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393:. It became a popular "catchword" and played a large role in theories of modern design. Functionalism rejected the imitation of stylistic and historical forms and sought an establishment of functionality in a piece. Functionalist designers would consider the interaction of the design with its user and how many of the features, such as shape, colour, and size, would conform to the human posture. Western design generally, whether architectural or design of furniture, had for millennia sought to convey an idea of lineage, a connection with tradition and history. However, the modern movement sought newness, originality, technical innovation, and ultimately the message that it conveyed spoke of the present and the future, rather than of what had gone before it.
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the tubular steel. Breuer uses simple straps on canvas for the seat, back and armrests to support the seated figure. The concept of the use of tubular steel, a never before seen the material in the domestic space was inspired by the handles of Breuer's bicycle. He reasoned that if such a material was light-weight yet strong enough to support the body in motion, it is likely to be able to support the body at rest. He applies uncomplicated essentials (the canvas strips) to create a functional aesthetic as well. Nonetheless, the Model B3 Chair (dubbed the
Wassily Chair by the manufacturing company, Gavina after learning of the anecdote involving the painter
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simple materials and construction, but De Stijl artists, architects, and designers strove to combine these elements to create a new visual culture. Characteristics of furniture from this movement include simplified geometry of vertical and horizontal compositions and pure primary colours and black and white. It was the rejection of the decorative excesses from
373:, modern furniture easily came to promote factory modules, which emphasized the time-managing, efficient ideals of the period. Modernist design was able to strip down decorative elements and focus on the design of the object in order to save time, money, material, and labour. The goal of modern design was to capture timeless beauty in spare precision.
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805:, and dedicated to the Spanish royal families. Like other designers following Breuer's example, he incorporates the use of chrome-plated flat steel bars to create a single S-shaped curve. The front legs cross the 'S' curve of the bars forming the seat and the back legs. It creates a sleek and intentionally simple aesthetic to the piece.
585:, were formative in the creation of these new designs. They would have been considered pioneering, even shocking in contrast to what came before. This interest in new and innovative materials and methods – produced a certain blending of the disciplines of technology and art. And this became a working philosophy among the members of the
753:" design style in her architectural projects and furniture. Eileen Gray had always been influenced by Japanese lacquer and furniture, and the minimalist lines and elegant structure found normally in traditional Japanese works are found in most of Gray's objects. The name, E-1027, can be seen in a somewhat romantic reading: The
856:(1904–1988), a sculptor, draftsman, potter, architect, landscape architect, product, furniture and stage designer. Half American, half Japanese, he is famous for his organic modern forms. He often stated, "Everything is sculpture, any materials, any idea without hindrance born into space, I consider sculpture." The
773:.Gray's emphasis on functionalist design is apparent in her use of tubular steel and the concentric symmetry of the surface. Notably, this piece also has specific utility, as it can be adjusted such that one can eat breakfast in bed on it. Gray's sister had requested such accommodation during her visits to E-1027.
365:"Today industrial design is functionally motivated and follows the same principles as modern architecture: machine-like simplicity, smoothness of surface, avoidance of ornament ... It is perhaps the most fundamental contrast between the two periods of design that in 1900 the Decorative Arts possessed ..."
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Today contemporary furniture designers and manufacturers continue to evolve the design. Still seeking new materials, with which to produce unique forms, still employing simplicity and lightness of form, in preference to a heavy ornament. And most of all they are still endeavouring to step beyond what
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The designs that prompted this paradigm shift were produced in the middle of the 20th century, most of them well before 1960. And yet they are still regarded internationally as symbols of the modern age, the present and perhaps even the future. Modern
Classic Furniture became an icon of elegance and
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This piece is particularly influential because it introduces a simple, yet elegant and light-weight industrial material to be used in structures within the domestic space: chrome plated tubular steel. The design of the chair is revolutionary with its use of symmetrical, geometric planes framed by
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was an organization of artists, designers, and manufacturers that pushed to create a cultural utopia achieved through a design and new ideas in the early twentieth century. They shared the Modern thought of "form follows function" as well as the "ethnically pure" design principles such as quality,
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regime. With the change of location came a change of direction in the institution. The
Bauhaus adopted an emphasis on production in Dessau, but maintained its intellectual concerns in design. Throughout the years, the goal of the institution was to combine intellectual, practical, commercial, and
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The De Stijl (The Style) movement, was founded in 1917 by Theo Van
Doesburg in Amsterdam. The movement was based on the principles of promoting abstraction and universality by reducing excessive elements down to the essentials of form and colour. Dutch design generally has shown a preference for
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The Le
Corbusier LC2 are armchairs and sofas with the chrome plated tubular steel frame supporting loose cushions placed on elasticated straps. The LC2 represented the new and modern conception of designer furniture in the Le Corbusier minimalism – style with the steel cage giving an element of
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An aesthetic preference for the baroque and the complex was challenged not only by new materials and the courage and creativity of a few
Europeans, but also by the growing access to African and Asian design. In particular the influence of Japanese design is legend: in the last years of the 19th
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were created around 1917. However, they were originally stained black – the colour was eventually added to give characteristics of De Stijl in 1923. Rietveld's intent was to design a piece of furniture that could be cheaply mass-produced. He uses standard beechwood laths and pine planks that
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in Japan, Japanese isolationist policy began to soften, and trade with the west began in earnest. The artifacts that emerged were striking in their simplicity, their use of solid planes of color without ornament, and contrasting use of pattern. A tremendous fashion for all things
Japanese –
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Prior to the modernist design movement, there was an emphasis on furniture as an ornament. The length of time a piece took to create was often a measure of its value and desirability. The origins of modernist design can be traced back to the
Industrial Revolution and the birth of mechanized
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styles. Dark or gilded carved wood and richly patterned fabrics gave way to the glittering simplicity and geometry of polished metal. The forms of furniture evolved from visually heavy to visually light. This shift from decorative to minimalist principles of design can be attributed to the
938:. Neither entirely modern or traditional, it seeks to blend elements of multiple styles. It often includes both modern and traditional as well as making visual reference to classical Greek form and/or other non-western styles (for example Tribal African pattern, Asian scroll work etc.).
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School, and so it is not surprising perhaps that the
Bauhaus School took on the mantle of this philosophy. They evolved a particular interest in using these new materials in such a way that they might be mass-produced and therefore make good design more accessible to the masses.
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intersect and are fixed by wooden pegs. The functions of construction, the seat, the back and armrests are explicitly separated from one another visually. In fact, Rietveld saw the chair as the skeleton of an overstuffed armchair with all the excessive components removed.
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material honestly, functionality, and sustainability. The DWB played a key role in advocating these to other German artists and designers, which inspired the development of many Modern design institutions. Among the most notable architects and designers from the DWB are:
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Obviously not all furniture produced since this time is modern, for there is still a tremendous amount of traditional design being reproduced for today's market and then, of course, there is also an entire breed of design which sits between the two, and is referred to as
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aesthetic concerns through art and technology. The
Bauhaus promoted the unity of all areas of art and design: from typography to tableware, clothing, performance, furniture, art, and architecture. Prominent artists and designers from the Bauhaus include:
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production. With new resources and advancements, a new philosophy emerged, one that shifted the emphasis of objects being created for decorative purposes to being designs that promote functionality, accessibility, and production.
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Chronologically the design movement that produced modern furniture design, began earlier than one might imagine. Many of its most recognizable personalities were born of the 19th or the very beginning of the 20th centuries.
860:– has become famous for its unique and unmistakable simplicity. It is refined and at the same time natural, it is one of the most sought-after pieces associated with the modern classic furniture movement.
336:, and practicality of materials in design heavily influenced the aesthetic of the furniture. It was a tremendous departure from all furniture design that had gone before it. There was an opposition to the
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714:. This piece epitomizes the mass production of the industrial age through the use of materials and structure. However, unlike the Wassily Chair, the complex design made reproduction expensive.
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design. With the tubular steel frames and leather or skin upholstery, the sleek Chaise Longue was initially manufactured for private French house commissions including the
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Inspired by Marcel Breuer's use of chrome plated tubular steel in his Wassily Chair, in 1928, Le Corbusier creates a sleek steel support for the back and seat of his
589:. The Werkbund was a government-sponsored organization to promote German art and design around the world. Many of those involved with it including Mies van der Rohe,
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industrial. The first results of the collaboration between Le Corbusier and Perriand were three pieces of furniture made with chrome-plated tubular steel frames.
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The modernist design seems to have evolved out of a combination of influences: technically innovative materials and new manufacturing methods. Following the
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sold in millions and became the world's best-selling chair. Today it is regarded as a modern design classic, and has been celebrated by
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The idea of accessible, mass-produced design that is affordable to anyone was not only applied to industrial mechanics, but also to the
483:, Germany, in 1925 due to political tensions, then Berlin, in 1932 until the doors of the school were closed from the pressure of the
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If the information is appropriate for the lead of the article, this information should also be included in the body of the article.
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has come to represent the Bauhaus design movement. Many consider it to be functional art, rather than just furniture. Designed by
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school of art and architecture. The furniture that was produced during this era is today known as "Modern Classic Furniture" or "
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introduction of new technology, changes in philosophy, and the influences of the principles of architecture. As
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Designing modernity : the arts of reform and persuasion : 1885–1945; selections from the Wolfsonian;
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Antonelli, Paola (2003). Objects of Design from the Museum of Modern Art. New York, NY: Museum of Modern Art.
702:. The Chaise Longue features a movable seat section and an adjustable headrest, which is an early example of
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and promoted logicality through construction and function. Influential artists from this movement include
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They were teaching and studying in Germany and elsewhere in the 1920s and 30s. At among other places the
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Objects 1900 and Today: An Exhibition of Decorative and Useful Objects Contrasting Two Periods of Design
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Objects 1900 and Today:An Exhibition of Decorative and Useful Objects Contrasting Two Periods of Design
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1601 decorating ideas for modern living : a practical guide to home furnishing and interior design
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in 1925–26 while he was the head of the cabinet-making workshop at the Bauhaus, in Dessau, Germany.
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refers to furniture produced from the late 19th century through the present that is influenced by
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stands for "Eileen" and the numbers, corresponding to their sequence in the alphabet, stand for
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Design [does not equal] art: functional objects from Donald Judd to Rachel Whiteread
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had as their specific creative emphasis the blending of technology, new materials and art.
686:) inspired many artists and designers to include the use of chrome plated steel, including
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period, seeing reproduction numbers upwards of four digits across two continents. The
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of architecture and furniture. This philosophy of practicality came to be called
1295:"Marcel Breuer, the Wassily Chair and the 'Frozen' Bauhaus Modernism After 1945"
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Williams], Bauhaus-Archiv. [Ed.: Angelika Taschen. Engl. transl.: Karen (2002).
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in 1929 for the German Pavilion at the international design fair, the
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The Bauhaus school, founded in 1919 in Weimar, Germany, by architect
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Wolf, / Gerd Hatje, Peter Kaspar; translated by Robert E. (1974).
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has gone before to create entirely new visual experiences for us.
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contains information that is not included elsewhere in the article
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movement emerged from this influence directly. Designers such as
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are notable for a certain elegant blending of the two styles.
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Volker Albus; Reyer Kras; Jonathan M. Woodham, eds. (2004).
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Furniture designed from the 19th century to the present day
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Designed in 1927 as a bedside table for the guest room in
690:, who includes it as a structure for his Chaise Longue.
442:, who continued to evolve the ideas of modernist design.
500:(who was Gropius's successor, only to be replaced by
674:, also known as the Model B3 chair, was designed by
163:. Unsourced material may be challenged and removed.
1488:Bloemink, Barbara J.; Cunningham, Joseph (2004).
1054:. New York, NY: Museum of Modern Art. p. 14.
1550:. New York, NY: Museum of Modern Art. p. 14
405:, new philosophies and artists emerged from the
1519:Objects of Design from the Museum of Modern Art
1126:. New York: Harry N. Abrams. pp. 15–300.
821:chair for the British furniture design house
8:
1146:: CS1 maint: multiple names: authors list (
1440:Griffith Winton, Alexandra (October 2004).
64:Learn how and when to remove these messages
522:– swept Europe. Some say that the western
291:Learn how and when to remove this message
273:Learn how and when to remove this message
223:Learn how and when to remove this message
121:Learn how and when to remove this message
1293:Cacciola, Donatella (25 February 2022).
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450:Founded in 1907 in Munich, Germany, the
84:This article includes a list of general
1255:(Engl. Ausg. ed.). Köln: Taschen.
1198:Icons of Design : the 20th Century
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795:1929 Barcelona International Exposition
593:and others, were later involved in the
1522:. New York, NY: Museum of Modern Art.
1368:from the original on 28 September 2015
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666:creation enjoyed enduring fame in the
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1093:Fiell, Charlotte & Peter (1999).
801:, and the X-shaped footstools of the
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1398:from the original on 12 January 2018
534:are known for both their modern and
161:adding citations to reliable sources
641:Gerrit Rietveld's Red-Blue Armchair
602:Iconic examples of modern furniture
1232:from the original on 29 April 2014
1168:from the original on 29 April 2014
561:The use of new materials, such as
90:it lacks sufficient corresponding
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1470:Heilbrunn Timeline of Art History
1446:Heilbrunn Timeline of Art History
1422:Heilbrunn Timeline of Art History
1388:"Robin Day Polyside and Armchair"
777:Mies van der Rohe Barcelona chair
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417:school, both located in Germany.
409:movement in the Netherlands, the
45:This article has multiple issues.
921:Both the Bauhaus School and the
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1464:Gontar, Cybele (October 2006).
538:work, and they and others like
148:needs additional citations for
53:or discuss these issues on the
1474:The Metropolitan Museum of Art
1450:The Metropolitan Museum of Art
1426:The Metropolitan Museum of Art
694:Le Corbusier LC4 Chaise Longue
1:
658:Marcel Breuer's Wassily Chair
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1416:Goss, Jared (October 2004).
966:American Furniture Warehouse
403:Second Industrial Revolution
1072:London: Thames and Hudson.
1068:Kaplan, Wendy, ed. (1995).
839:commemorative postage stamp
710:, Poissy (1929–31) and the
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1095:Design of the 20th century
745:designed for herself (and
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332:ideals of cutting excess,
1516:Antonelli, Paola (2003).
1299:Journal of Design History
1283:. Retrieved 7 April 2014.
1021:Multifunctional furniture
508:African and Asian culture
1544:Johnson, Philip (1933).
1050:Johnson, Philip (1933).
886:Ludwig Mies van der Rohe
809:Robin Day Polyprop chair
528:Charles Rennie MacIntosh
733:Adjustable Table E 1027
632:A stack of Robin Day's
577:, such as that used by
555:Eames Lounge Chair Wood
105:more precise citations.
1570:Bauhaus Archive Museum
942:Modern to contemporary
929:Transitional furniture
727:Eileen Gray side table
645:The first versions of
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1200:. München : Prestel.
1164:. Guggenheim Museum.
1162:"Movements: De Stijl"
718:Le Corbusier LC2 Sofa
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579:Charles and Ray Eames
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1600:History of furniture
1358:"The people's chair"
845:Noguchi coffee table
621:Mies van der Rohe's
359:Museum of Modern Art
157:improve this article
1575:Guggenheim De Stijl
1494:. London: Merrell.
1311:10.1093/jdh/epac001
936:transitional design
565:in its many forms;
1226:Deutscher Werkbund
1101:. pp. 6–768.
923:Deutscher Werkbund
916:Mid Century Modern
825:. Made of moulded
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612:Red and Blue Chair
610:Gerrit Rietveld's
587:Deutscher Werkbund
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540:Frank Lloyd Wright
471:The Bauhaus School
452:Deutscher Werkbund
446:Deutscher Werkbund
411:Deutscher Werkbund
397:Influential groups
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309:Three versions of
172:"Modern furniture"
1529:978-0-87070-611-0
1501:978-1-85894-266-7
1442:"Design, 1925–50"
1418:"Design, 1900–25"
1364:. 13 March 1999.
1332:"Barcelona Chair"
1253:Bauhaus 1919–1933
1133:978-0-8109-0129-2
787:Mies van der Rohe
684:Wassily Kandinsky
651:Red-Blue Armchair
502:Mies van der Rohe
465:Mies van der Rohe
457:Hermann Muthesius
440:Mies van der Rohe
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741:, the home
591:Lilly Reich
532:Eileen Gray
524:Art Nouveau
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103:introducing
1584:Categories
1402:12 January
1305:(3): 248.
1037:References
864:Chronology
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569:, used by
515:Edo period
387:aesthetics
377:Philosophy
183:newspapers
111:March 2014
86:references
50:improve it
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1590:Furniture
1142:cite book
1097:. Köln :
1026:Steelcase
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326:modernism
56:talk page
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1396:Archived
1366:Archived
1342:22 March
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955:See also
831:Polyprop
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813:In 1963
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668:post-war
634:Polyprop
583:plastics
536:Art Deco
520:Japonism
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