From Furniture to Architecture: The Laurence and Patrick Seguin Collection
Published by Pinoteca Agnelli/Galerie Patrick Seguin.
The esteemed collectors Laurence and Patrick Seguin first discovered the work of Jean Prouvé in the late 1980s, and were quick to embrace his entire aesthetic vision, from architectural design to furniture. "There is no difference between constructing a piece of furniture and constructing a building," Prouvé once famously said, and the Seguins have modeled their collection around his stance, becoming major advocates and disseminators of his work in France. This gorgeously produced volume, which presents the Seguins' Prouvé collection for the first time, consequently provides a comprehensive overview of their holdings. An entire chapter is devoted to Prouvé works at the Seguins' Paris residence. Other sections include an examination of Prouvé's relevance to contemporary art; a chapter on Prouvé's Aluminum Métropole House, a structure that exemplifies the brilliance of Prouvé's architectural work; and a survey of around 40 pieces, most of which are prototypes or rarities, from the armchair designed for the University of Nancy in 1932, to the light armchair created for the University of Antony in 1954, to the African furniture. These are supplemented by archival documents (sketches, models, photographs, etc. and detailed analysis. Also included is a wealth of photo-documentation of the exhibition this volume accompanies, held at the famous former Fiat building in Turin, Italy--once described by Le Corbusier as "one of the most impressive sights in industry" and recently rebuilt into a modern shopping/cultural complex by Renzo Piano, a longstanding admirer of Prouvé. Equally admired for his work in furniture, metalwork and architecture, Jean Prouvé (1901-1984) is one of the most influential designers of the early modern design movement. His innovative chairs, desks, lamps and shelves have long been collector's items.
This beautiful, comprehensive volume documents Le Corbusier and Pierre Jeanneret's massive Chandigarh project—the buildings and the furniture (today considered masterpieces of twentieth-century architecture and design), the plans, sketches and maquettes as well as reproducing both archival and contemporary photographs. In 1947, shortly after India gained independence, the Indian Prime Minister Jawaharlal Nehru initiated a vast plan of modernization throughout the country, during which Chandigarh became the administrative capital of the Punjab province. Nehru commissioned Le Corbusier and Pierre Jeanneret to construct this capital from scratch, with the sole instruction that they should be expressive and experimental and should not let themselves be hindered by tradition. Illustrated with photographs dating from the time period to the present, this book documents the architectural project and the production of the furniture, offering a definitive summary of this epic modernist enterprise. A further chapter is dedicated to the work of Lucien Hervé, the famous architectural photographer who depicted the city extensively. The architect, urban planner, painter, writer, designer and theorist Charles-Edouard Jeanneret, known as Le Corbusier, was born in Switzerland in 1887. In 1922 Le Corbusier and his cousin Pierre Jeanneret opened an architectural studio in Paris, inaugurating a partnership that would last until 1940. They began experimenting with furniture design after inviting the architect Charlotte Perriand to join the studio in 1928. After World War II, they sought efficient ways to house large numbers of people in response to the urban housing crisis. In the 1950s a unique opportunity to realize their concepts on a grand scale presented itself in the construction of Chandigarh. Before his death in 1965, Le Corbusier established the Fondation Le Corbusier in Paris to look after and make available to scholars his library, architectural drawings, sketches and paintings.
Published by Fundación Juan March. Edited by Tim Benton, Manuel Fontán del Junco, María Zozaya. Text by Tim Benton, José Miguel Marinas, Emmanuel Bréon, Francisco Javier Pérez Roja, Ghislaine Wood, Tag Gronberg, Évelyne Possémé, Hélène Andrieux, Agnès Callu, Carole Aurouet.
The definitive book on Art Deco: an elegant large-format hardcover with hundreds of museum-quality color reproductions featuring exquisite examples of Art Deco jewellery, ceramics, laquer, fashion, textiles, graphic design and art work
Modern Taste: Art Deco in Paris, 1910-1935 offers readers an opportunity to appreciate, examine, assess and enjoy an artistic movement that defies easy definition but which has been described as "the last of the total styles": Art Deco.
Comprehensive and beautifully designed, Modern Taste includes nearly 400 works in a wide array of media: painting, sculpture, furniture, fashion design, jewelry, film, architecture, glassware and ceramics are all represented, alongside the photography, drawings and advertisements that helped create "the modern taste."
The book aims to question the almost total absence of Art Deco from the history of modern art and from curatorial practice, and to vindicate--as some exemplary cases did in the wake of the Deco revival from the 1970s onwards--not only the evident beauty of Art Deco but also the fascination exerted by this singularly modern phenomenon with all its cultural and artistic complexity. What we know as Art Deco was an alternative style to the avant-garde. It stood for a modernity that was pragmatic and ornamental rather than utopian and functional, and it became the great shaper of modern desire and taste, leaving its characteristic stamp on Western society in the early decades of the 20th century.
An elegant and stylish addition to any design library.
PUBLISHER Fundación Juan March
BOOK FORMAT Hardcover, 9.5 x 11.5 in. / 540 pgs / 600 color / 100 bw.
PUBLISHING STATUS Pub Date 7/28/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 10
PRODUCT DETAILS ISBN 9788470756290TRADE List Price: $80.00 CDN $107.50
AVAILABILITY In stock
in stock $80.00
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Published by Damiani. By Suzanne Demisch, Stephane Danant. Text by Adam Lindemann.
Maria Pergay: Complete Works 1957-2010 is the first comprehensive survey of the work of the legendary French furniture designer, whose work has attracted clients and collectors from around the world for decades. Pergay is most renowned for her use of stainless steel, which she began exploring in 1968 with the now iconic Flying Carpet Daybed and the Ring Chair. Since 1957, Pergay has worked with everyone from Pierre Cardin to the Saudi Royal family, designing an extravagant Turtle Sofa for the couturier and the interiors of the Al Hada palace in Riyahd. In the late 1980s and through the 1990s, the designer received important commissions from Russia and continued to pursue her innovative work in stainless steel, combining it with materials such as mother of pearl, lacquer and precious woods to striking effect. Since her major New York exhibition in 2006, Pergay, now 80, has exhibited internationally and has continued to create pieces for major collectors. Compiled with the designer's collaboration, Maria Pergay: Complete Works 1957-2010 covers more than 50 years of creation. As the only authoritative reference catalogue on the designer's work, it presents detailed factual descriptions of more than 300 of Pergay's designs accompanied by contemporary and vintage photographs, many of which have never previously been reproduced. Maria Pergay was born to Russian parents in Romania in 1930, emigrating to France at the age of seven. Pergay designed her first collection of contemporary silver objects in 1957, opening her own shop on Paris' Place des Vosges in 1960. In 1968, her first group of stainless steel furniture was exhibited at Galerie Maison Jardin and gained her instant success. Pergay has since been sought after by sophisticated collectors for private commissions around the world, including Saudi Arabia and Russia. Since her major New York show in 2006, Pergay, now in her eighties, exhibits internationally, while continuing to create pieces for a growing audience of major collectors.
Published by Edition Galerie Jacques Lacoste/Galerie Patrick Seguin.
In 1931, aged 29, Jean Royère (1902–1981) resigned from a comfortable position in the import–export trade in order to set up business as an interior designer. He learnt his new trade in the cabinetmaking workshops of the Faubourg Saint-Antoine in Paris. In 1934, he designed the new layout of the Brasserie Carlton on the Champs Elysées and found immediate success, embarking upon an international career that was to endure for nearly half a century. Royère tackled all kinds of decoration work and opened branches in the Near East and Latin America; among his patrons were King Farouk, King Hussein of Jordan and the Shah of Iran, who entrusted him with the interior design of their palaces. The Royère style is a wonderful amalgam of bright, cheery colors, subtly organic forms and precious materials. Compact and fluid, robust and delicate, Royère’s chairs, lamps, chandeliers, sofas and desks exude a sensuous confidence, suggesting both comfort and alertness. This superbly produced, linen-bound, two-volume boxed monograph would have made Royère proud. The first volume explores the designer’s work across four themes inspired by his creations: “The Vegetal Realm,” “The Animal World,” The Imaginative Realm” and “Line and Design.” In addition to prefaces by Jacques Lacoste and Patrick Seguin, this volume contains interviews with Lorenz Baümer, Béatrice Salmon, and Christian Lacroix--by art historian and journalist Françoise Claire Prodhon--and a chapter looking back to the Jean Royère exhibition at the Sonnabend Gallery in New York in 2008. The second volume opens with a 1963 interview with Royère by Pascal Renous, and then presents the “Jean Royère Repertoire”: 380 items of furniture and other creations accompanied by detailed references and illustrations of variants. The volume is rounded off by a sketchbook offering 156 hitherto unpublished Royère drawings. This authoritative and sumptuous publication is the last word on this midcentury master.
BOOK FORMAT Slip, Clth, 2 vols., 10 x 12 in. / 656 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 4/30/2013 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 43
PRODUCT DETAILS ISBN 9782909187020TRADE List Price: $240.00 CDN $320.00
AVAILABILITY In stock
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Published by Ediciones Polígrafa. Introduction by Carmen Espegel.
Neglected in her lifetime, Eileen Gray (1878-1976) is now regarded as one of the most important furniture designers and architects of the early twentieth century. She first worked as a lacquer artist, then as a furniture designer and finally as an architect. At a time when other leading designers were almost exclusively male and adherents to one movement or another, Gray remained stalwartly independent. Her design style was as distinctive as her way of working; Gray developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by International Style designers such as Le Corbusier, Charlotte Perriand and Mies van der Rohe. Her voluptuous leather and steel Bibendum Chair and chic E-1027 glass and tubular steel table are now familiar icons of modernity. Part of the By Architects series, Eileen Gray highlights the work of this singular designer-architect.
Published by Ediciones Polígrafa. Introduction by Antonio Román.
Despite the brevity of his career, Eero Saarinen (1910-1961) was one of the most celebrated architects of his time. Born in Finland, he immigrated to the United States in 1923, where his father was director of the Cranbrook Academy of Art. Here, the young Saarinen took courses in sculpture and furniture design, and began close friendships with fellow students Charles and Ray Eames, as well as Florence Knoll. As a designer, Saarinen moved easily between the so-called International Style and Expressionism, utilizing a vocabulary of bold colors, curves and cantilevers; many of his pieces have remained in production, becoming twentieth-century furniture icons. As an architect, Saarinen is responsible for some of the most potent architectural symbols of American identity including Dulles International Airport in Washington, D.C., and the Gateway Arch in St. Louis. Published in Poligrafa's By Architect series, this volume surveys Saarinen's life and career.
Published by Poligrafa. Edited by Patricia de Muga. Texts by Sandra Dachs, Laura García Hintze. Introduction by Markku Lahti.
Alvar Aalto (1898-1976) is the most prestigious Finnish architect of the last century, and the father of Nordic Modernism. He once said, "God created paper for the purpose of drawing architecture on it. Everything else is at least for me an abuse of paper." In the U.S. Aalto's critical reception began with his design for the Finnish Pavilion at the 1939 World Fair in New York: Frank Lloyd Wright described it as a "work of genius." After World War II, Aalto also designed MIT's student dormitory. Prior to this, the architect's Paimio Sanatorium (1929) and Viipuri Library (1935), both in Finland, had already attracted international praise. He was also an outstanding town planner, painter and sculptor. Aalto's Modernism entailed the use of natural materials, warm colors, and undulating lines, and he is considered an important early exponent of Organic Design as a result. Of his design work outside of architecture, Aalto's vases, lamps, glassware and laminated bent-plywood furniture (pioneered and produced through the design company he co-founded, Artek) are equally esteemed. Iconic pieces include the Savoy Vase, the Paimio Chair and the Beehive Lamp. This monograph on Aalto's highly collectible furniture designs expands our understanding of the diverse abilities of this influential architect/designer.
Published by Poligrafa. Edited by Laura García Hintze. Texts by Patricia de Muga, Sandra Dachs.
With the new By Architects series, Ediciones Polígrafa launches an innovative project dedicated to showcasing furniture and objects designed by some of the most important architects of the twentieth century. Three titles open this series: Alvar Aalto, Jean Prouvé and Ray and Charles Eames. Best known for their contributions to architecture, furniture design (especially the Eames chair), industrial design, film and photography, Charles and Ray Eames remain among the most renowned American designers of the twentieth century. The couple married in 1941 and moved to California, where they pursued their furniture design in molded plywood. During the war they were commissioned by the U.S. Navy to produce molded plywood splints, stretchers and experimental glider shells. In 1946, Evans Products began producing the Eames' molded plywood furniture. Their iconic molded plywood chair was called "the chair of the century" by the influential architectural critic Esther McCoy. In 1949, Charles and Ray designed and built their own home in Pacific Palisades, their design and imaginative use of materials making this house a mecca for architects and designers internationally. Today it is considered one of the most important postwar residences built anywhere in the world. After the war, the Eames continued to create new furniture designs, such as the Fiberglass Chairs (1950), the famous Lounge Chair and Ottoman (1956), the Time Life stool (1960), the 3473 sofa (1964) and the seating for Dulles and O'Hare airports--a design still in use in lounges around the world today. In the 70s they expanded their operations into cinema, producing many beautiful short films. Charles and Ray received honorary degrees and awards from universities and organizations across the country. The Eames Office still operates today.
Published by Poligrafa. Edited by Patricia de Muga, Laura G. Hintze, Sandra Dachs.
A natural candidate for Poligrafa's Design by Architects series, Arne Jacobsen (1902-1971) was concerned with every detail of the environments he designed, from the basic structure right down to the door handles. When he designed St Catherine's College for Oxford University in 1960, even the height of the cedar trees he planted and the varieties of fish he installed in the ponds were of urgent concern; there was no place, in Jacobsen's thinking, where architecture left off and design took over, and today he is equally famed for his achievements in both domains. In the realm of furniture design, such creations as the Egg, Series 7, Ant and Swan chairs have become icons of Danish design. A sinuous organic line and strong sculptural presence are the foremost qualities of the Jacobsen look. Not one straight line disturbs the soft curves of these creations. This heretical departure from the prevailing hard geometrical paradigm of the time is one of the cornerstones of Arne Jacobsen's furniture and the source of his importance today.
Published by The Museum of Modern Art, New York. Text by Barry Bergdoll, Leah Dickerman, Benjamin H.D. Buchloh, Brigid Doherty, Hal Foster, Charles W. Haxthausen, Andreas Huyssen, Michael Jennings, Juliet Kinchin, Ellen Lupton, Christine Mehring, Detlef Mertins, Marco De Michelis, Peter Nisbet, Paul Monty Paret, Alex Potts, Frederic J. Schwarz, T'ai Smith, Adrian Sudhalter, Klaus Weber, Christopher Wilk, Matthew S. Witkovsky.
The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers--among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, László Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stölzl--in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became the site of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. Bauhaus 1919-1933: Workshops for Modernity, published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education. Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919-1933 examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919-1933 includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history.
Between 1929 and 1943, an outstanding new lifestyle magazine called Die Neue Linie (“The New Line”) was published by Beyer Press in Leipzig. No other publication in this period was so consistent in bringing avant-garde typographic ideas to a mass audience, as leading graphic designers from the Bauhaus, including László Moholy-Nagy, Umbo and Herbert Bayer, steered the look of the magazine, whose contents combined fashion, literature, graphic design and art. Unembellished fonts, dynamic diagonals and dramatic use of photomontage were key to the journal's striking appearance. Its authors included Walter Gropius, Aldous Huxley, Gottfried Benn and Thomas Mann; even the advertising pages, designed by Bauhaus veterans Herbert Bayer and Kurt Kranz, were always attractively composed. Despite widespread media conformity during the Nazi era, strangely Die Neue Linie was largely spared the regime's sanctions. The Bauhaus at the Newsstand illustrates the turbulent times in which the magazine appeared, reproducing spreads, statements, articles, a visual checklist of every issue and analyses of the magazine's delicate balancing act between modernism and conformity. The Bauhaus at the Newsstand is published as an abridged, revised and bilingual edition of the bestselling edition of 2007.
Published by The Museum of Modern Art, New York. Edited by Lucy Creagh, Helena Kåberg, Barbara Miller Lane. Text by Lucy Creagh, Kenneth Frampton, Barbara Miller Lane, Helena Kåberg.
Although modern Swedish design has exercised an extraordinary influence on international architecture and interior furnishings since the early twentieth century, some of the crucial generative writings on the subject have not been widely translated, and the movement's intellectual background is not well known. Modern Swedish Design collects three of Swedish design's founding texts for the first time in English. In Beauty in the Home (1899), philosopher and critic Ellen Key (1849-1926) promotes simplicity and clarity of purpose with the goal of social reform. Art historian Gregor Paulsson (1889-1977) was instrumental in the spread of ideas such as Key's; in Better Things for Everyday Life(1919) he contends that design should be true to its time and available to all, and calls for a modern design language reflecting new materials and methods. Finally, acceptera (1931), cowritten by Paulsson and architects featured in the famous Stockholm Exhibition of 1930, engages in a debate between the proponents of handicraft and those of design idioms emerging from industrial mass production. Lively illustrations and near-facsimiles of the texts' original publications, scholarly introductions by the editors, and an essay by architectural historian Kenneth Frampton, accompany the translations.
Published by Vitra Design Museum. Edited by Mateo Kries, Alexander von Vegesack.
First published in 1912, Étude sur le mouvement d'art décoratif en Allemagne was Le Corbusier's first publication. In it, the young architect lucidly analyzed the German applied arts movement and its protagonists (such as Peter Behrens, for whom Le Corbusier worked in 1910-11). The text is one of the most substantial documentations of the development of modern German design; at the same time, it provides essential insights into Le Corbusier's early career. This publication introduces the Étude in its first-ever English translation. An extensive illustrated commentary discusses Le Corbusier's text in the context of applied arts, politics and architecture, on the eve of the First World War.
Photographs by Maurizio Cattelan & Pieropaolo Ferrari
Published by Deste Foundation/Toilet Paper. Preface by Maria Cristina Didero. Drawings by Alessandro Mendini.
1968: Radical Italian Design, the newest project from Maurizio Cattelan and Pierpaolo Ferrari’s Toilet Paper in collaboration with the Deste Foundation in Athens, offers an unorthodox, kaleidoscopic walk through the Dakis Joannou collection of Italian Radical Design furniture. Led by avant-garde design firms such as Archizoom, Superstudio, Global Tools and 9999, Radical Design was firmly opposed to the ethics, and indeed the very notion of, "good design" or taste. Toilet Paper’s bold, mischievous interpretation of Joannou’s collection results in delightful, high-contrast photographs that merge the seductive lines of Radical Design furniture and objects with the curves of the modern-day nymphs cavorting among them. Published as a board book, and named after a year that was pivotal for architecture and design (and, of course, the world at large), 1968 is a collection of dreams and nightmares, an inspiring, eye-popping compendium of colorful, ironic objects and bodies. At once charmingly retro and alarmingly surreal, 1968 includes drawings by one of the Radical Design movement’s foremost architects, Alessandro Mendini.