Monday 30 July 2012

Laura Lima's Wheelchairs

So, the Brazilians have taken over London; or at least part of it. Never missing a chance to soak up art and culture, we went over to Somerset House’s Casa Brasil this weekend. Running for seven weeks and in tandem with the Rio Occupation, the exhibition ‘From the Margin to the Edge’ is a celebration of Brazil’s most prominent artists and directors as the country prepares to host the 2016 Olympics.

There were some really interesting pieces. However, we felt compelled to share this most relevant of artworks on display in the artists’ exhibition.
Laura Lima Modern Classic ‘Wheelchairs’ (2011-2012)

Harry Bertoia’s Diamond Chair:


Charles Eames EA119 Office Chair:


© Laura Lima, All rights reserved.
Words ~ victoria@swiveluk.com. All images captured and produced by victoria@swiveluk.com


Wednesday 18 July 2012

Swivel UK's Top Ten Lounge Chairs!

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Swivel UK’s Top Ten Lounge Chairs.

The best lounge chairs you have ever seen. Probably.

10. Le Corbusier Petit Armchair

Le Petit Confort Chair and the entire Petit Confort line are scaled down versions of their “Grand” brothers. All were designed as a modernist response to the traditional club chair by Le Corbusier group. The goal was to provide the well-padded comfort of the club chair without violating industrial and minimalist principals of design at the time.

As fresh and as good looking as they were when designed in 1983, the Le Corbusier Petit Armchair features a chrome tubular steel frame with top quality black leather deep cushions. The chair is extremely comfortable and will fit well into any modern setting.

9. Corona Chair

The early chair designs of Danish designer Poul Volther were based on a series of cushions separated by open spaces in order to economize on materials difficult to obtain after the Second World War. A result of this, the Corona chair was first presented in 1964. The original consisted of a wooden skeleton on which a series of oval cushions provided the seat and the rising back; the intention was for the body to relax in various positions.

Widely acclaimed when first launched in 1964, the Chair has since been shown in a wide variety of fashion features, film and music videos. The four upholstered shells give maximum support for the body with overt associations to both spinal column and ribs of the human anatomy.




8. LCW Chair

The Eames designed molded plywood LCW chair was a boldly innovative breakthrough when it was introduced in 1946. It was originally designed using technology that the Eames developed before and during The Second World War. Before American involvement in the war, Charles Eames and friend, the architect Eero Saarinen, entered a furniture group into the Museum of Modern Art‘s “Organic Furniture Competition”, which they went on to win.

Comfortable, practical, and lightweight, it looks as contemporary now as it did then – a modest chair that has come to represent the best in modern design.




7. PK22 Lounge Chair

This PK22 chair is one of the PK series of chairs by Poul Kjaerholm. Kjaerholm considered steel to be a natural material with the same artistic finesse as wood, and with the design of this chair exploited the natural strength and flexibility of steel.

The discrete and elegant lounge chair PK22 epitomizes the work of Poul Kjærholm and his search for the ideal form and industrial dimension, which was always present in his work. It was an immediate commercial and critical success. In 1957, the Chair was awarded the Grand Prix at the Milan Triennale, the world’s premier design fair, which catapulted Kjærholm’s career.





6. Le Corbusier Grande Armchair

The resulting chair, a simple, tubular steel structure fitted with almost decadently comfortable leather-covered cushions, was a plump, upholstered answer to the lean art deco aesthetic that dominated the era. Amazingly, the chair, which debuted at the 1929 Salon d’Automne art exhibition in Paris, is as relevant, fresh and modern today as it was when it was first seen in the 1920s.

The Grande Armchair features a chrome tubular steel frame with top quality black leather deep cushions. Extremely comfortable, it fit well into any modern setting.

5. Swan Chair

Arne Jacobsen is considered one of the most influential furniture designers of the last century. Originally designed in 1958, the Swan Chair was originally developed for the lobby and reception areas at the Royal Hotel in Copenhagen.
Featuring a molded fibreglass frame, swivel-base and a fire-retardant foam. It’s available in Hopsack or full Italian leather.










4. The Diamond Chair

Originally a protégée of designer Florence Knoll, Harry Bertoia designed the Diamond Chair in 1952. In his art, Bertoia experimented with open forms and metal work.
The Diamond Chair was an extension of that work. “If you look at the chairs, they are mainly made of air, like sculpture,” said Bertoia. “space passes through them.” The originals were made entirely by hand. This wonderful piece features a frame built out of chrome steel rods bent into a wire mesh, making it exceptionally strong.







3. The Egg Chair

The world-renowned and much-imitated Egg chair was originally designed in 1958 by Arne Jacobsen. Although it was originally intended for the lobby and reception areas of the Radisson SAS Hotel in Copenhagen, the Chair has gone on to become a world best-seller and an icon of 21st Century design.

Its original design sprang from a new technique, which Jacobsen was the first to use; a strong foam inner shell underneath the upholstery. Its cocoon shape allows a moment of calm in busy, public spaces.

The Egg Chair features a molded fibreglass frame and fire-retardant foam padding. It can also available in various colours and materials for a personalized touch.



2. Barcelona Chair

The Barcelona Chair by Mies Van Der Rohe was designed for the 1929 world exposition in Barcelona. Using leather straps to suspend leather covered cushions from a chrome plated steel frame, this chair has become a modern icon.

Van Der Rohe wanted to make an important artistic statement. He showed how negative space could be used to transform a functional item into sculpture. Indeed, he once quoted, “The chair is a very difficult object. Everyone who has ever tried to make one knows that. There are endless possibilities and many problems – the chair has to be light, it has to be strong, it has to be comfortable. It is almost easier to build a sky scraper than a chair.”

1. Eames Lounge Chair and Ottoman.

Highly influential and endlessly imitated, Charles Eames revolutionized 20th Century furniture design. The famous Charles Eames ‘Relax’ Lounge Chair and Ottoman was designed in 1956, for the fiftieth birthday of close friend Billy Wilder.

Fashioned from a bent rosewood frame with an Aluminium base, it features luxurious cushions covered in the highest quality leather. This beautiful chair is exceptionally comfortable, and is recognized as one of Charles Eames’ most important designs.


Words by victoria@swiveluk.com. All images are owned by Swivel UK. © 2012

Tuesday 3 July 2012

The Allure of Andrée Putman

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The question of what makes a great artist – or the word I prefer, creator – is something that has troubled people for centuries, from the vast empires of Rome and Greece to the modern-day, Facebook generation. True, empires rise and fall, Facebook, Twitter and Pintrest will be (relatively) soon replaced by more advanced, ingenious concepts; but one fundamental concept that most artists agree on is that great art and great ideas stand the test of time. The work of art polymath Andrée Putman is no exception to this.
Much as popular opinion would suggest the contrary, being born into a life of privilege does not in any way lessen the gravity of one’s choices. Born into a wealthy family of bankers and notables from Lyon in 1925, Putman (née Aynard) was under tremendous pressure to make a mark on society and to build influence. Her father was a graduate from the prestigious Ecole Normale Supérieure and spoke seven languages, while her mother was a concert pianist.

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Queen of Understated Elegance
The musical talent of her mother washed off on the young Aynard and it soon became apparent that she too was destined for a career in classical piano. At the age of nineteen, she entered the famous Conservatoire National Supérieur de Musique et de Danse (CNSMDP) where she later received the First Harmony Prize from legendary French composer Francis Poulenc. Her musical career, however, was to be cut short. Despite obvious talent, making her name as a composer was a tremendously hard feat; especially given the level and prestige of French classical composition at the time. Indeed, a professor is said to have commented ‘You are very talented, but we will only know in ten years if you are a great composer.’ With that and a bike accident at the age of twenty that almost left Aynard paralyzed, she left the world of classical music to discover other forms of art and self-expression.
The decision to leave school was not well-received by members of her influential and powerful family. Indeed, upon hearing that Aynard had left the CNSMDP her grandmother (socialite Madeleine Saint-René Taillandier) remarked “What can one do when one did not go to school and is a musician who stopped playing music? Nothing except messenger.” Taking heed of her family’s advice, the young Andrée began working for Elle and L’Oeil, a prestigious art magazine, where began to study artistic styles and movements.

She was “impressed by… artists who do not look for anything else but remaining in the depth of their sincerity, their risk”

This transition from music to art was unsurprising, given both the relationship between the two disciplines and Aynard’s upbringing. Working for the magazines allowed Andrée Putman to meet and network with artists such as Pierre Alechinsky, Bram van Velde and Alberto Giacometti, which deepened her knowledge of the community and popular art of the time. Indeed, her ability to pick out emerging art-forms became well-known. She was “impressed by…artists who do not look for anything else but remaining in the depth of their sincerity, their risk.”
She married art critic and publisher Jacques Putman in the late 1950’s. Soon after, the newly-named Putman became Art Director at French chain Prisunic, where her vision of making art available to the wider public became a reality. From this collaboration, Putman refined the motto ‘designing things for nothing’; a minimalist ideology that later fed into her famous designs. In 1971, she and Didier Grumbach founded a new company ‘Créateurs & Industriels’. From here they went on to build the profile of now-renowned figures, such as Issey Miyake, Ossie Clark, and Thierry Mugler. It was with the creation of this company that Putman made the final transition into interior design: by designing the former SNCF premises into a showroom and offices for the company.
The glory-days were short-lived. In the late 1970’s a divorce and bankruptcy of Créateurs & Industriels sent Putman into isolation and depression. To symbolize her extreme sadness, she forced herself to live in complete austerity; furnishing her room with a bed and two lamps. This, she commented, was “because I no longer knew what I liked.” As it happens, with grief and sadness comes renewed success. She soon went back to her long-held passion of giving life to forgotten designers from the 1930s, Herbst, Jean-Michel Frank, Gaudi and Eileen Gray amongst others. Driven by her loathing of “pompous luxury” and a desire to strip things to the bare essentials, her taste was catching on in the wider art community.
In 1984, Putman landed a project that was to redefine her entire life – to redesign the Morgans Hotel in New York. Her success led to many more collaborations: hotels such as Le Lac in Japan and the Sheraton in Roissy-Charles de Gaulle airport in Paris and stores for Azzedine Alaia, Balenciaga, Bally and Lagerfeld.
In 1997, she created her eponymous Agence Andrée Putman, which specialised in interior and product design. In 2007, her daughter Olivia Putman took over as Art Director, much to the delight of the whole family. Two years later, the partners present the chair they designed for an American furniture company, based on the design-style of Morgans Hotel. Aptly, it was named ‘The Morgans Chair’.
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Robust and Elegant, the Morgans Chair.
As much as design and art continues to evolve and change, it is with the vision of women like Andrée Putman that history lives on. In an age of phenomenal technological growth, we are in danger of losing history on new generations that are distracted by social networking. With this sheer influx of information, we are also in danger of losing the same minimalist and undisturbed life that allows our minds and ideas to flourish. Despite being born into a world of phenomenal privilege, Putman’s legacy is one that reflects ethereal, basic elements life. This is a concept that is central to innovation, not just in art or design or in music but in experiencing life to the full.
To this day she continues to work with her daughter at the Agence Andrée Putman Parisian Office.
~ Words by victoria@swiveluk.com.
Sources: http://en.wikipedia.org/wiki/Andr%C3%A9e_Putman; http://en.wikipedia.org/wiki/Pierre_Alechinsky; http://en.wikipedia.org/wiki/Francis_Poulenc; http://www.studioputman.com/english/index.html; http://www.wallpaper.com/design/andr233e-putman-retrospective-paris/4959