Thonet no 1. Chair in The Vienna MAK Museum.
Thonet Back in Vienna?
My first discovery of Thonet was in Vienna at the Kohlmarkt in the 70ies. Then Thonet Brothers Austria was a separate entity and had a posh interior shop there. Since then Thonet Brothers Austria had been acquired by the Italian furniture company Poltrona Frau, but Poltrona didn’t do a lot with it. It almost burried Thonet.
In Februari, 2013, in an article in the Austrian Die Presse I’ve read Thonet would come back to Vienna.
The place where Thonet was expected to open shop is Stilwerk which may be translated as Style Factory, an organization that offers four exclusive design centers in Hamburg, Berlin, Düsseldorf and Vienna tooffer luxury interior design, design products and lifestyle accessories a presentation platform under one roof.
Howeve0r, looking at the Stilwerk site for Vienna, alas the Vienna Thonet Showroom is not shown there, whereas Ton is represented in Stilwerk….It seems the plans fell through. Too bad.
This was a photo that went with the article. Nice display i would say.
Actually I know there is at least one Thonet related person in our mailing list. Could he or she chime in here?
Michael Thonet, Chair No. 14 (1859) Via Phaidon Design Classics:
Probably the single most commercially successful chair ever produced (50 million sold between 1859 and 1930), No. 14 embodies the radical developments of Michael Thonet’s pioneering steam bending process, which paved the way for mass-produced furniture
Engineering Temporality, a mini collection of a cabinet and a chair, by Design Academy Eindhoven graduate Tuomas Markunpoika Tolvanen is a tribute to human fragility. The project evolved from Tolvanen’s personal experience with his grandmother’s declining health due to Alzheimer’s:
“Her Alzheimer’s disease is unraveling the fabric of her life, knot by knot, and vaporizing the very core of her personality and life, her memories, and turning her into a shell of a human being.”
Tolvanen used tubular steel as the main ingredient of his creations, he then cut the tubes into small rings and joined them back together to form a semi-covering layer over existing objects. Then, he burnt them:
“My pursuit was to give an object a memory, create tension and stage a play between the perfect, anonymous mass produced structural material and the imperfect of human being. The shell that is left caresses the vanished object, the memory of it, referring to the past.”