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Göte­borg Chair

c. 1937/1983

by Erik Gunnar Asplund
for Cassina

Göte­borg Chair

by Erik Gunnar Asplund
for Cassina

or Call to Order

The Göte­borg chair is an extra­or­di­nary design from the 1930s that reflects Erik Gunnar Asplund’s profound shift from a career that had been char­ac­ter­ized by a style asso­ci­ated with Nordic Clas­si­cism to the designer’s whole­hearted embrace of the newly emerg­ing move­ments of Modernism and Func­tion­al­ism – this shift coin­cided with the land­mark Stock­holm Exhi­bi­tion that cele­brated both of these move­ments in 1930. Göteborg’s form is actu­ally a fasci­nat­ing fusion of Thonet’s iconic No. 14 café chair from 1859 and the extant Machine Age tubular aesthetic” that was preva­lent through­out conti­nen­tal Europe from the late 1920s through the 1930s.

The Göte­borg chair features a thick tubular wood struc­ture with subtly flared legs; its back employs tubular steel that has been padded and uphol­stered to mimic the thick­ness of its tubular wood frame engen­der­ing a contin­u­ous fluid outline. The thick seat cushion is composed of polyurethane foam and becomes a delight­ful hori­zon­tal foil to the gently tapered legs. The Göte­borg chair is avail­able in several wood finishes – natural or black-stained ash wood as well as natural or stained walnut. Numer­ous uphol­stery options in both textiles and leather are also available.

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Erik Gunnar Asplund

Sweden (1885–1940)

Born in Stockholm, Erik Gunnar Asplund occupies a central position in the development of Scandinavian architecture and design of the twentieth century. He is regarded as the archetype of the generation that gave rise to the maturing process of the aforementioned domains, then developed by characters such as Alvar Aalto, Erik Bryggman, Arne Jacobsen, Jørn Utzon. After graduating as an architect in 1909, many trips to Europe and the United States punctuate his apprenticeship. His works from the years 1911 to 1930, influenced by a strong romantic tradition, express a neoclassical language, based on vernacular cultural bases. It is in 1930, the year of the Stockholm Exhibition, that Asplund managed to go beyond the rigid and stereometric language of the first years of rationalism by anticipating in a very personal way the tendencies of the Modern Movement.

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