27.05. – 03.06.2021
Izložba “ICONIC DESIGNS of The 20th Century” je nastala kao težnja da naše postojanje sagledamo iz druge perspektive. Da li vreme odredjuje dizajn kroz hronologiju njegovog nastajanja ili pak dizajn odredjuje vreme kroz prizmu ljudskih sećanja?
Da li pamtimo tačne godine ili je “to onda kada je tata kupio prvi televizor”, “kad smo kampovali u Makarskoj sedeći na Meblo stolicama”ili “dobili batine kad smo razbili Drobnjakovu vazu?
Cilj ove izložbe je bio da pokažemo ne samo razvoj I “male revolucije” naše civilizacije kroz dizajn već I neodvojivost predmeta dizajna od njegovog stvaraoca.
Kreativnost omedjenu tehničkim zahtevima, proizvodnjom I komercijalnim pritiscima.
Lepota I ingenioznost nekih od ikona dizajna je oplemenila naše živote I svakodnevicu. Nastaviće da čini isto I za buduće generacije.
Na izložbi će biti prikazano više od 80 eksponata ,preko 50 legendarnih svetskih dizajnera. Ikone dizajna nas vode kroz 20.vek od legendarnih “Red-and-Blue” stolica Gerita Rietvelda (Gerrit Rietveld), lampi Harvi Gucinija (Harvey Guzzini) 60tih, Kurbizijeove (Le Corbusier) “Sling” stolice iz 1928., zvaničnih kolica za decu – “Kensington”, Britanske kraljevske porodice iz 70ih godina, prvog prenosivog crno-belog televizora marke Brionvegaiz 62.godine kao i drugih ikona dizajna EroArnia (EeroAarnio), Marta Stema (Mart Stam), Hansa Vegnera (Hans J. Wegner), Tošijuki Kita (Toshiyuki Kito)…24 eksponata se nalaze u stalnoj postavci Muzeja Savremene Umetnosti u NjuJorku (MoMA).
Posebano svrtstavljen je na jugoslovenske dizajnere kao što su Niko Kralj, Davorin Savniki Dragan Drobnjak…
Posebnu zahvalnost dugujemo stručnjaku Miroslavu Nikoliću, kolekcionaru, bez čije pomoći ova izložba ne bi bila moguća. Miroslav je svojim nepogrešivim odabirom rešio najtežu dilemu kako zadati koncept prevesti u realnost. Tek postavljanjem eksponata uvideli smo koliko je dizajn bezvremen I koliko korespondira medjusobno u svakom vremenu I prostoru. Ti metafizički kodovi zahtevaju posvećenost I istraživanje. Imali smo sreću da nam je Miroslav dekodirao čitave dekade.
Posebnu zahvalnost dugujem Loli Stanić, Slavici Knežević I Dragani Kovačić bez čijih konkretnih organizacionih I estetsko-prostornih sugestija ova izložba bi bila manje kvalitetna.
Hvala osoblju Lola Cafe na pomoći, kao I svima onima koji potrebuju lepo.
Kustos I Art direktor
1–3. Niko Kralj for Stol Kamnik, “Lupina“ (Shell) chair, Yugoslavia 1955–1959 (MoMA) 4. Niko Kralj for Stol Kamnik, “Lupina“ (Shell) coffee table, Yugoslavia 1950s
In the middle of the last century, the father of industrial design in the former Yugoslavia, Slovenian designer Niko Kralj (1920 – 2013), has designed one of the most popular chairs in this area, the “Lupine” chair. Only a few years later, “Lupina” chairs became an indispensable part of the furniture of almost all public and business facilities in the former state, from conference halls and offices, through schools, cultural centers, theaters, cinemas and waiting rooms in public institutions, to the gardens of many restaurants and homes throughout Yugoslavia.
With its practicality and ergonomic design, reduced but original, in the spirit of the time in which they were created, Nick King’s chairs have become a recognizable brand around the world and as such deserve a place in one of the largest and most influential museums of today – the Museum of Modern Art in New York.
5. Harvey Guzzini&Luciano Buttura for Guzzini, “Conchiglia“ desk lamp, Italy 1970–1979
Luigi Massoni and Luciano Buttura designed these Conchiglia desk lamps for Harvey Guzzini in 1968. Harvey Guzzini produced the lamp from 1968 until 1980.
This surprising example of design has a metal structure that holds the Plexiglas shade and conceals the wire. With its removable plastic base that can function for small stationary, Conchiglia was originally destined for office usage.
6. Unknown designer for Emsa, plastic stool, W.Germany 1970s
Emsa was founded on 1 April 1949  by Franz Wulf as „Franz Wulf & Co Plasticwarenfabrik” in Greven.A little drip-catcher made of plastic and formed like a butterfly was the company’s first product. After drip-catchers of different forms the company started producing pastry-cutting wheels, icing bags and comparable kitchen accessories.
Against the background of their location in Emsdetten and its main river Ems the firm’s name was altered to today’s “Emsa” on 29 December 1964.
7. Marcel Breuer for Thonet(20s)/Gavina(50s)/Knoll(60s), “Ceska“/B32 chair, Germany 1928 (MoMA)
The Cesca Chair was a chair design in 1928 by Marcel Breuer, using tubular steel. It was named Cesca as a tribute to Breuer’s adopted daughter Francesca (nicknamed Cheska). Marcel Breuer married traditional craftsmanship with industrial methods and materials to help make tubular steel furniture an international sensation and a modern institution.
The cantilevered form exploits the possibilities unique to the material and gives the chair added flexibility and comfort. The iconic seat features woven cane inserts and a beech frame.
8. Harvey Guzzini for Guzzini, “Bud Grande“ floor lamp, Italy 1960s
Harvey Creazioni was originally founded in 1959 in Recanti (on the east central coast of Italy) by Raimondo, focusing on the production of copper-plated decorative objects. Four years later, in June 1963, the six brothers joined together and established Harvey Creazioni di Guzzini, expanding production to include pendant lighting, sconces, and lamps, floor lamps. The brothers employed architect-designer Luigi Massoni—who was introduced to the Guzzini brothers by leading plastic importer Maurizio Adreani—as head of design, branding, public relations, and advertizing.
The Grande Floor Lamp By Harvey Guzzini was produced in Yugoslavia as a result of cooperation with Yugoslavian furniture producer Meblo. This particular one was produced by Meblo, Yugoslavia, as part of a Guzzini collection.
9. Arne Norell for Norell, “Inca“ lounge chair, Sweden 1970–1979
One of the great Scandinavian designers Arne Norell came in 1968 with the Inca chair.
The use of stiff thick leather and a visible frame is characteristic for Arne. This amazing chair is one of his most coveted designs thanks to its unique look and details. It shouldn’t come as a surprise then, that this model is also a personal favorite among several interior designers.
10. Hans J. Wegner for FDB Mobler, “Rocking“ cane lounge chair, Denmark 1950s
The son of a cobbler, Wegner was born in 1914 in Tønder, a town in southern Denmark.
He began his apprenticeship with Danish master cabinetmaker H. F. Stahlberg when he was just 14 years old. Later on, he moved to Copenhagen and attended the School of Arts and Crafts from 1936 to 1938 before setting out as a furniture designer.
11. Toshiyuki Kita for Magis, “Rondine“ chair, Japan/Italy 1991
Toshiyuki Kita is a furniture and product designer. He was born in 1942, in Osaka, Japan. Professor at the Osaka University of Arts. His earliest pieces, the Wink Chair and the Kick Table are currently in the permanent collections of the New York City Museum of Modern Art and Hamburg, Germany’s Museum fur Kunst und Gewerbe. He has served as a governmental advisor to Singapore, Thailand, and China for their country’s revitalization of its design resource.
Very active in revitalizing and promoting local Japanese traditional crafts and industries. Producer of the international trade fair for home and lifestyle renovation “Living & Design” and proponent of Japanese lifestyle renovation, the “RENOVETTA” project. In 2015, his invitational exhibition “Il Lusso Della Natura” was held at Chiesa San Domenico Church in Alba, Italy. He received multiple international awards include the 1990 “Delta de Oro (Gold Prize)” Award of Spain, and the ADI prize “carrier Internazionale of Compasso d’Oro” of Italy in 2011. He was bestowed with the honorary title of Commendatore by the Italian Republic, in 2017.
12. Unknown designer, Bauhaus table lamp, 1930s 13. Etienne Aigner for Etienne Aigner US, sofa (recamier), USA/W.Germany 1982–1983
Etienne Aigner – famous for highend handbags and shoes. the sofa is upholstered in cognac leather, marked with writing on the fabric and emblem.
14. Jacob Jensen for Bang&Olufsen, BEO sound system, Denmark 1972–1986 14.a “Beogram 4000“, gramophone recorder, 1972 (MoMA) 14.b “Beomaster 1900“, radio receiver and amplifier, 1976 (MoMA) 14.c “Beocenter 9000“, cassette and cd recorder, 1986 (MoMA)
The relationship between Bang & Olufsen and Jacob Jensen Design began in 1964 and continued in various forms until 1991.
During this period, Jacob Jensen Design developed the trailblazing form language, which transformed the company from Danish quality brand to international design icon.
With every new Jensen product came a story of collaboration and creativity: the Beogram 4000 turntable with its revolutionary twin arms, designed in the home basement of aero engineer Karl Gustav Zuethen, or the Beocenter 9000 which went through nearly 80 conceptual designs before its final incarnation. His U70 headphones, meanwhile, were the company’s first. They, along with 27 other of his B&O designs, were included in a 1978 exhibition at New York’s MoMA (Museum Of Modern Art), “Design For Sound”.
Reviewing the show, The New York Times wrote that the objects displayed “are enough to earn him major rank among the 20th century’s industrial designers.”
15. Tamas Borsfay for Hungarian Craftsmanship Company, table lamp, Hungary 1970s
Designer piece by Tamas Borsfay, 1960s-1970s era. Manufactured in Hungary, these table lamps are getting more and more rare. Painted and lacquered silver, white or black they bring Communist estetics into design.The lamp features a layered disc lampshade on a chrome stem and solid base. The lampshade and half of the stem is adjustable.
16. Unknown designer, mid century plastic consoles and coffee table 17. David Lewis for Bang&Olufsen, “Beovision MX2000“, Denmark 1985
Lewis founded David Lewis Designers in Copenhagen, and from this studio, he would live to design an impressive range of products. In the early 1980s, Bang & Olufsen made David Lewis, their chief designer. This unique freelance relationship resulted in numerous international design icons.
Lewis was the studio’s man, with his sparkling creativity and vitality always very involved with projects. His fellow claim that he could turn things upside down and chase the yet unseen. He brought a tireless desire to change the conventions and to go new ways. ‘He never asked “Why?” but always “Why not?”‘
18. Marcel Breuer for Bauhaus, “The Wassily“ chair (model B3), Germany 1927–1928, producer Thonet(20s),Gavina/Knoll (60s) (MoMA)
The famous Wassily Chair by Marcel Breuer is precisely one of these, the first ever chair to feature a bent-steel frame.
The chair is also known as the Model B3 chair, was designed in 1925-1926 while he was the head of the cabinet-making workshop at the Bauhaus, in Dessau, Germany.Marcel Breuer attended the Bauhaus from 1920 to 1924 and became head of its carpentry workshop in 1925. Also in 1925, Breuer bought his first bicycle. He was so impressed by its lightness and strength that he decided to make furniture from tubular steel. His first experimental tubular steel piece was the club style armchair about which he said, “It is my most extreme work both in its outward appearance and in the use of materials; it is the least artistic, the most logical, the least ‘cosy’ and the most mechanical.”
It became known as the “Wassily” chair because of Kandinsky’s admiration for it.
19. Le Corbusier, Charlotte Perriand and Pierre Jeanneret, “Sling“/LC1 chair, France 1928,producer Cassina(60s) (MoMA)
The LC1 Sling Chair was designed in 1928 by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, The first results of the collaboration were three chrome-plated tubular steel chairs designed for two of his projects, The Maison la Roche in Paris and a pavilion for Barbara and Henry Church.
The line of furniture was expanded for Le Corbusier’s 1929 Salon d’Automne installation, ‘Equipment for the Home’. Currently produced by Cassina. The minds behind these iconic chairs laboured over the prototypes, with us in mind. Simplicity, form, and function all played a part in the process. Combine this engineering with the highest quality materials and craftsmanship and you have more than a piece of furniture.
20. Panasonic (unknown designer), “Toot–a–Loop“ radio/R72, Japan 1970s (MoMA)
The Toot-a-Loop Radio or Panasonic R-72 is a novelty radio made by Panasonic Japan in the early 1970s. This radio was designed to be wrapped around the wrist (provided your wrist wasn’t too large). It also came with stickers for customizing the unit.
Reception was the AM broadcast band only – no FM (the FM version of this radio is called RF-72). The radio was shaped something like a donut with the hole off-center. If twisted, the smaller half would pivot and the larger half would separate, forming an “S” shape. One side of the radio had a grille behind which sat the speaker. There was also a jack for a mono earplug. The tuner was located inside one of the “splits,” so the radio had to be twisted into the “S” position in order to be tuned, but the volume control was on the outer diameter of the radio and could be adjusted regardless of whether the radio was twisted open or closed.
The Toot-a-Loop came in several colors including white, red, blue, and yellow. It was also produced in two other colors orange and lime which were sold in Australia and New Zealand. Australian and New Zealand models had the badging National Panasonic and were advertised as a “Sing-O-Ring” radio. Also known by collectors as a bangle or wrist radio. The advertisement song went “It’s an S it’s an O it’s a crazy radio! Toot a loop!”.
21. Mario Bellini for Philips, “Fonorette“ portable player, Italy/the Netherlands 1967
Icon of the 60s, the Fonorette was designed by the architect Mario Bellini in 1967. It was the first portable turntable that had a curved shape similar to a handbag. It was produced only for a few months as it was replaced by the Fonette model entirely made by Philips and also marketed outside Italy.
22. Graham Kinde for Philips, “Roller2“, the Netherlands 1980s (MoMA) 23. Arne Jacobsen for Fritz Hansen, “The Egg“ chair, Denmark 1958 (MoMA)
The original Egg was created by the Danish architect and designer Arne Jacobsen in 1958 for the SAS Royal Hotel in downtown Copenhagen.
Jacobsen was commissioned to design every element of the building, from the walls to the furniture, including the cutlery that would be used in the restaurant, the lighting and even the ashtrays. He seized the opportunity to put into practice some ideas he had about how architecture and furniture could be better integrated.
In recent decades the Egg Chair has taken on a new role in popular culture, becoming an iconic part of in the reality television series Big Brother as the seat in the much-used diary room, and was even used in a high-end redesign of London and Copenhagen McDonalds branches, according to The New York Times.
Its popularity has inevitably been helped by a renewed interest in mid-century furniture design but its ergonomic form and revolutionary shape that hinted at the curves and bubble of the decades to come have ensured it has remained a design classic for over half a century.
24. Luigi Massoni for Harvey Guzzini, “Alvise“ floor lamp, Italy 1966
Alvise is one of the first lamps made of Chrome Plating, Metal, Plexiglas by Luigi Massoni designed for Harvey Guzzini.
Luigi Massoni was born in Milan, Italy in1930 and was a architect and designer. For some thirty years, he has also worked as a freelance journalist and editor. He lived in Recanati, near Milan where he died in 2013. In 1962, Luigi Massoni meets the brothers Raimondo, Giovanni and Giuseppe Guzzini in Milan: it is the beginning of a fruitful collaboration. He worked for Fratelli Guzzini and Harvey Guzzini, what later changed in iGuzzini, until 1976.
Not only he was the art director but the coordinator of communication and advertising campaign.
25. Mathias Hoffman for Rolf Benz, “6500“ sofa, Germany 1995 (MoMA)
Famous Rolf Benz model 6500 sofa in high quality black leather designed by Mathias Hoffmann. The sofa features extractable backrests and four cushions. Challengers come and go. Rolf Benz 6500 is here to stay. No-one can walk past it unmoved: like scarcely any other sofa programme, Rolf Benz 6500 is an elegant design statement and occupies an iconic status in the world’s living rooms.
Very probably because the two height-adjustable backrests make the sofa so functional. The excellent upholstery guarantees you an extraordinary level of comfort while the additional support cushions take the strain off your back.
26. Unknown designer, mid century round table 27. Dragan Drobnjak for 9. Oktobar Prokuplje, “Ikebana“decorative glass, Yugoslavia 1970s (MoMA)
Dvadeset pet godina bavio se industrijskim dizajnom stakla u Fabrici stakla u Prokuplju.
Imao je 30 samostalnih izložbi, a učestvovao u preko sto kolektivnih u zemlji i inostranstvu, od kojih su najznačajnije Jugoslovenska primenjena umetnost u Parizu (1969) i Primenjena umetnost i dizajn u Srbiji, Njujork, 1982. Učestvovao je na Međunarodnom simpozijumu staklarstva u Novom Boru, u Čehoslovačkoj, 1982. godine, i više puta na Internacionalnom simpozijumu u Paraćinu (1978 – 1992). Radovi su mu zastupljeni u zbirkama muzeja stakla u Ruanu (Francuska), Novi Bor (Češka), Galeriji stakla u Moskvi, Muzeju primenjene umetnosti u Beogradu i Muzeju Moderne umetnosti u Nju Jorku (MoMa)
28. Verner Panton for Vitra, “Panton S chair“, Denmark 1960s (MoMA)
The Panton Chair is an S-shaped plastic chair created by the Danish designer Verner Panton in the 1960s. The world’s first moulded plastic chair, it is considered to be one of the masterpieces of Danish design.
The Panton Chair is a classic in the history of furniture design. Conceived by Verner Panton in 1960, the chair was developed for serial production in collaboration with Vitra (1967). It was the first chair to be made completely out of plastic in one single piece.
29. Niko Kralj for Stol Kamnik, “Rex“ lounge chair, Yugoslavia 1956 (MoMA) 30. Niko Kralj for Stol Kamnik, “Rex“ coffee table, Yugoslavia 1957 (MoMA) 31. Niko Kralj for Stol Kamnik, magazine rack, Yugoslavia 1960–1969
A chair that has served generations and the cornerstone of Rex Kralj’s foldable furniture collection. To date, over two million Rex Lounge Chairs have been produced. Niko Kralj`s masterpiece is the ultimate exercise in combining comfort, style and practicality.
The back and seat are made of bent plywood, which is cut to allow the wood to bend in curves. This makes it a very comfortable piece of furniture. The cut plywood gives the chair its low weight, airy appearance and its clever curves allow for excellent foldability.
32. Peter Ghyczy for Reuter Products,“Garden Egg“ easy chair, GDR 1960s
The Garden Egg chair was designed by the Hungarian émigré Peter Ghyczy, who started his working career as chief designer for the Polyurethane factory ‘Elastogran GmbH’ in Lemförde (West Germany). He was responsible for setting up the Design department, developing model polyurethane products.
One of his very first designs there was the so called ‘Garden Egg’ chair in 1967/8. The design incorporates features typical of the period: a space age look , UFO-like form, bright coloured plastic laquer, portability and the informal lounging quality of the low seat.
33. Eero Aarnio for Asko, Hybo coffee table, Finland 1960s 34. Dialatron, “S.W.A.L.K.” red lips corded telephone, United Kingdom 1980s 35. Huo–Tu Huang for Huangslite, “Toucan“ desk lamp, Taiwan 1980s 36. Roger Lecal for Chabrieres&Co, “Mirror Lipstick“, France 1970s 37. Eero Aarnio for Asko/Adelta/Artekna, fiberglass furniture, Finland 1960s 37.a “The Ball Chair“ produced by Adelta 1966 37.b “Pastil“ chair produced by Artekno1967 37.c “Egg pod Ball“ 1967 37.d “Stone“ table 1960s
The finnish designer Eero Aarnio, born in 1932, studied from 1954 to 1957 at the Institute of Industrial Arts in Helsinki and started in 1962 with his own office as an interior and industrial designer.
Engaged in new ideas of furniture he designed the Ball Chair (or globe chair) already in 1963. One of his famous work is a half dome chair. The Eero Aarnio Half Dome Chair has a fun, unique look that will make any space instantly more exciting. The Eero Aarnio Half Dome Chair has a shape that’s best described as a semi sphere, offering a comfortable place to relax as well as a one-of-a-kind accent to your home.
Eero Aarnio as pioneer in using plastic in industrial design. He was – and still is – one of the pioneers in using plastic in industrial design. Plastic material set the designers free to create every shape and use every color they wanted. This gave birth to objects oscillating between function and fun – but always fascinating ones .
Engaged in new ideas of furniture he designed the Ball Chair (or globe chair) already in 1963. Eero Aarnio’s Pastil Chair is a joyful classic of modern design from 1967. Resembling a shiny, oversized candy, the gently rocking Pastil is amazingly comfortable – and fun – to sit on. The extraordinary play of form and colour make Pastil the eye-catcher of any room.
The chair is made of fibreglass and is thus suitable for outdoor use as well.
38. Henrik Thor Larsen for Torlan Staffanstorp, “Ovalia“ chair, Denmark/Sweden 1968
Danish designer Henrik Thor-Larsen’s retro-futuristic 1968 Ovalia Egg Chair is perhaps best known for its starring role in the Men in Black films. It is a true design classic and exudes attitude.
This particular vintage Ovalia Egg Chair was produced by Torlan Staffanstorp Sweden in 1968. The shell is made from orange fiberglass chair and upholstered with black fabric and foam and is resting on a polished aluminium swivel foot.
39. James Pratt Winston for Weltrone, “Weltrone8“ radio & 8track player, USA 1970s 40. Gerrit Rietveld for DeStijl, “Red–and–Blue chair“ , The Netherlands 1917 (MoMA)
In the Red Blue Chair, Gerrit Rietveld manipulated rectilinear volumes and examined the interaction of vertical and horizontal planes in much the same way as he did in his architecture. Although the chair was originally designed in 1918, its color scheme of primary colors (red, yellow, blue) plus black—so closely associated with the Dutch de Stijl art and architecture movement—was applied around 1923.
Hoping that much of his furniture would eventually be mass-produced rather than handcrafted, Rietveld aimed for simplicity in construction. The pieces of wood that compose the Red Blue Chair are in the standard lumber sizes readily available at the time.
41. Martin Ballendat, 3Dee&Muvman for Aeris, “OYO the Chair“, Japan/Germany 2016
Cradling your body in its supporting arches, the Oyo chair holds you snug while also giving you the freedom to rock or sway—movement that’s so important to keeping your circulation and energy flowing, especially toward the end of your day.
Rocking chair, single-legged cantilever chair, and saddle seat in one, Oyo’s hybrid design brings you all of the ergonomic benefits of active sitting, along with all of the familiar comfort of a traditional chair. Aeris also designed Oyo for forward, backwards, or sideways sitting, creating even more encouragement of your body’s intuitive motion and changing needs.Winner of the 2016 iF Design Award
42. Peter Opsvik for HAG, “Capisco“ chair, Norway 1984
The wonderfully unique HAG Capisco Chair has striking design built around the Saddle Seat; a seat which inspires you to sit like a horseman in the saddle, enabling you to find new and comfortable seating positions.
Whether seated forwards, backwards, sideways or reclined, the Capisco Chair has a position for you, coupled with unprecedented freedom of movement.
43. Angelo Gaetano Sciolari for Hustadt, “Chrome tubes“ table lamp, Italy/Germany 1960s–1970s 44. Luigi Massoni for Harvey Guzzini, “Alvise“ table lamp, Italy 1966 45. Mart Stam for Bauhaus, “Cantilever“ S33 armchair, The Netherlands/Germany 1926 (MoMA)
The S 33/S 34 was designed by Mart Stam and belongs to the product range of the German furniture manufacturer Thonet. Experimenting with industrial steel pipe brought the designer Mart Stam in the mid 20s ultimately to the idea of a curved frame combined with leather.
The Thonet cantilever chair has fascinated customers and designers around the world ever since and is in addition characterised by its extreme comfort.
46. Vico Magistretti for Artemide, “Eclisse“ table lamp, Italy 1966 (MoMA)
Eclisse, designed by Vico Magistretti in 1965, won the Compasso d’Oro Award in 1967 and become ambassador of Italian design worldwide. Eclisse is an avant-garde balance between form and function, design and utility.
The concept’s foundation lies in its functionality of adjusting the intensity of light through its rotating inner shade that “eclipses” the light source.
47. Charles Pollock for Castelli, “Penelope“ chair, USA/Italy 1982 (MoMA)
In 1982, the designer Charles Pollock created a real design classic: Penelope. The American designer developed for Castelli a revolutionary chair from a technical and formal point of view: a steel-wire sled base supports a seat permeable to air which consists in a steel-wire fence coated with synthetic resin. The elastic effect of the base is stressed by an integral polyurethane tube that acts as a shock-absorber.
The armrest coverings are made of the same material providing additional comfort. With Penelope, Pollock translated into reality a new form of seat. That’s why this timeless classic still enjoys fame in today’s design world.
48. Unknown designer, triangular glass tables, 1980s 49. Davorin Savnik for Iskra, ETA80/ETA85 telefon, Yugoslavia1978 (MoMa)
ETA 80 electronic telephone, designed in the late 1970s and known today simply as “the Iskra phone”. The elegant, flat-shaped telephone in plastic came in various colours and was later copied all around the world.
It received many Yugoslavian and international design awards, including the prestigious G Mark of the Japanese Industrial Design Promotion Organisation. In December 2010 the ETA 80 electronic telephone was included in the design collection of New York’s Museum of Modern Art.
50. Unknown designer, miniature tables 1950s 51. Arne Jacobsen for FritzHansen, “Mosquito“ chair, Denmark 1955 (MoMA)r Heading Text Here
The Munkegaard chair, also known as the Mosquito chair, is a strong, bold concept from the celebrated Danish designer and architect Arne Jacobsen.
Introduced in 1955 at the Munkegaard School in Denmark, it is an archetypal Jacobsen design: controversial, elegant and edgy. Easily stackable and perfectly suited to home or office, it complements any décor, adding distinction and eye-catching charm and making a statement about individuality and independence. An extraordinary man of vision, Arne Jacobsen (1902-1971), is one of the greatest names in 20th century Danish design.
His bold and distinctive ideas and offbeat aesthetics pushed design into new territory. Today, Arne Jacobsen’s work is part of many museums’ permanent collections, and is prized by collectors and loved by people of many generations.
52. Emilio Ambasz and Giancarlo Piretti for Openark, “Dorsal“chair, France 1980s
The Dorsal chair was designed by Emilio Ambasz & Giancarlo Piretti for Openark, Vitra. This chair was produced 1980. The Argentinian-Italian duo cooperated from the end of the seventies The chair frame combines steel with plastics, the upper half of the backrest is spring-loaded and can be bent back.
53. Remington, “Noiseless8“ typewriter machine, USA 1932–1941
The Noiseless 8 (1932-41) is one of the more unusual-looking Remington portables from America’s Deco age. Its faceted design makes it stand out from the pack, as does its size. The No. 8 is not very heavy, and it comes in a carrying case — but it is one of the largest portables ever made.
54. Unknown designer, Black wooden and metal chair, Third Reich 1930s 55. Hans J. Wegner for Johannes Hansen, “Folding chair“/JH512, Denmark 1949 56. Hans J. Wegner for Carl Hansen&Son, “Elbow chair“/CH20, Denmark 1956 57. Hans J. Wegner, mid century wooden garden chair, Denmark 1960s
Among Danish furniture designers, Hans J. Wegner (1914-2007) is considered one of the most creative, innovative and prolific.
Often referred to as the master of the chair, Wegner created almost 500 in his lifetime – many of them considered masterpieces. His iconic Wishbone Chair is probably the most well-known and has been in continuous production since 1950.
Wegner was part of the spectacular generation that created what is today referred to as ‘the Golden Age’ of modern Danish design. “Many foreigners have asked me how we created the Danish style,” Wegner once said. “And I’ve answered that it was a continuous process of purification and of simplification – to cut down to the simplest possible design of four legs, a seat, and a combined back- and armrest.”
58. Herbert and Jutta Ohl for Matteo Grassi, Ballerina Chair, Germany/Italy 1991
His customers in Italy included the furniture company Fantoni , for whom he designed the modular “Series 45 °” office system (which was included in the permanent collection of MoMa in New York), Brionvega , Arflex , for which he co-created an armchair from 1974 to 1979 tensioned nets developed, and Matteograssi.
In Germany in 1982 he revised the Arflex design for Wilkhahn , which was added to the range as the “O-Line”. In 1982 he also designed the Swing cantilever chair for Rosenthal , which was later sold by Lübke .
59. Mart Stam for Bauhaus, “Cantilever“ S32 armchair, The Netherlands/Germany 1926 (MoMA)
The Cantilever Chair was designed by Mart Stam. The designer of this chair was a famous Dutch architect and furniture designer. Born in 1899, he was designing legendary pieces by age 27.
60. Charles&Ray Eames for Vitra, DSS dinning, USA/Switzerland 1950–1959 (MoMA)
In 1948, Charles and Ray Eames participated in the ‘International Competition for Low-Cost Furniture Design’ organised by the New York Museum of Modern Art, entering a chair with a seat shell moulded to fit the contours of the human body along with a concept for a variety of bases.
Their design won second prize. However, the metal shell proved too complex and expensive to achieve successful mass production. The couple’s search for alternative materials eventually led them to glass-fibre reinforced polyester resin, which until then had been primarily restricted to military applications such as aircraft radomes and cockpit covers.
The Eameses recognised and fully exploited the advantages of fibreglass: mouldability, rigidity and suitability for industrial manufacturing methods. With this material, which was previously unknown in the furniture industry, they successfully developed the moulded seat shells for mass production: the Fiberglass Chair was born.
61. Unknown designer, mid century ashtray, Yugoslavia 1970s 62. Antonio Bonet, Juan Kurchan, Jorge Ferrari Hardoy for Le Corbusier Studio,“Butterfly“/”BFK“/”Hardoy“ chair, Argentina 1938 (MoMA)
The Butterfly chair was designed in Buenos Aires, Argentina in 1938 by the architects Antonio Bonet, Juan Kurchan and Jorge Ferrari Hardoy [es], who were working with Le Corbusier‘s studio, and who formed the architectural collective Grupo Austral [es] in Buenos Aires.
The chair was developed for an apartment building they designed in Buenos Aires.
On March 6, 1940, a picture of the chair appeared in the US publication Retailing Daily, where it was described as a “newly invented Argentine easy-chair . . . for siesta sitting”. On July 24, 1940, the chair as awarded 2nd prize by the National Cultural Commission  at the 3rd Salón de Artistas Decoradores exhibition in Argentina.
Both the exhibition and the picture in Retailing Daily attracted the attention of the Museum of Modern Art in New York. At the request of the director of MoMA’s Industrial Design Department, Edgar Kaufmann Jr., Hardoy sent 3 chairs to New York. One went to Fallingwater, Edgar Kaufmann Jr.’s home in Pennsylvania (designed by Frank Lloyd Wright), another went to MoMA, while the third probably went to Clifford Pascoe of Artek-Pascoe, Inc., New York.
The chair gets the name of BKF chair from the initials of its creators “Bonet-Kurchan-Ferrari”. It is also known as the Hardoy chair because an official letter from the firm attributed primary authorship of the design to Ferrari-Hardoy
63. Marco Zanuso, Richard Sapper for Brionvega, “Algol11“ B&W television, Italy 1964 (MoMA)
In 1964 Marco Zanuso and Richard Sapper design for Brionvega Algol, a television set to revolutionize the earlier canons and the same home environments that host.
With its unique line of products is a representative of the Italian style of the sixties, the color TV Brionvega Algol is exposed in the most famous international museums, including the prestigious Museum of Modern Art (MoMA) in New York.
64. Silver Cross, “Kensington pram“, United Kingdom 1970s (est. 1877)
Kensington is a masterpiece of British engineering and expert craftsmanship.Each one is hand-built from the finest materials, with every detail receiving the closest attention, from the beautiful chrome spoked wheels to the hand-stitched tan leather handle.