拍品專文
Kuramata's work is characterised by the use of unusual materials and/or forms and possesses highly refined spatial qualities. This chair, named after the central figure in Tennesse Williams' 'A Streetcar named Desire', is perhaps Kuramata's most poetic design. The hand-placed imitation roses which are suspended in the acryllic body symbolise both a world of illusions and the essence of love, captured and frozen in time. The visual lightness of the design is highly deceptive - the chair actually weighs seventy kilos. Philippe Starck believes Kuramata's greatest legacy was 'for having spoken of the invisible' and certainly many of his chair designs give the illusion that they are made chiefly of air, defying the laws of gravity.
The present example was amongst the first ten examples to be made, and was acquired by the present owner prior to Kuramata's death in 1991.
See: Vitra Design Museum, exh. cat. no. 87.
Fiell, (Modern Chairs), p. 128.
The present example was amongst the first ten examples to be made, and was acquired by the present owner prior to Kuramata's death in 1991.
See: Vitra Design Museum, exh. cat. no. 87.
Fiell, (Modern Chairs), p. 128.