back is fixed to a wall. lady\u2019s or gentleman\u2019s personal the early 18th century, it was often as a r\u00e9camier or a day bed. accessories. The term has been in used on chairs and terminated in a Corbel A wooden bracket attached to use since the 17th century. claw-and-ball or stylized paw foot. Chamfer A term describing a bevelled an upright and used to support a corner, usually on case pieces, and horizontal feature, such as an arm Drop front See Fall front. Canap\u00e9 A French term for a sofa: an also referred to as canted. on a chair, from below. upholstered seat with a back and Drop-in seat A removable chair seat arms, for two or more people. Chest-on-chest A case piece in two Cornice A decorative, moulded that has been made separately and sections, one above the other, each projection that crowns a piece of then \u201cdropped\u201d into the seat frame. Cane A lightweight, durable material of which has drawers. furniture, particularly tall cupboards first imported from the Far East in or display cabinets. Drum table A writing table, used the late 17th century. Taken from Cheval glass A freestanding mirror in the late 18th and early 19th the rattan tree, it was woven to make supported on a four-legged frame. Crest rail See Top rail. centuries, that has a round, drum- seats and chair backs. The mirror can be tilted to provide shaped, leather-covered top and is a full-length reflection. Crossbanding See Banding. supported on a central column on Cantilever chair A chair with no back a tripod or pedestal base. legs, in which the weight of the seat Chevron A zigzag decorative motif, C-scroll A decorative, carved or is supported by the front legs and popular in Art Deco design. applied Classical ornament in the \u00c9b\u00e9niste The French term for a base of the chair alone. It was shape of a C, developed during the cabinet-maker, in use from the 17th popular with Modernist designers, Chiffonnier From the French term, Rococo period. (See also S-Scroll.) century and derived from the word who made models in tubular steel. chiffoni\u00e8re, this is a small side ebony. \u00c9b\u00e9nistes specialized in cabinet with drawers. A table en Damask A rich, woven, silk, linen or veneered pieces of furniture. Carcase The term used to describe chiffoni\u00e8re has longer legs and a cotton fabric with a satin weave, the shell of a piece of case furniture shelf below the drawers. imported to Europe from Syria from Ebonized wood Wood that has been before the drawers, doors, shelves, or the 15th century and used for stained black in imitation of ebony. feet have been added. Chinoiserie A decorative style, furnishings from the 16th century. It was popular in the late 18th and popular in the early 18th century, in late 19th centuries. Card table A small table designed for which fanciful, exotic motifs derived Davenport A small desk with a playing cards, first seen at the end from Chinese originals were applied sloping writing surface that usually, Ebony A native hardwood from the of the 17th century. The top is to European furniture. has a bank of drawers in one side. Indian subcontinent, that is black usually lined with baize and it has and heavy with a smooth, tight grain. compartments for playing pieces. Chrome A silvery metal usually plated Day bed See Chaise longue. It was popular as a veneer in late on a base metal such as steel. 17th-century Europe. Cartouche A panel or tablet in the Introduced commercially in the Demi-lune A French term for a half- form of a scroll with curled edges, 1920s, it was used by designers for moon shape. Elm A European and North American sometimes bearing an inscription, tubular-steel furniture because of its hardwood, red-brown in colour, used monogram, or coat of arms, and good rust-resistance and high sheen. Dentil pattern An ornamental feature largely for country furniture. It was used as a decorative feature. of Classical architecture, dentils are popular as a veneer (burr elm) in the Claw-and-ball foot A termination for small rectangular blocks, resembling late 18th and early 19th centuries. Caryatid An architectural column in furniture legs that was popular in the teeth, that run beneath a cornice. the form of a full-length figure that early 18th century. It was said to be Enamel A coloured, opaque is used as a support for furniture. It based on Chinese examples of a Dovetail A joint, used from the end composition derived from glass, originated in ancient Greece and was dragon claw clasping a pearl. of the 17th century, in which two sometimes used as a decorative used during the 16th, late 18th, and pieces of wood are joined together at inlay on pieces of furniture. early 19th centuries. Cloven hoof See Hoof foot. right angles. Each piece of wood has a row of fan-shaped teeth, which Encoignure A French term for a small Case furniture A general term for any Coffer A low trunk, usually made of interlock at the joint. corner cupboard, which often has a storage piece, including chests, wood and known as far back as graduated shelved interior and short bookcases, presses, and wardrobes. ancient times. It was popular until Dowel A small headless wooden pin legs. It first appeared in France in the 18th century, when it was used in furniture construction to join the early 18th century. Cassone An Italian term for a low superseded by the chest of drawers. two pieces of wood. Each piece of chest or coffer made in Italy in wood to be joined has a round hole, Escutcheon A protective and usually the 15th and 16th centuries. Coiffeuse A French term for a the size of the dowel, into which the ornamental keyhole plate, which is dressing table. dowel is inserted and glued. sometimes in the shape of a shield. Caster A small wheel used at the end of a leg to make it easy to Columnar Having the shape of, Dresser A large piece of case Estampille A French term to describe move heavy pieces of furniture. constructed with, or having columns. furniture, popular since the 17th the stamp on French furniture made century, that has a shelved upper by cabinet-makers, and bearing their Casting The process of making a Commode A French term for a chest section. The lower section usually name, initials, or monogram. The solid form from a molten liquid, with deep drawers. The form was has a central cupboard flanked by practice was compulsory under the such as brass or bronze. first seen in the late 17th century. drawers or open shelves. guild system in Paris from 1751\u201391.","546 APPENDICES \u00c9tag\u00e8re The French term for a set of Formica A material made from Giltwood Wood that has been gilded. Hoof foot First seen in ancient Egypt, shelves, which was first used in the laminated plastic sheets containing this is a leg terminal shaped like the late 18th century. It is usually free- melamine. Durable and easy to Girandole An Italian term for an hoof of a goat or ram. It was used in standing, with two to three shelves. clean, it was popular for table tops ornate giltwood candleholder that Europe from the late 17th century to in the 1950s and 60s. was popular with 18th-century the end of the 18th century and is Fall front The hinged, flat front of a Rococo and Neoclassical designers. also known as a cloven hoof. desk or bureau that falls forwards Fretwork Originally Chinese, this is to form a writing surface. It is also carved decoration consisting of a Go\u00fbt grec A French term describing Husk motif A stylized ornament in the sometimes known as a drop front. number of intersecting, often the renewed interest in ancient shape of a husk of corn, which was geometric lines, with perforated Greece and Rome that resulted in popular in the late 18th century, Fauteuil A French term for a large, spaces between them. Fretwork was the Neoclassical style of the late when it was used repeatedly to form upholstered open armchair, first often used on Chippendale furniture 18th and early 19th centuries. festoons or swags. It is known as a used at the Court of Louis XIV, and in the Chinoiserie or Gothic styles. bellflower in the United States. popular in the 18th century. Greek key A decorative band of Frieze A Classical term used to interlocking, geometric, hook-shaped Inlay A decorative technique in Faux A French word meaning \u201cfalse\u201d, describe the horizontal strip that forms. Originally a Classical motif, it which different-coloured woods or used to describe a paint effect that supports a table top, or the cornice was used on Neoclassical furniture. exotic materials, such as mother-of- imitates the appearance of another on a piece of case furniture. pearl, ivory, and bone, are pieced material, such as wood (faux bois) Gros point A French term for an into the solid wood surface or veneer or marble (faux marbre). Fumed A term used to describe a embroidery stitch in which the of a piece of furniture. technique popular with designers sewing thread crosses two threads of Feather banding See Banding. of the Arts and Crafts Movement, the base fabric before the stitch is Intarsia First used in the 14th in which a chemical was used to completed. (See also Petit point.) century, this is an Italian term for a Festoon A Classical decorative motif darken the natural colour of a wood, pictorial type of marquetry. It was in the form of a garland of fruit and usually oak, to make it look older. Grotesque A type of ornament, often used for decorative panelling flowers tied with ribbons. It was first popular during the Renaissance, on furniture in Renaissance Italy and used on furniture during the early Gadrooning A row of concave or in which real and mythical beasts, 16th-century Germany. 17th century, and then again from convex flutes used along the edge of human figures, flowers, scrolls, and the late 18th century onwards. a surface to make it more decorative. candelabra were linked together, Ivory A durable, cream-coloured Originally a Classical motif, it was often in vertical panels. material, usually from elephant Fibreglass A strong, lightweight, and popular throughout the 18th century tusks. It was used as a decorative versatile material made from matted and was applied to chests, highboys, Gu\u00e9ridon A French term for a small, inlay on 17th-century furniture and glass fibres bonded with a synthetic chairs, and tables. stand or table, first seen in the 17th on some French Art Deco pieces. resin. Fibreglass was popularized for century, that was usually ornately making furniture by Charles and Ray Gallery A small metal or wooden carved and embellished. Japanning A decorative technique, Eames in the 1950s. railing around the edge of a tray, dating from the 17th century, in table, or cabinet, which was popular Guilloche A decorative motif that which furniture is coated with layers Fielded panel A raised wooden panel from the mid 18th century onwards. takes the form of a continuous band of coloured varnish in imitation of with bevelled edges that sits within of strands that are twisted or plaited true Chinese or Japanese lacquer. a flat outer frame. Galuchat See Shagreen. together. First seen in Classical architecture, the motif was popular Jardini\u00e8re A French term for a large Figuring A term denoting the natural Gateleg table First seen in the late with Neoclassical designers. ornamental vessel, usually ceramic, grain of any piece of cut wood. 16th century, this is a table with for holding cut flowers or for growing hinged leaves. When raised, the Hairy paw foot Originating in ancient plants. It was was popular in Europe Filigree An arrangement of twisted leaves are supported on pivoting Greece and revived during the late from the 17th century onwards. gold and silver wire soldered into legs joined together by stretchers. 18th and early 19th centuries, this openwork forms or two-dimensional is a leg terminal shaped like a hairy Kas A Dutch term for a large panels and used as decoration. Gesso A composition of gypsum animal\u2019s paw, usually a lion\u2019s paw. provincial clothes cupboard that (plaster of Paris) and size, and originated in the Low Countries in Finial A decorative turned or carved sometimes linseed oil and glue. Hall chair A simple, high-backed the 17th century and was introduced ornament surmounting a prominent Gesso was used as a base for chair first seen in the 18th century, to America by Dutch settlers in the terminal on a chair, a bed, or a case elaborately carved and gilded and used as a waiting chair in the 18th and early 19th centuries. piece, often taking the form of an decoration on furniture during the hallway or corridor of a grand house. urn, an acorn, or a pinecone. 17th and early 18th centuries. Kingwood A Brazilian hardwood Herringbone banding See Banding. introduced to Europe in the late Fluting Parallel lines of shallow, Gilding A decorative finish in which 17th century and often used for concave moulding running from the gold is applied to wood, leather, Highboy An American term for a marquetry and banding. top to the bottom of a column, the silver, ceramics, or glass. The chest-on-chest, a form made opposite of reeding. Fluting was process involves laying gold leaf throughout the northern United klismos chair A chair with a broad, frequently used on table legs in or powdered gold (or silver) onto a States from about 1710 onwards. curved top rail and concave sabre Neoclassical furniture. base, such as gesso. Parcel gilding It was often made with a matching legs, that originated in ancient is the term used when only part of lowboy \u2013 a low dressing table or Greece and was popular in Greek- Foliate Shaped like a leaf. the object has been gilded. writing table in the same style. revival furniture of around 1800.","GLOSSARY 547 Kneehole desk A desk with a top that Lyre motif A Neoclassical motif based Mother-of-pearl A pale, shiny, Palmette A Classical decorative motif is supported on two banks of drawers on the ancient Greek musical iridescent material found lining that is based on the fan-like shape either side of a kneehole, a central instrument and used as an some sea shells, and used as a of a palm leaf. It was widely used as recess for the sitter\u2019s knees. First ornamental shape or decoration for decorative inlay on furniture. ornament on Neoclassical furniture seen in late 17th-century France and chair backs and table supports. in the late 18th century. the Low Countries, it remains a Moulding A strip of wood applied to popular form to this day. Mahogany A Central and South the surface of a piece of furniture to Papier m\u00e2ch\u00e9 A lightweight material American hardwood imported into add decorative detail or to conceal a made from dampened paper and Lacca povera An Italian term, Europe in large quantities from joint. Mouldings were used from the paste, which can be moulded into meaning \u201cpoor man\u2019s lacquer\u201d, that 1730. It is reddish-brown in colour, 18th century onwards. any shape. Popular in furniture- describes a form of decoupage, in with a tight grain. making in the 18th and 19th which sheets of engravings were Mount A collective term for brass, centuries, pieces were often gilded, coloured, cut, and pasted onto the Maple A European hardwood, pale in ormolu, or bronze decorative details painted, japanned, and then prepared surface of a piece of colour, which was used in marquetry that were applied to furniture made varnished for decorative effect. furniture, then varnished to produce during the 17th and 18th centuries. in the late 17th and 18th centuries, a high-gloss finish. The technique It was sometimes stained black to particularly in France. Initially Parcel gilding See Gilding. originated in Venice in the 1750s. resemble ebony, a much more applied to provide protection from expensive wood. knocks, and wear and tear, mounts Parquetry A decorative veneer made Lacquerwork A technique originating eventually became purely decorative. up of a mosaic of small pieces of in the Far East, in which resin, made Marquetry A decorative veneer made wood in contrasting colours pieced from the sap of the Rhus tree, is up of shaped pieces of wood in Oak A native European and North together to form a geometric pattern. applied to furniture in many layers in different colours that are pieced American hardwood that produces a A variation of marquetry, it was used order to produce a smooth, lustrous, together to form a pattern or picture. light, honey-coloured timber. Oak on walnut-veneered furniture in the hard-wearing finish. The technique was perfected by the has been used to make furniture 18th century and with consummate Dutch, who produced fine examples since the Middle Ages, and was the skill on Louis XV furniture. Ladder-back chair A country chair of floral marquetry during the 16th favourite timber of the 19th-century with a back made up of a number of century. In seaweed marquetry, used Arts and Crafts furniture-makers. Patera An oval or circular ornament horizontal rails, like the rungs of a on chests of drawers and cabinets in on a flat surface, which is often ladder, between the uprights. It the late 17th century, richly figured Occasional table A small table that decorated with a floral design, a usually has a rush seat and was one timbers, such as holly and boxwood, can be used for different purposes rosette, or fluting. Paterae were of the chairs made by the Shakers. were used to create a seaweed and moved from room to room. popular with Neoclassical designers. effect. See also Parquetry. Lamination A process in which thin Ogee moulding A form of moulding, Patina A sheen on the surface of sheets of wood are glued together Mask A decorative motif representing originally used in Gothic metal and furniture, the result of with the grain at right angles. the head of a human, a god, an architecture, that has a shallow years of handling and a gradual Lamination was first used as far animal, bird, or monster. Originally S-shaped curve in cross-section. build-up of dirt and polish. back as the mid 19th century by a Classical motif, it was also used John Henry Belter in the United during the Renaissance and on Ormolu An English term derived from Pedestal table A round or square States, and was then used to make Neoclassical furniture. the French term or moulu, meaning table raised on a single central pillar plywood in the 20th century. \u201cground gold\u201d, denoting a process of or column, often with a tripartite Medallion An ornamental relief set gilding bronze for decorative mounts. base. This type of table was popular Library table A large writing table within a circular or oval frame. in Britain in the 18th century. designed to stand in the centre of a Oyster veneer Late 17th and early library. It was popular during the late Menuisier A French term for a joiner 18th-century veneer made from Pediment An architectural term for 18th and early 19th centuries. or skilled craftsman who produced diagonal cross-sections of small the triangular gable found above the small pieces made of plain wood pieces of wood arranged to produce portico of a Greek temple, a feature Limed oak A process, introduced in (as compared to an \u00e9b\u00e9niste, who a repeating pattern of small rings. adopted in Europe from the 16th the early 20th century, in which oak specialized in veneered pieces). century onwards and applied to the is treated with lime, producing white Pad foot A popular terminal for a tops of case pieces of furniture, streaks on its surface. Metamorphic furniture Furniture that cabriole leg, this is a rounded foot such as bookcases and highboys. has been designed for more than one that rests on a circular base. Furniture pediments were created in Linen press A large cupboard or purpose, such as a chair that can a variety of different shapes. cabinet for storing linen. change into a set of library steps. Padouk A heavy, reddish hardwood that was imported by the Dutch and Pegged joint A joint in which two Lion\u2019s-paw foot A leg terminal carved Mortise and tenon An early type of Portuguese from the Far East, and pieces of wood are held together by in the shape of a lion\u2019s paw, a joint in which one piece of wood has was often used as a component of pegs driven through drilled holes. popular Regency and Empire motif. a projecting piece (tenon), that fits veneers during the 18th century. snugly into a hole (mortise) in the Pembroke table A small table, often Lopers A pair of sliding runners that second piece of wood. The joint may Palladian A restrained Classical with an elaborately inlaid table top, are pulled forwards to support the lid also be pegged, using a dowel that style of architecture and decorative that has two frieze drawers, two drop of a fall-front desk when it is open. passes through holes drilled in both features that was derived from the leaves, and is usually on legs with pieces of wood, to make the joint works of the Italian architect, Andrea casters. It was made in Britain from Lowboy See Highboy. more secure. Palladio (1518\u201380). the mid 18th century onwards.","548 APPENDICES Penwork A technique in which the Porcelain A mixture of china clay Rosette Of ancient origin, this is a Seaweed marquetry See Marquetry. entire surface of a piece of furniture and china stone that becomes hard, decorative motif in the shape of a is japanned black before being translucent, and white when fired. rose, which is often used as a disc Secr\u00e9taire A French term for a large worked with an intricate, decorative ornament or as a circular patera. cabinet in two sections, popular in pattern of white japanning. Pressed glass Glass that has been the late 18th century. The lower shaped by being pressed in a mould. Rosewood A rich reddish-brown section has a fall front that drops Petit point A French term for an The technique was developed in the hardwood with an even grain, richly down to provide a writing surface embroidery stitch in which the United States in the 1820s. marked with dark stripes. It was and reveals a number of pigeonholes sewing thread crosses one thread of used from the 18th century onwards and drawers. Above this there is the base fabric before the stitch is Pressed steel Steel that has been as a veneer, during the Regency usually a bookcase or glazed cabinet. completed. (See also Gros point.) shaped by being pressed in a mould, period in solid form for whole pieces a technique that was developed in of furniture, and became popular Secr\u00e9taire \u00e0 abattant A French term Pier A term for the area of a wall the mid 20th century. again in the mid 20th century. for a free-standing writing cabinet. between two windows, doors, or It often has a slim drawer beneath other openings in a room. Putto An Italian term for \u201ccherub\u201d or Sabot A metal shoe-fitting at the the top, and a fall-front writing \u201cboy\u201d, which denotes a motif widely bottom of a cabriole leg. surface. Below that, there is Pier glass A tall, narrow mirror used during the Renaissance and, in an arrangement of drawers or designed to hang between two particular, during the 17th century. Sabre leg A leg with a gentle concave cupboards. The form was popular in windows, often above a pier table. curve, predominantly seen on chairs, France during the late 18th century. Quatrefoil A Gothic decorative motif, that was widely used on Regency, Pier table A small table designed to often used in tracery, of four Empire, and Federal furniture during Semainier A French term for a tall, stand against a pier (see above). It asymmetrical leaves resembling a the first half of the 19th century. narrow chest with seven drawers, one was popular from the 17th century four-leafed clover. Similar motifs for each day of the week, which was onwards and was often paired with with three leaves (trefoil) and five Saddle seat A wooden seat that is first made in the 18th century. a pier glass of the same design. leaves (cinquefoil) are also common. raised at the centre and scooped away at the sides and back, to look Serpentine A wavy or undulating Pietra dura An Italian term for an Rail A horizontal strip of wood on like a saddle. It is a common feature surface. A commode with a expensive form of inlay using semi- a furniture frame, such as those of Windsor chairs. serpentine front has a protruding precious stones, such as jasper and joining the legs of a table or chair, central section and concave ends. lapis lazuli, to create decorative or the piece of wood joining the Satinwood A fine-grained, golden- Serpentine stretchers are curved panels for cabinets and table tops. uprights of a chair back. yellow exotic hardwood used for fine- cross-stretchers. First evident in Italy during the cut veneers. It was very popular in Renaissance, the technique was very R\u00e9camier See Chaise longue. Britain during the late 18th and Settee A seat for two or more people, popular during the 17th century. early 19th centuries. with a low back and open arms. Reeding Parallel convex moulding Sometimes made with an Pilaster An architectural term for a running from the top to the bottom Scagliola A plaster-like substance, upholstered seat, the settee was flattened column attached to the of a column, the opposite of fluting. to which colour pigments and small more comfortable than a settle and surface of a case piece of furniture Reeding was used from the late 18th pieces of stone such as granite, was seen in various forms in Europe as a form of decoration, rather than century onwards as decoration on marble, and alabaster are added so from the 17th century onwards. for support. Pilasters usually flank table and chair legs. that once set, it can be polished to cupboard doors or drawers, and are look like marble or pietra dura. Settle A wooden chest or bench with often topped with capitals. Relief Carved, moulded, or stamped a high back and open arms. First decorative features that rise above Scalloped A term used to describe a made in the Middle Ages, the form Pine An inexpensive, light-coloured, the surface of a piece of furniture. wavy edge or border resembling the was revived by the Arts and Crafts straight-grained softwood, used Prominent patterns are known as edge of a scallop shell. Movement in the late 19th century. predominantly for drawer linings high relief and less prominent and the backboards of furniture. patterns as low relief. Schrank A German term for a Shagreen Shark or ray skin, used by cupboard, generally associated with some 17th- and 18th-century Plastic A synthetic material, first Reverse painted An image that has the large, heavy, two-door cupboards designers as an inlay, and revived in popularized in the 1920s, that been painted in reverse on the inner of the 17th and early 18th centuries. the work of Art Deco designers in the can be moulded into shape while surface of glass. early 20th century. It is also known soft, then set into a rigid form. Sconce A candleholder designed to by the French term galuchat. Ribbon back A term that describes be mounted on a wall. It has an arm Plywood A composite wood made of chair backs that have been carved or bracket for holding the candle and Shell motif The scallop shell was a several layers of laminated wood laid to look like ribbons tied in bows. A a backplate for reflecting the light of popular Rococo decorative motif, at right angles to each other. The popular design during the mid 18th the candle around a room. appearing on the knees of cabriole flexibility of thin plywood was useful century, it was a typical feature of legs and at the centre of aprons on in forming curved pieces of furniture the Chippendale chair. Scroll foot A foot that terminates in a American Queen Anne case pieces. in the 1920s and 1930s. scroll or spiral form. It was usually Rocaille A French term meaning seen on a cabriole leg and was Sofa A fully upholstered seat for two Polyurethane foam A synthetic \u201crockwork\u201d, which denotes the fashionable in the mid 18th century. or more people, a less formal version substance used to fill seat cushions asymmetrical rock and shell forms of the settee. It was made from the and backs, introduced in the 1960s. characteristic of the Rococo style. Seat rail See Rail. late 17th century onwards."]