The Stool 60 Giveaway. Sign up for our emails and a chance to win this ingenious stackable stool. British Indian Ocean Territory Heard And Mc Donald Islands Iran (Islamic Republic Of) Lao People's Democratic Republic Macedonia, The Former Yugoslav Republic Of Micronesia, Federated States Of Republic of Fritz Hansen Saint Kitts and Nevis Saint Vincent and The Grenadines Sao Tome And Principe South Georgia and The South Sandwich Islands St. Pierre and Miquelon Svalbard and Jan Mayen Islands Tanzania, United Republic Of Turks And Caicos Islands United States Minor Outlying Islands Vatican City State (Holy See) Wallis And Futuna Islands One of Arne Jacobsen’s most popular creations, the Series 7 chair from Fritz Hansen, gets a splash of color to mark its 60th anniversary. To honor the 60th anniversary of Arne Jacobsen's Series 7 chair, Fritz Hansen solicited the artistic talents of Tal R, who devised more than a dozen new colors for the design.
Courtesy Fritz Hansen/Ditte Isager The Helsingborg Exhibition 1955 was the last World’s Fair to be held in Sweden, but it’s particularly memorable for another reason. It was there that one of the most iconic chairs in history debuted: Arne Jacobsen’s Series 7 chair for Fritz Hansen. Long before designers paid serious heed to ergonomics and anatomy, Jacobsen took the curves of the human body into account. The gentle give in the Series 7’s plywood back accommodated different postures, while the waterfall seat edge provided unobtrusive support to the thighs. “Jacobsen took two resilient materials—laminated wood and steel tubing—and put them together in such a way that preserves that resilience, so that the seat and base flex slightly as we shift position in the chair,” says Michael Sheridan, author of Room 606: The SAS House and the Work of Arne Jacobsen (Phaidon, 2011). “The connection between base and shell is rigid, but he used rubber bumpers to support the shell above the steel legs.
These bumpers allow the shell to move slightly, responding as we shift our weight in the chair.” Even though the chair has been blatantly copied, it’s hard to match the original. A 2012 video by Fritz Hansen exposed the vast difference in quality between the original and knockoffs by having a man unceremoniously jump on the bend of the plywood back of a true Series 7 and two copies. Both copies broke easily, while the real version held fast. In celebration of the Series 7’s 60th anniversary, Fritz Hansen sought the talents of Danish artist Tal R—known for his sharp eye for chromatics—to pick nine new colors for the chair. While creating the various hues, Tal R approached the task from a purely artistic perspective. “Art is the only field where mistakes, misunderstandings, and contradictions can be productive. So I wanted to introduce that into the colors and chairs—narratives,” the artist says. “When I came to red, for example, I wanted to think about Shanghai, and my imagination and misunderstanding of it.
I wanted to find the color that resonated with that memory and that narrative. Colors need to be about necessity and obsession.” The ensuing spectrum injects a revitalized spirit into the classic, making it relevant to new audiences. Among the colors pictured below are nine chosen by Tal R: Chevalier is an aristocratic orange Egyptian Yellow harks to the past Alstadt Rose is a Tal R signature color AI translates to indigo blue in Japanese Chocolate Milk Brown is a note of indulgence Evren Purple is named for the artist’s wife Opium Red evokes 1930s Shanghai Trieste is the blue loved by the Impressionists Hüzün Green comes from the streets of Istanbul Models 3207, 3108 and 3107 in the City Hall Mainz, Germany. Steel frame, fabric cover The Model 3107 chair is a chair designed by Arne Jacobsen in 1955 that uses the previously invented technique through which plywood can be bent in three dimensions (which was invented by Charles and Ray Eames).
Over 5 million units have been produced exclusively by Fritz Hansen. It is one of the most copied chairs in the world. The chair, along with the Jacobsen's Ant chair, was, according to Jacobsen himself, inspired by a chair made by the husband and wife design team of Charles and Ray Eames. The chair comes with a number of different undercarriages - both as a regular four-legged chair, an office chair with five wheels and as a barstool. It comes with armrests, a writing-table attached, and different forms of upholstering. To some extent, these additions mar the simple aesthetics of the chair, while contributing practical elements. The chair is widely believed to have been used in Lewis Morley's iconic photograph of Christine Keeler; however, the chair used in this photograph was in fact an imitation and not the original Jacobsen model.[1] After the publishing of the pictures sales rose dramatically.[2] Numerous images in print media have been made with a celebrity mimicking the pose, notably David Frost and a pop single cover of the Spice Girls.
^ : The 3107 Chairon the occasion of its 60th anniversary, a host of international architects — including bjarke ingels and zaha hadid — have reinterpreted arne jacobsen’s series 7 chair produced by fritz hansen. unlike many of jacobsen’s other pieces, the ‘sevener’ was not designed for one particular project, but rather to be used in a variety of ways. consequently, the distinctive chair can be adapted to suit a range of different contexts. the full list of participating architects are as follows: bjarke ingels group (BIG), carlos ott & carlos ponce de león, jean nouvel, jun igarashi, neri & hu, snøhetta and zaha hadid. the designs form part of a traveling exhibition titled ‘7 cool architects’, set to open at belgium’s design museum gent on july 14, 2015. see each version in more detail below. BIG’s design references the way that multiple ‘seveners’ can be stackedall images courtesy of fritz hansen referencing the way that multiple ‘seveners’ can be stacked, BIG’s design focuses on the chair’s materiality, and the essence of the layered veneer.
the final result is a subtle repetition of the original design’s formal language, with fifteen layered elements supporting the singular seat and back piece. fifteen layered elements support the singular seat and back piece formed from two continuous steel rods, the sculptural base sweeps down to the ground zaha hadid’s interpretation formalizes the series 7 chair as a dynamic and seamless expression of structure and support. formed from two continuous steel rods, the sculptural base sweeps down to the ground and reaches up to embrace the undulating shape of the instantly recognizable plywood seat. the support embraces the undulating shape of the instantly recognizable plywood seat the seats are oriented to face one another, with a small table at the center embracing the notion of duality, neri & hu’s design involves replicating the singular chair to allow two people to be seated at once. the seats are oriented to face one another, placing an emphasis on the communal aspect of sitting.
the design places an emphasis on the communal aspect of sitting an element of color introduced to the design’s legs and seat proposed as a way to reuse building materials, jun igarashi‘s design responds to two of his previous projects in japan – ‘house M’ and ‘rectangle of light’. the chair is constructed from discarded wood, with an element of color introduced to the design’s legs and seat. the chair reuses waste building materials bold black and white patterns mark each chair jean nouvel’s design is an example of one of the architect’s design signatures – contrasting colors and juxtapositions. bold black and white patterns mark each chair, creating a visual reinforcement of the chair’s original curves. snøhetta’s reinterpretation allows the seat to be disconnected from its legs conceived as an outdoor chair, snøhetta’s reinterpretation allows the seat to be disconnected from its legs, allowing it to be used for a large number of the firm’s projects.