Marlies van Dullemen
Den Haag, Netherlands, 1959
Produced by Novuqare, Rosmalen, Netherlands
Designed by npk design, Leiden, Netherlands
Designed for Livassured in Vught, founded by UMC Utrecht, Kempenhaeghe, SEIN, Netherlands
Designed by npk design, Leiden, Netherlands
Both projects are developed in a collaborative team of designers working with npk design. npk is an internationally operating design bureau which has designed a wide variety of projects for transportation, leisure, health & care, professional equipment, sports, signage and more.
London, United Kingdom, 1962
Produced by IKEA, Sweden
This collection, which includes furniture, lighting and tabletop combines all the aspects of the IKEA system: development of a production process, use of sustainable materials, design and logistics which guarantee a nice design that is affordable for the general public and meets daily needs.
Koog aan de Zaan, Netherlands, 1966
Venlo, Netherlands, 1953
Care and well being centre Tamarix
Developed for the Philadelphia Care Foundation
The care and well-being centre consists of social care homes and rental apartments. They are added to an existing neighbourhood in the town of Heerhugowaard, a town which since the late 1960s grew into a commuters’ town and today keeps on expanding with environmental-friendly building and living areas.
Thessaloniki, Greece, 1983
Royal Ceramica Pavilion
Cersaie, Bologna, Italy
The overlaying of geometric forms and motifs provided by not only the walls but also by the “floating” blocks of marble create an almost maze-like path and the lighting becomes an important contribution element to this intriguing, yet sober environment.
Athens, Greece, 1959
Kindergarten of the German School of Athens
Maroussi, Athens, Greece
It is a building that evokes surprise, inviting for a youthful imagery, for hiding, seeking and wandering, where children can play in a well-controlled environment which nurtures the mental and emotional reflexes of the child.
Zlín, Czechoslovakia, 1939
Zlín Culture and Congress Centre
Zlín, Czech Republic
The multi-purpose Centre in Zlín is epitome of Eva Jiřična’s innovative work using glass and steel in both, architectural and interior design.
Lier, Belgium, 1955
Belgian EU Pavilion
Expo 2010, Shanghai
She chose to structure the pavilion around the conceptual image of a huge brain cell, using transparent textile, which evokes the artistic wealth of Belgium and Europe as well as the central position of Belgium at the heart of Europe.
Dublin, Ireland, 1953
It is one of the buildings that addresses the specific functional needs of a theatre and it was adapted to the particular plot where a previous building was located. The singular style and the quality of the building translated into a nomination to the RIBA Stirling Awards.
Lisbon, Portugal, 1966
Francisco Rodrigues Lobo High School
From the existing building, Inês Lobo’s project three vertical volumes rose, connecting them in an almost monastic way, in defence of clarity and the placidity of the experience that is inhabiting a space.
Marseille, France, 1961
The architect chose to treat the project as a transparent showcase allowing the centrally-situated monumental sculpture to be visible from the road. The façade is based on the double chevron, the firm’s symbol, surmounting the entrance porch and then repeated higher up.
Madrid, Spain, 1959
97 Houses for Young People
This project consists of 97 flats to be rented by young people. It was developed in moulds in order to improve time and material savings, using concrete for the structure and exterior panels, thus designing a sustainable system without debris.
South of Ireland, 1974
Magic, mythology and Celtic culture are the three premises to be found in Brigit’s garden. This is an emblematic place that has been able to combine the essence of life and death through nature, biodiversity and Irish tradition.
Lisbon, Portugal, 1974
Volcano Pavilion and Water Gardens
St. Vincent, Madeira, Portugal
Intended as an extension of the Volcanism Museum, the park was conceived simultaneously as the Museum’s open space and a viewpoint to the ocean. It offers both a learning experience, which complements the museum programme, and a site for landscape fruition for the city dwellers.
Oviedo, Spain, 1961
Produced by Moroso, Udine, Italy
Museum of Modern Art, New York City
This chair was one of the first projects for the Italian furniture brand Moroso and one of the first works from Studio Urquiola; it was also a tribute to modern Scandinavian design.
Laval, France, 1955
Rome’s Museum of Contemporary Art – MACRO
Rome’s Museum of Contemporary Art allows visitors to observe the city and the urban surrounding context from a new viewpoint. Through an innovative renovation of the former Peroni beer brewery (1864), the architecture aims to provide an experience of discovery for the visitors.
Milan, Italy, 1963
Hamburg School of Music
This work represents the idea of ʽbalance between fragmented and revolutionary aesthetics and the respect for the tradition of the placeʼ that is frequently pursued by Tagliabue in her career.
Cisównica, Poland, 1943
Rooftop of the University Library
The Warsaw University Library new building by architects Marek Budzyński and Zbigniew Badowski was opened on December 15th, 1999 and includes a botanical garden, located on the roof, designed by Irena Bajerska. Opened to the general public, it is one of the largest roof gardens in Europe that is also an urban park.
Vienna, Austria, 1960
Cold Dish Table Set: Cutting Board and Brunch Containers
Museum of Architecture and Design (MAO), Ljubljana
A variable, versatile table concept consisting of brunch container, block with plates and breakfast container all stacked in a space preserving unit is made from porcelain and partly from walnut wood.
Geneva, Switzerland, 1960
Nursery School Jean de la Fontaine
Mitry – Mory, Seine-et- Marne, France
The school by Carducci is typical of the architectural vocabulary of the modernist tradition inspired by Le Corbusier.
Singapore, Singapore, 1963
Victoria & Albert Museum, London
This work reflects the conceptual design of Dunne & Raby. The plastic chair is in fact a translucent tank, and orange acrylic box, a space a person can retreat to in order to be protected from the electrical and magnetic fields existing in modern life.
Baghdad, Iraq, 1950 · Miami, USA, 2016
Vitra Fire Station
Vita Capus, Weil am Rhein, Germany
The Vitra Fire Station is Zaha Hadid’s first building and reflects her theoretical studies on Deconstructivism, aiming to manifest the idea of motion in time.
Sittard, Netherlands, 1955
House with a Studio
Kralingse Plaslaan, Rotterdam, Netherlands
Houben created this house to serve as her own residence in Rotterdam, using the surrounding landscape as an influence for its design.
Paris, France, 1925 · 2013
Office of Commission des Droits de l’Homme
Arche de la Défense, Paris, France
Putman was commissioned in 1989 to fit out and decorate the top floor of the Grande Arche de la Défense in Puteaux, in the outskirts of Paris. For the institution’s library, Putnam designed the staircase banister in brushed metal with a bronze patina finish, resting on a column and running the entire length of the loggia.
Wetzlar, Germany, 1941 · Schwerte, Germany, 2004
Höhenberg Sportspark Spectator Tribune
This tribune reflects the architect’s passion for metallic materials and for their application to building. One of the most interesting features of this work is its attention to the alignment of shapes and structures which is reflected in recurring geometrical scheme.
Hanne Dam Kjærholm
Hjørring, Denmark, 1930 · 2009
Island of Læsø, Denmark
The summerhouse on Læsø is a poetic reinterpretation of the vernacular architecture present on the island between Sweden and Denmark. This summerhouse is exemplary of how Kjærholm considered architecture as a harmonious whole in which materials, the interplay of daylight and interior decoration should be carefully thought out.
Palazzolo della Stella (Udine), Italy, 1927 · Milan, Italy, 2012
The exhibition itinerary has been organised on three levels and the central nave of the pre-existing station has been reused as the main axis from where passages and terraces run. The choice of light-coloured limestone is worthy of note, giving a particular brightness to the exhibition halls.
Nathalie Du Pasquier
Bordeaux, France, 1957
Produced by Memphis, Italy
This object is one of her main designs and essential symbol of her involvement in the Memphis Group. It’s the proof of her ability to adapt to most different requirements and to range among many forms of expression.
Viera Štarková Mecková
Turčianske Teplice, Czechoslovakia (Slovakia), 1933
Communist Party Regional Committee Offices
The huge edifice of the local Communist Party Committee became most significant work of Viera Mecková and one of the most important achievements of the late modernism in Slovakia.
Oľga Škvarková Ondreičková
Bratislava, Czechoslovakia (Slovakia), 1935
District Post Office
Prague, Czech Republic
The District post office belongs to the very few works of architecture realised by Slovak architects outside the territory of Slovakia. Being designed by a woman it is even more exceptional.
Teresa Nunes da Ponte
Lisbon, Portugal, 1955
Toca da Areia Residential Complex
It is possible to notice modernist features on the plant, such as the presence of flat roofs, which give place to a game with the different planes and create light and shadow games, adapted to the geographic location of an area near the coastline and a dense pine forest, between Cascais and Guincho.
Gävle, Sweden, 1943
The Vasa Museum houses the warship Vasa from 1628, which sank on her maiden voyage and was in 1961 after 333 years at the bottom of Stockholm bay lifted and salvaged. The preserved Vasa was moved into an old dry dock over which the museum was built, which allows observers to see the ship from a variety of perspectives.
Valkenswaard, Netherlands, 1943 · Amsterdam, Netherlands, 2016
Murtala Muhammed Airport Seating Unit
Produced and manufactured by Artifort, Maastricht, Netherlands
The Lagos bench was originally designed for the interior of the Murtala Muhammed Airport terminal in Lagos, Nigeria, which Verschuuren designed with Naco Thijs Veldman in 1977-1978. Many redesigns of the bench followed and the benches became popular seating units for all kinds of public waiting areas around the world.
Lucie Quirina Bakker
Rotterdam, Netherlands, 1915 · Lochem, Netherlands, 2003
Produced by Royal Tichelaar Ceramics Factory, Makkum, Netherlands
The Quirina Tableware is typical for the post-war transition from handcrafted pottery to serial production within the field of ceramics. Lucie Bakker turned from handicraft to serial production in the first place to earn a living.
Ursulina Witte Schüler
Berlin, Germany, 1933
Tower Restaurant Steglitz
Known locally as Bierpinsel (Beer Brush), it has three floors originally equipped with restaurants and a nightclub. It has a height of 46 m with a shape resembling that of an observation tower, but the architectural idea was that of a tree.
Paris, France, 1903 · 1999
Bloc cuisine Les Arcs
Centre Georges Pompidou, Paris
The Bloc cuisine is a historic record of the interior arrangement of the Modernist buildings conceived by Charlotte Perriand and an architects’ team in the ski resort of Les Arcs, in the French Alps. It is typical of the reflection undertook by architects and functionalist designers on the rational arrangement of reduced internal spaces and the use of modern materials and solid colours.
Blaženka Staroveški Kučinac
Rogaška Slatina, Kingdom of Yugoslavia (Slovenia), 1937
Children’s Bedroom Furniture Pipi
Produced by Ivo Marinković Furniture Factory, Osijek, Croatia
The system of children’s bedroom furniture was designed to adapt to the growing child and represents an innovative solution of wooden joints and sophisticated integration possibilities. Small interventions transform the baby’s crib into a child’s bed, a desk and wardrobe, adjusting to the child’s needs.
Milan, Italy, 1924
Serpentone – Giant Snake Sofa
Produced by Arflex, Giussano, Italy
This furniture epitomises Cini Boeri’s design discourse focused on the respect of user’s lifestyles. Her concept of design is minimalist and is based on the social role of the architect. Like a giant snake, the sofa twists and turns following concave and convex curves.
Milan, Italy, 1936
Golden Gate Floor Lamp
Produced by Arredoluce, Monza, Italy
A superb structure of light that slashes through space, Golden Gate is the embodiment of Nanda Vigo’s experiments with mirrored surfaces and new light sources that explore the relationship between objects and spaces.
Maria Helena Matos
Lisbon, Portugal, 1924 · 2015
Japão Service – Jar, Bowl and Plate
Produced by Fábrica-Escola Irmãos Stephens (FEIS), Marinha Grande, Portugal
This service, on blown moulded crystal, reflects a modern research guided by a formal depuration and, on a tireless pursuit for the potential of the specific language of the material, enriched by the abstract patches of colour in transparent glass.
Anna Ferrieri Castelli
Milan, Italy, 1920 · 2006
Componibili modular system
Produced by Kartell, Milan, Italy
The design idea of the Componibili modular system, renowned as icon of the 1960s, is the elementary and resistant vertical stacking of single modular elements which, by means of an easy joint, form super-functional containers.
Maria Teresa Parpagliolo Shephard
Rome, Italy, 1903 · 1974
RAI’s Headquarter, Rome, Italy
The project reveals the international experience of Parpagliolo and how she was receptive to new trends in landscape design and open to experiments. In 1966, she was commissioned for the design of a garden of the newly built headquarters of the state radio and television company RAI in Rome.
France, 1929 · 2005
Le Printemps Department Store, Paris, France
The work of Abraham declines the opposition between rough and invaluable materials, artisanal and industrial know-how. The model for Le Printemps was designed as a prototype of holiday home for the Paris region and it was presented to the exhibition 4 seasons, 4 houses organized by Saint-Gobain in 1964.
Nives Kalin Vehovar
Ljubljana, Slovenia, 1932 · 2007
NKVFV Series of Wood Veneer Pendant Lights
Manufactured by Kalin Vehovar, Ljubljana, Slovenia
The organically shaped pendant lights combine function with sculptural interest, supplying interiors with softly diffused light. Distinguished by the innovative use of natural materials the series, created together with Franc Vehovar, belongs among most timeless examples of Slovenian design.
Warsaw, Poland, 1927 · 2014
Reversible Child's Armchair
Produced by Mebloartyzm Cooperative, Wojnicz, Poland
National Museum, Warsaw
Reversible children’s chair is one of her first furniture projects that she designed for children. This furniture is marked by the beauty of its lines and proportion and lightness of its form, developed from the construction itself, and making full use of the material’s potential, non the less it’s multifunction as a toy.
Copenhagen, Denmark, 1920 · 2006
Teak Lounge Easy Chair
Produced by France & Søn, Rynkeby, Denmark
From the 1950s, Grete Jalk designed a series of chairs exploring the possibilities of laminated wood and in 1960, France & Søns, one of Denmark´s greatest makers of furniture, produced an armchair made with wood frame that has sultry flared armrests and the Danish cable back which virtually disappears, giving the impression of a floating back cushion.
Copenhagen, Denmark, 1923 · 2005
Hanging Egg Chair
Produced by Sika Design, Rynkeby, Denmark
Nanna and Jørgen didn’t need to get out of their home to find inspiration for her work. A close attention to the daily life, to the details that make up the domestic and familiar environment, combined with an abiding concern for comfort and freedom of movement led to the accurate perception that the opulent furniture that surrounded them was highly inadequate for the small post-war homes.
Zurich, Switzerland, 1921 · 2012
Swiss Women’s Work Exhibition
The second SAFFA exhibition (Swiss Women’s Work Exhibition) was held from July 17th to September 15th 1958 in Zurich, displaying the subject of women’s life and activities and presenting a showcase of contemporary female design and architecture in Switzerland.
Lina Bo Bardi
Rome, Italy, 1914 · São Paulo, Brazil, 1992
MASP – The São Paulo Museum of Art
São Paulo, Brazil
The MASP expresses the intent made by Lina Bo Bardi to bring art closer to the general public. It had to give off an atmosphere that would allow the visitor to understand the work of art. The architect declared: “I did not search for beauty, I searched for freedom.” The MASP architectural solution is, in fact, direct and essential.
Milan, Italy, 1920 · 1989
San Lorenzo Treasure Museum
San Lorenzo Cathedral, Genoa, Italy
The San Lorenzo Museum expresses the aim to enrich the history of the city, by inserting itself in its layering and connecting tradition to the necessity of using an updated language.
Sondrio, Italy, 1921
Umbrella Stand Spaziale (C33)
Produced by SCI (Società Ceramica Italiana), Laveno, Italy
The ceramic umbrella stand Spaziale is a bridge between formal research in abstract sculpture and everyday items industrial and serial production, a mix of handicraft experimentation and mechanical manufacturing.
Anneliese (Anni) Fleischmann Albers
Charlottenburg (Berlin), Germany, 1899 · Orange (Connecticut), USA, 1994
Free-Hanging Room Divider
MoMA Museum of Modern Art, New York City, USA
This object is one of Albers-Fleischmann’s most experimental artefacts. Industrial textile production and abstract art are merged to form a functional furniture where the minimalist supporting structure and raw materials of the fabric provide aesthetic qualities.
Eva Ditsleven Koppel
Copenhagen, Denmark, 1916 · 2006
Beech Wingback Chair
Produced by Slagelse Møbelværk, Denmark
With its simple but playful and organic shapes, this chair can be considered a typical example of Danish 1950s design. It was designed in collaboration with Eva’s husband Nils Koppel and manufactured by Slagelse Møbelværk.
Helsinborg, Sweden, 1906 · Encinitas, USA, 1999
Interior of a Residence
This interior design represents the link between the European design and the Californian way of life, amalgamating her training in Swedish design and the American sense of comfort. The image shows her peculiar decorative, unpretentious style, combining the functional Scandinavian style with the traditional joinery.
Almelo, Netherlands, 1901 · Hampshire, United Kingdom, 1990
Produced by Gordon Russell Ltd, London, United Kingdom
Victoria & Albert Museum, London
This is an excellent example of the so-called “Utility Furniture”, produced in the United Kingdom during the Second World War. Due to the lack of raw materials, functional and simple pieces were used.
Susan (Susie) Cooper
Stoke-on-Trent, United Kingdom, 1902 · Isle of Man, United Kingdom, 1995
Kestrel Tea Set
Produced by Susie Cooper Potteries, Burslem, United Kingdom
Kestrel Tea Set is one of the most reproduced tea sets designed by Cooper. The set was designed under a clear Art Deco style with endless decorative variations on a ceramic model.
Istanbul, Turkey, 1912 · Filothei, Greece, 2010
New York World’s Fair
Flushing Meadows – Corona Park, New York City, USA
The Greek pavilion needed to reflect the Weltanschauung of General Ioannis Metaxas dictatorship, a totalitarian regime with nationalistic and militaristic features (1936–1941). Alexandra and her husband Dimitris had the mission to embody this vision of Greek past conceptualized as myth in their project.
Victoria Angelova Vinarova
Veliko Tarnovo, Bulgaria, 1902 · Sofia, Bulgaria, 1947
With its rational geometric shapes and white plaster, the building is a typical International style architecture characterized by mixed structure of reinforced concrete and masonry.
Bradford, United Kingdom, 1907 · 2005
Plan of the Expanding Nursery School
Designed for Nursery Schools Association (NSA)
The design, known as ‘the expanding nursery school’, was intended to be mass produced. Its intentions reflected the enlightened thinking of the time in relation to preschool facilities. It was of the pioneering designs in the field of school architecture in Europe.
Berlin, Germany, 1885 · 1947
Thonet Small Armchair
Produced by Thonet, Germany
The Thonet small armchair represents one of the most significant work in the fruitful career of Lilly Reich. This innovative piece of furniture epitomises Reich’s idea of interior design as a creative process in which art and technique are closely combined.
Aino Maria Marsio Aalto
Helsinki, Finland, 1894 · 1949
Produced by Karhula–Iittala, Helsinki, Finland
Within a search for versatility and space-saving, this glassware proves that essential and functional design can survive the test of time. The collection represents a good synthesis of the functionalist principles that aim to improve everyday life.
Ruth Hildegard Geyer-Raack
Nordhausen, Harz, Germany 1894 · Berlin, Germany 1975
Lady’s Living Room and Bedroom
Dame, Internationale Raumaustellung
This living room and bedroom is the perfect combination of French Art Deco and German Bauhaus School. Curtains are used to define the space and divide the room if necessary in two separate places, having the living room as a social and public space, and the bedroom as a more private place.
Margarete (Grete) Heymann Marks Löbenstein
Cologne, Germany, 1899 · London, United Kingdom, 1990
Glazed stoneware, produced by Haël Werkstätten für Künstlerische Keramik, Marwitz, Germany
The tea set, emblematic of a new Modernist language in mass produced objects, is the most iconic piece designed by Margarete Heymann (former Löbenstein and Marks), a German ceramic artist who trained at the Bauhaus, and manufactured by Haël Werkstätten, the factory she founded in 1923.
Louise (Lux) Guyer
Zurich, Switzerland, 1894 · Küsnacht-Itschnach, Switzerland, 1955
Masterplan of SAFFA Exhibition
Schweizerischen Ausstellung für Frauen Arbeit. Swiss Women’s Work Exhibition, Bern
The first SAFFA exhibition was initiated by several federations of Swiss women’s societies to publicise the importance of work performed by women in artistic, scientific, social and economic fields and support their campaign for political equality. Lux Guyer was commissioned to design the master plan of the vast exhibition area (113,000 m²) as well as to develop concepts for the exhibition halls and orientation system.
Margarete (Grete) Lihotzky Schütte
Vienna, Austria, 1897 · 2000
Produced by the New Frankfurt social housing program, Frankfurt
Victoria and Albert Museum, London, et al.
This kitchen – minimal in its size, however rational and efficient – was conceived as one of the first steps toward a better and more egalitarian world. Regarded as the forerunner of modern fitted kitchens, it is a milestone in history of interior design.
Sylvia Gatt Stave
Växjö, Sweden, 1908 · Paris, France, 1994
Produced by C.G. Hallbergs Guldsmedsaktiebolag, Stockholm
This object is a significant example of the modern design that flowered between the two World Wars. Strongly influenced by the Bauhaus movement, Stave’s cocktail shaker represents a unicum of its kind.
Marianne Liebe Brandt
Chemnitz, Germany, 1893 · Kirchberg, Germany, 1983
Ashtray with Cigarette Holder
Produced by the Bauhaus Metal Workshop, Weimar
Bauhaus Archive – Museum of Design, Berlin
Liebe Brandt’s ashtray is one of the first objects produced at the Bauhaus’ metal workshop, where she was the only woman to have ever worked putting into practice the Bauhaus Weimar methodology of simplifying the design process for future mass-production.
Alma Buscher Siedhoff
Kreuztal, Germany, 1899 · Buchschlag, Germany, 1944
Toy Closet for the House am Horn Children’s-Room
Produced by the Bauhaus Woodcarving Workshop, Weimar
Klassik Stiftung, Bauhaus-Museum, Weimar
This toy closet is considered the first true demonstration of the Bauhaus’s modernist principles in furniture construction and epitomises Buscher’s belief in the potential of design-for-children to effect change in society at large.
Helena Kottler Vurnik
Vienna, Austro-Hungarian Empire, 1882 · Radovljica, Yugoslavia (Slovenia), 1962
Decoration of the Cooperative Business Bank
The uniquely stylized decoration of the Cooperative Business Bank in Slovenian national style, which anticipated Art Deco, is Helena Vurnik’s most important profane work.
Haarlem, Netherlands, 1898 · 1988
Produced by Willem A. Kuyken Workshop, Haarlem
Collection Stedelijk Museum, Amsterdam
This fire screen is an example of the application of decorative panels which were made in so-called cloisonné technique. These panels were designed by Marie Kuyken between 1919 and 1925 and handmade by her father Willem A. Kuyken. Most panels were unique pieces.
Adelgunde (Gunta) Stölzl
Munich, Germany, 1897 · Küsnacht, Switzerland, 1983
Produced by the Bauhaus Weaving Workshop, Weimar
Bauhaus-Archiv Museum, Berlin
This pillowcase epitomises Stölzl’s experimentation in designing aesthetically modern and functional daily life homeware textiles, characterised by raw materials and abstract patterns of multiple colours.
Haarlem, Netherlands, 1891 · Amsterdam, Netherlands, 1966
Atelier Roland Holst
Kropholler originally designed this building as a studio for the artist Richard Roland Holst and his wife, the politically active poet Henriëtte Roland Holst-van der Schalk. The design is an early example of the Amsterdam School style.
Sonia Terk Delaunay
Hradyzh, Ukraine, 1885 · Paris, France, 1979
Interiors by Casa Sonia
Decorative works performed by Sonia Delaunay in Madrid from 1918 onwards, when she opened Casa Sonia in Madrid, engaged in interior design and her characteristic simultaneous designs.