本書以時(shí)間為軸線,從獨(dú)特的角度向讀者展示了大量的收藏品,以及藏品背后的故事和各具特色的展示區(qū),對(duì)室內(nèi)設(shè)計(jì)師、設(shè)計(jì)愛好者及收藏家有一定的借鑒意義。書中生動(dòng)的文字不但為大量的藝術(shù)品和每件藏品背后的人提供了深刻的見解,同時(shí)也為多種藏品創(chuàng)造了獨(dú)特事宜的展示空間。
數(shù)個(gè)世紀(jì)以來(lái),收藏品一直都是人類生活的一部分,既有珍稀貴重的收藏品,也有能夠引起童年回憶的簡(jiǎn)單藏品。本書圖片豐富,項(xiàng)目各具特色,描述詳盡生動(dòng),著眼于大量的收藏品:當(dāng)代藝術(shù)品、復(fù)古潮流服飾和圍巾、墻紙、陶瓷、現(xiàn)代珠寶、書籍珍本等。為了滿足藏品的獨(dú)特需要,一些收藏家為之專門定制了獨(dú)特的空間,還有一些收藏家將住宅改造成了藏品的庫(kù)房,拼命的為下一個(gè)收藏品準(zhǔn)備空間,其中一個(gè)帽子設(shè)計(jì)收藏家甚至利用浴缸來(lái)安置他的藏品。本書不單展示了珍稀的收藏品,而且描述了收藏品的特點(diǎn)和他們對(duì)下一藏品的“狩獵”,從新穎的角度對(duì)那些令人印象深刻的藏品進(jìn)行了闡述。
自20世紀(jì)90年代起,史蒂芬•克拉弗緹一直在從事建筑和設(shè)計(jì)方面的寫作。在澳大利亞墨爾本,他受周圍的建筑所啟發(fā),非常渴望分享他所看到的事物——無(wú)論是建筑、家具、時(shí)裝或其他當(dāng)代設(shè)計(jì)中的精品。在多年的寫作生涯中,他一直從事“喜歡的事物”,盡管已經(jīng)創(chuàng)作了大量的書籍和文章,但他依然樂(lè)于不斷發(fā)現(xiàn)更吸引人的設(shè)計(jì),并從中獲得了極大的快樂(lè)。他經(jīng)常為澳大利亞新聞、當(dāng)?shù)睾蛧?guó)際設(shè)計(jì)雜志投稿。
目錄
4 前言
8 阿利•艾特金 / 動(dòng)物標(biāo)本
18 佚名 / 家具:傳奇的舒利姆•科瑞姆珀(Schulim Krimper)
28 邁克爾•巴克斯頓 / 當(dāng)代澳大利亞藝術(shù)品
38 克里斯•康奈爾 / 椅子
46 蘇珊•柯蒂斯 / 精美藝術(shù)品
56 貝亞特和范恩•費(fèi)希爾 / 精美藝術(shù)品
66 桑迪•蓋耶 / 當(dāng)代珠寶
76 克里斯多夫•格拉夫 / 腹語(yǔ)式木偶
86 莎拉•格斯特 / 澳大利亞木箱
96 諾拉•哈格里夫斯 / 珍稀舊時(shí)織品
106 約翰•亨利 / 名品家具
116 馬丁•希斯科克 / 珍貴貝殼
126 馬喬里•約翰斯頓 / 舊時(shí)圍巾
136 羅謝爾•金 / 瓷器
146 揚(yáng)尼•勞福德•索爾提斯 / 現(xiàn)當(dāng)代時(shí)裝
154 里昂住宅博物館 / 澳大利亞當(dāng)代藝術(shù)品
164 邁克爾•馬丁 / 書籍珍本
174 揚(yáng)和 莫里斯•米德 / 克拉麗絲•克里夫陶瓷
184 菲利斯•莫菲 / 墻紙
194 蘇西•斯坦福 / 蛋糕裝飾
204 艾莉森•沃特斯 / 時(shí)尚帽子
214 版權(quán)許可
216 致謝
本書以時(shí)間為軸線,從獨(dú)特的角度向讀者展示了大量的收藏品,以及藏品背后的故事和各具特色的展示區(qū),對(duì)室內(nèi)設(shè)計(jì)師、設(shè)計(jì)愛好者及收藏家有一定的借鑒意義。書中生動(dòng)的文字不但為大量的藝術(shù)品和每件藏品背后的人提供了深刻的見解,同時(shí)也為多種藏品創(chuàng)造了獨(dú)特事宜的展示空間。
本書插圖精美,既有優(yōu)雅的藏品空間設(shè)計(jì),也有大量精美而珍貴的收藏品,同時(shí)通過(guò)生動(dòng)活潑的文字講述了藏品背后豐富迷人的故事。每個(gè)收藏家都窮盡自己的智慧,不斷的為“下一個(gè)”藏品創(chuàng)造各種獨(dú)特而適宜的空間,形成不同的展示區(qū)。
家具:傳奇的
舒利姆•科瑞姆珀(Schulim Krimper)
佚名
ANONYMOUS
FURNITURE
The legendary Schulim Krimper
THE OWNER OF this extraordinary collection of furniture by furniture maker Schulim Krimper has filled their entire home with the designer’s pieces. In every room there are sideboards, dining tables, chairs, coffee tables or cabinetry. There’s even built-in joinery by Krimper, designed for the owner’s parents.
If you look under tables or protective cloths, you’ll find more Krimper, who made his impact on the Melbourne design scene from the 1940s through to the 1960s. Originally from the Austro-Hungarian Empire, Krimper designed entire interiors for his Melbourne clientele shortly after he arrived in 1939.
The owner recalls how Krimper would arrive in his dustcoat and take extensive details about what was needed. ‘He wore gloves, particularly when a certain built-in unit would arrive. And doorways were always extremely well protected,’ says the owner, who started collecting Krimper furniture from the mid-1950s.
Some of the furniture, such as the six-seater lounge suite in the formal dining area and the lamp beside it, belonged to the owner’s parents. But these whetted the owner’s appetite to collect their own Krimper pieces. In most of the rooms there are dining tables and chairs created by the maker. For example, in the kitchen there are two full dining suites. Buffets, one of the owner’s favourite furniture types, can be found in almost every room, including the bedrooms.
‘Buffets show Krimper’s immense talent for joinery,’ says the owner, pointing out the drawers with a dovetail-end and the fine brass rods used to strengthen some of the heavier cupboard doors.
The owner’s first Krimper purchases were a 1960s bookcase made from Queensland walnut and a daybed from the same period. ‘There’s no French polishing. Krimper used to wax his furniture. It feels like velvet.’ Then there are the more unusual pieces, such as a 1960s cocktail cabinet. One of the rarest pieces in the collection is a unit custom-designed for the first television set. ‘Krimper had an exhibition in New York and I had this sent over.’
Difficult to pigeon-hole, the owner describes Krimper’s style as a fusion of various influences, from Biedermeier to folk-like. ‘It’s quite organic in feel, but it always celebrates the timber, whether it’s Queensland walnut or teak.’ The depth and breadth of Krimper’s designs are also impressive. There are tea trolleys, glory boxes, bedheads and even fine timber bowls and utensils that came as part of a buffet. Some of the pieces recall another time. With the advent of the mobile phone, Krimper’s telephone table now seems an oddity.
Other Krimper designs show a fascination for the East. Some of the sideboards and bedheads are inspired by Japanese pergolas.
Other pieces feature fine parquetry tops and concealed nooks. But irrespective of the item, they all show a highly developed talent and understanding of engineering, allowing even the heaviest drawers to slide with great ease.
Although having hundreds of Krimper items, the owner hasn’t slowed down their desire to collect more. People hear about this collection through word of mouth, and rather than pass on their Krimper to a dealer, they contact this owner to see if they’re interested. Some pieces are also found at auctions or in stores. However, the owner can see straight away whether a piece is highly collectable. There’s a rare chess table in the billiard room or the highly desirable office desk and chair in the main bedroom – with its chunky glass table top.
While each of the Krimper pieces are treasured, so are the memories of meeting the designer and seeing him deliver pieces to the family home. ‘Sometimes he would meet with a client, take down all the details and go away. You wouldn’t hear from him for two years and there’d be a phone call announcing it was ready,’ says the owner. ‘It was never what you had expected, well beyond your expectations.’
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