202 381 01
Vitra Miniature Ball Chair, Aarnio: With its simple, striking shape and its bright colors Eero Aarnio's Ball Chair is a typical symbol of the optimistic, consumer-oriented popular culture of the 1960s. The idea of this kind of mobile capsule allowing people to sit where they want within the house also anticipates the kind of living concepts discussed in the 1970s for a young, liberal society.
-4 Item Items
Warning: Last items in stock!
Vitra Miniature Ball Chair, Aarnio: With its simple, striking shape and its bright colors Eero Aarnio's Ball Chair is a typical symbol of the optimistic, consumer-oriented popular culture of the 1960s. Equally apparent is an unconcealedenthusiasm for the technical which also typifies the era: its exposed plastic which allowed even complex shapes to be produced in series relatively easily, at the time something completely new, and its dynamic shape, reminiscent of a space capsule. The idea of this kind of mobile capsule allowing people to sit where they want within the house also anticipates the kind of living concepts discussed in the 1970s for a young, liberal society. On the outside, this gleaming, polished sphere seems cold andfuturistic, but its inside reveals a space where users can feel cozy and protected. From the inside outside noise is considerably muffled, allowing users to relax in any number of positions, for example, to sit cross-legged. Mounted on a round metal base just above ground level, the sphere can be completely rotated on its own axis, so that users can vary their view from the »cave«. Ball Chair thusrepresents a special category of household objects. It is something between a piece of furniture and a piece of architecture and at the same time embodies both the mobile and the established, the fixed. Fiber-glass, Aluminum, Fabric.
The collection of the Vitra Design Museum en miniature: The Miniatures Collection of the Vitra Design Museum covers the most important pieces from the international history of design from 1850 up to the present. The construction, materials and colours of the miniatures correspond precisely to the historical original. Extensive development work was carried out to adapt the manufacturing techniques to the requirements of miniaturization. Because they are so true to the originals, the miniatures are not only collector’s objects for furniture enthusiasts, but also serve as ideal illustrative material for universities and design schools. At present, the collection encompasses 80 models on a 1:6 scale with further pieces being continually added. The models come in their own wooden box and are accompanied by a descriptive brochure with details on the design. Net proceeds from the sale of the miniatures go towards the exhibitions and workshops of Vitra Design Museum.
Miniaturization means concentration: Vitra Design Museum faithfully replicates furniture design classics in miniaturized three-dimensional form. Many of these designs, like the chaise longue by Le Corbusier or the red-blue chair by Gerrit Rietveld, are as widely known today as the most celebrated works of art and are coveted by museums and collectors the world over. These miniatures illustrate at a glance what design means and what role it plays in the industrial production process. The clear and concentrated world of the miniatures yields a fascinating reflection of the stylistic diversity of contemporary design and provides a unique way of accessing the history of furniture design.
The manufacture of the miniatures: Vitra Design Museum has one of the most renowned collections of industrial furniture design – from the infancy of industrial mass production in the mid-19th century through the designs of functionalistic Modernism up to the postmodern furniture objects of the present day. With its many exhibits, the collection provides us with an ideal base for developing new furniture miniatures. Model builders measure the historical original in the museum collection, scale this down to one sixth of the original size and compile technical documentation. Subsequently, materials and manufacturing techniques are tested over a period of several months: the shapes are formed, materials and processes are selected, art historical research on the objects is conducted and then the production sequences are defined.