Dining chair, Douglas Fir plywood with solid pine element, stained clear-white, Rudolph Schindler, California, ca. 1946

Dining chair made from four pieces of Douglas Fir plywood, with a single element of solid pine, all joined with nails.

The chair has an overall backward-lean. Its back is made from a single board of plywood which continues below the seat to serve also as the back leg. Its top is semicircular, and it is pierced near the seat with a horizontal rounded slot. The supporting board is cut near the bottom to accommodate a long, solid planed pine foot, which projects forward just beyond the front edge of the seat. The seat itself has a semicircular front. Directly beneath the seat, located ninety degrees to the backboard, is a lozenge-shaped support, a triangular section of which pierces the backboard near the bottom and rests on the pine foot. Projecting backwards from the foot is a smaller rounded sheet of plywood which gives further stability, and also provides the appearance that the backboard has been folded backwards near its base. On the base of the chair are four circular rubber feet.

The object has an all-over greenish hue, the result of having been clear stained greenish white.

Some of the nails used in its construction are rusted, and several project from the surface of the object.

Given by Lionel March in memory of his wife Maureen Mary Vidler

This dining chair is part of a suite of furniture given to the V&A by distinguished architect, mathematician and digital artist Lionel March, along with a desk and coffee table (W.13-2014 and W.14-2014 respectively). The remainder of the suite, comprising a dining table, dressing table, three chests of drawers and four chairs, was acquired by the Museum of Applied Arts (Museum für angewandte Kunst) in Vienna, the city of Schindler's birth.

The suite was commissioned in about 1946 by Rudolph Schindler's friend, Beata Inaya (1903 or 1910-1991), a Bello-Russian Jewish émigré resident in Los Angeles who worked as a travel agent and for whom Schindler also designed two unbuilt houses. Inaya was an enthusiastic proponent of modernist architecture. In addition to helping Schindler find building sites, she later in life provided scholarships for architectural students, organised art and architectural exhibitions, campaigned to save Watts0 Towers and was active in the Women’s Architectural League of Los Angeles. The furniture formed part of the furnishings for a poorly documented flat that Schindler created for Inaya (drawings of the chairs survive at the University of California Santa Barbara, and one is published in Marla C. Berns, The Furniture of R.M. Schindler).

The pieces are made of Douglas fir plywood (the most common type in the United States, originating in the Pacific northwest) which Schindler scrubbed with a wire brush to bring out the grain. The plywood would have been covered with a clear finish, possibly with a bit of whitewash or limewash or white lead paint brushed into the wood first, allowing its grain and texture to become especially prominent. Schindler designed his furniture, like his buildings, with utmost economy of materials and methods of construction. His interest in plywood was long-standing and he almost never designed moulded plywood furniture, like many of his contemporaries, but instead stuck to less expensive cut-out plywood. Most of his furniture was nailed and glued together and the designs were said to try to make use of as much of each large plywood board as possible.

The furniture was at some point painted pink (her favourite colour) by Beata Inaya. She lent pieces to an exhibition in Madrid in 1984 (R.M. Schindler Arquitecto, Sala de Exposiciones del MOPU [Ministerio de Obras Publicas y Urbanismo]). When she lent the furniture to Professor March for the Schindlerfest at UCLA (1987-8, marking the centenary of Schindler’s birth), Inaya requested that it be restored to its previous condition. Under Professor March’s supervision, and with the collaboration of Schindler expert Professor David Gebhard of UC Santa Barbara, UCLA graduate architecture students stripped the furniture of its pink paint and restored it to what was considered close to its original condition. Gebhard drew on the documents held in his university’s Schindler Archive as well as on his own long experience of working with Schindler furniture, in determining the necessary treatment.

Sometime after the furniture’s return to Mrs Inaya in 1988 her apartment was flooded while she was abroad. The furniture was taken to March’s garage (at Schindler’s How House in Silver Lake) to dry out and then returned to Mrs Inaya. Upon her death, the furniture was bequeathed to Professor March and his wife Maureen Mary Vidler. The March-Vidlers lent pieces to the Univeristy Art Museum, UCSB in 1996-97.

In 2003 Professor March retired from UCLA and moved to Cambridgeshire, where he built an extension to house the Schindler furniture.

Rudolf Schindler was born in Vienna and studied there with the eminent architect Otto Wagner. He emigrated to the United States in 1914 in the hope of working for Frank Lloyd Wright, an ambition he achieved in 1918. His first jobs for Wright included working on the Imperial Hotel, Tokyo (based in Los Angeles) and then supervising construction of the Hollyhock House. Schindler remained in Los Angeles the rest of his life, building a series of important houses, including his own house and studio (1921-22, now open to the public). When Wright had work (which was not so often during the 1920s), Schindler continued to work for him while also building his own designs.The two parted acrimoniously in 1931 and Schindler began his own independent practice.

Schindler’s furniture designs were always emphatically geometric and architectural. Simple shapes—rectangles, squares, semi-circles—were the basis of his designs. Each element in his architectural design has a spatial function within the interior: to create or, in Schindler’s words, to define or mould space. In this regard his furniture appeared especially architectural. Many of his pieces were clearly influenced by the work of Frank Lloyd Wright; indeed, the desk (W.13-2014) looks like a model of a Wright building. However, Schindler established his own vocabulary of form and construction independent of Wright.

The chairs from the Inaya suite are in fact two sets with slightly different designs. This example, christened a 'His' chair by Lionel March, is more angular and has more solid wood elements than the gently-curving, entirely-plywood 'Hers' type. Two of the latter are in the collection of the Museum für angewandte Kunst, Vienna.

This dining chair formed part of a suite of furniture designed in about 1946 by Austrian-born architect Rudolph Schindler. It was commissioned by his friend, Beata Inaya, for her flat in Los Angeles.

W.15-2014