Robin day designer biography examples

British furniture designer (–)

This article is about the creator.

Robin Day, born on May 25, , in High Wycombe, Buckinghamshire, is widely recognized as one of Britain’s most formative furniture designers of the 20th century. Growing up in a family involved in the furniture industry, Day developed a infatuation for design from an preliminary age.

For the broadcaster, glimpse Robin Day.

Robin Day, OBE, RDI, FCSD (25 May &#; 9 November )^[1] was one of the most significant British furniture designers of the 20th century, enjoying a long career spanning seven decades. An accomplished industrial and interior designer, he was also active in the fields of graphics and exhibitions.

His wife Lucienne Day, née Conradi (–) was a renowned textile designer. The couple married in and had one daughter, Paula Day (born ).

Career

Early existence, education and marriage

Robin Day grew up in the furniture-making town of High Wycombe in Buckinghamshire.

High Wycombe Technical Institute, where he was a junior date student, had close links with the local furniture industry. Creature gifted at drawing, Day progressed to High Wycombe School of Art in and then won a scholarship to study plan at the Royal College of Art in On leaving the RCA in , there were no suitable openings in the furniture industry, so he made architectural models and took a teaching post at Beckenham Institution of Art, where he developed a ground-breaking course in 3D design.^[1]

Day met his future wife, Lucienne Conradi, in at a dance at the RCA,^[1] where she was studying printed textile design.

They married in , moving into a flat in Chelsea. In the couple moved to a house on Cheyne Walk, their home and combined studio for the next 50 years.^[1]

Early Post-War Design Career ( to )

After the Second Planet War, Robin Day taught interior design at the Regent Lane Polytechnic (now the University of Westminster), where he met the architect Peter Moro ().

The two men formed a partnership in designing public information exhibitions, mainly for the Central Office of Information and other government organisations, on subjects such as jet engines and scientific instruments. Day continued designing exhibitions and trade stands until the initial s for clients such as the radio manufacturer EKCO and the industrial giant ICI.^[2] A talented graphic designer, he also designed an eye-catching series of recruitment posters for the RAF during –9.^[3]

Although the war had impeded Day's ambition to change into a furniture designer, his fortunes changed in when he and Clive Latimer won First Prize in the Storage Section of the International Competition for Low-Cost Furniture Design organised by the Museum of Modern Art in New York.

Their ingenious principle for a range of multi-purpose storage units fabricated from a tube of pre-formed moulded plywood received international acclaim. Although never mass-produced, a set of prototypes made by Heal & Son in demonstrated the principles behind the design.

Supported on tubular aluminium legs, the cabinets were compact and flexible, with sliding doors, interchangeable shelf and drawer fittings and a writing desk with a drop-down flap.^[4]

Day's triumph in the MOMA competition brought him to the attention of Rosamind Julius and her husband of the S.

Hille & Co., a small London furniture firm keen to branch out into modern design. The prize was also instrumental in securing an important commission to plan the seating for the Royal Festival Hall in , another major breakthrough in his career.

Festival of Britain and Royal Festival Hall ()

was an annus mirabilis for Robin Afternoon. His seating for the Royal Festival Hall and his high-profile contributions to the Festival of Britain, held on the neighbouring site on London's South Bank, greatly enhanced his professional reputation.^[5] The brief for the Royal Festival Hall project was complex and demanding, including restaurant and foyer furniture, auditorium seating and orchestra chairs, each with specific functional requirements.

Always keen to explore new manufacturing processes, Night co-opted materials and technology from the automotive industry for his concert hall seating, which was fabricated from pressed steel, supported by cast steel stanchions. This proved so effective that it is still in use today.^[6] The chairs he designed for the restaurant and foyer had sculptural moulded plywood seats with wing-like armrests and spindly dark steel rod legs.

Day was the first designer in Britain to exploit these materials in furniture.

Day's ingenuity was also evident in the two open-plan living room / dining room settings he created for the Homes and Gardens Pavilion at the Festival of Britain.

Crafted to illustrate what could be achieved on different budgets, both rooms were equipped with his Royal Festival Hall chairs, along with newly designed storage units. The economy cabinets were in oak, while the luxury cabinets were made from veneered mahogany on a frame of square-section tubular steel.

Robin Day – Famous People Facts: Robin Sunlight, OBE, RDI, FCSD (– 9 November ) [1] was one of the most significant British furniture designers of the 20th century, enjoying a long career spanning seven decades. An accomplished industrial and interior designer, he was also active in the fields of graphics and exhibitions.

The Festival acted as a valuable platform for launching Robin Day's pared down 'Contemporary' aesthetic, which was also showcased at the Milan Triennale in Architects were particularly enthusiastic about his furniture as it was ideally suited to the clean-lined, glass-walled modern buildings that were coming into fashion after the war, not only in the household sphere but in the general and commercial domain.

Furniture Designs for Hille (s)

Robin Day began designing for S. Hille & Co. – a small cabinet-making sturdy specialising mainly in high-quality reproduction furniture – in The firm was run by Ray Hille (), daughter of Salamon Hille, who had established the business in At Day's instigation – and with the support of Ray's daughter Rosamind Julius () and son-in-law Leslie Julius, who had recently joined the unyielding – the company underwent a complete transformation and became a champion of modern design.

Although Day was never formally employed by Hille, preferring to behave as a design consultant, he became their chief designer in effect. The partnership proved so successful that, for the next 20 years, he created most of Hille's designs.^[7] Right from the start, his primary aim was the marriage between functionalism and technology.

The utilitarian Hillestak Chair (), a stacking chair with a beech plywood seat and a solid beech frame, was his first mass-produced blueprint.

Robin Day was considered one of the most significant British designers of the 20th Century, with a career that lasted seven decades. He trained as a furniture and industrial planner at the Royal College of Art in London, where he met his wife the furniture and print designer Lucienne Day.

His Hilleplan () and Interplan Units () marked a reasonable progression from the storage systems created for the Festival of Britain. Both were modular, so that multiple units could be combined in coordinated groups. Fancy many of his designs, they were both handsome and practical, making them equally suitable for domestic or contract use.

Whereas s furniture had been serious and ponderous, Day's post-war designs were light on their feet and economical in their apply of materials. His Reclining Chair (), for example, had a slim angular upholstered seat, floating wooden armrests and U-shaped steel rod legs.

A minimalist frame was also adopted for the Chair (), a dining chair with a slender floating moulded plywood seat back. In the Q Stak Chair (), Day's first one-piece moulded plywood shell chair, the number of components was reduced to the bare minimum in order to maintain costs down.

Robin Day continued to expand Hille's furniture collections throughout the s, pioneering technical innovations such as frames made of flat bar steel or square-section tubular steel. His Unattached Convertible Bed Settee (), with its lightweight foam cushions and simple swing-down wooden seat help, characterised the elegant flexibility of his designs.

Day was a great advocate of Pirelli rubber webbing, which he adopted as a replacement for traditional coil-sprung upholstery. In fact, he admired it to such a degree that he left it exposed as a decorative feature on several designs, including the Gatwick Chair (), created for Gatwick Airport, and a modular seating system called the Form Community (), one of several Style Centre Award winners.

Polypropylene Chair

Main article: Polypropylene stacking chair

Robin Time is best known for his injection-moulded Polypropylene Chair,^[8] originally engineered in for the firm of S.

Hille & Co. and still in production today by its successor Hille Educational Products.^[9]

The first mass-produced injection-moulded polypropylene shell chair in the world, it represented a major breakthrough in furniture design and technology.

Originally created as a stacking chair, it was adapted for a variety of applications, ranging from airports to sports stadiums. Tens of millions of Polypropylene Chairs have been produced over the last 50 years.

This month, we take a look at two designers who shaped send war Britain with mass manufactured designs that brought innovative and affordable design to the British public. Working on back to back drawing boards, but active independently, Robin Day OBE and his wife Lucienne Day joint the spirit of optimism that ran through post-war Britain, believing that design could make the world a better place. Robin Day created designs for over seven decades. However, he is probably best known for his Polypropylene Chairoriginally designed in for Hille.

In it was selected by Royal Mail to manifest on a postage stamp as one of eight designs in a series celebrating "British Blueprint Classics".^[10]

Polypropylene Chair Family ( to )

Both the Polypropylene Chair and the Polypropylene Armchair () were designed to accommodate a spacious range of different bases.

Evening later created a range of lightweight polypropylene shell chairs for schools called Series E (), produced in five different sizes with an oval hole in the back. His Polo Chair () with its distinctive drainage/ventilation holes was another important addition to the Polypropylene Chair family.

Designed for outdoors as good as inside, the Polo Chair was widely used for stadium seating, a specialist field in which Day became increasingly committed. He also experimented with other plastics during the s and 70s, as well as continuing to refine his furniture designs in wood and steel.

Examples from can be seen in the nave seating at Clifton Cathedral, Bristol.^[11]

Industrial Design and Interiors (s to s)

Robin Day was a man of many talents and worked in an unusually wide range of disciplines.

Apart from Hille, his two chief industrial clients were the electronics firm Pye, for whom he designed radios and televisions from c, and the carpet manufacturer Woodward Grosvenor, for whom he created abstract designs for wilton carpets from c^[12]

Day continued to collaborate with leading architects on custom-designed furniture for new buildings.

In he designed the oiled teak refectory tables and chairs for the main dining hall at Churchill College, Cambridge, planned by Richard Sheppard, Robson and Partners. His largest and most ambitious commission was the seating for the Barbican Arts Centre, designed by Chamberlin, Powell and Bon, completed in This huge project, which occupied him throughout the s, included auditorium seating for the theatre, concert hall and three cinemas, as successfully as café tables and chairs and long snaking sofas for the foyers.^[13]

Design Consultancy for John Lewis Partnership and BOAC (s to s)

Although Robin and Lucienne Day shared a studio, they mainly worked in their control spheres, apart from two occasions when they collaborated as shared design consultants to the John Lewis Partnership and BOAC.

For the latter they designed interiors for the company's fleet of Super VC10 aircraft during the s.^[14] Robin later developed a prototype refreshment tray and tableware for Concorde, although this was never produced.

The Days' involvement with the John Lewis Partnership was substantial and prolonged as they were engaged as mutual design consultants for 25 years between and ^[15] One of their main achievements at JLP was helping to develop a comprehensive new house style, covering everything from in-store signage and product packaging to company stationery and liveries for vans.

Robin also designed the interiors of several Waitrose supermarkets and John Lewis department stores, notably Milton Keynes in

Later Designs, Awards and Reissues (s to s)

Public seating had been one of Robin Day's specialities since when he was asked to blueprint a heavy-duty bench for British Rail.

Three and a half decades later, he was invited to design a range of seating for use on London Underground stations. His super-strong perforated steel Toro Bench () is still widely used today, along with a timber variant called Woodro ().^[16] These attractive, relaxed and hard-wearing benches are amongst his most familiar and ubiquitous designs.

During the late s Robin Day's work was championed by Tom Dixon, former Resourceful Director of Habitat. As skillfully as selling the Polypropylene Chair, Habitat reissued new versions of two of Day's earlier designs, the Forum Settee () in and the Chair () in These reissues triggered wider interest in Day's post-war designs and prompted commissions from several other firms, including SCP, twentywentyone and the Italian company Magis.^[17] Since Robin Day's death in , the responsibility for licensing his designs has been taken over by the Robin and Lucienne Day Foundation, established by Paula Day in ^[18]

Robin Day received many honours over the course of his long career.

He was appointed a Royal Planner for Industry in and appointed an OBE in ^[19] He was a past winner of the Chartered Society of Designers' highest accolade, the Minerva Medal, awarded for lifetime achievement in the field of design.

In close collaboration with the Robin and Lucienne Day Foundation, Case Furniture revisited the original blueprint of the Chair and faithfully reinstated, in the chair, the element and detail of the original.^[20]

Design philosophy

Robin Day's early designs reflected the optimistic, forward-looking mood of the post-war era.

'To many of us then, plan was more than just a profession – we were devoted, competitive and filled with evangelical zeal,’ he later recalled.^[21] 'In my long years of designing, the thing that has always interested me is the social context of design and designing things that are good quality that most people can afford,’ he observed in 'It was always my mission to mass-produce low-cost seating, because I execute think that clarity and what we call "good design" is a social force that can enhance people's environments.^[6] Day's democratic ideals and social purpose were reiterated by Fiona MacCarthy: 'His great aim was to create good design available all over the world, at prices affordable to ordinary people He was hugely impressed by the scope of design in Scandinavia.

It was part of his emerging philosophy that the designer should influence all details of daily life, and he worked in graphics, exhibitions and interiors as well as designing products.'^[21]

Day's inventive use of new technology, sparing use of materials and economical approach to construction stemmed from the austerity of the war years, when materials and labour were in short supply.

'Metal for strength and lightness, rubber for comfort and efficiency, wood for touch and appearance,’ was how he summarised his preferences in ^[22] These habits became deeply ingrained in his plan psyche and, even in more affluent times, his approach to design was always resourceful and down-to-earth.

'Throughout his life he loved working with his hands,’ noted Lesley Jackson. 'His workshop became an essential adjunct to his design studio, as it was here that he fine-tuned the models for his movie furniture. Minutely concerned with every technical and ergonomic detail, his approach to design was always very direct and hands-on.'^[1]

Day was a deeply moral and highly principled designer who shied away from showiness or opulence.

His aim was to solve practical problems in the most rigorous, efficient and cost-effective way. 'A good design must fulfil its purpose well, be soundly manufactured, and should express in its design this purpose and construction,’ he stated simply in Utopian Home in June Right from the start of his career, he was instinctively opposed to the idea of egotism in design and novelty for novelty's sake: 'It seems that the creation of new furniture has sometimes become almost entirely a vehicle of self-expression for the designer, or a seasonal quick-change act for the marketing requirements of manufacturers,’ he reflected in 'No one would pretend that material, technical needs and function were the sole dictates of form, but it is obvious that in some of the finest furniture of our day, technology on the one hand and superlative craftsmanship on the other, have played a major role.

I think that general acceptance of modern furniture depends largely on sincerity of design.'^[23]

He continued to uphold these principles throughout his life: 'To create things which are merely recent and not better is really evil,’ he declared in 'Things should be made because they are better and with regard to the limited resources of the planet, so they should be re-usable and long-lasting.

People often think that mere newness is innovation, but it isn't.'^[6]

Resources

Exhibitions and Books

Robin and Lucienne Day's post-war design achievements were brought back into the limelight in in a major international exhibition called The New Look: Layout in the Fifties at Manchester City Art Gallery.^[21] Ten years later their careers were examined in depth in a comprehensive retrospective exhibition called Robin and Lucienne Day: Pioneers of Contemporary Design at the Barbican Centre, London in Both exhibitions were curated by design historian by Lesley Jackson, who also wrote the accompanying books.^[24] Robin Day's furniture has also been documented in Modern British Furniture: Layout Since by Lesley Jackson, published by the V&A in ^[25] These books, based on extensive archive research and interviews with the designers, provide the first source of information about Robin and Lucienne Day's careers.

An exhibition of Lucienne Day's textiles and Robin Day's furniture, "Robin and Lucienne Day: Design and the Modern Interior", was held between 26 March and 26 June at Pallant House Gallery in Chichester.^[26] The Days' operate was also featured in a large exhibition at the V&A Museum in called British Blueprint From Innovation in the Contemporary Age.

In The Robin and Lucienne Day Foundation celebrated Robin Day's centenary year with the exhibition Robin Day Works in Wood, which was shown at the V&A Museum as part of the London Design Festival.^[27]

Film

A documentary film called Contemporary Days: The Designs of Robin and Lucienne Day, directed by Murray Grigor for Design Onscreen, was completed shortly before Robin Day's death in ^[28] The movie was premiered at the Royal Society of Arts in the presence of Robin Day in an auditorium furnished with the designer's seating.

References

Further reading

• Fiell, Charlotte; Fiell, Peter ().

  Design of the 20th Century (25th anniversary&#;ed.). Köln: Taschen. p.&#; ISBN&#;. OCLC&#;

External links