這張椅子的意圖是讓每個單元保持簡單,保留材料本身原始用途與形式,每個單元基於一個標準模組,組合後最易形成一個和諧的獨特東西-----------赫里特·里特費爾德
The intention behind this chair is to keep each unit simple, preserving the original use and form of the materials themselves. Each unit is based on a standard module, and when combined, they naturally form a harmonious and unique object. — Gerrit Rietveld
抽象與簡化是荷蘭風格派(De Stijl) (1917-1931)主張的兩大命題:外形上縮減到幾何形狀,顏色只用紅、黃、藍三原色與黑、白二非色彩的原色。藝術家們共同關心的問題是:簡化物直至本身的藝術元素。因為高度邏輯化,也就導致這個運動的所有成員都熱衷於通過數學的計算來達到設計上的視覺平衡。而荷蘭建築師,也正是我們這篇的主角:赫里特·里特費爾德(Gerrit Rietveld),正是代表人物之一。
Abstraction and simplification were the two main principles of the Dutch De Stijl movement (1917-1931). Visually, it focused on reducing forms to basic geometric shapes, using only the primary colors of red, yellow, and blue, alongside the non-colors black and white. The artists of this movement shared a common concern: to simplify objects down to their fundamental artistic elements. Due to its highly logical approach, members of this movement were enthusiastic about using mathematical calculations to achieve visual balance in their designs. One of the key figures in this movement was the Dutch architect Gerrit Rietveld, who is the main subject of our discussion.
蒙德里安(Piet Cornelies Mondrian)的畫作《紅黃藍》
里特費爾德的一生設計過300多件家具,而斯特曼椅是他人生最後一件家具設計,1963年受海牙珠寶商施特曼(Steltman)委託製作,作為珠寶店提供給客人的座椅。其單邊扶手的非對稱造型,呈現一種完美的協調與平衡,並有扶手在左邊及右邊的兩個版本,當兩張椅子成對擺放置時,就像是雙人沙發一樣,為珠寶店客人增添了互動及想像空間。
Rietveld designed over 300 pieces of furniture throughout his life, and the Steltman Chair was his last furniture design. Commissioned in 1963 by the jeweler Steltman from The Hague, it was created as a chair for the store’s customers. Its asymmetrical design, with a single armrest, presents a perfect sense of coordination and balance. The chair was made in two versions: one with the armrest on the left and the other on the right. When placed in pairs, the chairs resemble a two-seat sofa, offering customers of the jewelry store an added sense of interaction and imaginative space.