Jacques-Émile Ruhlmann (1879 – 1933) was a French designer who was born and lived in Paris. n 1907, he took over his father’s house painting company in Paris. He first exhibited his work in 1911, with architect Charles Plumet and couturier Jacques Doucet, Frantz Jourdain, and Tony Selmersheim.
Majorelle took over the family cabinetmaking and ceramics business in Nancy in 1879. In the late 1880s, he began designing Modern furniture. Working in the Art Nouveau style, Majorelle was the most dynamic practitioner of the School of Nancy. By mechanising his factory, he produced significant quantities of highly decorated commercial furniture and more elaborate pieces using expensive materials such as mahogany, burr walnut, and ormolu.
Francis Jourdain (1876 – 1958), the son of architect Frantz Jourdain, was born on November 2, 1876. His father created the Salon d’Automne collection. He benefited from his parents’ friendships with prominent intellectuals (Émile Zola, Alphonse Daudet) and artists of the time (the circle of Alexandre Charpentier).
The proportions of the M-Coffee Table are determined by Le Corbusier ‘s modular man and the Golden Section. This table is a study in scale; conceived as a basic rectangular mass hollowed out to create architectural details at key points. Steps are carved from one corner and on the other is a ‘space’ which creates a recess for books and art objects. An oculus was carved into the ‘ceiling’ of this ‘space,’ bringing illumination, like a miniature Pantheon, to its interior. The M-Coffee Table features steps for the display of items, a book niche, and removable glass components recessed on the surface of the table.
Walter Kantack was an American Lighting Designer born in Meriden, Connecticut. He completed his studies at the Pratt Institute in New York.
Kantack worked in the drafting room of the Edward F. Caldwell decorating firm in New York. In 1915 he began working at sterling Bronze as a designer. In 1917 he set up his design firm and became a specialist in custom lighting until 1932. He was the vice president of Architectural League of New York, honorary member of American Institute of Decorators, and member of the Hoover Delegation to the 1925 Paris ‘Exposition International des Arts Decorate des Industries Modernes.
The 1950’s house was a scientific triumph, designed in a laboratory and tested on inhabitants of all ages before being built for the masses. Never had homes been so thoroughly contemporary, with antiques and period styles entirely banished. Mid-Century Modern explores the interior decor of this seminal decade, concentrating on all aspects of a home’s decoration—walls, flooring, surfaces, lighting, and, of course, furniture.
Quality matters. Just as a home’s foundation should be built to stand the test of time, so, too, should the furniture, objects, and elements of our rooms speak to an enduring sense of beauty and comfort. They should outlast trends and our loving day-to-day use. But how does one recognize quality and judge whether something is well made?
The 1965 stacking Albinson chair produced by Knoll was similar to British Designer’s Robin Day trendy chair for Hille, although Albinson’s was more sophisticated. They stack, hook together side by side and comfortable to sit in. After Knoll he became a consultant designer to Westinghouse on office seating and furniture systems.
How did so much beauty and imagination appear in daily rural life articles in Portugal? How did these objects’ shapes so deftly combine need and formal perfection? This book examines the impact that centuries of trial and error, individual craftsmanship, and an instinct to cut out the important with the