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Pair of Knoll Midcentury Gae Aulenti Lounge Chairs

About

Knoll International Gae Aulenti Italian architect and designer Gae Aulenti studied architecture at the Politecnico di Milano. A member of ADI (Associazione per il Disegno Industriale), she has taught at the Politecnico di Milano. She has designed furniture, lighting, textiles, showrooms, stage sets for opera and the interior of the Musée D`Orsay, Paris. She has participated in numerous Triennale di Milano, winning many awards. She is an honorary member of the American Society of Interior Designers. Awards: Design Center Stuttgart Award, W. Germany, 1977. Pair of vintage Knoll Gae Aulenti lounge chairs Separate seat and back cold foam polyurethane cushions with Dacron foam wrap over rubber and steel suspension for positive support and uniform appearance. Caramel leather cushion seats and backs. All cushions have zippers. Metal extrusion, rolled steel, restored polyurethane paint finish. Restored coffee table also available.

Details

  • Dimensions

    H 30 in. x W 32 in. x D 30 in.

    H 76.2 cm x W 81.28 cm x D 76.2 cm

  • Seat height
    17 in. (43.18 cm)
  • Seller location
    Pasadena, TX
  • Seller reference number
    MR15409
  • Sold As
    Set of 2
  • Reference number
    LU867111280223

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About Gae Aulenti (Designer)

The Italian architect and designer Gae Aulenti will forever be best remembered for her work with museums, in particular her 1980-86 renovation of a Beaux Arts Paris train station to create the galleries of the Musée d’Orsay. Aulenti — whose first name, short for Gaetana, is pronounced “guy” — should also be recalled for her tough intellectual spirit and for working steadily when few women found successful architectural careers in postwar Italy.

     After she graduated from the Milan Polytechic in 1954, Aulenti opened an architectural office. She also joined the staff of the progressive architectural magazine Casabella, whose editorial line was that the establishment, orthodox modernism of Le Corbusier and the Bauhaus, had outlived it usefulness. When their movement for fresh approaches to architecture and design received a sympathetic hearing, Aulenti found patrons — most prominently Gianni Agnelli, of Fiat, who later employed her to renovate the Palazzo Grassi in Venice for use as an arts exhibition space.

     Commissions for showrooms and other corporate spaces brought Aulenti to furniture design. She felt that furniture should never dominate a room. Her chairs and sofas — low-slung, with rounded enameled metal frames and ample seats — and tables, particularly her 1972 marble “Jumbo” coffee table for Knoll, project solidity and sturdiness. In lighting design, however, Aulenti is bravura. Each work has a marvelous sculptural presence. Pieces such as her “Pipistrello” table lamp and “Quadrifoglio” pendant are a perfect marriage of organically-shaped glass and high-tech fixtures. Others have a futuristic elegance—and some even have a touch of personality. Aulenti’s “Pileino” and “La Ruspa” table lamps each look almost like little robots. Her lighting pieces are an artful grace note in the career of a woman who believed in strength.

About the Seller

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