Winter is getting colder and the first snow is falling. In the first month of the increasingly cold new year, we watched the epidemic situation in Xi'an develop for the better.
We expect that "when The Spring festival is in harmony, everything that is born in the grass and trees will be happy with itself." ”
Designers' daily routines, in addition to working from home, must also continue to learn.
Walk into the story of the chair together today.
100 Classic Chairs That Influenced the World in the Mid-Twentieth Century (3)
No·021 摇椅，J16（Rocking Chair ，J16）
Designed by Hans J. Wegner) Design era: 1944
Hans Wagner once said that he never had stomach pains when he sat in a rocking chair of his own design and ate cake. The master of organic modernism found that the problem with most rocking chairs is that once a person sits on it, it is difficult to stand up, and it is very unstable when rocked. So he reduced the tilt angle of the foot curve to improve the stability of the rocking chair. In the rocking chair he designed, even if you are sitting reclining on the back of the chair, when you want to stand up, you only need to gently shake the chair forward and lean forward slightly, and you can easily get up from the chair. When you stand up, the chair doesn't get out of control at all.
In 1974, a Danish media outlet commented on the work that both the Vatican and the White House had changed hands several times, but the J16 rocking chair in it stood firm. The J16 rocking chair is designed with people of different sizes in mind, so the space of the chair is more spacious than the nineteenth-century American Shaker style rocking chair. To match the rocking chair, Wagner also designed an ottoman and a leather headrest.
No.022 Chair No. 45, NV45 (45 Chair, NV45)
Designed by Finn Juhl Designed in 1945
It took Yule only four hours to design the chair, and it maintains a delicate balance between the mature furniture-making techniques and Yule and Wardle's attempts at aesthetics, balance, and carpentry engineering. The chair resembles a delicate concerto composed of support bars, unconventional joinery and intricately carved armrests. Yule removed the seat and the back of the recliner from the frame of the traditional chair. Since he first exhibited his grasshopper chair in 1938, he and Wardell have been studying and practicing the idea.
The 45 chair, made of mahogany, was unveiled at the Copenhagen Furniture Association Annual Fair in 1945. The seat is connected to the back of the chair in a gray curved whole, and there is a blue-green cushion at the seat. The design of the 45 chair faded much of the clumsiness of Yule's early works, and its modern and simple style won high praise from the Danes and became a turning point in his career.
No.023 DCW (wooden dining chair) and LCW (wooden chair) DCW (Dining Chair Wood) and LCW (Lounge Chair Wood)
Designed by Charles and Ray Eames Designed in 1945
The pressed plywood chair was dubbed the "Chair of the Century" by Time magazine's Millennium Special. It consists of five parts, the production process can be described as ups and downs, after several tuning finally made into two versions of different heights, one used as a recliner, one as a dining chair. The design of the seats is inspired by the curved edges of potato chips. DCW and LCW are seen as advances and evolutions in design, not revolutionary works. They debuted at MoMA in 1946 as part of the solo exhibition "New Furniture Designed by Charles Eames." Eliot Noyes, MoMA's director of industrial design, called them "a combination of excellent aesthetics and innovative technology."
Because the two chairs' successive makers, Mr. and Mrs. Ems, Herman Miller, and Vitra, have honestly applied fashionable materials and techniques to improve them, it is easy to locate their production dates. The change in screw configuration is the most obvious of these. Dealers and collectors are often rumored to take the risk of buying DCWs and LCWs with extra screws, hoping to get prototypes or the first products of the year. If you find that the chair has 5 screws on the front legs, 2 screws in the middle to secure the seat, and another 5 screws on the chair's hind legs (5-2-5), then you may have found a DCW or LCW made by Evans in 1946-1948.
No.024 Child's Chair
In 1940, Charles Ems and Sharin Jr. encountered the problem of bending plywood cracking on their Organic Chair. The Eames found that if the chair had a narrow back and openings on both the top and left and right sides, the pressure on the plywood would be reduced, and the chair's pressure capacity would be better—and Arnold Jacobson would later learn the same from the ant chair. Because the curve of plywood is much simpler on a chair of this size as a children's chair, it soon became the first plywood chair in history to be mass-produced. At the same time, the production is also carried out with matching stools.
The seat and legs of the children's chair are made of a complete piece of beech plywood, and the back of the chair is a hammer-shaped piece of beech plywood. Charles used three screws through the seat to hold the two pieces of material together. Ray tried a variety of aniline stains, including red, blue, yellow, black, and purple red. The heart-shaped cutout design on the back of the chair reflects the Emses' love of Swedish folk art, and is just enough to pass through two little fingers and can be used as a handle.
No. 025 Womb Chair, 70
Designed by Eero Saarinen Designed in 1946
In 1946, The Younger Sarinen began experimenting with the cone-shaped shape of an egg cone. He cut off the tapered sharp corners, sealed the holes, folded the sides outward into armrests and seats, and added the exterior and pillows, and the prototype of the uterine chair was born. Little Saarinen wanted to create a chair without too many complex curves, and its comfort came entirely from the shape and filling material, and this sculptural work came into being. The process of stamping the work was the same as the Process by which the Emmes made the RAR resin shell (a process used to make shockproof helmets and ships during World War II), followed by latex pads and cloth coverings. The extra cushion gives the chair a womb-like comfort.
Compared with the early recliners, the uterine chair is greatly reduced in weight, and the layers of soft cushions that are filled by hand are eliminated, saving a lot of labor costs, and the cost of manufacturing and purchasing is lower. After two years of research and prototyping, the uterine chair was finally put into mass production in 1948. It predates the Ems' RAR and became the world's first high-volume production chair using a fiber-reinforced polyester resin shell process. It is like a clear stream of interior design in the United States after World War II, ushering in a new era of furniture design.
No·026 AX 椅，6020号（AX Chai ，6020）
Designed by Peter Hvidt and Orla Molgaard-Nielsen Designed in 1947
In 1947, two Danish men, architect Pete, Hurt, and furniture designer Ora Mirgoud Nelson, co-designed a beautiful plywood chair. It is easy to disassemble and easy to transport for export, while not losing the aesthetics of Danish design. The AX chair claims to be the first chair in Danish history to be made of hyperbolic laminated wood with seats and backs, produced with armrests and armrestless versions, and paired with leather or canvas cushions that can be used on both sides.
The AX chair draws on the laminate technology of a Danish tennis racket manufacturer. The smooth armrests on both sides of the chair are quite a bit of Aalto's style, and the laminated beech wood is wrapped in the legs made of mahogany or teak, which gradually tapers downwards, making the chair stand out from the side, and the overall shape is full of vitality. The overall frame of the chair consists of two pairs of single-layer plywood containing one side armrest and one foreground leg. The back and seat parts can be embedded in the grooves of the frame, and the four connecting axes between the legs ensure that the lock is in place. This construction means that it can be installed quickly, and the quality is stable, and it also saves the packaging cost and loading space required for transportation compared to its predecessors.
No. 027 Peacock Chair, JH550 (JH550)
Designed by Hans J. Wegner) Designed in 1947
When Wagner was a student at the Arts and Crafts School in Copenhagen, he surveyed a nineteenth-century comb-back Windsor chair in class with other classmates. Since then, he has been obsessed with the Windsor chair. This British-derived chair has evolved into a unique style in Europe and the United States, and the "Wagner's Windsor Chair", which was given the name by the media when it came out, evolved into a proud "peacock" in the mouth of the designer colleague Finn Jur: in the center of the back of the chair where the user's back needs the most support, there is a row of flat shafts that unfold in a rainbow; The outer ring of the back of the chair is curved into a pompous shape, which is quite a throne style.
"In a great Windsor chair, brightness, power, elegance, durability and classical elegance come together in an irresistible way." The American furniture historian Walace Nutting wrote in his 1917 A Windsor Handbook. Wagner's Windsor chair doesn't stop there, every angle of it has been calculated again and again, and every design has been refined — from the curve of the back of the chair to the details he added to the wooden wedges of the front legs to connect the chair's front legs to the seat.
No·028 模型132U(Model 132u)
Designed by Don Knorr Designed in 1947
If it weren't for Sharinen Jr., Don Noch might not have had the chance to enter The MoMA's international low-cost furniture design competition in 1948, much less win the seating category. For two years before the race, Noch spent the day planning the No. 70 decoration series for Little Sharin, which also included the womb chair, and at night worked with his mentor to study and develop new ideas. When Nocher first presented the idea of the chair to little Saarinen in 1947, the renowned architect and designer "returned his students to their roots." If Noch hadn't listened to this, his work would never have had such a simple appearance.
A prototype of the 1948 winning chair can be seen at MoMA, with a thick insulated plastic shell over a chrome-plated tubular steel leg. Hans Nordburn wanted to mass-produce the chair, but the production cost was too high. So Noel asked Noh to work with his engineers to turn the idea of winning the award into a steel chair. It is comfortable and sculptural, with the overall shape and fixtures redesigned for ease of manufacture and storage. "The first thing I learned from Hans Noor was that the main cost of producing a product was casting and casting mold," Noher says, "but my design cut those two costs considerably." ”
No. 029 Listen - To - Me Chaise , 4873
Designed by Edward J. Wormley) Designed in: 1948
In 1945, Wormley established his own New York studio, absorbing a large number of Manhattan design elements. He also serves as a consultant to Dunbar, helping the company with its marketing efforts. After independence, Wormley freely created many iconic works, and his ideas became more and more brilliant, as a symbol of American modernism, Wormley's "listen to me" chair, which is pressed with white maple and American cherry wood layers, is the perfect "thinking chair" for managers like Mad Men who are delirious by alcohol and pressure every day.
And its woolen woven cotton cushion with metal stitching, which is intertwined with the copper thread used for the support of the lower part of the chair, makes the women want to stop. Sophisticated, sexy and full of country club atmosphere, this is a style that people have never seen before. It appeared on the balcony of author Barbara Novak's New York apartment in the movie "Down With Love" and was what New York dealer Patrick Parrish called "the holy grail for dunbar product collectors."
No·030 RAR（摇杆椅） RAR（Rocking Armchair Rod）
Designed by Charles and Ray Eames Designed: 1948-1950
The Films made by the Ames may feel like life in Ames Studios is like an endless game, which Ray herself said. Yet the best chairs often take years to complete. Once a good chair is formed in their hands and has undergone countless tests of form and size, it often begins to have a chain reaction, leading to a larger series of works.
The original model of rar was made of neoprene-coated aluminum. The Emses collaborated with engineers at UCLA (University of California, Los Angeles) to participate in a low-cost furniture design competition organized by MoMA, and later collaborated on a molded metal chair from which RAR evolved. Charles and Ray discovered a fiberglass material while designing sliding screens for the Eames House, which was first used to make shock-resistant helmets during the war, and the combination of fiberglass and plastic resin was so durable that it appeared to be a perfect alternative to high-cost metals.
Referenced from Chair 100, by Lucy Ryder Richard, translated by Joasu
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