In 1948, he and Clive Latimer won first prize in the storage section of the International Competition for Low-Cost Furniture organised by the Museum of Modern Art, New York. See more ideas about Lucienne day, Textile design, Textile patterns. Acting as mutual catalysts, they spurred each other on to realise their ambitions and to produce their most original work.The war and its government-regulated aftermath delayed their careers, but made them even more determined to succeed. They collaborate on a series of exhibitions, mainly for the Central Office of Information. Much of his public seating was used for decades after its original installation, notably his 1960s Gatwick benches in Tate Britain, 1980s auditorium seating for the Barbican Art Centre in London and 1990s Toro and Woodro seating on London Underground.Robin studies design at the Royal College of Art, specialising in furniture and interior designLucienne studies design at the Royal College of Art, specialising in printed textiles and meets Robin at an RCA dance in 1940The couple marry and set up home in a maisonette at 33 Markham Square, Chelsea.During the war they teach at Beckenham School of ArtLucienne designs dress fabrics for companies, including Stevenson & Son, Mark & Spencer and Horrockses, and furnishing fabrics for Cavendish Textiles (John Lewis), Morton Sundour and Edinburgh WeaversRobin teaches at the School of Architecture at Regent Street Polytechnic, where he meets the architect Peter Moro. Shop Robin & Lucienne Day seating, storages, textiles and more by Robin & Lucienne Day. twentytwentyone -- Furniture, lighting and accessories.
However, their working practice was quite different. The cabinets in their flexible, multi-functional storage system were fabricated from a tube of moulded plywood cut into sections — a radical innovation for the time. Photograph Lucienne and Robin Day Foundation, courtesy of Antique Collector’s Club . These habits became deeply ingrained in his design psyche. A worldwide hit, produced in the millions, it has spawned innumerable copies, although none can compare with the subtlety of the original. She sought to create a similar energy and vitality in her patterns through dynamic, ebullient compositions, as in 1953’s Spectators and Perpetua, and bold colour contrasts, as in the 1956 Herb Antony. She was in her final year studying printed textiles. Assessed individually, the Days are both towering figures in their own right.Like many architects and designers during the optimistic post-war period, the Days believed in the transformative power of modern design to make the world a better place. Lucienne Day and her husband Robin (both of whom died last year) transformed British design in the post-war era; he made furniture, she created stunning abstract designs for wallpapers and textiles.
Global shipping available. “A good design must fulfil its purpose well, be soundly constructed, and should express in its design this purpose and construction," he stated in 1962.The commission to design furniture for the Royal Festival Hall marked a turning point in Robin’s career. “I wanted to avoid seeing the frame fixings though the seat of the chair, and designed bosses integrally moulded with the underside of the seat. From the outset Robin Day was a deeply moral and highly principled designer, who was not interested in making a design statement, but in solving practical problems in the most rigorous, efficient and cost-effective way. She also produced a large body of designs for three leading British carpet manufacturers: Tomkinson, Wilton Royal and Steele’s.Creating repeat patterns for textiles is a laborious process, but Lucienne’s designs convey an impression of effortless spontaneity.
Although understated, the Polypropylene chair is extremely refined. Jun 3, 2015 - Explore D K's board "Robin Day", followed by 163 people on Pinterest. Another feature of the design is the fully rolled-over edge which helps to give strength and stability against over-flexing." Lucienne Day: In The Spirit of the Age. Several of her later designs had full-width repeats, such as 1967’s Causeway designed specifically for the large floor-to-ceiling picture windows then in vogue. It was their passion for design that drew the couple together and formed the basis of their personal and professional relationship. “It is not enough to ‘choose a motif’, nor enough to ‘have ideas’ and be able to draw," she observed.