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But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. It’s difficult to overstate the influence that modernism continues to wield over designers and architects - and equally difficult to overstate how revolutionary it was when it first appeared a century ago. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair - crafted with his romantic partner, designer Lilly Reich - and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface avoidance of ornament.”Įarly practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.įollowers of both groups produced sleek, spare designs - many of which became icons of daily life in the 20th century. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression.
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The late 19th and early 20th centuries saw sweeping social change and major scientific advances - both of which contributed to a new aesthetic: modernism. While FLOS lighting is the essence of modernity, its sleek, subtle designs can be used to strike a sculptural note in even traditional spaces.īrowse a broad range of FLOS lighting fixtures at 1stDibs. As instantly recognizable as they are, many FLOS designs remain accessible. In recent decades, FLOS has contracted work from several noted designers, including Marcel Wanders and Jasper Morrison. In 1973, FLOS purchased Arteluce, the company founded in 1939 by Gino Sarfatti, and it continues to produce his designs. His folded-metal Foglio sconces resemble a shirt cuff his carved marble Biagio table lamp looks like a jai alai basket. Designing for FLOS since 1966, Tobia Scarpa has also been inspired by the commonplace. Suggestive of streetlights, their Arco floor lamp, with its chrome boom and ball-shaped shade sweeping out from a marble block base, has become a staple of modernist decors.
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( George Nelson had pioneered the technique in the United States in the early 1950s.) For other designs, the brothers found inspiration in everyday objects. The two enlisted brothers Achille and Pier Giacomo Castiglioni as their first designers.Įven before FLOS was formally incorporated, the Castiglionis gave the firm one of its enduring successes with the Taraxacum pendant and associated designs made by spraying an elastic polymer on a metal armature. Following in the footsteps of innovative companies such as Artemide and Arteluce, the company FLOS brought a fresh aesthetic philosophy to the Italian lighting field in the 1960s, one that would produce several of the iconic floor lamp, table lamp and pendant light designs of the era.įLOS - Latin for “flower” - was founded in the northern town of Merano in 1962 by Cesare Cassina (of the famed Cassina furniture-making family) and Dino Gavina, a highly cultured businessman who believed that artistic ideas espoused in postwar Italy could inform commercial design.
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Imaginative lighting is a longtime hallmark of modern Italian design.