Fauteuil 1910 - 1927

Editor: Here we have "Fauteuil," a wooden armchair designed by E.G.C. Schubad between 1910 and 1927, and housed at the Rijksmuseum. The design feels so sturdy and grounded; it gives a sense of understated luxury. What catches your eye about it? Curator: Initially, the orthogonal arrangement is striking. The planes intersect with a rectilinear precision, offering a robust structure. What semiotic significance might we ascribe to the different grains of the wood? Editor: I hadn't considered the varying grains of wood before. Curator: The contrast isn't merely decorative; it establishes a tension between support and embellishment. Notice how the darker wood flanks the armrests and side panels, acting as an almost symbolic containment of the lighter central planes. Does this not propose an interplay of control and release within the very form of the chair? Editor: I see your point. So, the wood grain and color act almost like contrasting brushstrokes in a painting? It's about the balance, not just the utility. Curator: Precisely! It transcends pure functionality. Think about the geometric forms that frame the velvet upholstery: are these angular forms softened or intensified by the choice of a velvet textile? The juxtaposition elevates its artistic dimension. Editor: That's fascinating. I now see how the choices in material and structure interact to give it meaning beyond just a chair. Curator: Indeed. By analyzing the inherent qualities and their interplay, we begin to grasp the aesthetic philosophy embedded within this ‘Fauteuil.’ Editor: I've learned to appreciate how the design communicates on many different formal levels simultaneously. Thanks!