Когда смотришь на предметы из этой линейки, вспоминаются слова Пабло Пикассо: «Есть художники, которые превращают солнце в желтое пятно. Но есть и такие, кто своими творческими способностями и умом превращают желтое пятно в солнце».
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When we look at some pieces of this collection, the following words by Pablo Picasso come to mind, “There are painters who transform the sun into a yellow spot, and there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun.”
(photos here and above: wright20.com, 1stdibs.com, chairish.com, domusweb.it, design-is-fine.org, denverartmuseum.org, gaspareasaro.com, modernmag.com)
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When we look at some pieces of this collection, the following words by Pablo Picasso come to mind, “There are painters who transform the sun into a yellow spot, and there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun.”
(photos here and above: wright20.com, 1stdibs.com, chairish.com, domusweb.it, design-is-fine.org, denverartmuseum.org, gaspareasaro.com, modernmag.com)
В 1967 г. Гаэ Ауленти создала такой настольный светильник, который впоследствии выпускали компании «Candle» и, конечно, «FontanaArte». Когда Ауленти привезла прототип этой лампы в Нью-Йорк во время одного из своих визитов, связанных с оформлением магазинов «Knoll», Бобби Кэдуолладер, тогдашний президент «Knoll», отказался запускать светильник в производство, сказав, что он не соответствует эстетике компании. Тогда Ауленти сказала, что не потащит этот груз обратно в Милан, и оставила светильник у Кэдуолладера.
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In 1967, Gae Aulenti created this desk lamp that would later be available from Candle and, of course, FontanaArte. On one of her trips to New York, where she was working on showroom designs for Knoll, she showed the prototype of this lamp to Bobby Cadwallader, the then president of Knoll. Cadwallader refused to put this model into production as he thought this was not a lamp for Knoll. Aulenti said that she would not tug the prototype all the way back to Milan and left it with Cadwallader.
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In 1967, Gae Aulenti created this desk lamp that would later be available from Candle and, of course, FontanaArte. On one of her trips to New York, where she was working on showroom designs for Knoll, she showed the prototype of this lamp to Bobby Cadwallader, the then president of Knoll. Cadwallader refused to put this model into production as he thought this was not a lamp for Knoll. Aulenti said that she would not tug the prototype all the way back to Milan and left it with Cadwallader.
Когда много лет спустя Кэдуолладер показал прототип своему приятелю, тот предположил, что емкости в этом настольном светильнике предназначены для карандашей и скрепок. Недолго думая, Кэдуолладер отправил Ауленти факс с просьбой подтвердить это предположение и практически тотчас же вытянул из факсимильного аппарата ответ дизайнера: «Офисные работники в Италии 1970-х гг. были куда более озабочены тем, во что на письменном столе ставить цветы и складывать окурки, нежели тем, где хранить карандаши и скрепки».
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Many years later, when Cadwallader showed the prototype to a friend of his, the latter wanted to know if the containers in the lamp were for pencils and paper clips. Cadwallader immediately sent a fax to Aulenti to confirm this suspicion and soon pulled the following response out of the fax machine, “People in Italian offices in 1970 were not concerned with pencils and paper clips. The more important things to organize on a desk were flowers and cigarette ashes!”
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Many years later, when Cadwallader showed the prototype to a friend of his, the latter wanted to know if the containers in the lamp were for pencils and paper clips. Cadwallader immediately sent a fax to Aulenti to confirm this suspicion and soon pulled the following response out of the fax machine, “People in Italian offices in 1970 were not concerned with pencils and paper clips. The more important things to organize on a desk were flowers and cigarette ashes!”
Как водится по пятницам, предлагаем желающим отгадать (не заглядывая в интернет), каким словом назвала свою работу Ауленти. А лучше назовите имя, которое Иосиф Бродский дал прообразу этого светильника в произведении, вышедшем в 1962 г.
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Since it is Friday, we are inviting you to guess, without looking it up on the internet, what this lamp was named after by Aulenti. Or, better yet, it would be great, if you could remember the name Joseph Brodsky gave a similar protagonist of one of his 1962 poems.
(photos here and above: wright20.com, reddit user F**kYourEamesLounge Lounge, Vitra Design Museum, Andreas Jung, mutualart.com, artsy.net, 1stdibs.com, artcurial.com, corraini.com, G. Meguerditchian et Ph. Migeat - Centre Pompidou, wearch.eu, wow.gallery)
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Since it is Friday, we are inviting you to guess, without looking it up on the internet, what this lamp was named after by Aulenti. Or, better yet, it would be great, if you could remember the name Joseph Brodsky gave a similar protagonist of one of his 1962 poems.
(photos here and above: wright20.com, reddit user F**kYourEamesLounge Lounge, Vitra Design Museum, Andreas Jung, mutualart.com, artsy.net, 1stdibs.com, artcurial.com, corraini.com, G. Meguerditchian et Ph. Migeat - Centre Pompidou, wearch.eu, wow.gallery)
Друзья, не так давно к нам обратились ребята из Студии Лепёхина с сообщением о том, что они сделали красивый (подтверждаем) сайт об архитектуре Алвара Аалто, на котором рассказывается о становлении архитектора, его подходе и знаковых работах. Ребята предложили подготовить серию постов о некоторых проектах архитектора и опубликовать их в нашем уютном сообществе. Мы, разумеется, не могли отказать. Итак, слово тюменским единомышленникам.
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A few weeks ago, we received word from Lepekhin Studio that they had been working on a beautiful website about Alvar Aalto’s architecture, including his evolution as an architect, artistic methods, and most significant projects (the site, which has gone live since then, is admirable indeed). The team behind this project came up with an idea to write a series of posts about a few of Aalto’s architectural designs and publish them in our community. We wholeheartedly supported their endeavour and here comes the first installment.
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A few weeks ago, we received word from Lepekhin Studio that they had been working on a beautiful website about Alvar Aalto’s architecture, including his evolution as an architect, artistic methods, and most significant projects (the site, which has gone live since then, is admirable indeed). The team behind this project came up with an idea to write a series of posts about a few of Aalto’s architectural designs and publish them in our community. We wholeheartedly supported their endeavour and here comes the first installment.
Алвар Аалто — финский архитектор, дизайнер мебели и интерьеров. Он стоял у истоков североевропейского модернизма и оказал влияние на современный скандинавский дизайн. В этой серии постов мы расскажем о его поздних проектах 1940-1960-х годов. В это время он строил за пределами Финляндии: в США, Германии, Италии.
Подробнее о работах архитектора вы можете прочитать на сайте проекта «Архитектура Алвара Аалто».
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Alvar Aalto is a Finnish architect who is also famous as a furniture and interior designer. He was one of the pioneers of North European modernism and had a major impact on modern Scandinavian design. In this series of posts, we’ll talk about Aalto’s later projects completed in the 1940-60s that saw him design buildings outside of Finland, including the United States, Germany, and Italy.
For more information on the architect's works, please visit the Architecture of Alvar Aalto website.
Подробнее о работах архитектора вы можете прочитать на сайте проекта «Архитектура Алвара Аалто».
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Alvar Aalto is a Finnish architect who is also famous as a furniture and interior designer. He was one of the pioneers of North European modernism and had a major impact on modern Scandinavian design. In this series of posts, we’ll talk about Aalto’s later projects completed in the 1940-60s that saw him design buildings outside of Finland, including the United States, Germany, and Italy.
For more information on the architect's works, please visit the Architecture of Alvar Aalto website.
Кампус MIT
Общежитие Массачусетского технологического института — один из первых экспериментов Аалто с кирпичом. Пятиэтажное здание расположено на северной стороне реки Чарльз. Рядом проезжают машины, поэтому нужно было изолировать помещения от шума.
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MIT Campus
The dormitory of the Massachusetts Institute of Technology is one of Aalto’s first brick buildings. The five-floor residence is located on the north side of the Charles River. The road traffic is intense here, so Aalto took care to isolate the building from the noise.
Общежитие Массачусетского технологического института — один из первых экспериментов Аалто с кирпичом. Пятиэтажное здание расположено на северной стороне реки Чарльз. Рядом проезжают машины, поэтому нужно было изолировать помещения от шума.
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MIT Campus
The dormitory of the Massachusetts Institute of Technology is one of Aalto’s first brick buildings. The five-floor residence is located on the north side of the Charles River. The road traffic is intense here, so Aalto took care to isolate the building from the noise.
Аалто хотел, чтобы студенты могли видеть из окна воду, поэтому он отказался проектировать комнаты, ориентированные на север, откуда реку не видно. Архитектор создал двухместные и трёхместные блоки с видом на воду, а также спроектировал мебель.
Продолжение следует…
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He also wanted students to see the river out of their windows. Hence he refused to design rooms facing north where one couldn’t see the water. Aalto created double and triple units to make more rooms with a view, and designed all the furnishings.
Stay tuned for more posts by Lepekhin Studio.
(photos here and above: MIT, archdaily.com, admagazine.ru, Tiffany Chu, dwell.com, rubens.anu.edu.au, Ezra Stoller via arquitecturaviva.com, Pinterest user Hannah Williams)
Продолжение следует…
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He also wanted students to see the river out of their windows. Hence he refused to design rooms facing north where one couldn’t see the water. Aalto created double and triple units to make more rooms with a view, and designed all the furnishings.
Stay tuned for more posts by Lepekhin Studio.
(photos here and above: MIT, archdaily.com, admagazine.ru, Tiffany Chu, dwell.com, rubens.anu.edu.au, Ezra Stoller via arquitecturaviva.com, Pinterest user Hannah Williams)