Shiro Kuramata, ‘Pair of 'three-legged B' chairs, model no. R108 and table, model no. T8008’, designed 1986, Phillips

Each chair: 77 x 47 x 46 cm (30 3/8 x 18 1/2 x 18 1/8 in.)
Table: 75 cm (29 1/2 in.) high, 38 cm (14 7/8 in.) diameter

Signature: Manufactured by UMS Pastoe, Japan and the Netherlands.

Shiro Kuramata 1987', Idée, Tokyo, 1987, n.p. for the chair
Arata Isozaki and Ettore Sottsass, Shiro Kuramata 1967-1987, Tokyo, 1988, pp. 102, 120-21 for the chair
Shiro Kuramata 1934-1991, exh. cat., Hara Museum of Contemporary Art, Tokyo, 1996, p. 181, fig. 6, p. 184, fig. 4 for the chair
Shiro Kuramata and Ettore Sottsass, exh. cat., 21_21 Design Sight, Tokyo, 2011, p. 197 for the chair
Gert Staal and Anne ven der Zwaag, Pastoe 100 years of design innovation, Rotterdam, 2013, pp. 112, 218
Deyan Sudjic, Shiro Kuramata: Catalogue of Works, London, 2013, p. 343, fig. 453 for the chair

About Shiro Kuramata

Shiro Kuramata playfully stretched and skewed tropes of Western design, while combining them with traditional Japanese aesthetics, to produce items of furniture that are surreal, humorous, and often poetic. Kuramata’s Miss Blanche chair (1988), a transparent resin chair flecked with synthetic roses, creates the appearance of a sitter floating on a cloud of blooms. In a design for two chests of drawers, Furniture in Irregular Forms (1970), the stark black-and-white lacquered finish is a nod to the severity of modern furniture, while the undulating shapes capture a more lighthearted attitude. The whimsical spirit of Kuramata’s designs is typical of postmodernism. Kuramata became closely associated with this style in 1981 when he joined Ettore Sottsass’s Memphis Group, an Italian collective that included designers such as Michele de Lucchi, Andrea Branzi, and Nathalie du Pasquier.

Japanese, 1934-1991, Tokyo, Japan, based in Tokyo, Japan

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