design trends | viewpoint Mid century inspired furniture designed by Michael Wolk for Tomlinson’s Palm Spring Collection (from left) the Chandler, the Aubrey and the Valentino bed A MID CENTURY LEGACY Michael Wolk says that 1950’s and 60’s furniture designs are still relevant today T he visually compelling Madmen television series may be over, but the characteristics of the mid-century modern interior and furniture designs that it showcased not only endure to this day, but also continue to thrive. A quick look back at the evolution, ideas, and dominant designers of this era makes it clear why the distinguishing qualities of many mid-century modern furniture designs are as relevant and influential now as they were in the 1950s and ’60s. <strong>For</strong>emost among the ideas that influenced the furniture of this period was the fusion of art and design. Just as the Industrial Revolution transformed most furniture into a commodity, this notion enabled the shapers of the mid-century modern movement to once again celebrate craftsmanship as a wide array of artisans, artists, and sculptors began exploring furniture design. Paul McCobb, a design icon of this era, for example, trained as a fine artist. Isamu Noguchi, another widely recognized mid-century modern master, started his career an assistant to the sculptor Constantin Brâncuși. Other well-known designers, such as Harry Bertoia and Wharton Esherick, were also sculptors. And George Nakashima, known for his signature largescale tables made of large wood slabs with smooth tops and unfinished natural edges, preferred to be called woodworker to designer. The sculptural quality of three dimensionality these men exhibited in their work was reflected in the sinuous, fluid, and organic forms they created. The dominance of abstract art at this time was also mirrored in the abstract shapes and striking colors of their new designs. Like the major players of that era, numerous artists, fashion designers, and architects today are similarly crossing over disciplines and creating new exciting furniture designs. Another strong influence that helped define the key characteristics of mid-century Modern furniture design was the development of new post-World War II technologies. Among the materials that emerged from these new technologies were plywood, fibreglass, injection moulded 46 <strong>Bridge</strong> for <strong>Design</strong> <strong>November</strong> 2015 thermo-plastic, scrap aluminum, and foam, which designers readily embraced and incorporated into their designs. World War II also exposed American designers to the Bauhaus and International Style movements percolating overseas and their influences are clearly visible in the furniture that emerged in the decades that followed. In a similar way, computers, the Internet, and digital technologies are having a profound affect on furniture design today. From the methodology of rapid prototyping to new materials like carbon fibre and products like LED lighting, the possibilities with new methods and materials have exploded. Also fueling mid-century modern creativity was a sense of optimism after the war - and this was reflected in the exuberance of many new designs of the era. Some of the prominent manufacturers at that time, such as Knoll, Dunbar, and Directional, were also interested in bringing good design to the masses. <strong>Design</strong> became accessible not only financially, but intellectually and emotionally as well. Today, there is a similar general optimism since the dark days of the Great Recession. And once again furniture manufacturers are seeking to capture more sophisticated buyers with designs that appeal to the eyes, heart, and bottom. Like many of the important mid-century modern designers, I came to my career through painting and drawing. At Pratt, I trained as an industrial designer. At that time, the Bauhaus and Abstract Expressionism were still the major underpinnings of the curriculum. <strong>Design</strong>ers like Milo Baughman, Paul Evans, and Paul McCobb were in their prime and served as major influences on my designs. My preference for wood and craftsmanship led me to spend most of my time in the shop honing my skills as a woodworker. I also had (and still have) a strong belief that functionality does not preclude fine art, and this belief is expressed in my work. It’s inspiring to see elements of the not-so-distant modernist past morph beautifully into the future - and to be a part of its continuing legacy. Michael Wolk T: 001 305 576 2898 | www.wolkdesign.com
Beautiful New Fabrics in Wool, Silk and Flax The Silk Gallery 25 Chelsea Harbour <strong>Design</strong> Centre London SW10 0XE T: +44 (0)20 7351 1790 F: +44 (0)20 7376 4693 E: info@thesilkgallery.com www.thesilkgallery.com <strong>For</strong> more details on this company click on the ad <strong>Bridge</strong> for <strong>Design</strong> <strong>November</strong> 2015 47
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