【正文】 ign: Marcel Breuer Reissue: Knoll International, US Grand Confort Model No. LC2 Club Chair, 1928 Chromed bent tubular steel, leather Design: Le Corbusier, Pierre Jeanneret, Charlotte Perriand When the 24 yearold furniture designer Charlotte Perriand (19031999) asked for a job at Le Corbusier39。res, Austria Reissue: Cassina, Italy Barcelona Chair, Model No. MR90, 1929 Chromed flat steel, leather Design: Mies van der Rohe, Lilly Reich Among the most elegant and imposing of the chairs designed by Mies van der Rohe (18861969) in collaboration with the interior designer Lilly Reich (18851947) is the opulent Barcelona Chair. Designed in 1929, it is one of the most recognizable early 20th century chairs and is still a familiar sight in corporate foyers. The chair was developed for the German Pavilion at the 1929 International Exhibition in Barcelona as part of Mies? mission to design the pavilion and its contents. As the German Pavilion was to be the setting for the official opening ceremony, Mies decided upon a thronelike form for the chairs and modeled them on the sella curulis, an ancient stool used by Roman magistrates. Barcelona Chair, Model No. MR90, 1929 Chromed flat steel, leather Design: Mies van der Rohe, Lilly Reich Reissue: Knoll International, US 。vres in Paris, he replied: “We don?t embroider cushions here.” A few months later he apologised after being taken by his cousin Pierre Jeanneret (18961967) to see the glass, steel and aluminium interior that Perriand had designed for her Bar sous le To 顃 installation in an exhibition. Until then Le Corbusier had furnished his residential projects and exhibition sets with the bentwood chairs manufactured by Tho in Austria and club chairs from Maples in London. Perriand?s arrival offered an opportunity for his studio to develop furniture in the angular forms of the modern movement from industrial materials. Originally designed for Maison La Roche in Paris and exhibited at the Salon d?Automne in 1929, the Grand Confort was inspired by Le Corbusier?s favourite Maples club chair. Grand Confort, Model No. LC2 club chair, 1928 Chromed bent tubular steel, leather Design: Le Corbusier, Pierre Jeanneret, Charlotte Perriand Production: Tho Fr232。coratifs in Paris. Le Corbusier justified his choice by explaining: “We believe that this chair, millions of which are in use… is a noble thing.” Architects flocked to Paris for the 1925 Exposition from all over the world and Le Corbusier?s pavilion was one of the most admired installations. Chair No. 9 Bent, solid and laminated beech, woven cane Production: Tho, Austria EARLY 1900s The early 1900s was a period of continued experimentation in chair design. Innovative designers and architects, such as Charles Rennie Mackintosh in Scotland and Koloman Moser and Josef Hoffmann in Austria, strove to apply the geometric forms and monochrome palette favoured by the fledgeling modern movement to furniture and domestic objects. Made by hand in small quantities, their chairs were mostly bought by wealthy bohemians, except for occasional special missions for public buildings such as Glasgow tea rooms and Viennese coffee houses. Charles Rennie Mackintosh39。設(shè)計于 1929 年，它是最具有識別性的 20 世紀(jì)早期椅子，它同時也是公共場所中一個常見的場景。當(dāng)標(biāo)志衰退的時候，她成功的說服了柯布西耶最喜歡的彎木椅的廠商索耐特，為秋季藝術(shù)沙龍制造了所有的家具，包括這個環(huán)狀椅。她想象后背是一個“像汽車輪胎一樣”可以依靠的舒服的墊子。貝里安 由一個簡單的咖啡椅得來的啟發(fā)，這個環(huán)狀椅被設(shè)計用作一個書桌或晚餐桌子。貝里安為 B306 宣傳剪短了頭發(fā)，穿著大膽的短裙和一個工業(yè)軸承球的項鏈。被法國 18 世紀(jì)坐臥兩用椅的優(yōu)美線條所啟發(fā)，福爾豪華酒吧椅將實用性的鋼管與馬駒皮結(jié)合在一起。貝里安 柯布西耶創(chuàng)立的夏洛特柯布西耶最喜歡的楓酒吧椅。讓納 利用玻璃、鋼鐵和內(nèi)部的鋁為她的酒吧的設(shè)計品參加了一項展覽之后，他為他之前的態(tài)度道歉。貝里安 當(dāng) 24 歲的家居設(shè)計者夏洛特它的輕質(zhì)與現(xiàn)代感通過精致的管狀金屬結(jié)構(gòu)、溫暖的木質(zhì)框架以及半透明的藤條椅背和座椅表現(xiàn)出來材質(zhì)和色彩的對比。 B32,1928 鍍鉻鋼管，木材，藤條 設(shè)計者：馬歇在19 世紀(jì) 20 年代中期以前，像其他進步性的設(shè)計師一樣，他們都著迷于管狀的金屬。凡德羅，莉莉他開始設(shè)計的時候就已經(jīng)知道了 他已經(jīng)丟失了設(shè)計第一款懸臂椅 擁有唯一支撐 因為荷蘭藝術(shù)家馬特 第 B33號模型， 19271928 鍍鉻鋼管，皮革 設(shè)計者：馬歇他的實驗生產(chǎn)出了有棱角的 B3 椅，他以他的教師同僚瓦西里布勞耶 被設(shè)計一款像福特汽車工廠規(guī)模一樣的椅子的挑戰(zhàn)所困擾，馬歇以空間中的線與面構(gòu)思的抽象性作品，這個椅子是里特維爾德的三維視覺化對于蒙德里安畫的體現(xiàn)，蒙德里安是風(fēng)格派運動的代表者。麥金托什以及奧地利的約瑟夫 貝里安 。那十年設(shè)計被種族所束縛設(shè)計了第一款懸臂椅，最終被荷蘭設(shè)計師馬特霍夫曼以“一件藝術(shù)品”的態(tài)度設(shè)計了他擁有的酒店的每一要素。 蝙蝠歌廳椅， 19051906 山毛櫸 設(shè)計者：約瑟爾穆塞爾（ 18681918）特別喜愛的幾何主題與單色形式作為維也納工坊的代表，他與設(shè)計師約瑟夫他最長久的客戶之一是克萊斯頓小姐，她在蘇格蘭西南部擁有連鎖的茶店，要求麥金托什進行