Rietveld Red and Blue Extended by D-W-A

Rietveld Red and Blue Extended edition

Rietveld Red and Blue Extended by D-W-A (1)

Inspired by The 2011 Rietveld Year music inspired designers collective D-W-A has taken it up to reinterpret Rietveld’s Red and Blue Chair, inspired so by different music genres.

The reDesign project is based on a 12” vinyl single release and is realized at a scale of 1:3 so as to keep the pieces around 12″. This iconic chair has been interpreted according to various musical genres including pop, classical, chill-out and dub.

Found them via architizer

Orange Utrecht Chair by Gerrit Rietveld

Orange Utrecht Chair by Gerrit Rietveld

Orange Utrecht Chair by Gerrit Rietveld

off course we couldn’t leave this out in the series.

This is post number 22 in an attempt to publish 100 Orange Chairs for Inauguration Day.

Slatted Beechwood Chair by Gerrit Thomas Rietveld

Slatted Beechwood Chair by Gerrit Thomas Rietveld

Slatted Beechwood Chair by Gerrit Thomas Rietveld

Fetched €21,250($27,431) at Christie’s (Sale 3010: The Decorative Arts Sale, 2 – 3 October 2012, Amsterdam.

Steffen Kehrle – Tribute to Sol Lewitt

Steffen Kehrle - Tribute to Sol Lewitt

German Designer Steffen Kehrle made this homage to Sol Lewitt. A non seateable chair. However as easy it could be attributed to Gerrit Rietveld and his Steltman Chair

Via Sedia, Stuhl, Chair, Chaise & co..

Early Rietveld Chair with a Story

Rietveld Chair with a StoryEarly Rietveld Chair with a Story

Recently this “Green-Painted White-wood and Leather Upright Armchair ‘Bankstoeltje'” by Gerrit Rietveld was sold at Christies for €16,250 ($20,977) in an Amsterdam sale of belongings to Bertus Mulder who had freelanced for Gerrit Rietveld in the early 60ies. It was executed in Rietveld’s workshop, most probably circa 1908.

Preface by Bertus Mulder

“In the years 1960-1963, I worked for Gerrit Rietveld as a free-lancer. In 1959 I settled in Utrecht because my girlfriend Monica studied there at the time. I established myself as an independent architect and in the beginning I did not receive any assignments. To be able to make a living, I decided to work for another architect three days a week, initially for Hein Salomonson in Amsterdam, and later for Gerrit Rietveld in Utrecht. My girlfriend and I were living in a two-bedroom flat, and when we were expecting our second child in 1961, I had to find larger housing. I knew that Rietveld had vacated his apartment above the cinema at Vredenburg 8 bis, where he had lived since 1937. When his wife died in 1958 he moved to the Rietveld Schröder House where Truus Schröder already lived since 1925. I did not know whether the apartment was still in use. Judging from the outside, it looked very much inhabited. When I asked Rietveld about it, he replied ‘Would you like to move in?’ He promptly took the key from his key ring and suggested we should have a look. We did so, and moved in shortly after. Rietveld was quite unattached to his belongings. He was only aware of them at the moment he used them and their material value was meaningless to him. This became apparent when I told him we would like to move into his place. To me, this did not appear unproblematic, since the house was completely furnished, from toothbrushes to famous pieces of furniture which, judging by the labels on their backs, had already been exhibited at the Museum of Modern Art in New York. But he said: ‘Use whatever you find useful, and just get rid of the rest.’ Of course we did not get rid of anything. We moved into the apartment as it was, furnished with Rietveld’s household belongings. The furniture we did not want to use was stocked in the alcoves. Eventually, we started to feel suffocated by living in a house which could be a museum. Rietveld cared little whether his apartment would be cleared out. He left it to me to arrange this. Most of his furniture went to his children. A great number of pieces ended up in important museums. We were allowed to keep whatever was left. A bench, a table with foldaway top and a sewing casket have recently joined the collection of the Centraal Museum in Utrecht. The remaining objects are presently being offered in this sale. We have used them with great enjoyment for many years, and now, while we still can, would like to see them move to private or museum collections.”
Utrecht, July 2012