Vitra Design Museum + Schaudepot17,00 € / 15,00 €*Vitra Design Museum 11,00 € / 9,00 €*Schaudepot8,00 € / 6,00 €*Guided tours 1h (Architecture tour Vitra Campus or Exhibition tour) 7,00 € / 5,00 €**Reduced prices: young people from age 12, students, seniors,disabled persons, groups of more than 10 people, combination of 3 and more tickets/person, children under 12 years of age free
Vitra Design MuseumCharles-Eames-Str. 2D-79576 Weil am RheinT +49.7621.702.3200F +firstname.lastname@example.org
Daily 10 am – 6 pm,24 December 10 am – 2 pm. The museum is open on Sundays and on all public holiday.
12.03.2016 – 22.01.2017Vitra Design Museum
08.10.2016 – 22.01.2017Fire Station
18.11.2016 – 12.03.2017Schaudepot
14.01. – 16.04.2017Gallery
07.01. – 02.04.2017OCMA Orange County Museum of Art, Newport BeachUSA
05.11.2016 – 31.01.2017San Diego Museum of ArtUSA
25.11.2016 – 02.04.2017 Hong Kong Design InstituteChina
24.11.2016 – 05.03.2017 MARCO Museo de Arte Contemporáneo de MonterreyMexico
The collection of the Vitra Design Museum ranks among the most important holdings of furniture design worldwide. It contains some 7000 pieces of furniture, a vast assemblage of lighting objects and numerous archives, as well as the estates of such designers as Charles & Ray Eames, Verner Panton and Alexander Girard. On 4 June 2016 opens the Vitra Schaudepot, created by the architectural firm Herzog & de Meuron, in which the Vitra Design Museum presents key pieces of its collection.
Guided tours through the Vitra Schaudepot:Highlights from the CollectionEvery Friday to Sunday 2 pmBehind the Scenes13.01.2017 3 pm
Vitra Design Museum + Schaudepot17,00 € / 15,00 €*Vitra Design Museum or Schaudepot11,00 € / 9,00 €*Guided tours 1h (Architecture or Exhibition tour) 7,00 € / 5,00 €**Reduced prices: young people from age 12, students, seniors, disabled persons, groups of more than 10 people, combination of 3 and more tickets/person, children under 12 years of age free
Daily 10 am – 6 pm,24 December 10 am – 2 pm.The museum is open on Sundays and on all public holiday.
Design: 1978Production: since 1978Manufacturer: Studio Alchimia, MilanSize: 107 x 105 x 94; seat height 35 cmsMaterial: painted wood, painted upholsteryThe “Proust” chair is the most famous design by Italian designer Alessandro Mendini, a highly influential champion of design in the eighties. As designer, journalist, and teacher, he has traced the cultural and substantive issues in the field of design, often working closely with related disciplines such as art, architecture, philosophy, and literature. Two of his basic ideas are essential for an understanding of his work: on the one hand, design today must be aware of its position within a nexus of existing ideas and images; on the other, according to Mendini, it can only be expressed externally and on the surface of things, if it is to convey its messages to a trivial, fast-moving world. In 1978, with the “Proust” chair, Mendini programmatically began a furniture series of socalled “redesigns” in which he reinterpreted the shape and ornamentation of existing designs that were typical of their day. Two years previously, he had begun work on a fabric pattern for Cassina which was to be a reflection on French author Marcel Proust. While researching the upper-middle-class environment associated with Proust, Mendini came across a copy of a chair in the Neo-Baroque style of eighteenthcentury France. Inspired by this discovery, he expanded the fabric project to yield a furniture design. He covered the chair completely with a colorful, handpainted swarm of dots which reproduced an enlarged section of a Pointillist painting by Paul Signac. Impressionism, which attempted to recreate the atmospheric appearance of nature through painting, was highly valued by Proust, and its presence here is a reference to the author and his time. However, by equally painting all parts of the chair, irrespective of their structure and purpose, Mendini succeeds in citing not only Impressionism but also the Baroque, using the infinite as a central motif. Impressionist painting and the Baroque are imitated and trivialized in the pattern of the “Poltrona di Proust,” turning the chair into a flickering vision imbued with meaning. Classic design qualities such as originality, a functional construction, or cost-saving production are thereby fundamentally called into question. The armchair was originally conceived as the only one of its kind, but variations were later manufactured by Mendini’s studio as individual pieces or in limited editions. MSCDesigner:Alessandro Mendini