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Finnischer Knall Orangener Pastille-Sessel aus Fiberglas von Eero Aarnio fr Asko, 1967. Der Pastille-Sessel ist eher ein Kunstwerk als ein einfacher Sessel oder Schaukelstuhl. Er wurde 1967 entworfen und hat eine vllig versetzte Form, die an eine Raute oder ein Bonbon erinnert. Dieses Projekt von Aarnio ist das Ergebnis stndiger Forschung. Es ist eine brillante Mischung aus Traum und Wirklichkeit. Die Struktur ist vollstndig aus Knalloragenen Fiberglas gefertigt und frdert den Komfort. Dieser originelle Sessel ist sowohl ein Element der Dekoration als auch der Entspannung. Im Laufe der Zeit wurden nderungen vorgenommen, wie das Hinzufgen von Farben und verschiedenen Details.Creator: Asko (Manufacturer),Eero Aarnio (Designer)Design: Pastille ChairDimensions: Height: 21.26 in (54 cm)Width: 37.01 in (94 cm)Depth: 37.01 in (94 cm)Style: Space Age (In the Style Of)Materials and Techniques: PlasticPeriod: 1960-1969Date of Manufacture: 1960Condition: ExcellentAdditions or alterations made to the original: Originalgetreue neue Lackierung. Durch das aufarbeiten befindet sich der Sesseln in einem hervorragenden Zustand.Seller Location: Lbeck, DEReference Number: 1stDibs: LU8439233459022Shop All Eero Aarnio
Eero Aarnio
I always look ahead, never back, Finnish design legend Eero Aarnio has been quoted as saying. A leading innovator of modern furniture design, Aarnio has long embraced a bold, playful, confident and colorful style several steps ahead of his time.
For his 1954 entrance test for the Institute of Industrial Arts in Helsinki, Aarnio created a whimsical painting of a man reading a newspaper in a red, curved chair whose silhouette foreshadowed Aarnios Ball chair of 1963. That spherical seat skyrocketed him to design fame, and decades later, it is still recognized as one of the worlds most futuristic designs.
Born in 1932 to a house painter and a seamstress, Aarnio has always had a cheerful disposition and an independent spirit. He went his own way early on: After just two years at Asko, the big Scandinavian furniture company that originally produced his Ball chair, Aarnio established his own studio in 1962.
Over the next decade, the young visionary made an indelible mark on the world. Open-minded and entrepreneurial, Aarnio embraced the aesthetics, materials and technologies of the Swinging Sixties, working with a new generation of plastics and molding them into fluid, organically shaped, brightly hued forms.
Introduced at the 1966 Cologne Furniture Fair, the pod-like fiberglass Ball chair soon adorned the homes of movie stars and royalty, graced magazine covers around the world and was featured in films and ads. The groundbreaking seat originally came in orange, white, black, yellow and red and could be ordered with a telephone installed in it. Yet this designer of the future, as he was known in the 1960s, has always insisted that he didnt deliberately seek to be associated with the decades sci-fi aesthetic.
I had no intention to create either pop or Space Age design as many people label my work, Aarnio declares in one of the essays included in Eero Aarnio Designer of Colour and Joy, a book jointly created by the Design Museum and publisher WSOY to accompany 2016s Eero Aarnio exhibition.
The show featured a number of Aarnios objects, including his iconic Ball, Pastil (1967), Bubble (1968), Tomato (1971) and Pony (1973) chairs. These were joined by lesser-known seating and other objects like the rattan Juttujakkara, or mushroom, stool (1960); the sculptural Double Bubble lamp (2000), with which Aarnio first explored the possibilities of rotation-cast plastic; and the three-legged Rocket (1995) and Baby Rocket (2006) stools, both parts of a collection produced by Artek after Tom Dixon, the companys creative director from 2004 to 2009, discovered the original piece in Aarnios kitchen.
Aarnio expanded the whole idea of what constitutes furniture, explained Suvi Saloniemi, the Design Museums chief curator. His significance as a designer is crystallized in the liberation of form that he has introduced by discovering the properties of plastic as the material of a designer. His furniture is sculpture-like and eye-catching, but the pieces are always utilitarian at the same time.
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