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' The design of the dining chair in figure 175 [below] can be understood in terms of its basis in the "hexagonal unit or module," which gave the house
what Wright called "a livelier domesticity." This chair was one of eighteen dining chairs, some of which can be seen in situ around the dining table in
figure 174 [photo I posted previously]. Designed in 1936, the chairs were not executed until 1957 in a shop in the Hanna House. Although they were
integral to the architecture, they were impractical. According to Dr. Hanna, the family
"used these chairs for the first few years, but a number of guests tipped forward and lost their balance off the chairs because of the triangular
suspension points. Mr. Wright condemned his design vociferously and asked us to destroy them all. . ." '
SDR- what do you take that to mean...in the workshop by Mr. Hanna?Designed in 1936, the chairs were not executed until 1957 in a shop in the Hanna House.
What a strange chair, even in the 1936 terms.
Have you had a chance to talk to the Archivist? If not, I am due to pester them again about the perforated boards, would you like me to add it to my questions? Palli
schindler is interested in making the chair "float". he uses a device here which he repeats through the rest of his life: a sort of sled base, moving the front legs back and creating a huge cantilever. wright's chairs look sturdy, but some tip... schindler's chairs look extremely precarious, but stand up quite well. schindler's plywood chairs tend to appear lighter than wright's, but this is a trick, often they have a very large flat base which stabilizes them.
the mori chair is an outstanding piece and embodies so much of wright's thinking about breaking down the box. all four legs (posts) are shifted away from the corners, the arms become a flat "roof" line, the open back and sides being like walls of glass, and the form is based on the perfect module of the square. a house for sitting.
the box chair from 1895, incredibly reductive and modern for it's time.
http://www.popularmechanics.com/home_jo ... 46191.html
that everyone in the family, as well as Stanford volunteers making toys for hospitals, etc, used the shop. The equipment included "a radial arm
saw, table saw, band saw, lathe, drill press, jointer, grinder, and vacuum cleaner."
The tool in the foreground of the photo is a ShopSmith, a popular multi-tool. But the list doesn't include a planer, essential for working all the
hardwood that Paul Hanna liked to collect on his travels. So that is a mystery. That he could have made eighteen of those complex dining
chairs in this shop is impressive. However, the text says only that they "were made in the shop." It doesn't say who made them. . .
gerrit rietveld gravity defying zigzag chair (1934) supported by similar base:
wright adelman chair (1951); still four "legs", but inset.
peterm, you are right about chair employing Wright's principles for the box. What I'm most struck with, is the way the chair distills Wright's treatment of wood elements into such a simple yet sublime object. Haiku. It also speaks to me in that it would look good in any Wright building, precisely because it is so elemental. The treatment of the corners, and the relationship of the wood members to one another is seen in Wright's mullion systems and their relationship to the eaves on most of Wright's work from 1901 to 1959.
it makes no difference whether this chair is comfortable or practical, as a sculpture, it's effect is equal to brancusi's "bird in space", but done in straight lines.