Tag: green

Green Peacock Chair by Dror Benshetrit

Green Peacock Chair by Dror Benshetrit

Designed in 2009.

I took this photo September 24, 2011 in the Milan Triennale Design Museum

A peacock tail is a remarkable creation. The feathers are lightweight and fragile, but become powerful when positioned in a particular way. I wondered if it was possible to give this quality to a textile. Could a strategic configuration give fabric uncharacteristic strength?

We discovered that folding felt into a gentle wave provided enough structure to support a person’s body weight. When gathered into a crescent, the undulating form mimicked the shape of a peacock tail (and the backrest of a chair). As a fowl’s tail is made solely of feathers, it was important for our design to somehow let the felt stand on its own.

The Peacock Chair consists of three felt rings, which are folded and clipped into place on a simple metal frame. No stitching, glue, or additional material is required for the felt to maintain its distinctive profile. Manufactured by Cappellini, the cocoon-like lounger, now part of the Metropolitan Museum of Art’s permanent collection, is among the Italian furniture maker’s most iconic pieces.

Milan Triennale Design Museum – 08

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Chairs!
gje

Green P5 Chair by Josef Frank



Green P5 Chair by Josef Frank

Found at Svenskt Ten

Werriwa Armchair by Evan Dunstone


Werriwa Armchair

Werriwa Armchair by Evan Dunstone

I revisited Leslie Webb to see if she would have new chair designes. Not so. From her site I learned she was venturing into Woodworker’s tools, Heartwood Tools, with a wonderful collection of Australian made planes in all sizes.  That site mentioned she had studied with some world renown woodworkers like David Upfill-Brown. From his site I hit Studio Woodworkers of Australia and there I came across Evan Dunstone.

Parlour Lounge Chair by Jonas Wagell


Parlour Lounge Chair by Jonas Wagell for Wendelbo

Inspired by the idea of a “parlour” – a space designed for entertaining, socialising, and relaxation – the Parlour series for Wendelbo includes a lounge chair and a matching ottoman.

With pronounced piping details defining the shape, the lounge chair’s sweeping backrest is seamlessly attached to the round, voluminous seat. Elevated by a frame and gently tapered legs in powder-coated cast aluminium, the chair radiates confidence while maintaining a grounded presence.

Pondering the design, Jonas Wagell explains:
”I believe an iconic piece of furniture is created in one of two ways; Either with an idea, concept or construction that is unique enough to break new ground – or with shapes and proportions that capture a personal expression and embody a singular and recognisable character. This project strives to be just that. A simplistic and graphic object that will capture a room and be memorable for the eye.”

501 Goteborg Chair by Erik Gunnar Asplund for Cassina

501 Goteborg Chair by Erik Gunnar Asplund for Cassina

Born in Stockholm, Erik Gunnar Asplund occupies a central position in the development of Scandinavian architecture and design of the twentieth century.
He is considered the archetype of the generation that gave rise to the maturing process of the above estates, subsequently developed by such figures as Alvar Aalto, Erik Bryggman, Arne Jacobsen, Jørn Utzon.
After graduating as an architect in 1909, many trips to Europe and the United States punctuated his apprenticeship.
His works from the years 1911 to 1930, influenced by a strong romantic tradition, express a neoclassical language, founded on vernacular cultural bases.
However, it was in 1930, the year of the Stockholm Exhibition, that Asplund managed to go beyond the rigid and stereometric language of the early years of rationalism very clearly by anticipating in a very personal way the trends of the Modern Movement.
His most remarkable works of architecture are: the Chapelle du Bois (1918-20); the Skandia Cinema, Stockholm (1922-23); the Municipal Library, Stockholm (1921-28); the expansion of the Town Hall, Gothenburg (1916-37); the Brendenberg stores, Stockholm (1933-35); the Bacteriological Laboratory (1932-37); his country house in Stennäs (1937); the Crematorium and the southern part of the Stockholm Cemetery: the pinnacle of all his experience.
In terms of decoration and design his most notable works are: the study of popular housing for the exhibition of the Swedish Society of “Arts and Crafts” (1917); interior design for the “Art and Industry” association, Stockholm (1920); the decoration and furniture of the City Hall, Stockholm (1921); some furniture dating back to 1931, such as the famous judge’s chair and the furnishings of the Lister Sölvesborg courthouse; the decoration of the Swedish pavilion at the Paris Exposition (1925); decoration and objects created for the Stockholm Municipal Library (1920-28); the Council Room at the Headquarters of the Arts and Crafts Association (1931); decoration for the Palace of Justice and for the Town Hall, Gothenburg (1916-37).

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Chairs!
gje