Design Within Reach and the New York Times have teamed up to create a very special crossword puzzle for architecture and design enthusiasts that appeared in today's issue of the NY Times T Design Magazine.
For those of you who do not get the New York Times, I have recreated it here for you along with all the clues and some special hints, courtesy of DWR.
This puzzle will also appear in today's October 7 issue of T Design (see page 60) in The New York Times.
HINTS TO A FEW CLUES from DWR:
1. AKA Y-Back Chair designer Wegner
Visual hint: The Y-Back Chair is also known as the Wishbone.
23. A chair to tiptoe through
Visual hint: This chair was designed by Eero Saarinen in 1956.
63. Designer of Womb Chair and TWA terminal at JFK
103. Egg, e.g.
Visual hint: Arne Jacobsen designed this organic form for the SAS Hotel in Copenhagen.
27. They designed and lived in Case Study House #8
104. Designer of logos for UPS, IBM and ABC
Visual hint, courtesy of Apple Computer
Three unique vintage Eames lounge chairs and ottomans are being offered as one-offs by New York's Moss Gallery. Dutch designer Hella Jongerius and Moss take the 20th century icon and re-interpret these now 'classic' and ubiquitous symbols of Modernism as part of a one-off collection of special upholstered pieces they are collaborating on with Maharam. Over time, Moss hope to create an expanding dialogue between Maharam's contemporary textiles and strong iconic works from Moss' collective object-history.
above: The Eames Lounge Chair and Ottoman is part of the permanent collection of the Museum of Modern Art, New York.
These rare, vintage Eames lounge chairs and ottomans are produced in Brazilian rosewood veneers, the original wood chosen by Charles and Ray Eames for the iconic chair when it was put into production in 1956. In 1992, Herman Miller ceased producing the chair in Brazilian rosewood due to a worldwide embargo on the endangered species.
designers - Charles Eames and Ray Eames
design year - 1956
manufacturer - Herman Miller, USA
materials - Brazilian rosewood; aluminium; upholstered with Maharam Repeat Dot fabric (55% Cotton; 24% Polyester, 21% Rayon)
The third is another vintage Eames lounge chair and ottoman made with Brazilian rosewood and aluminium. Moss has upholstered this special chair and ottoman in 'Voyage' fabric, a rich blue wool produced by the renowned textile house Maharam. As with many of their textiles, the fabric is produced with reduced environmental impact and is 'Greenguard' certified for reduced indoor air emission.:
designers -Charles Eames and Ray Eames
design year - 1956
manufacturer - Herman Miller, USA
materials - Brazilian rosewood; aluminium; upholstered with Maharam 'Voyage' (100% wool)
chair: 32.75" x 32.75", height: 32"
ottoman: 26" x 21.5", height: 17.25"
price for each:
buy any of the three here
Maharam, a fourth generation family-run business, celebrated its centennial in 2002. First renowned as a supplier of theatrical textiles, in the 1960s Maharam pioneered the contract textile concept, developing engineered textiles for commercial application. Though performance is an essential element of every product, Maharam continues to create innovative textiles through the exploration of pattern, material and technique.
Maharam pursues a holistic approach to design, embracing a range of disciplines as fundamental to its business philosophy; showrooms, graphics and accessories receive the same attention to detail as product design.
The Maharam Design Studio is responsible for the development of Maharam’s extensive textile collection, ranging from re-editions of enduring designs of the twentieth century’s most noted visionaries to fashion-forward concepts and materials. The Maharam Design Studio maintains a strong focus on new technologies and cultural markers, often finding inspiration beyond the textile industry, including collaborations with avant-garde industry outsiders. Conceived to foster an open dialogue across varied design disciplines, these collaborative projects also serve to introduce a fresh perspective and unexpected media into the world of textiles.
Maharam has textile designs in their collection designed by both Charles Eames (Dot Pattern) and Hella Jongerius (Repeat and Layers).
In the above book, Maharam Agenda, Maharam takes a holistic view of design, embracing a range of disciplines including architecture and interiors, furniture, fashion, accessories, graphic and digital media. The Maharam Design Studio oversees the cultivation of an extensive textile collection, ranging from re-editions of enduring designs by the twentieth century's most noted visionaries to textile-based collaborations with industry outsiders including Konstantin Grcic, Hella Jongerius, Maira Kalman, Bruce Mau, Jasper Morrison, Nike and Paul Smith, among others. The publication provides a comprehensive overview of the company's history, cultural markers and design projects. Abstracted product applications are featured through "Useless Objects," a collaboration with Jasper Morrison.
You can buy this first edition 2011 hardcover book here
The very hip type foundry House Industries has teamed up with Herman Miller to produce a limited edition series of 80 Eames wire-base tables.
The Eames wire based low tables (LTR) include letters, numbers and ornaments from their Eames Century Modern font collection.
Each tabletop is hand-printed by House’s own David Dodde in their Grand Rapids, Michigan factory, returned to Herman Miller for assembly then packaged in a special House Industries-designed wooden crate.
Andy Cruz originally showed sketches of a printed LTR table to Yoko Sasaki, Marketing director of Herman Miller Japan, during his trip to Tokyo in 2010. Soon after House Industries got busy with the Eames Office and Herman Miller in Zeeland, Michigan to bring the sketches to life. As with most House Industries projects, they tried their best to make the packaging for this limited edition something you wouldn’t throw away once the table was removed. I believe they succeeded.
Photography by Carlos Alejandro
Forty tables will be available in Hong Kong at the Herman Miller Reach event on September 16, 2011 and 40 will be available at the House Industries exhibition at the Herman Miller Tokyo Showroom on October 27, 2011.
Reach Hong Kong
September 16, 2011
Hong Kong Design Institute
3 King Ling Road,
Tseung Kwan O,
N.T., Hong Kong
House at Herman Miller Japan
Opening Reception: October 27, 2011
Herman Miller Japan Showroom
Marunouchi MY PLAZA
2-1-1, Marunouchi, Chiyoda-ku,
Tokyo 100-0005, Japan
information courtesy of House Industries
The famous molded side and armchairs by Charles and Ray Eames, originally created in fiberglass in 1950, then made in plastic, now made of polypropylene, have become a little more comfy with the fully upholstered versions recently launched by Vitra.
The Eames plastic armchair (sometimes called the 'potato chip' chair) and the Eames plastic side chair, available in eight shell colors, are now offered with your choice of 13 different colors of Hopsak upholstery and black or white piping.
Hopsak upholstery colors for the armchair:
Shell colors for the armchair:
Hopsak upholstery colors for the side chair:
Shell colors for the side chair:
When you add these options to the base options (R-wire, wooden, X-base and La Fonda base, you get a large number of possible combinations. Casters are also available on the armchair.
above: the four base options for either chair and casters.
Detail of black piping:
all images courtesy of Vitra.
You can purchase these upholstered Eames chairs from twenty twentyone or find a dealer through Vitra.
Birth of the Cool: California Art, Design, and Culture at Midcentury
October 7, 2007–January 6, 2008, Newport Beach
Birth of the Cool examines the broad cultural zeitgeist of “cool” that influenced the visual arts, graphic and decorative arts, architecture, music, and film produced in California in the 1950s and early 1960s. The widespread influences of such midcentury architects and designers as Harry Bertoia, Charles and Ray Eames, John Lautner, and Richard Neutra, have been well-documented.
Above: Karl Benjamin, Black Pillars, 1957, oil on canvas, 48 x 24 in. (121.9 x 61 cm), private collection. © Karl Benjamin, courtesy of Louis Stern Fine Art, West Hollywood
Less well-known, however, are the innovations of a group of Hard-Edge painters working during this period including Karl Benjamin, Lorser Feitelson, Fredrick Hammersley, Helen Lundberg and John McLaughlin, whose work retains a freshness and relevance today. Birth of the Cool revisits this scene, providing a visual and cultural context for West Coast geometric abstract painting within the other dynamic art forms of this time.
Birth of the Cool is organized by the Orange County Museum of Art and curated by Elizabeth Armstrong, deputy director for programs and chief curator at OCMA.
Lorser Feitelson, Dichotomic Organization, 1959, oil on canvas, 60 x 60 in. (152.4 x 152.4 cm), Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah, Marie Eccles Caine Foundation Gift. © Feitelson Arts Foundation
The exhibition is accompanied by a 300-page publication (see the end of this post).
Major support for Birth of the Cool is provided by Brent R. Harris, The Segerstrom Foundation, and the National Endowment for the Arts. Significant support is provided by Bente and Gerald Buck, Twyla and Chuck Martin, Jayne and Mark Murrel, Pam and Jim Muzzy, Barbara and Victor Klein, and Victoria and Gilbert E. LeVasseur Jr..
Above: Julius Shulman, photograph of Case Study House #22 (Pierre Koenig, architect, Los Angeles, 1959–60), 1960. © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute
Additional support is provided by Toni and Steven Berlinger and Patricia and Max Ellis. Corporate sponsorship is provided by Gucci and Design Within Reach. The official media sponsor of OCMA is The Orange County Register. Additional media sponsorship is provided by KCRW and KKJZ. Image credit: Karl Benjamin, Black Pillars, 1957, oil on canvas, private collection. © Karl Benjamin, courtesy of Louis Stern Fine Arts, West Hollywood.
If you can't make the exhibit, buy the book.
Birth of the Cool Catalogue
Hardcover; 304 pages
$65 (member price: $58.50)
EDITED BY ELIZABETH ARMSTRONG
1950s West Coast style exuded “cool”: from the smooth, hypnotic strains of a Miles Davis riff through Richard Neutra’s elegant modernist residences to the hard-edged paintings of Helen Lundeberg and Karl Benjamin. This richly illustrated volume casts a fresh eye on Fifties West Coast style with illuminating commentary from a variety of perspectives. Designed to echo the period it celebrates, this catalog explores modernist innovations in art, architecture, design, film and music. Prominent cultural critics write on an array of topics: Thomas Hine about the culture of cool; Elizabeth Smith on domestic aspects of the period’s architecture; Frances Colpitt on hard-edged abstract painting; Dave Hickey on jazz; Michael Boyd on modernist design in Southern California; Lorraine Wild on graphic design and advertising; and Bruce Jenkins on the crossover between animation and experimental film. The result is a multi-faceted exploration of the 1950s West Coast zeitgeist in all its color, creativity, and cool
Elizabeth Armstrong is Deputy Director for Programs and Chief Curator of the Orange County Museum of Art.
Available as of October 7th, 2007
pre-order the book here
I was so happy to come across the article below in the NY Times, especially in light of the tragedy of the tearing down of Richard Neutra's famous Maslon House in Palm Springs. in 2002.
Richard Neutra's Maslon Home in Palm Springs before demolition:
The Maslon House after Mr. and Mrs. Richard J. Rotenberg of Hopkins, Minnesota destroyed it in 2002:
A Museum Takes Steps to Collect Houses
By EDWARD WYATT
Published: March 15, 2007
LOS ANGELES, March 14 — Shortly after moving here last year to take over as director of the Los Angeles County Museum of Art, Michael Govan started looking at houses — not as a place for him to live but as potential museum pieces.
Above: Michael Govan, Director of LACMA and hopefully, The Savoir of L.A. Architecture
His idea — one that has rarely, if ever, been tried on a large scale by a major museum — is to collect significant pieces of midcentury residential architecture, including houses by Rudolf M. Schindler, Richard Neutra, Frank Lloyd Wright and his son Lloyd Wright, and to treat them as both museum objects and as residences for curators.
While he has yet to acquire any properties, Mr. Govan said this week that he certainly had his eye on some, including Frank Gehry’s landmark residence in Santa Monica, a collage of tilting forms. In an interview Mr. Gehry confirmed that Mr. Govan had discussed the idea with him but said that no agreements about the house’s future had been reached.
Below: Frank Gehry residence, Santa Monica
Mr. Govan, who moved here in March 2006 from New York, where he directed the Dia Art Foundation, said his project had been driven by the immediate impression that in Los Angeles, a city defined by outdoor spaces, architecture is inseparable from art.
“It started with an effort to rethink the museum, looking at the resources that are both locally powerful and internationally relevant,” he said. “It’s clear that the most important architecture in Los Angeles is largely its domestic architecture. I’ve talked certainly to a number of people who have interesting architecture, and I’m beginning to talk to other people about raising funds to preserve these works.”
The potential cost of the houses varies widely. Many of the most distinctive properties, in Beverly Hills or the Hollywood Hills, have most recently sold for millions of dollars. Others, like Schindler’s Buck House, on Eighth Street, barely two blocks from the museum, sold for less than half a million dollars in 1995, although it clearly would be worth more than double that today.
Below: R.M. Schindler's Buck House in Los Angeles
Mr. Govan was reluctant to discuss his plans in detail, partly because he has taken only “baby steps,” he said, but also because he does not want to set off bidding wars for houses in which he is interested. He said he hoped the museum could either buy houses or have them donated, the same ways that a museum would go about acquiring paintings or sculptures.
“This whole initiative will depend on generosity,” he said. “In the same way that someone would donate a Picasso, we want people to think of ways to see these houses as works of art and to think about ways to preserve them.”
Although he said he had received an “enthusiastic response” when he presented the idea to the museum’s trustees, “we have no funds at the moment” dedicated to the effort, he added.
But the idea has already started to generate chatter in the architecture community here. Richard Koshalek, president of the Art Center College of Design in Pasadena and a former director of the Museum of Contemporary Art, said Mr. Govan’s effort was “not only crucial for the city of Los Angeles but for the history of modern architecture.”
“Architects learn from other architects,” Mr. Koshalek said. “This history will be lost if people like Michael do not take this kind of initiative.”
above: Richard Koshalek, President of Pasadena's Art Center College of Design (my alma mater)
While owning an architecturally significant house in Los Angeles has long carried a certain cachet, many potentially valuable works have fallen into disrepair or been greatly altered by renovations undertaken by a succession of owners.
“A number of them haven’t been touched,” Mr. Govan said. “But many have been badly renovated and fundamentally changed. So I think it’s kind of the last chance to try to preserve a group of these as a collection.”
Mr. Govan’s idea is perhaps all the more remarkable because the Los Angeles County Museum does not have a department of architecture or design, unlike some older institutions, including the Museum of Modern Art in New York.
But one of the museum’s first acquisitions after Mr. Govan moved to Los Angeles, after 12 years as director of Dia, was a high-rise office interior by the Modernist architect John Lautner.
The Lautner office was formerly owned by James F. Goldstein, a real-estate investor who had Lautner design the space in 1987 for the 20th floor in a building in Century City, the commercial development on Santa Monica Boulevard in west Los Angeles.
In 2005 Mr. Goldstein was informed that his lease for the space would not be renewed, and a foundation devoted to saving Lautner works began seeking a patron who would preserve the space.
The Los Angeles County Museum initially turned down the proposal because museum officials felt it did not have the room to display the 800-square-foot office. But once Mr. Govan arrived, he seized the opportunity to acquire the work for an undisclosed amount and use it not as an exhibit but as an office — specifically, his.
Below: The 850-square-foot office that John Lautner designed in Century City.
The museum now plans to install the office, which includes copper walls, a wood ceiling and a floor of black slate, as part of the renovation of the May Company building, a former department store that is on the western edge of the museum’s 20-acre campus on Wilshire Boulevard. That renovation is planned for 2008 or 2009, and Mr. Govan said he hoped to use the space as his regular office, allowing visitors access to it as an exhibit on weekends.
Similarly, he said he hoped to use the houses that he collects not strictly as museum pieces but as housing for museum staff members, a perk that he said he believed would help the museum attract new curatorial talent.
“A lot of curators here have sought out interesting houses,” he said. “I thought, ‘You could just have house tours on a regular basis to allow the public to have access to them.’ ”
Although it does not have a design collection as such, the Los Angeles County Museum of Art has hardly ignored the city’s architectural history. In 1987 it organized a tour in the Silver Lake community of houses by Schindler, Neutra and other architects of the 1920s, ’30s, ’40s and ’50s. In 1965 the museum published “A Guide to Southern California Architecture,” a book that, although out of print, is prized by real-estate agents here who specialize in architectural gems.
Above: Charles and Ray Eames at work
Various Los Angeles organizations have also sponsored tours of houses that were built as part of the Case Study program: two dozen prototypes of modern architecture, by Charles and Ray Eames, Neutra and Pierre Koenig, among others, that were commissioned by Art & Architecture magazine and built from 1945 to 1964.
Silver Lake, an area around a man-made reservoir in the hills east of Hollywood, is the site of dozens of houses that would be potential acquisitions for the museum. The 2200 block of Silver Lake Boulevard, for example, has no fewer than five houses by Neutra, who was encouraged to migrate from Vienna to Los Angeles by Schindler, who was himself born in Austria and had worked in Chicago and Los Angeles as a construction supervisor for Frank Lloyd Wright.
Above: Schindler's Wilson House in Silver lake
Schindler’s work is also ubiquitous around Los Angeles. In 2001 the magazine ArtForum listed 32 significant works by Schindler, several in the parts of Los Angeles that visitors to the city rarely get to, including Torrance, Glendale, South Central and Woodland Hills.
Mr. Govan said that because the institution was a county museum, he did not intend to limit his collection to the area immediately around the museum’s west Los Angeles location.
With Mr. Govan’s plans already being discussed in architecture and real estate circles, the museum is certain to face some competition to acquire properties, including that of Mr. Gehry. His Santa Monica house, built in 1978 and remodeled in 1993, is known for its distinctive exteriors, which include corrugated metal, plywood and chain-link fencing.
It is also in the sights of the National Trust for Historic Preservation, Mr. Gehry said, which has talked to him about its registering the house or acquiring it once he completes a new residence in nearby Venice, Calif.
“In the meantime,” Mr. Gehry said, “I’m living in it.”