The China Chair™, coloured ash Base material: Seat height: Didn't find what you were looking for? The frameis made of solid wood in matt lacquered cherry or black coloured ash.The seat cushionis reversible and made of leather with buttons. Download Maintenance guide Download Product fact postcard Download Warranty matrix Licensing of MoMA images and videos is handled by Art Resource (North America) and Scala Archives (all other geographic locations). All requests should be addressed directly to those agencies, which supply high-resolution digital image files provided to them directly by the Museum. This record is a work in progress. Discover what to read next through the Amazon Book Review. Now I Sit Me Down: From Klismos to Plastic Chair: A Natural HistoryDetailsChairs by Architects FREE Shipping on orders over . “This is a book to savor in a favorite chair. Maybe you’ll even find the one you’re sitting in reflected in its pages: Now I Sit Me Down is charmingly illustrated with postage-stamp-size images of many of the chairs discussed―all drawn with obvious care by the author.” ―Henry Petroski, The Wall Street Journal“Rybczynski adds another delightful volume to an already impressive shelf of books notable for formidable learning worn lightly and an infectious fascination with the way we craft the built environment . . .
His prose has the engagingly conversational tone of an accomplished lecturer. You needn’t be a student of architecture or design to enjoy Now I Sit Me Down, but you will certainly come away knowing a lot more about the practices and principles that shaped chairs throughout history.” ―Wendy Smith, The Boston GlobeThe book is a slim, insightful introduction to the piece of furniture that shapes not only the way we sit, but the way we live, too.” ―Mark Medley, The Globe and Mail“Whether describing the Egyptian stool or its surprising descendant, the Hollywood director’s chair, Rybczynski elegantly sums up the social trends and technological innovations that have conspired to change the way we sit . . . There is a tactile quality to the writing.” ―Amanda Kolsen Hurley, Architect Magazine"[Rybczynski is] a refreshing voice on the design writing scene.” ―MiChelle Jones, The Dallas Morning News“With wit, scholarship and perspective, Witold Rybczynski's history of chairs and how we use them is a pure delight.” ―Shelf Awareness(starred review)"Who knew sitting was so complicated?
Rybczynski . . . has a special knack for making everyday objects and ideas seem captivating, in part because he places them in a larger historical narrative. In his telling, the chair becomes a seemingly immortal character traveling, Forest Gump-like, through the vicissitudes of our shared history.” ―Doug Childers, Richmond Times-Dispatch“The chair becomes anything but everyday in Rybczynski’s discerning history . . . A worthy addition to Rybczynski’s well-regarded oeuvre, this cultured examination should be read in one’s favorite reading chair.” ―Booklist (starred review)“Rybczynski is totally engaging in this smoothly flowing, sharp, witty narrative―another winner from a top-notch writer on design.” ―Kirkus Reviews“[A] detailed and comprehensive history of the chair . . . .Rybczynski’s relentless curiosity is easily transferred to the reader as he astutely zeroes in on the details of what makes a chair design special or significant. This latest contribution from Rybczynski serves as further evidence that he is one of the best writers on design working today.” ―Publishers Weekly (starred review)
Witold Rybczynski is a writer and an emeritus professor of architecture at the University of Pennsylvania. He is the author of How Architecture Works and Mysteries of the Mall and has written about architecture and design for The New Yorker, The Atlantic, The New York Times, and Slate. Among his award-winning books are Home,The Most Beautiful House in the World, and A Clearing in the Distance, which won the J. Anthony Lukas Prize. He is the winner of the 2007 Vincent Scully Prize and the 2014 Design Mind Award from the National Design Awards. He lives with his wife in Philadelphia. Publisher: Farrar, Straus and Giroux; First Edition edition (August 23, 2016) 5.7 x 23.2 x 219.2 inches Shipping Weight: 13.6 ounces (View shipping rates and policies) #203,279 in Books (See Top 100 in Books) in Books > Crafts, Hobbies & Home > Antiques & Collectibles > Houseware & Dining > Furniture in Books > Arts & Photography > Architecture > History 5 star55%4 star9%3 star27%2 star9%See all verified purchase reviewsTop Customer ReviewsWho thinks about chairs?
You will in a new way if you read this book.|History takes... a seat.|The chain's history|an interesting history of the development of chairs|Few illustrations and no photos|Not his best work| How Architecture Works: A Humanist's Toolkit A Clearing In The Distance: Frederick Law Olmsted and America in the 19th Century Size of this preview: 800 × 533 pixels. Other resolutions: 320 × 213 pixels | 640 × 427 pixels | 1,024 × 682 pixels | 1,280 × 853 pixels. This file is licensed under the Creative Commons Attribution 2.0 Generic license. to share – to copy, distribute and transmit the work to remix – to adapt the work Under the following conditions: attribution – You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).It was reviewed on 18 April 2011 by the FlickreviewR robot and was confirmed to be licensed under the terms of the cc-by-2.0.
Click on a date/time to view the file as it appeared at that time. current12:33, 18 April 20111,280 × 853 Ramblersen {{Information |Description ={{en|1=Hans Wegner chair in Pompidou, Paris}} | The following other wikis use this file: This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong. Canon EOS DIGITAL REBEL XT Date and time of data generation 10:20, 12 May 2010 File change date and time Y and C positioning Date and time of digitizing Flash did not fire, compulsory flash suppression Focal plane X resolution Focal plane Y resolution Focal plane resolution unitFrom Christine Keeler’s infamous nude photo to the Kennedy-Nixon live TV debate, Danish-design chairs have featured in some of the key moments in modern history
A copy of Arne Jacobsen's Series 7 chair was the prop used to hide Christine Keeler’s nakedness in that 1963 photo by Lewis Morley. And when JFK and Nixon slugged it out in a live televised debate that reputedly sealed the fate of the 1960 US election, they were sitting on Hans Wegner’s Round Chairs. That same year, Verner Panton brought out his S-shaped plastic chair, which 35 years later would grace the cover of Vogue – beneath the naked form of Kate Moss. The rage for all things Scandinavian burns bright in the 21st century What unites these (bared) celebrity bottoms was that they were all seated on icons of Danish design. The rage for all things Scandinavian burns bright in the 21st century – this month (October 12-13) at the Tobacco Dock in Wapping, the Scandinavia Show highlights the best of “Nordicool”, across design, fashion, culture and food. But it was back in the Fifties that designers like Jacobsen and Borge Mogensen rose to prominence with a pioneering down-to-earth aesthetic that blended style with function, and simplicity with sophistication.
Often using natural materials, these Nordic designers reflected their native country’s social awareness and democracy, crafting beautiful items that improved life and were affordable to more than just a wealthy elite. Barnebys co-founder Pontus Silfverstolpe says it all started in Denmark in the Fifties. using natural materials, these Nordic designers reflected their native country’s social awareness and democracy “A lot of good design came from Norway and Finland too, but the principles were based on innovative, organic forms, simple design and good craftsmanship. “It is about more than just a chair: it’s a whole aesthetic. Jacobsen was a trained architect who designed a famous hotel in Copenhagen – not just the building but the forks, lamps, everything.” If many people associate Scandinavian design with wood like teak and jacaranda, there was an equal drive towards plastic and steel. “From the Fifties onwards, Finland made a lot of fantastic plastic items and aluminium lamps.
There’s a real sense of the material; the shapes are fantastic and the quality of the design and production is incredible. After the Seventies, when a lot of things were produced in factories, the quality really suffered by comparison.” It is about more than just a chair, it’s a whole aesthetic Of course, the modern inheritor of these shapes and materials – of the democratisation of design if not of the production methods – is Swedish homeware and furniture behemoth Ikea. Mr Silfverstolpe sighs: “As a Swede, I am proud of Ikea. What it has in common with Scandinavian design is the desire to be democratic and to reach everyone. “But we cannot just go on as we are, buying everything new. Our generation is really thinking about sustainability. “I guarantee you can design your own home – chairs, beds, everything with furniture over 25 years old – from lots you have found on Barnebys for the same money as you can at Ikea – only the quality is much better.”