Sometimes you'll hear people say that Mid-Century furniture, design and architecture is having a 'rebirth'. Pieces of furniture from the fifties has been resurging for around twenty years now and it shows no signs and symptoms of reducing at all.
There are very few things about which one can make so sure a pronouncement of immortality as, for example, a George Nelson platform bench a Charles Eames chair or Noguchi table. Any time something reaches that level of design purity, it will continue to be popular and to be rediscovered persistently by every single new generation.
Designer Paul Frankl wrote: "Style is the external expression of the inner spirit of any given time." It turned out that the modern style of the Mid-Century experienced much more endurance than anyone could believe. It did not stop to influence the modern design after an arbitrary cut-off line at 1960.
Instead, it truly is continuing heartily into following millennium; still defining modernism for our time. Its prototypical shape isn't merely the cutting edge of a single decade, but overreaching appearance language that represents the greatest part of a century.
The frank design and unusual shapes of the nineteen fifties that once caused scoffing in scholarly groups don't seem 'weird' anymore. In light of the post-modernist whimsies and brutal deconstructionism of the 1980's, '50s household furniture looks, in fact, sophisticated. That demand for this specific kind of household furniture is reflected in the number of completely new stores and website focused in retro, vintage and mid-century furniture and by the reissue -by the Herman Miller Company after years of customers' requestes- of the classics pieces of George Nelson, Charles and Ray Eames and Isamu Noguchi from the mid-century: the apex of '50s design in America.
There are very few things about which one can make so sure a pronouncement of immortality as, for example, a George Nelson platform bench a Charles Eames chair or Noguchi table. Any time something reaches that level of design purity, it will continue to be popular and to be rediscovered persistently by every single new generation.
Designer Paul Frankl wrote: "Style is the external expression of the inner spirit of any given time." It turned out that the modern style of the Mid-Century experienced much more endurance than anyone could believe. It did not stop to influence the modern design after an arbitrary cut-off line at 1960.
Instead, it truly is continuing heartily into following millennium; still defining modernism for our time. Its prototypical shape isn't merely the cutting edge of a single decade, but overreaching appearance language that represents the greatest part of a century.
The frank design and unusual shapes of the nineteen fifties that once caused scoffing in scholarly groups don't seem 'weird' anymore. In light of the post-modernist whimsies and brutal deconstructionism of the 1980's, '50s household furniture looks, in fact, sophisticated. That demand for this specific kind of household furniture is reflected in the number of completely new stores and website focused in retro, vintage and mid-century furniture and by the reissue -by the Herman Miller Company after years of customers' requestes- of the classics pieces of George Nelson, Charles and Ray Eames and Isamu Noguchi from the mid-century: the apex of '50s design in America.
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