Patinated copper, ebony and steel frame, woven textile, maker's mark: HOMMAGE A SIGURD LEWERENTZ MATS THESELIUS NO EA 2/6 KÄLLEMO SWEDEN 2012. Height 75 cm, seat height ca 42 cm. The copper derives from the St Petri Church, Klippan Sweden by the architect Sigurd Lewerentz The church was erected in 1962-1966. The limited amount of copper available made a limitation of 123 chairs.
Mats Theselius designed this chair as a tribute to one of his favorite architects, Sigurd Lewerentz The copper plate that the seat is covered in is taken from the St Petri church, in Klippan Sweden, designed by architect Sigurd Lewerentz and built in 1962-66. The church was one of Lewerentz's last assignments and one of his most appreciated church projects. Theselius created the chair with inspiration from the church's various materials and patterns. The fabric that adorns the seat is inspired by the pattern on the church floor. The armrests in ebony are an interpretation of the church window that lies on the outside of the church body. The whole structure is divided into different components, as a somewhat unfinished whole, something that Theselius saw as an important part of the church's design. The copper plate was only enough for 123 chairs.
Patinated copper, ebony and steel frame, woven textile, maker's mark: HOMMAGE A SIGURD LEWERENTZ MATS THESELIUS NO EA 2/6 KÄLLEMO SWEDEN 2012. Height 75 cm, seat height ca 42 cm. The copper derives from the St Petri Church, Klippan Sweden by the architect Sigurd Lewerentz The church was erected in 1962-1966. The limited amount of copper available made a limitation of 123 chairs.
Mats Theselius designed this chair as a tribute to one of his favorite architects, Sigurd Lewerentz The copper plate that the seat is covered in is taken from the St Petri church, in Klippan Sweden, designed by architect Sigurd Lewerentz and built in 1962-66. The church was one of Lewerentz's last assignments and one of his most appreciated church projects. Theselius created the chair with inspiration from the church's various materials and patterns. The fabric that adorns the seat is inspired by the pattern on the church floor. The armrests in ebony are an interpretation of the church window that lies on the outside of the church body. The whole structure is divided into different components, as a somewhat unfinished whole, something that Theselius saw as an important part of the church's design. The copper plate was only enough for 123 chairs.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
