Living Edge is committed to original and genuine design, offering furniture by the most world-renowned designers and manufacturers..
As part of this commitment, Living Edge is bringing Vitra’s 100 Miniatures Exhibition to Australia in November, providing an opportunity for visitors to see the miniature versions of the world’s most
famous chairs all in one place. The collection celebrates the last 200 years of chair design, marking pivotal moments in the history of furniture design, and providing insights into history in general. Many of the chairs were revolutionary explorations of material, technology and form, and continue be used in the environments that we create and live in today.
Vitra’s 100 Miniatures Exhibition will be on show in Australia November 8 to March 26 with exhibitions in Living Edge’s Sydney, Brisbane, Melbourne and Perth Showrooms.
Want to know more? Find out all the information here.
Produced and distributed by Vitra Design Museum, Weil am Rhein/Germany after an original model by One Off Ltd., London. With the kind permission of Ron Arad, London. All rights reserved. In 1988 and 1989, Arad’s London »One Off« work shop created an entire series of »Big Easy« armchairs using bent sheet steel welded at the edges. The »Big Easys« were brought out as individual items or small limited series; they all had a striking basic form and inflated arms reminiscent of comics – but they differed in terms of the welding and color. In the course of time, the initially oarse, roughly welded »Big Easys« went through changes, first becoming colorful lacquered chairs with smooth surfaces and then elegant versions made of polished stainless steel. Although Ron Arad’s furniture are variants on everyday things, they seem strange and irritate the eye – not only owing to the choice of material. Formally and functionally speaking, they undermine customary assumptions. You feel you have to first learn how to use them. A »Big Easy’s« voluminous steel body of the »Big Easy« resembles a traditional upholstered club armchair but can hardly be associated with a sense of comfortable interiors. Ron Arad considered it an art object that could likewise be functional, but was not intended to be particularly practical.