Piet Hein eek designed this stool in 1999. I took the photo in his studio in Eindhoven some time ago.
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.
Breathe Sofa by Helen Koutouris
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
The rag chair is part of an exhibition of 100 plus chairs, curated by Workshop of Wonders to celebrate 100 years of Dutch Chair Design in the machineroom of SS Rotterdam. I’ve made some photo’s there and will share them with you. It is designed by Tejo Remy in 1991, but from their site it appears the design is also by Rene Veenhuizen.
The grey chair in the background is the V.I.P. chair, designed by Marcel Wanders in 2000.