Machine Age Armchair by K.E.M. Weber

Machine Age Armchair by KEM Weber aside

Machine Age Armchair by KEM Weber front

via 1stdibs dealer

More about KEM Weber

Architect and designer Kem Weber arrived in the United States in the vanguard of a wave of progressive Central European talents — among them, Rudolph Schindler, Richard Neutra, Paul T. Frankl and Ilonka Karascz — who would profoundly affect the course of modernism in the United States. In his new home, Weber created a wholly American form of modern design that is sleek and stylish, yet comfortable and practical.

Karl Emanuel Martin Weber — “Kem” was his self-styled nom d’usage — was born and trained in Berlin. In 1914, he became an accidental immigrant to the U.S.. Sent to San Francisco by his teacher-turned-employer, architect Bruno Paul, to oversee an installation at a global design expo, Weber was marooned by the outbreak of World War I. But he quickly grew to love California, even if his early years there were difficult. When design commissions were hard to find, he took jobs as a lumberjack, chicken farmer and art school teacher. (He gained U.S. citizenship in 1924.)

In the mid-1920s, while working for the Los Angeles–based Barker Bros. department store — the largest furniture retailer in the country at the time — Weber regularly traveled around the nation to deliver lectures on modernism. His reputation as a champion of a new, clean and elegant style earned him architectural commissions and contracts to design furniture and items such silverware, coffee services and cocktail shakers. His masterpiece is the Airline lounge chair, designed 1934-1935. With its raked, gently angular frame and cantilevered seat, the chair suggests movement, speed and forward progress. Though it seemed perfect for mass production, Weber was never able to convince a major manufacturer to take it on. In the end, fewer than 300 Airline chairs were made. Today, those may be the rarest examples of Weber’s work, but are always worth looking out for. As you will see on these pages, his designs are both intelligent and stylish. They deserve to be a part of any serious collection of American modernism.

Not Only Hollow Chair by Dirk van der Kooij – 2017 Object Rotterdam 03

Not Only Hollow Chair by Dirk van der Kooij

At Studio Dirk Van der Kooij techniques are developed to make a better world.
The chair is created with a completely new, high-tech process. An in-house developed robot melts plastic, into a pipe like shape and then carefully writes out the shape of this chair, somewhat like 3d printing.
Each line is hollow to minimize resources, and the source is 100% recycled synthetics.
The minimalistic shape and the extremely low resolution make the looks of the chair closely related to how it’s made.
It is not only recycled or minimizing resources, it’s not only a newly developed 3d printing process, it is not only a catchy design piece…
The true beauty lies in the combination of it all…

Quoted from Dirk van der Kooij

OW149 Ole Wanscher Colonial Armchair

Turnable cushions and seems very practical and comfy. Designed by Ole Wanscher for Carl Hansen and Son

via Skandium

Direction Armchair no. 352 by Jean Prouvé

Direction Armchair no. 352 by Jean Prouvé

Estimate £45,000 – 60,000

sold for a whopping £51,650

Via Phillips (de Pury and Company)

Richard Schultz Design Archive at Wright 01 – Prototype Leisure Armchair

Prototype Leisure Armchair by Richard Schultz

Prototype Leisure Armchair by Richard Schultz

This prototype chair was handmade by Richard Schultz with the assistance of Robert DeFuccio. Based on the Leisure Collection of outdoor furniture that Schultz was creating for Knoll at the time, the idea was create a chair for indoor use. This chair features laminated bent legs made in a custom form and an experimental leather sling but ultimately it was never introduced. The present lot is the only surviving prototype from the Leisure Collection.

Via Wright Auctions

I would like to add a video of Richard Schultz delivering a lecture at Princeton