Picture 1 and 2 show chairs from either school (I remember the black ones being in our classroom for music-lessons at high-school, whereas Timm thinks they are design classics) or factory context. You can easily picture the brown ones in a break room for factory-workers (in the screw-factory, where I used to work, there where heaps of them).I think this second hand/bulky waste/ fleamarket-phenomenon in Berlin used to be anti-bourgeois and was based on the sellout of entire factories, schools and other institutions formerly owned by the east german government after the fall of the wall. I just recently talked to a dealer who had specialised in industrial-styled lamps- those sellouts where a gold-mine back then...
these are great. Feel free to invite Timm to the mix.
ReplyDeleteDid you take these? I assume you did because they are wonderful.
ReplyDeleteThank you, I took them last night on the way to Timm`s.
ReplyDeleteI have the idea to isolate individual chairs from their natural setting, bringing them in the foreground with their fellows in the blurry background, pretty much like I would picture portraits of people...
Isolating individual chairs would be really nice, but we should also capture them in groups, in their sociality. Modern design often wants to isolate and celebrate the chair as a singular object, but, as is so often the case on the streets of Berlin, chairs are part of collections that are mismatched, transhistorical, and very much a part of the environment.
ReplyDeleteYou are right, but I still suggest that we contrast the individual chair (emphasizing it`s very characteristics as a design object) with the same chair as part of a collection(as a functional object). Well I ll just take two pictures and we ll see, which we use.
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