La silla roja y azul. La versión original estaba pintada en negro, gris y blanco. La silla roja y azul (The Red Blue Chair en inglés) es una silla diseñada en 1917 por Gerrit Rietveld. Representa una de las primeras exploraciones del movimiento de arte De Stijl en las tres dimensiones. La silla original tenía un acabado natural y luego fue pintada con la paleta de colores primarios del De Stijl: negro, gris y blanco. Sin embargo, más tarde fue cambiada para parecerse a las pinturas de Piet Mondrian cuando Rietveld entró en contacto con la obra del artista en 1918. Rietveld finalmente se unió al movimiento De Stijl en 1919. Por su concepción extremadamente simplificada, este modelo fue concebido para ser fabricado en serie. La silla está expuesta actualmente en el Museo de Arte Moderno en Nueva York. Charlotte Fiell, Peter Fiell (2005). Gerrit Rietveld ChairRietveld SchröderSteltman ChairFurniture PlansDiy FurnitureFurniture DesignDesign ChairAccurate PlansBuilding GerritForwardsteltman chair by Building Gerrit Rietveld : It sure helps when you have accurate plans to work from...
View Gerrit Rietveld furniture > Red and Blue Chair Please see our 'Deliveries & Returns' page for more information Eileen Gray De Stijl Table Eileen Gray Wendingen RugRietveld bijdrage tot vernieuwing der bouw-kunst, 1958 Very rare side table from the Hypothecair CredietBank, The Hague, 1939 The first English monograph on Gerrit Rietveld in fifty years. From his first great design masterpiece, the Red-Blue Chair, to his final design for the Van Gogh Museum in Amsterdam, Gerrit Rietveld (b.1888) created a significant body of work and left a remarkable legacy. His simple yet dynamic design style has greatly affected international furniture design and has made a significant contribution to the history of architecture. This detailed yet accessible monograph is structured chronologically and richly illustrated with photographs and sketches of Reitveld's furniture design and his architectural projects, and it is designed by Wim Crouwel, the best-known Dutch graphic designer.
Following Rietveld from his humble beginnings as a cabinet-maker to his final years as a world-renowned architect, this book will present both his lesser-known work and his most celebrated, such as the Schröder House of 1924 and the Zigzag Chair of 1934. It will explore his significance in the wider context of avant-garde movements, and his influence within De Stijl and Functionalism. Most crucially, this book will give Rietveld the attention he has long deserved as a designer and architect, presenting a comprehensive coverage of his output and a full analysis of his achievements. Size: 290 x 250 mm (11 3/8 x 9 7/8 in) Ida van Zijl is deputy director of the Centraal Museum in Utrecht, the holder of the main collection of Rietveld's work. Since the late 1970s, she has studied Rietveld and has complete access not only to the museum's collection of documents, but also to those held by his family and friends. She was the editor of Gerrit Rietveld: The Complete Works (published in 1992), a catalogue of his work.
"Impressive... engaging and highly accessible."—Self Build & Design "Another beautifully produced monograph from Phaidon... A great introduction to Rietveld's beautiful Modernist aesthetic. [commenting on the fact that the book's designer, Wim Crouwel, is a former pupil at the Rietveld Academy] ...[A] very handsome book. It displays an enviable lightness of touch, and is a good example of what happens when a designer really engages with his subject matter. We reckon Mr Rietveld would have been proud."Q&A with Ida van Zijl, Centraal Museum Utrecht Why did Centraal Museum acquire the Red blue Lego chair? Firstly, because it is inspired by Rietveld who is the most important artist in our collection, and secondly, because we are interested in the more conceptual branch of design. We were the first museum to buy the Droog collection, already in the 90s. The Red blue Lego chair is the perfect combination of these two aspects. How do you see the piece in relation to the work of Rietveld?
I see more value in the artistic qualities of this chair than in its industrial aspect—in its promise of having people do-it-themselves. I believe Rietveld valued the spatial aspect of design as much as he valued the principles of mass production. I don’t think it is realistic that people will buy their own Lego pieces to make it, but to me, that doesn’t matter. It is the intention and meaning that counts. It stimulates people to think about design and what it means to them. Red and Blue Chair by Gerrit T. Rietveld (1918), Red blue Lego chair by Mario Minale (2004). How do you see the chair in relation to movements in the world today? I think it’s better to compare the Red blue Lego chair to the Smoke version by Maarten Baas (that’s also how we show it at the Rietveld’s Universe exhibition). Rietveld was a master that made and continues to make people think about design. His presence in works by contemporary designers and in design discussions shows the actual value of Rietveld today.
To me, that is the most important value of this piece. Smoke chair by Maarten Baas (2004) Tags: Centraal Museum Utrecht, Ida van Zijl, Mario Minale, Minale-Maeda, Red blue Lego chair Posted in: Product, Q&A Q&A with Mario Minale Centraal Museum Utrecht acquired the artist’s proof #1 edition of Red blue Lego chair from our collection. It will be exhibited at Rietveld’s Universe as part of Rietveld Year organized by the Centraal Museum in Utrecht to celebrate the life and heritage of Gerrit Rietveld from October 20th, 2010 until January 30th, 2011. Here is our Q&A with Rotterdam-based designer, Mario Minale of Minale-Maeda (pictured with Kuniko Maeda). What was your starting point for this chair? There is this expression in the world of theatre, “breaking the fourth wall.” It’s about bringing in something unexpected. It’s about addressing the audience, taking them out of their lull and involving them, even passing the responsibility onto them.
What I don’t like about icons is that we just accept them, and we no longer know what they mean, and then they are copied time and time again. I was looking for something unexpected in making a copy of an icon. I wanted to break the mould and no longer see an icon as something set in stone. What was “the fourth wall” in your design? It was the appropriation of two icons in a way that creates something new. I started with Rietveld’s iconic Red blue chair and brought in equally iconic Lego blocks, and I think because the spirit of Rietveld and of Lego aligned, it created a breed that resonates. Why did you work with Rietveld’s chair? Rietveld intended his chair to be a blueprint from which anyone could make his own chair out of readily available material. For Rietveld, variations of his design were intended. That is why the construction of his chair is so simple. There are no dovetails or other complicated joinery. Why did you bring in Lego? Lego represents the construction material of our age—it is convenient.
It makes personal expression easy. It is a material that empowers the unqualified to create by themselves. For Rietveld, it was boards cut to size at the sawmill that made his design accessible. One no longer had to go to the woods to chop a tree thanks to industry. For us, it is no longer about cutting and sawing, but rather about blocks that snap together, shiny finish included. Rietveld broke the chair into 14 pieces to make it easy. Lego breaks it into 4445 pieces, which makes it even more easy. Was it in fact easy to make this chair?Lego is a basic toy, but the process of making a chair out of it became so complicated that it questioned the simplicity that Lego promised. The process I went through makes the chair an even more authentic copy. The result of making a copy is not a copy. It’s an authentic act. Lego has the same tension. It stands for simplicity, but the moulds to make Lego are a best kept secret, and that’s why there are no knock-offs. One cannot get rid of complexity but can only displace it.