waiting for space...

[waiting for space...]

[waiting for space...]

The Matisse Chapel

[communedesign]

The Chapelle du Rosaire de Vence, colloquially known as The Matisse Chapel, exists both as an ode to the artist’s life’s work and as a departure from the works for which he is most known. The artistic language of the structure is made up of simple, geometric elements atypical of the church setting (though Matisse was a self-proclaimed atheist, maybe this explains some of it). Abstract shapes in the details resemble his famous works on paper, but the sparseness overall feels different. Perhaps this emptiness serves the spiritual nature of the building, but perhaps it also reiterates the confidence that comes with age. It’s tempting to analyze the chapel in this way, as the chapel was built from 1949-1951, and it was only three years later when Matisse passed away at 84 years old. 

Either way, to say that Matisse’s chapel exists solely as a denominational house of worship would undermine the artistic splendor within. At face value, it is nearly stark: white-washed plaster walls with simple wooden pews makes up much of the square footage. The proportions are unusual as well. However, the “Matisse”-ness defiantly penetrates this minimalism as if the building is a canvas; his artistry soars here. Azure blue stained-glass windows cast streaks of color made possible only by the genius of his mind. This is what Matisse achieved so beautifully in the space: an understanding of restraint where necessary and audacity where it was most effective. Of course, the standard components of a catholic chapel are present, i.e. imagery of the Madonna and Child and of the Tree of Life, but they’re reimagined in his unique way – not forcibly ornate or gaudy at all. Instead, each component of the chapel demands a deliberate amount of thought, of attention, and of respect not just for the religiosity but truly for the artistic integrity of Matisse’s work. Even the garments intended to be worn by the priests serving the chapel were carefully designed by him. As the only non-stagnant piece of the chapel, they are the most emblematic of his crafting process. Formed by placing together various colorful panels, it’s clear that he intended for the garments to be able to be pieced together much like his cut-out pieces would have been. In the end, they stand out as beautiful artworks in their own right. 

[waiting for space...]

Introducing Glass Sculptures by Baku Takahashi

[communedesign]

We are pleased to share with you some very unique glass works, by Japanese glassblower Baku Takahashi. We originally met Baku through our friends in Japan, Landscape Products. Each sculpture is made entirely by hand, original in shape, color and form. 

We’ve included Baku’s artist statement below, in his own words as he beautifully describes his creative process:

“There are times that I find my just-finished work not so interesting even though I created it exactly how I imagined it in my head. 

In my opinion, the images in one’s head are affected by scenery, creation or images that one has seen before. I try to create something unimaginable that lays in the bottom of my memories or combine images which are not even connected in my head. 

First thing I do when making a new work is to sketch. Facing a blank paper makes my head tense so that, my first drawings tend to be unattractive. The more I keep drawing; however the more unnecessary thoughts vanish from my head, which enables me to create something innovative. 

The glass blowing technique allows me to create something very curvilinear and organic like natural materials or give a lively shape, which cannot be drawn on a sketch book since it has a tendency to shift shapes depending on heat and gravity. 

Attracted by charm of this material called glass, which is full of new findings, I’m always excited to create a new work without getting tired. 

I can create a shape that I’ve never imagined by lining up, combining or turning upside down various completed objects which have gone through these processes. 

I’m holding an exhibition hoping to share the sensation that I feel when I’m able to create something I’ve never seen before.”

[waiting for space...]

Villa Stenersen

[communedesign]

Though a lesser acknowledged work, Villa Stenersen in Oslo is a true celebration of functionalism. It’s an especially interesting site to analyze because the villa’s architect, Arne Korsmo was commissioned to create a building with two clear and potentially opposing purposes: a family home for the Stenersens and an art gallery for their large and impressive collection. When Korsmo began designing it in 1937, it was this duality that beckoned such thoughtful consideration of each element, from the architecture to the interior color palette. 

Considering the aforementioned, take the single rounded column in the main room. It functions to soften the rest of the room’s stark angles, but doesn’t cover them up or overwhelm them. It’s used resourcefully in communication with its neighbors, but leaves room for art. This level of restraint is what makes functionalism work so well. Where there are hard and practical materials employed, there may also be vibrant colors and rounded edges to suggest that a balance must remain between function and decoration. Another example of this duality comes in the form of the glass bricks that comprise the windows. Just the right amount of filtered light shines through for viewing the art collection, but they also afford just the right amount of privacy for a family. In fact, the light and openness of the space is something that Korsmo emphasized to serve both of the building’s functions maximally. 

The former home was donated by its original owner, Rolf Stenersen, to become a national museum, and has been restored over time to its intended glory. Aside from vintage pictures and Korsmo’s original drawings, the photos shown here come from a series of photographers (Ake Lindman, Tekla Severin, Mikal Strom, Federico Covre) who have visited the space at different times within the restoration process. 

Arne Korsmo dancing with his wife, Grete.

[waiting for space...]

Poland in Paper

[communedesign]

At Commune, we find ourselves regularly amazed by the multiplicity of talents most creatives have in their inventory. We expect them to be conversant in the skills for which they are most highly regarded, of course, but we really do prefer to focus on the art and craft rendered behind the scenes (far from galleries, collectors, clients). Becoming privy to these passion projects tells us something more intimate about each artist, and in the end, it’s really what inspires us the most.

Bearing this in mind, our research this week brings us to eastern Europe. Namely, to two designers situated in Poland’s design history: Józef Gosławski and Jan Kurzątkowski. They were a sculptor and a furniture designer, respectively. But the two were also artists who, given this timely holiday post, produced a rather thematic series of personal works.

The first few images included here are chairs designed by Kurzątkowski (1899-1975), who was a furniture designer and spear-headed the interior design wing of the Academy of Fine Arts in Warsaw. He was fascinated by the ways in which different materials afforded themselves to the shapes of 3-D objects. This becomes obvious in the following images, as paper sculpture (Christmas ornaments!) became a medium for him to explore this tension. It’s interesting to see the ways in which his furniture designs and paper sculptures speak the same language.  

If Kurzątkowski set the scene for Polish paper sculpture, Gosławski (1908-1963) essentially became the scene. The depth of his paper toy collection is something incredible. We found these Christmas toys after reading an article produced by the National Museum in Warsaw, where there was an exhibition that featured them. He created the toys for his children beginning in the 1930’s, building each year upon a collection that amounted to over 40 different pieces. They trace the history of design and the emergence of modernity in a way that is more organic perhaps than the acutely planned metal pieces might.  Further, they’re both whimsical and jovial while being executed with the technical mastery he utilizes in his metal sculptures as well.

Enjoy, and happy holidays from us to you.

[waiting for space...]

[waiting for space...]

[vurnii]

Poke Stool  /11 Modern Nesting Stools

[waiting for space...]

[vurnii]

Folding Chair by Lisa Hilland

See also:

Best Comfortable Folding Chairs for Small Spaces

[waiting for space...]

[plastolux]

Modern joinery by Jeff Martin#mid century, #architecture, #MCM, #modern, #design, #modernism

[waiting for space...]

[egonschiele-art]

Stein on the Danube 1913

Egon Schiele