#hanshollein

[thedarchive]

Hans Hollein

Chair,white flagging on kern

1972

[mia-decorative]

Coffee pot, from a five-piece coffee and tea set, Hans Hollein, 1981-1983, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

tray is designed to resemble an aircraft carrier with a large landing strip sanded into its surface Size: 11 x 7 1/2 in. (27.94 x 19.05 cm) Medium: Silver, blue methacrylate

https://collections.artsmia.org/art/3305/

[bizarrecolumns]

Austria Travel Bureau. Hans Hollein. Viena, Austria. 1978. #bizzarrecolumns #treecolumns🌴 #palmtreecolumns #hanshollein https://www.instagram.com/p/CNMtX7wsgP7/?igshid=1elgmt9ka4yp

[iamrobertoraveralopez]

Jewellery for Cleto Munari, Italy, 1986. 

Designed by Hans Hollein

Produced by Cleto Munari

Photograph by © Atelier Hans Hollein / Sina Baniahmad

Source: Hans Hollein

©

[paradisebackyard]

#HansHollein https://www.instagram.com/p/BxZvdG1Bvxg/?igshid=1ql14v4dqht2s

[worldfoodbooks]

BACK IN THE BOOKSHOP: MEMPHIS : RESEARCH, EXPERIENCES, RESULTS, FAILURES AND SUCCESSES OF NEW DESIGN (1985) • First 1985 printing of the UK hardcover edition of "MEMPHIS: Research, Experiences, Results, Failures and Successes of New Design", by Barbara Radice - arguably the greatest reference book on the work of the Italian Design group Memphis. • Written by Radice, a founding member of the Memphis group (and author of "Ettore Sottsass: A Critical Biography"), and documenting in stunning photography and reproduction the vast array of design work that this group produced across furniture, lighting, interiors, architecture, textiles, glassware, etc., this really feels like THE official Memphis book, embodying their spirit and design aesthetic in book form. • Founded in 1981, the international group of architects and designers, Memphis, shook the design world to its foundations. Based in Italy and led by Ettore Sottsass, it overturned and re-shaped the pre-suppositions on which the production of so-called Modern Design is based. It became the almost mythical symbol of the New Design. Laughing out loud at our culture and at itself, Memphis pulled out all stops when it came to colour, pattern, decoration and ornamentation. It sets out to contribute to the continuing dialogue on pop culture, the avant-garde and design. • This book features the work of Ettore Sottsass, George Sowden, Masanori Umeda, Shiro Kuramata, Nathalie Du Pasquier, Peter Shire, Michele de Lucchi, Matteo Thun, Alessandro Mendini, Andrea Branzi, Gerard Taylor, Michael Graves, Aldo Cibic, George James Sowden, Arquitectonica, Hans Hollein, Marco Zanini, Javier Mariscal, Thomas Bley, Martine Bedin, etc. • Via our website and in the bookshop tomorrow. • #worldfoodbooks #memphismilano #AldoCibic #AlessandroMendini #AndreaBranzi #EttoreSottsass #GeorgeSowden #GerardTaylor #HansHollein #JavierMariscal #MarcoZanini #MartineBedin #MasanoriUmeda #MatteoThun #MichaelGraves #MicheledeLucchi #NathalieDuPasquier #PeterShire #ShiroKuramata #ThomasBley (at WORLD FOOD BOOKS)

[hiddenarchitecture]

Plan and perspective view of The Compton Verney Opera Project, London, United Kingdom. 1988 - Hans Hollein

[mia-decorative]

Sugar bowl, from a Coffee and Tea Service, Hans Hollein, 1981-1983, Minneapolis Institute of Art: Decorative Arts, Textiles and Sculpture

sugar bowl with cover; tray is designed to resemble an aircraft carrier with a large landing strip sanded into its surface In 1981, Hans Hollein was one of eleven internationally-recognized architect-designers invited to design a tea and coffee piazza, as part of a special project undertaken by the well-known Italian design firm Alessi. The use of an architectural term for a functional object reinforces the Postmodern sense of architectural spacial arrangement given to familiar forms. Hollein chose an aircraft carrier to define the placement of his tea service components. The services were produced in editions of ninety-nine. Other architects who participated in the project included American Michael Graves and Italian Alessandro Mendini, who were both very active in the Postmodern movement of the 1980s. Size: 4 x 4 3/4 x 4 3/4 in. (10.16 x 12.07 x 12.07 cm) Medium: Silver, blue methacrylate

https://collections.artsmia.org/art/82045/