At an a uction at Sotheby’s in December 2013, the Centraal Museum purchased the Prototype Low Chair, c.1946-1950/52 by Gerrit Rietveld: a bright-red, painted iron chair. This unique design remained for many years in the collection of its first owner, who never exhibited it. Until recently some people therefore mistakenly assumed that the chair was lost. Rietveld is best known for the Red Blue Chair, designed in 1919 and painted in the distinctive primary colours of De Stijl in 1923. The Prototype Low Chair shows Rietvelds ongoing quest for new challenges. In this chair we can see how he used his experience of working with moulded plywood elements and applied this to metal. It also demonstrates that Rietveld experimented with prefab steel profiles, which suggests that he was aware of the innovative qualities of the LCW (Lounge Chair Wood) from 1945 by leading American designers Charles and Ray Eames. The Red Blue Chair epitomises Rietveld’s view that a piece of furniture should be a well-considered construction with an open relationship to the space it occupies.

He first achieved this aim with wooden planks, sticks and staves. At the same time he was also fascinated by the idea of making a chair out of one piece of material: he cut the design from a single sheet and then bent and folded it to create a three-dimensional construction. After the war he experimented with the idea of creating a chair using several folded components. Between 1946 and 1950 this resulted in a small series of chairs in a variety of colours that he exhibited in Denmark, hence the name Danish Chair. In the Prototype Low Chair Rietveld combines bent iron elements with prefabricated T-shaped beams. Although the technical drawings suggest this chair was designed for mass-production, it was never manufactured. With their sharp contours and bare, angular forms, Rietveld’s chairs from the years 1910-1920 were (and are still) viewed as severe or even Calvinist. His post-war designs, with their more rounded forms, make a less authoritarian impression. While they certainly look sober and modern, they are more comfortable and inviting.

Rounded forms also offer greater flexibility in placement and use, making these chairs suitable for public spaces. In 1949-50 Rietveld was commissioned to design chairs for the restaurant of Utrecht’s Koninklijke Jaarbeurs (Convention Centre). He presented several different sketches and proposals for materials and fabrics, but the commission was not carried out. Despite their lack of success, Rietveld rated his rounded chair designs very highly. wheelchair vans for sale in mnThis is evident from the fact that he sent his Danish Chair to an important exhibition in Copenhagen in 1952. table and chair rentals manchester nhHe also used this type of chair to furnish an ‘ideal home’, the model ? table and chair rentals rancho santa margarita

AOwhich was shown at Expo 58 in Brussels. Finally, in 1960 Rietveld selected this chair as a donation to the Delft University of Technology; he considered the set of six chairs representative of his entire development and oeuvre. b (* 24. jún 1888, Utrecht – † 25. jún 1964, Utrecht) bol holandský architekt a dizajnér. Jeho prvé dizajnérske práce vznikli práve v období spopularizovania dizajnérskeho hnutia De Stijl, ktoré vzniklo v jeho rodnom Holandsku. wedding chair cover rentals grand rapidsV roku 1918 navrhol „Red and Blue Chair“ (červeno-modrá stolička), ktorá bola ikonou De Stijl(Štýl). replica eames chair usaNeskôr, v roku 1919, sa stal členom De Stijl a potom aj architektom.salon geek chair rental

[ upraviť upraviť zdroj ] span upraviť upraviť zdroj ] Medzi jeho významné architektonické práce patrí Rietveld Schröder House , ktorý stojí neďaleko Utrechtu. Majiteľka domu (pani Schröderová) chcela, aby mal dom čo najmenej stien (aby boli čo najviac nahradené oknami a terasami). Pôvodne stál v prírode, ale to iba v rokoch (1924-1925) a hneď nato holandská vláda, napriek protestu pani Schröderovej a Rietvelda, postavila v jej tesnej blízkosti autostrádu. Pre Rietvelda to bola veľká rana. Je to unikátny dom, nádherná stavba De Stijlskej architektúry. Od roku 1980 tam majiteľka s deťmi nežije. V súčasnosti je to pamiatka svetového dedičstva a dom je voľne prístupný ako múzeum. Je tam napríklad jedna veľká izba, ktorá sa dá jednoducho a rýchlo zmeniť na štyri menšie. Alebo okná v rohu, ktoré, keď sa otvoria, „zmizne“ roh. Má základné aspekty domu De Stijl, mieša jednoduché farby (červená, modrá, žltá) s čiernou a bielou, pričom je to veľmi štýlové a nádherné.

Človek by ani nevedel o tom, že je z roku 1924. Rietveld mnohé svoje výtvory maľoval inými farbami, ktoré síce boli spoločné s farbami De Stijl, ale boli odlišné od dnešného stavu. Keď stretol maliara Pieta Mondriana, tak prefarbil svoju slávnu stoličku na dnešné farby (žltá, modrá, červená). Jeden z najslávnejších obrazov moderného umenia (Kompozícia s Červenou, Žltou a Modrou). Navrhol i slávnu L40 Lamp, ktorá sa skladá z 3 samostatných svetiel vo vertikálnom a horizontálnom stave (dve sú horizontálne, kolmé na seba a jedna je vertikálna). Rietveld tým chcel dosiahnuť súlad s jeho nábytkom. Medzi ostatné z jeho výtvorov (nepochopiteľne, oveľa menej známe) patrí napríklad veľké množstvo stolíkov, kabinetov a skriniek. Bol všestranným dizajnérom, ale väčšina jeho dizajnov je inšpirovaná štýlmi Bauhaus a jemu podobnými. Jeho návrhy sa dnes predávajú za obrovské sumy, napríklad jeho Square table, ktorý sa predáva za sumu vyše 20 000 slovenských korún.