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Adolf Loss
Loos Worked on the simple principles. Sraight lines, clean curves. Along with his theory, his conception of the raumplan or plan of volumes , gradually evolved. As a interior designer he believed that as much as possible should be built in. If not possible or desirable then the furniture had to be of top craftsmanship, but not fancy. Quality material and workmanship were, for loos, the ultimate expression of aesthetic excellence. He believed - To seek beauty only in form and not in ornament is the foal to which all humanity is striving A curvaceous chaise lounge used in interiors Dimensions in centimeters: chaise lounge W 70 / D 120 / H front roll 39, back roll 79; ottoman 50 x 50, H 39
Alvar Aalto
Finlands first Modernists. His unique architectural style is characterized by asymmetry, curved lines, and contrasting natural materials. His early works were flavored with a "heroic functionalism" that was based around the idea that a structure's use should determine its form. his philosophy -: "There are only two things in art -- humanity or its lack. The mere form, some detail in itself, does not create humanity. We have today enough of superficial and rather bad architecture which is modern." Aalto also created glassware, jewelry, furniture, interiors, and paintings. In 1932, he designed a new kind of laminated plywood furniture and won a number of design awards for his work on household and industrial items.
Carlo Bugatti
"Carlo Bugatti's furniture combines the picturesque asymmetry of Art Nouveau with the exoticism of Moorish and Japanese influences. However, it is pure fantasy, drawing inspiration from the Orientalist art movement of the late nineteenth century, His designs are wild, exciting, innovative, and sometimes simply just too much. The forms are asymmetrical, curvilinear, and ovoid, while the surfaces are stenciled, inlaid, bronzed, and tassled -- usually all at once. Chairs, tables, and silverware often boast abstract insect forms as adornment. His works teeter between the imaginatively tasteful and the gaudy; not surprisingly, the designer gained reknown for his extravagance and eccentricity.
Walnut, copper, pewter, vellum; H. 29 1/2 in. (74.9 cm), W. 23 5/8 in. (60 cm), D. 22 1/2 in. (57.2 cm) The writing surface of this desk is covered in vellum, held in place with punched copper strapping; the walnut legs are inlaid with pewter imitating calligraphic brush painting. The unusual profile of the desk suggests the jaws and teeth of an alligator.
Made between1890 and 1900. It is made from mahogany, inlaid with pewter and ivory and applied with beaten copper. It has a leather seat and back-rest, secured with vellum strips. The form of this chair evokes Ancient Egypt while the decoration shows Bugatti's interest in Japanese calligraphy and North African metalwork. The chairs are used to illustrate the history of modern design.
A late 19th - early 20th Century Folding Chair by Carlo Bugatti, Carved & parcel ebonized walnut-wood with pewter inlay, 46" X 12.5" X 33.5". The high-back with hollowed carving of the Ace of Clubs (Clove leaf), the back, the seat and the front leg are inlaid with pewter in floral and geometrical motif.
Wood (mahogany?), cast and gilded metal mounts, inlays of ivory or bone, metal, and mother-of-pearl. also: Tea and Coffee set
sofa
Revolving armchair. Seat and back wooden frame. Upholstered in leather. Size: 32,677" x 32,677" x 33,465"
Ottoman. Seat wooden frame. Upholstered in leather. Size: 25,984" x 20,866" x 14,567"
Willow Chair
Small Table
Folding Table
Le Corbusier
Le Corbusier modern classic ranges of furniture stands out for their classic elegance and clean straight lines. Named after Le Corbusier, whose real name was Charles-Edouard Jeanneret; this modern classic furniture set includes Le Corbusier Arm Chair, Basculant Sling, small table, Two Seater Sofa, and the Le Corbusier LC4 Chaise Lounge etc. The fact that Le Corbusier was one of the greatest architects is evident from the inventiveness of architecture seen in his modern classic furniture pieces. An ideal mix of metal and glass, Lecorbusier modern classic dining table and Lounge are definite masterpieces.
Three point black steel base with the original thick cross bars. Mirror polished chrome frame. One of the most comfortable lounge chairs ever made. Le Corbusier called his famous furniture "rest machine". Size: 160cm x 57cm x 70-81cm 22" x 28.75" x 63" (l x h x d)
Tubular pre-stressed, pre-buffed high gauge steel. 28 chrome. Polished to a perfect finish. Clean, seamless joints and hidden drilled or countersunk holes. Drum-dyed 2mm aniline leather with protective finish. Inner hardwood frame cushioned with polyurethane foam and polyester fiber, filled with natural down feathers. Available in different colors. Created for the lifestyle exhibition in Paris (1929), this famous chair represents a new idea: the full display of the frame outside of its cushions. Size: 30" x 26.3" x 27.5" (l x w x d) Seat Height: 17"
Chrome plated tubular steel frame. The design of the Basculant-Chair is based on traditional folding chairs, used by British colonial Size: 23.6"x 25.6" x 25.2" (l x w x d) Seat Height: 15.7"
Structure steel tube. Glass top 225x85 cm. Lacquered with epoxide coat. Size: 225cm x 85cm x 75cm Tubular pre-stressed, pre-buffed high gauge steel. 28 ? chrome. 88,583" x 33,465" x 29,528" Polished to a perfect finish. Clean, seamless joints and hidden drilled or countersunk holes. Seat, back and arm cushions upholstered in aniline leather. Filled with natural down feathers and foam. Available in different colors. A real voluptuous seating experience. Size: 170cm x 76cm x 76cm 67" x 30" x 30" (l x h x d) Seat Height: 18.9"
Tubular pre-stressed, pre-buffed high gauge steel. 28 mu chrome plating process. Polished to a perfect finish. Clean, seamless joints and hidden drilled or countersunk holes. Drum-dyed aniline leather with protective finish. Seat and back cushioned with polyurethane foam and polyester fiber. Available in different colors. A beautiful dining chair, first presented at the exhibition at the Salon d'Automne in Paris. Size: 20.5" x 25.2" x 20.5" (l x h x d) Seat Height: 19.7"
Tubular pre-stressed, pre-buffed high gauge steel. 28 ? chrome. Polished to a perfect finish. Clean, seamless joints and hidden drilled or countersunk holes. Drum-dyed 2mm aniline leather with protective finish. Inner hardwood frame cushioned with polyurethane foam and polyester fiber, filled with natural down feathers. Available in different colors. The male version. Very comfortable and large. Size: 237cm x 73cm x 62cm 88.6" x 24.5" x 28.75" (l x h x d) Seat Height: 15"
Marcel Breuer
A Hungarian by birth,studied and graduated in 1924. well known for his modern classic designs better known as the Breuer Chairs. Simplistic designs combined with state of the art clean lines make these chairs exceptionally popular.
Bookshelves
Occasional Tables
Marrio Botta
Mario Botta apprenticed with acclaimed Modernist architect Louis I. Kahn before developing his own style of Neo-Realism -- a kind of Postmodern Classicism that invents its own orders. He ditches the Doric, Ionic, and Corinthian forms of old for a layering of colors, textures, materials, and elements from disparate historical styles. Always candid about the irony inherent in Postmodern Classicism, Botta slams together contradictory elements (giant/midget, void/solid, round/square), and often gives his buildings a rusticated look -- as if they are all foundation or bottom floor. His structures retain Modernism's functionality alongside a Postmodern pastiche of elements that evoke ruins, fragments, erosion, amplification, and saturated polychromy. Botta's first American structure, the San Francisco Museum of Modern Art, reflects Kahn's influence in its emphasis on open space and natural light. Botta strives for an architecture that dialogues with landscape rather than technology and mechanization -- interacting with nature instead of degrading it. His designs are driven by moral rather than aesthetic issues, and he sees architecture "as a way of resisting loss of identity," the flattening of culture brought about by consumerism
William Morris
saw the art world through the idealistic lens of socialism and wanted to restore craft. True art for them was based in timehonored, populist traditions. raw beauty of hand-made objects seemed more honest to them than the elaborate exactitude of academic art work. In reasserting individuality, simplicity, and usefulness as the major principles of design, Morris and his friends birthed the Arts and Crafts movement, whose influence is felt to this day. He incorporated ideology theory of Socialism to his work from conception to design to production. A collaborative effort to decorate the interior of Morris' own home in 1861 led to the formation of Morris, Marshall, Faulkner, and Co.-- which was essentially Britain's first design firm. The group included many of Morris' Pre- Raphaelite peers. Together they set out to disrupt the conventional world of Victorian design: Morris and his colleagues opposed the prevailing taste for ornamentation and excess. It was their desire to return design to a place where function and form come into balance. Morris company produced all manner of materials for home dcor: wallpaper, stained glass, tiles, carpets, furniture, and upholstery. Inspired by Medieval art (which he rediscovered in part through the writings of John Ruskin), Morris covered surfaces with spiraling vine patterns and carved Celtic-looking animals onto furniture legs. Organic forms, rather than classical motifs or Victorian curlicues, prevail in his work. Each piece also revealed the handicraft of its maker. At Morris' design firm, machine-produced regularity was anathema. an irony that only the wealthy could afford Morris' hand-craftedone-at-a-time products. Still, Morris spoke out on behalf of socialism in his utopian writings and through his support of the British lab our Movement. While the works of the designer and his company may not have been available to the masses, his struggles to preserve the individual identity of the craftsman, and to emphasize simplicity and utility of design, left an important mark on Modernism and, in some senses, on the modern workplace.