This article forms part of the Decorative and Applied Arts Encyclopedia, a master reference hub providing a structured overview of design history, materials, movements, and practitioners.
David Adjaye’s Seating for Knoll: A New Chapter at The Met New York
The Metropolitan Museum of Art in New York, a cultural richness beacon, has recently witnessed a transformative change in its famous Carroll and Milton Petrie European Sculpture Court. This change, while subtle in its form, is monumental in its cultural and design implications.
The Evolution of Seating in the Petrie Court
For years, the Petrie Court has been a sanctuary for visitors, offering a place to rest and reflect amidst the museum’s vast collections. The Parisian-style chairs, reminiscent of those in Luxembourg Gardens, have long been a part of this experience. They provided physical rest and a visual link to European design heritage.
However, Gerald Cantor, the Curator of European Sculpture and Decorative Arts at The Met, initiated a significant shift by replacing these chairs with those designed by David Adjaye, a renowned Ghanaian-British architect. This change is not merely about updating furniture but symbolizes a deeper narrative in design and art.
Designed by Sir David Adjaye, 2013 Knoll
David Adjaye’s Design Philosophy
David Adjaye’s chairs are a fusion of form and philosophy. Crafted in die-cast aluminium with powder-coated paint or copper plating options, they are a testament to Adjaye’s approach to design, where research, history, and materiality converge to create something aesthetic and meaningful.
Adjaye’s design philosophy is deeply rooted in exploring and amplifying specific conditions, making them aesthetically pleasing while ensuring they hold the potential to be a part of our everyday world. His work often reflects a blend of contemporary design with social commentary, making these chairs more than just functional objects; they are a statement in design.
A New Visitor Experience
Introducing Adjaye’s chairs in the Petrie Court marks a new era in the visitor experience. Notably, this change coincides with the addition of Jean-Baptiste Carpeaux’s ‘Pourquoi Naitre Esclave!’, the first sculpture in the Petrie Court depicting a person of African descent. This juxtaposition of contemporary African design with a historical narrative highlights a progressive step in representing diversity and inclusivity in art and design spaces.
Andrew Cogan, Knoll Chairman and CEO, expressed excitement about this integration, emphasizing the powerful combination of contemporary design and social commentary that Adjaye’s work brings to the Petrie Court.
Knoll’s Legacy and Commitment to Design
Knoll, the company behind these innovative chairs, has a storied history in the design world. Awarded the 2011 National Design Award for Corporate and Institutional Achievement by the Cooper-Hewitt Smithsonian National Design Museum, Knoll has been a vanguard of modern design since 1938.
Their commitment to evolving workplace and residential furnishings has always been grounded in modern design principles. Knoll’s alignment with the Green Building Councils in the U.S. and Canada and its role as the founding sponsor of the World Monuments Fund Modernism at Risk initiative further emphasize its dedication to sustainable and socially responsible design.
Conclusion: A Fusion of Art, Design, and Social Narrative
The replacement of the traditional Parisian chairs with David Adjaye’s design in The Met’s Petrie Court reflects art and design’s dynamic and ever-evolving nature. It symbolizes a move towards inclusivity and diversity in design, resonating with contemporary social narratives. This change is not just about aesthetics; it’s about acknowledging and integrating different cultural perspectives and histories in the design world.
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