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Sure, we need a place to sit, but what’s all the hubbub about? These days, it seems as though every big-name architect or industrial designer has tried their hand at chair design. Frank Gehry, Charles Eames, Frank Lloyd Wright, and Zaha Hadid, just to name a few. Artists are also taking on the challenge. In some cases, they’re exploring new materials, but that doesn’t seem to explain it. Are they all just trying to encapsulate their era? Following the “chair tradition?” Or is there something more?
Albany Institute of History and Art is the current stop for the Art of Seating traveling exhibit. The viewer can wander the galleries imagining (but frustratingly, not experiencing) the feeling of sitting in each of these heavily designed chairs. From my own imaginings, I very much doubt many of them were designed around comfort.
According to the institute, “each of the more than forty chairs in the exhibition was chosen for its beauty and historical context with important social, economic, political, and cultural influences.” Who knew a chair design could do so much? Still, walking the exhibit, the chairs really do seem to convey those abstract concepts.
Just last year, seven architects redesigned the historic Series 7 chair by Fritz Hansen. Fritz Hansen’s excitement over their product’s success aside, why bother? What convinced seven big names to take the chair and turn it upside down?
Wouldn’t it be faster and more efficient to make thousands of the aluminum “navy” chairs Emeco developed in the ’40s for submarines? This chair, featured in the Art of Seating exhibit, is guaranteed for life—that sounds like pretty good construction to me. And if that style isn’t for you, the Shakers certainly seemed to have craftsmanship down.
So, what is this all about? What makes the chair such an iconic part of design — one featured in every designer’s studies? Why don’t we just get back to designing buildings? You tell me.
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