...ok, this chair by “sven markelius” have been up before here. in the originalist perspective ljungberg’s factory pulls a real goof, ok, the company is excused like sweden’s finest auction houses, they have one thing in common - to sell, at best they will provide us design hungry people with correct information. after sven markelius wrote a letter to his great friend master alvar aalto and had an “ok” from the master that there was no chance of being sued for the “plagiarism” of aalto’s ideas regarding a “stackable” chair in this case for the concert hall in helsingborg, sven markelius had finally designed the version depicted below to the right, well, dear ljungberg’s factory it didn’t look like that!
this is the first time in the history the real origin is presented to this chair, the supports on the chair’s legs close to the floor made it able to stack up to twenty chairs and maintaining secure balance, those supports were designed by furniture architect bror anton aurelius(1871 - 1971)
...the armchair was originally shown in hall 35, apartment 1 at the stockholm exhibition 1930 and produced by hma ~ the tenants furniture shop, the original designer responsible for the armchair is still today unknown, the previous owner was the great architect olof thunström, and the owner of the armchair today arkitektur museet in stockholm is suggesting that the chair might be designed by one of olof thunström’s collegues at the cooperative bureau of architecture ~ kfai. so far in my research of hma, that suggestion is negative, kfai’s architects haven’t appeared with their names in the material i have looked into, but to be modest, maybe i have missed one document? however the style is “modern classicism” and for us swedes there is no problem to track back what the responsible designer has looked at when he began to draw the first lines and curves for the depicted armchair - erik gunnar asplund’s “paris chair” from the year 1925. it would take almost 55 years until the best designer at hma was noticed by a larger public in sweden, especially in the years before the stockholm exhibition 1930 he created a number of chairs influenced by art deco and neo classicism, he began his work for hma in the year 1927 and finished there in the year 1932. i have no clear evidence that he created the rational armchair compared to architect erik gunnar asplund’s masterpiece, but he, furniture designer, alvar andersson is my prime suspect
#modernclassism#originalism#armchair#produced#by#hma#hall35#at#thestockholmexhibition1930#erikgunnarasplund#parischair#1925#rationalisation#1930#and#influence#designer#alvarandersson #olofthunström #arkitekturmuseet#stockholm
...the impact of holland, base forms with de stijl p r i m a r y colors, holland is definetely one of the three leading countries in the originalist perspective regarding modern design from the year 1917 to 1933(the closing of bauhaus), three depicted works by peter keler, base forms used by peter keler(1898 - 1982). the armchair below in the left corner was created by peter keler 1925, all armchairs by designer björn trägårdh at firma svenskt tenn are based on keler’s masterpiece in trägårdh’s versions in the imported style
#dutch#impact#on#theoriginalstyle#holland#germany#and#france#importeradstil#av #björnträgårdh #firmasvenskttenn#peterkeler#destijl1#originalism
...in the imported style ”design follows architecture ”, the originalist perspective is that josef frank introduced the style in sweden, “funkis style” is as misused as “the international style”, sweden’s participation at new york’s world fair 1939, there is no funkis there, “the imported style is dead”, still “funkis” is used in written texts in the 1940s, well, pretty outdated, isn’t josef frank(again), swedish modern, architects like backström and reinius more up to date then? just two hours ago someone asked me how i had the nerve to call vicke lindstrand’s pre-aalto glass design for ”the imported style”? djeez, ”design follows architecture” right?! nor aalto or lindstrand were the originalists of a biomorphic masterpiece of glass, mies was, some 13,14 years earlier...
#introduction#of#theimportedstyle#by#architect#joseffrank#1927 #villaclaëson #falsterbo#sweden#importeradstil#originalism#bilder#stulna#med #nöje #från #bukowskis
...it’s not every day one have the chance to see a product catalogue from nordiska kompaniet’s lamp department, i noticed in the catalogue that the production was moved to nyköping, ok, the new chief designer, nils övferman, was probably in charge of the decision, the lamp department’s workshop was earlier on a crossroad between nordic company’s two warehouses in central stockholm.
for an ”originalist” like me this cover of the production catalogue from the autumn in the year 1938 is however an important document, this is one of the last examples of ”the imported style” in sweden, every french design fan of the international style are aware of the origin of the table lamp from maison desny some nine years earlier. still the swedish version differs a wee, the shades were painted and some of designer erik tidstrand’s versions in the imported style were possible to spin around 360 degrees.
many thanks to great antique shop sjöström’s antik for letting me study one of your private research documents, enlightening as usual!
#importeradstil#theimportedstyle#sweden#1927#to#1939#originalism#maisondesny#eriktidstrand #nilsövferman #nordiskakompaniet#nordiccompany#1938