La Danese was founded in Milan by Bruno Danese and Jacqueline Vodoz. The company specialised in editing, designing, and marketing well‐designed everyday products with a modern aesthetic. There were three significant focus areas: domestic and office products, artistic editions, and children’s games and creative play stimuli.
Marcel Breuer designed this chaise lounge during his influential period in England (1935-37). His work for the London-based design and architectural firm Isokon is the most recognizable of this period. The chaise was designed for the 1936 Seven Architects Exhibition for Heal & Sons Department Store.
Its early pieces were based on historicist models from the 19th century. In the 1930s, it made armchairs and dining room sets for Milan’s Rinascente and Mobilificio di Fogliano. After World War II, Cassina changed the way it made and sold its products. The new generation of designers pushed the company to the forefront of Modern design.
Danish Modern From the 1950s onwards, this term, along with its Scandinavian and Swedish counterparts, was widely used to describe those aspects of Danish design that acknowledged some of the characteristics of Modernism but were distinguished by the use of more traditional materials, natural finishes, organic shapes, sculptural form, and a respect for craftsmanship.
The Studio Alchimia in Milan was founded in 1976 and exhibited its first collection in 1979. Alessandro Mendini’s Proust armchair is one of the most unusual pieces from the Bau.Haus collection. It was made in a small number and individually painted to express the collective’s unease with mass production.
Artifort used freelance designers, including Kho Liang Le and Pierre Paulin. It produced chairs, settees, and tables. It first used plastics in Paulin’s 1965 Chair 582 in tensioned rubber and latex foam and his 1965-66 Armchair 303 in polyester fibreglass. It produced Paulin’s 1953 Chair 157 in polyester, ABS, and elastomers and 1967 F577 chair.
The son of a farmer, he attended Askov Højskole, a folk High School, before training as a cabinetmaker in Jutland and later in Copenhagen. From 1926 to 1929, he worked in Paris, Geneva and Lausanne. In 1935, he moved into Bredgade in Copenhagen where he started his own workshop which he maintained for 20 years. He attended evening classes at the Royal Danish Academy of Fine Arts where he studied under Einar Utzon-Franck and Kaare Klint.
Jalk was a Copenhagen native. She studied under cabinetmaker Karen Margrethe Conradsen at the Design School for Women (1940–1943) after earning a high school diploma in modern languages and philosophy. In addition to obtaining extra instruction from Kaare Klint at the Royal Academy’s Furniture School, she completed her studies at the Danish Design School in 1946
In 1934, he worked in the Indian office of American architect Antonin Raymond. In 1937, in the Tokyo office, he studied Japanese carpentry techniques. In 1941, he set up his first workshop in Seattle. In 1942 in Idaho, Nakashima studied with an old Japanese carpenter until Antonin Raymond arranged his release.
Josef Pohl (1894 – 1975) was a Czech lighting designer. He designed the 1929 precursor of the adjustable lamp. Gerd Balzer produced his model. As part of its Kamden collection, Korting und Mathieson created a similar lamp. Pohl and others at the Bauhaus also executed the prototype adjustable wall lamp illustrated in Staaliches Bauhaus, Weimar and produced by Jucker. In 1932, Balzer and Pohl were given the task of coordinating Bauhaus students’ work, which culminated in a competition for conference and furniture design.