José Zanine Caldas (1919-2001) was a self-taught artist, designer and architect from Brazil. For over 10 years he ran a workshop specializing in architectural scale models, where he developed over 500 models for top Brazilian architects including Oscar Niemeyer and Lucio Costa. In 1949, Caldas created the Fábrica Moveis Artísticos Z to produce standardized plywood furniture for a wider public. Tired of the capitalist approach of the company, he put an end to the venture and moved to the coastal suburb of Nova Viçosa. There he began to create furniture that was later called Móveis Denúncia, or protest furniture. Inspired by both the local craftsmanship and the natural resources of the area, his large wooden pieces were often made from a single tree trunk. Perfect as a desk chair or a bedroom side chair. 18 in. wide x 22 in. deep x 31 in. tall & 18 in. seat height. Referenced and documented but unmarked. less
José Zanine Caldas (1919-2001) was a self-taught artist, designer and architect from Brazil. For over 10 years he ran a workshop specializing in architectural scale models, where he developed over 500 models for top Brazilian architects including Oscar Niemeyer and Lucio Costa. In 1949, Caldas created the Fábrica Moveis Artísticos Z to produce standardized plywood furniture for a wider public. Tired of the capitalist approach of the company, he put an end to the venture and moved to the coastal suburb of Nova Viçosa. There he began to create furniture that was later called Móveis Denúncia, or protest furniture. Inspired by both the local craftsmanship and the natural resources of the area, his large wooden pieces were often made from a single tree trunk. Perfect as a desk chair or a bedroom side chair. 18 in. wide x 22 in. deep x 31 in. tall & 18 in. seat height. Referenced and documented but unmarked. less
The Hyo Table in the traditional Shou Sugi Ban finish offers an elegant and eye-catching blend of modern minimalism and Japanese-inspired artistry. This wood cube side table or stool features an incomparably textured surface, with depth and contrasts of color. A refined and earthy accent for any living space, it brings a touch of organic sophistication. We burn Alabama yellow pine, using the Japanese Shou Sugi Ban finishing method (plus a little extra sealer.) These wooden cube side tables are great for indoor and outdoor use. Durable and versatile, cluster several Hyos for a coffee table. They are even sturdy enough to use as informal seating. Check out the Hyo Table Cube Side Table in Natural Pine or Walnut Hyo Table. These pieces are HEAVY. Please review ALL Additional and Shipping Information below.
About JOSE ZANINE DE CALDAS (1919-2001). Pair of armchairs model “H.” Manufactured by Moveis Artísticos Z. Brazil, 1949. Marine plywood, fabric upholstery. Measuremenents 58 cm x 50 cm x 80 H cm. Literature: Habitat, nº9, Sao Paulo 1952. José Zanine Caldas (Belmonte, Bahia, 1918 - Vitória, Espírito Santo, 2001) was an architect and designer. Caldas stands out on the national architecture in Brazil for his exploration of the constructive qualities of Brazilian woods, defining his work with a warm rustic ambience, working on both high-end residential projects and also popular constructions. Never actually training as an architect, he starting working in the 1940s as a designer at Severo & Villares and as a member of the National Artistic Historical Heritage Service (Sphan). He opens a maquet studio in Rio de Janeiro, where he worked between 1941 and 1948, and, at the suggestion of Oswaldo Bratke (1907-1997), moved the studio to São Paulo, from 1949 to 1955. The studio served important modern architects of the two cities, and was responsible for most of the models presented in the book Modern Architecture in Brazil, 1956, by Henrique E. Mindlin (1911-1971).. During the 1940s, he also began developing and researching at the Institute of Technological Research of the University of São Paulo (IPT/USP), and was first introduced to plywood. In 1949, he founded the Fábrica Móveis Artísticos Z, with the objective of producing large-scale industrialized furniture, good quaility and afforable, the furniture was to be materialized using plywood sheets. This method minimized material waste and the need for artisan skills, as the parts were mechanically produced and the use of labor was only needed for the assembling of the furniture. His time at Móveis Artísticos Z, in 1953 was rather short lived and left the company in 1953 and instead worked on landscape projects until 1958 in São Paulo, when he moved to Brasília, where he built his first house, also in 1958, and coordinated the construction of others until 1964. Appointed by Rocha Miranda to Darcy Ribeiro (1922-1997), he joined the University of Brasília (UnB) in 1962 and taught modeling classes until 1964, when he lost his position due to the military coup. He set off and travelled through Latin America and Africa, an experience that had a remarkable effect on his work. On return to Brazil he built his second house, the first of a series of projects in the Joatinga region of Rio de Janeiro. In 1968, he moved to Nova Viçosa, Bahia, and opened a workshop, which ran up until 1980. His experience in the Bahian city was shaped by his renewed love and contact with nature, and he began working closely with environmentalists. In one of these collaborations, he participated in the project of an environmental reserve with the artist Frans Krajcberg (1921-2017) for whom he also designed a studio in 1971. The furniture he designed during this period, is reflective of his ecological sensitivity, his works were constructed with crude logs of wood, whose twisted lines inspire his drawings. It is also in Nova Viçosa that the architect builds the Casa dos Triângulos (1970) and casa da Beira do Rio (1970), in which he adopted a very artisanal construction system with typical woods of the region. According to the historian and architecture critic Roberto Conduru, Caldas' performance was relevant for the diffusion of environmental values in architectural projects: a "taste for the alternative and the rustic was disseminated throughout the Brazilian territory [...], encouraged by environmental preservation campaigns, by the wear and tear of the current models in reinforced concrete and by the re-emergence of the regionalist ideal in the international panorama"1. Between 1970 and 1978, he kept an office in Rio de Janeiro, where he returned in 1982. In 1975, the filmmaker Antonio Carlos da Fontoura made the film Arquitetura de Morar, about the houses of Joatinga, with a soundtrack by Tom Jobim (1927-1993), for whom Caldas designed a house. Two years later, the architect's work was exhibited at the Museum of Modern Art of Rio de Janeiro (MAM/RJ), at the São Paulo Museum of Art Assis Chateaubriand (Masp) in Belo Horizonte, and the following year at Solar do Unhão, in Salvador. Between 1980 and 1982 The Helium House Olga Jr was designed and built in São Paulo. Caldas outlined the plans for the construction sourcing the all the wood, the actual assembly of the house was carried out by the owner. The house, is defined by wooden structure that stands out from the fence walls, the clay tile roof of wide eaves and the demolition materials that give the building the feeling of rusticity, warmth and nostalgia. The house was similar to those built in the 1970s for Eurico Ficher and Pedro Valente, in Joatinga. In 1983, Calders founded the Center for the Development of Applications of The Woods of Brazil (DAM), and gave it to UnB in 1985. During this period, he proposed the creation of the Escola do Fazer, a teaching center focused on the use of wood for the construction of houses, furniture and utilitarian objects for the low-income population. Despite the fact that much of Calders early work was centered around building houses for the elite, in the 1980s the designer dedicates himself the DAM where he rigorously researches popular housing based on artisan construction processes and whereby the users participate in the construction process. At the Brasília unit, he developed prototypes of popular houses with eucalyptus logs as a structure and sealing in soil-cement, betting on an ideal of self-construction already tested at Casa do Nilo, in São Gonçalo, Rio de Janeiro. From that moment on, as occurred with his the furniture designs, Caldas adopts the use of crude wood logs rolled - and no longer rigged - usually discarded, allied to demolition materials, which radicalize the effect of rusticity and warmth. This method also spread to non-residential projects, such as the Barra das Princesas Agropecuária S. Fazenda Chapel in Araguaia, Mato Grosso, the chapels of Guarapari, Espírito Santo, and Itapissuma, Pernambuco and Pousada Pedra Azul, in Domingos Martins, Espírito Santo. Calder’s success without a doubt was thanks to his modeling studio, where his clientele noticed his ability to propose solutions to the design problems he identified during the execution of the models. In 1986, however, the publication of his work in the magazine Projeto n. 90 initiated a controversy in the Regional Council of Engineering and Architecture (Crea) over the fact that Caldas was self-taught. Several architects jumped to his defense, among them Lucio Costa (1902-1998), who awarded him five years later, at the 13th Brazilian Congress of Architecture in São Paulo, with the title of honorary architect given by the Institute of Architects of Brazil (IAB). In 1989, he was reinstated to his post at UnB, but did not teach. That year, he traveled to Europe, where he designed residences in Portugal and taught at the École d ́Architecture in Grenoble, France. The Musée des Arts Decoratifs in Paris held an exhibition of design pieces in 1989, the same year he received the silver medal from the College of Architects of France. The integration of industrialism of the 1950s and the ecologism of the 1970s a huge challenge to many industrial designers. This was a theme that was very much present in Calder’s work. It was this debate that removed the architect from the proposal of serialization carried out in Z and brought him back to craftsmanship and the indigenous language of Brazil, the house of the architect Carlos Frederico Ferreira (1906 - ca.1996) and Casa Hildebrando Accioly de Francisco Bologna (1923), are both examples of Calder’s connection with his grounded roots. José Zanine Caldas has left an important legacy, permeating both serial production and the priority of native manufacturing.
Need more than just a seat? These 50 sculptural chairs make art out of bamboo, wood, plastic, acrylic, wool and satin, taking your interior to the next level.
Walter Gropius briefly continued his professional architectural practice after founding the Bauhaus. This house in Jena, Germany reflects his iconic style.
Sombra e água fresca...
Discover DC1919 Lounge Chair on Carpenters Workshop Gallery.
I've received an overwhelming response to the Silly Walks clock I made. I was inspired by this wristwatch. It's great that so many people like my clock, and also to see how many Monty Python fans there are out there! This is an in-depth tutorial on how to make the clock. If you have any questions, there is a FAQ page, and I'm happy to answer any additional questions you might have. You can also see other people's silly clocks for inspiration! Here we go! Finished clock Table of contentsPreparation: Materials needed Step 1: Decoupage the clock's face Step 2: Make the clock hands Step 3: Assemble the clockwork Step 4: Add the hands Preparation: Materials needed Necessary: 20x20 cm 3D (deep) canvas (or any size you might want) Clockwork and hands Tip: buy cheap clock hands, because you're going to cut them up later Note: You might not need to buy hands, it depends on what clockwork you have Decoupage glue/varnish I used matte glue/varnish because I prefer a less shiny look Decoupage brush Tip: Use a fine, wide brush for the best and fastest application of glue/varnish Regular glue For gluing the printed legs to the clock hands Plastic, extra sturdy This is for making the clock hands Tip: A sturdy plastic folder you can cut up works fine The clock face with numbers and John Cleese's upper body and the legs for the clock hands printed on regular paper I used a laser printer - please note that inkjet printers can cause difficulties when decoupaging (see the FAQ for more info) My source files can be downloaded here If you want the easiest solution: just print the two files with A4 in the filename on regular A4 paper, and they will be perfectly sized for a 20 x 20 cm canvas The font used for the numbers is Janda Safe and Sound Useful: Awl This is for making the hole for the clockwork Razor blade and scissors This is for cutting out the legs, and other things that need cutting Wire cutters This is for cutting the clock hands Small brush This is for doing touch-ups Black marker This is for hiding white edges (e.g. on the clock hands) Optional: A spray bottle with water This is for getting a better result when doing decoupage Step 1: Decoupage the clock's face Start off by creating the clock's face. Print the numbers and John Cleese's upper body on regular paper. I used a laser printer. If you printed using an inkjet printer you might experience some problems with smudging - see the FAQ page for more info. Cut the clockwork paper to about the same size as the canvas' front. Make it slightly larger. For this step you're also going to need all the decoupage material from the materials list above: Decoupage glue/varnish Decoupage brush Optional: spray bottle with water Canvas Lay out the canvas and the clockwork print on something you can throw away later, in order to protect the table/floor/wherever you choose to work (I work on the floor). As you can see, I put the clockwork print on an old plastic bag because I'm going to get it wet. Optional: Spray a good amount of water on the clockwork paper and let it soak it in. This is for reducing the risk for getting bubbles when you later put glue on the paper. However - beware! - this makes the paper much more fragile than when dry, and you risk ripping it when you add it to the canvas. So be careful! Paint a generous amount of glue/varnish on the canvas while the clockwork paper is soaking the water. Make sure you get an even spread all over the canvas. Carefully (!) place the clockwork paper onto the canvas. Make sure to place it straight, and neatly along the edges. You can take it off and redo it, but this increases the risk of ripping the paper (believe me...). When you're satisfied with the placement, use your hands to carefully press out any air bubbles (remember that the paper is fragile so be light to the touch). Paint a generous amount of glue/varnish onto the paper as well. Make sure to spread it evenly. Also press down the corners properly so that they lie flat against the canvas and become as invisible as possible. Let the canvas dry (I left it over night to really make sure it dried properly). You can always add another coat of glue/varnish after the first has dried if you find that you missed a spot. Step 2: Make the clock hands Next, you should make the clock hands. For this you will need the following from the list above: The legs printed on regular paper Sturdy plastic sheet (or a sturdy plastic folder) Decoupage glue/varnish Decoupage brush Optional: Spray bottle with water Razor blade Note: For the first clock I made I used a sturdy plastic folder for this, but the legs had a tendency to bend. Therefore, this time I bought sturdy plastic sheets from my local crafts store, in the hope that it would be better (it wasn't). Others have told me that they used plastic folders successfully (though sturdier than the one I used at first), and I did a third try that worked well. However, I can't help but think that some kind of thin metal or a material like that is even better for this. Thus, if you find something better, please let me know! Using a plastic sheet Using a sturdy plastic folder Cut out the legs in a rough shape. Make sure to leave quite some white space around them (it's just to make life simpler). Cut out a large enough piece of plastic. Just as when doing the clock face, spray water onto the legs and let them soak a little. Meanwhile, paint glue/varnish onto the plastic. Carefully lift the paper and place on the plastic. Use our fingers to press out any air bubbles. Paint glue/varnish on the front of the paper and let dry over night. With the thinner plastic, the legs became a little... bent... The tougher plastic turned out just fine though! :) If your legs look all bent like mine after they dried (sigh), there is a way to fix it. Don't worry! Just decoupage a piece of regular paper to the back of the plastic (make sure the front is properly dry first), like you did the legs. Let dry, and the legs will have straightened out reasonably well. When the legs have dried properly, use a razor blade or scissors (depending on your plastic material) to cut them out (make sure you have something protecting the surface underneath - I use a flattened cereal box :P). Be very careful and accurate when you cut. And there you go! Clock hands in the shape of legs O_o. Step 3: Assemble the clockwork Now it's time to assemble the clock face and the clockwork. The way to do this might vary depending on what kind of clockwork you have, but I imagine that the process is quite similar at least. Anyway, for this step you'll need: Clockwork Clock face Awl My clockwork has four parts. You can see the "instructions" for my clockwork in the photo above. First, you need to find the centre of the canvas. Then use the awl to make a hole big enough to fit the clockwork through. My awl is just about the right size. Use your fingers (be careful when pushing the awl, though) or something that isn't fragile to prevent the canvas fabric from being pushed inwards and ruining the clock. My clockwork has a wide rubber ring that goes on first. It's very easy to forget... Then put the clockwork through the hole, and attach the screw on the other side. Make sure to screw it in properly - you may need to widen the hole. There is one screw left for my clockwork, but I'll save that for the next step. Finally, I'm going to use the extra print of John Cleese's upper body to cover the golden glimmer of the screw. I'll cut a circle the same size as the screw, make a hole in the middle of it, and simply glue it to the screw. There - done with this step :). Just one more step to go! Step 4: Add the handsNow the clock is almost finished! For this final step you'll need the following: Clock face with attached clockwork (+ the remaining screw for the clockwork) Clock hands Cut out legs for new hands Glue Awl Pencil Razor blade Wire cutters You may not need to buy clock hands at all for this, but I use them since the holes are not circular and for making the clock hands move correctly I don't dare do without them. Also, the hour hand has a bit of a distance so the hands don't come too close to each other. However, I'm going to cut up the hands, so I just bought really cheap ones. Lay out the hands on top of the legs. Make sure they are facing the correct direction - you'll want the holes to be in the right direction as well since the legs have to point to the right numbers. Use a pencil to draw where the hole is. Use the awl and the razor blade (or whatever tools works for you) to make the holes in the legs. Have some kind of protective material underneath the legs while you work (I used the folded cereal box again). Try to put the legs onto the clockwork to make sure the holes are big enough - they might require a little tweaking. Now that you have the holes in the legs you can cut off the clock hands so they don't show where the legs bend. Then glue the hands to the legs. Once the glue is properly dry, add the clock hands to the clockwork, and put on the last screw. On my clock it's possible to see some white on the sides of the clock hands from the paper. I used a black marker to paint over this so it wouldn't show. It doesn't have to be perfect, but enough so you don't see the white shine from a distance (I could have done this before putting the hands on the clock, but I've found that my marker doesn't dry properly, so my fingers would get all black when handling the legs - that's why I saved it for last). If necessary, you can glue a small, circular piece of the print out of John Cleese's upper body to hide the top screw. Aaaaaaaand - done! I hope you're happy with the result :). I would love to see what you've done, so please send me a photo. If it's all right with you, I'll add it to the page with other people's clocks!
This chair has sold but available for custom order. This wingback chair has been upholstered in one of my favorite print and style. For this Pop Art chair I mixed fabric, pattern, texture and colors. It is a unique and fun addition to any room. Shipping I use private carriers to pick up and deliver your chair to your address. The driver will contact you to arrange for a delivery time and date so that you are able to receive your order. If you need it sooner, I offer an expedited service as well. I am not responsible for any damage that may occur during delivery. Please inspect your chair immediately upon delivery and note any damage to the driver as you will need to file a claim with them directly. Cancellation, Return, and Exchange policy All sales are final. I do not accept cancellations, refunds, or exchanges. Please contact me for any questions or concerns. Chairs Condition I work with pre owned, vintage and antique chairs. This means that there will be minor cosmetic imperfections. Anything needing repair has been repaired, frames are hand painted and there might be minor brush strokes in the finish. All fabric and material are new. Please look at all of my photos for an accurate description of the chair. If you have any questions please contact me.
José Zanine Caldas (1919-2001) was a self-taught artist, designer and architect from Brazil. For over 10 years he ran a workshop specializing in architectural scale models, where he developed over 500 models for top Brazilian architects including Oscar Niemeyer and Lucio Costa. In 1949, Caldas created the Fábrica Moveis Artísticos Z to produce standardized plywood furniture for a wider public. Tired of the capitalist approach of the company, he put an end to the venture and moved to the coastal suburb of Nova Viçosa. There he began to create furniture that was later called Móveis Denúncia, or protest furniture. Inspired by both the local craftsmanship and the natural resources of the area, his large wooden pieces were often made from a single tree trunk. Perfect as a desk chair or a bedroom side chair. 18 in. wide x 22 in. deep x 31 in. tall & 18 in. seat height. Referenced and documented but unmarked. less
Os móveis são, em geral, vistos como objetos meramente funcionais, usados para organizar as nossas casas. Mas o designer Judson Beaumont tem uma visão totalmente diferente sobre esses objetos e, desde 1985, ano em que fundou a Straight Line Designs Inc., se dedica a criar peças a partir de ideias aparentemente impossíveis. Os resultados são obras importantes que funcionam não apenas como móveis, mas também como objetos únicos de decoração. A inspiração desse verdadeiro artista está diretamente ligada ao mundo da Disney, pois várias de suas criações se baseiam nas histórias do Mickey, do Pateta, da Minnie e do Pato Donald. O designer também criou modelos com detalhes que dão vida às peças inanimadas, transformando-as em personagens vivos e trazendo um pouco de magia para qualquer lugar.
Oh wowzas. She took soooo long to do! I was given this dresser and thought - I need to do something fun. I saw this old card and of course, the Queen of Hearts…
Sempre gostei de cores do ambiente, e uma decoração com móveis coloridos é uma ótima forma de deixar o seu cantinho mais alegre. No meu quarto (quase todo branco) o toque de cor fica no criado mudo, que é verde, e acreditem… faz a maior diferença! Eu sempre gostei muito de decoração e acompanhava sites, blogs, revistas, vídeos e programas de televisão que muitas vezes mostravam como era fácil e legal pintar móveis de madeira, mas nunca tinha tentado até que há alguns anos tivemos a ideia de dar uma reformulada na casa da minha avó e trocamos alguns móveis, mas como nem tudo eram flores, não tínhamos dinheiro pra mudar o armário da cozinha, que estava terrível, e resolvemos pintar. O armário ficou novo e a coisa mais linda do mundo, fiquei muito orgulhosa do trabalho feito. Pintar o armário da minha avó foi o começo de uma paixão por reformar móveis de madeira. Hoje em dia sempre que vejo algum eu tenho vontade de pintar, mas é difícil eu poder, né? Depois da minha mesinha amarela eu nunca mais pintei nada, mas não é por falta de vontade ou inspiração. Então, se você tem um móvel de madeira em casa e cansou dele, que tal pintar? Para fazer sua decoração com móveis coloridos, basta ter lixas, tinta específicas para madeira, pincel e rolo. Antes de pintar você precisa lixar todas as superfícies pra deixá-las bem opacas, permitindo a fixação da tinta, depois é só limpar e pintar. Ainda não sabe como fazer? veja o passo a passo da minha mesinha. Quando pintamos o armário da vó compramos a tinta branca e pigmentos pra fazermos a cor como queríamos: compramos um amarelo e um azul, e o móvel ficou com partes amarelo bebê e partes azul bebê, super fofo. Foi uma ótima opção. Fica a dica pra você começar o ano com móveis não tão novos! +100
