.png)
Never as in the 20th century have design, art and architecture been characterized by a wide variety of styles, movements and artistic avant-gardes, even spanning two world wars. Analyzing these phenomena from the perspective of Eastern Europe reveals extremely interesting aspects: creative universes populated by artists, designers and architects known or to be rediscovered, who have absorbed and interpreted the influence of international artistic movements, mixing it with rich local cultural traditions.
From the legacy of Art Deco which, with its geometric lines and use of precious materials, acts as a bridge between tradition and modernity, up to the functionalism of the Bauhaus; from the influences of Soviet Constructivism to the post-World War II period, Eastern European furniture design in the 20th century is a truly fascinating territory, the result of the intertwining of art, great socio-political changes and tradition.In the 20s and 30s the Bauhaus, the German design school founded by Walter Gropius, began to exert a notable influence on architecture and design throughout Europe, including Eastern countries. However, despite the impact of modernist movements, in regions such as Romania or Hungary, furniture and objects tended to remain rooted in local techniques and motifs, with chairs, tables and cabinets often featuring elaborate carvings, floral motifs, folkloristic symbols.
Emblematic is the case of the Hungarian Marcel Breuer who, before becoming one of the pillars of the Bauhaus, in 1921 designed and created the African chair in hand-carved wood and decorated fabrics, whose shape and covering fully reflect the traditions and decorative techniques of Hungarian popular culture.Functionality, simplicity and the integration between art, craftsmanship and technology: these are the values emphasized by the Bauhaus, an approach that finds fertile ground in the figure of Jindřich Halabala (1903-1978), one of the spearheads of Czechoslovakian design of the 20th century, which collaborates, as well as with Thonet, with the renowned UP Závody of Brno.
Halabala, famous above all for its armchairs showing organic lines and unmistakable curved armrests, embodies the essence of Czechoslovakian modernism. His functional furniture, which combines quality, welcoming aesthetics, comfort and accessibility, evolves from Art Deco towards the lines of the '50s. Anticipating the concepts of reuse and circularity central to contemporary design, Halabala spread the idea of a design that is simultaneously beautiful, democratic, functional and above all long-lasting.Mojmír Požár (1924-1995) also collaborated with UP Závody, emerging as one of the most important Czechoslovakian architects and designers of the generation following Halabala, in the 50s and 60s. Famous for his innovative systems of desks and bedside tables with intersecting and revolving tops, Požár worked with different furniture companies, creating simple and elegant pieces in which functionality harmoniously plays with aesthetics.Further East, in the context of the Soviet Union, Russian Constructivism (1913-1934) emerged as one of the most influential movements of the 20th century, promoting the idea that art and design should serve social and political purposes.
The Constructivist furnishings, such as those designed by Alexander Rodchenko, are free of superfluous decorations, with an emphasis on geometric volumes and the use of industrial materials that make them extremely current: the structural elements recall the pictorial works of Kazimir Malevich or Liubov Popova, while in neighboring Poland, constructivist principles and forms are analyzed and interpreted by artists of the caliber of Henryk Stażewski; furniture from this period is characterized by clean lines, geometric shapes and an innovative use of wood, metal and glass.
We remain in Poland with Rajmund Teofil Hałas (1925-2008), professor of Fine Arts in Poznań and designer characterized by a sophisticated minimalist approach: the innovative use of wood, the simplicity of the shapes and the functionality of his furnishings bring him very close to Scandinavian aesthetics, and among his most iconic creations of the 60s, the 200-190 chair stands out (in the picture, around the dining table). Still in production today, for Hałas it stood as a symbol of an ideal balance between design, quality and mass production.Post-World War II, the rise of communism in Eastern Europe led to design and furnishings characterized by a greater standardization, with a focus on functionality and affordability. However, some designers managed to introduce innovative and creative elements in their creations, helping to forge a distinctive aesthetic that combined simplicity and elegance.
One of the most re-evaluated designers on the Eastern European scene, as well as the longest-lived of our hit parade, is the Czechoslovakian master Jiří Jiroutek (1928-2023), who recently passed away at the age of 95 and was famous for his modular furniture decorated with colored panels from the U- series: made for Interiér Praha from 1958 until the end of the ‘70s, these furnishings have become icons of mid-century design, and the sideboards are among the most sought after on the Czech and international vintage market.
Jiroutek captured the international spirit of the '60s, giving life to functional pieces — very easy to assemble, a «modest, but functional style» as the designer described it — and aesthetically appealing, thanks to the iconic pastel-colored panels, the geometric shapes and the legs that point outwards; these details were particularly in vogue in that period and nowadays are once again sought after by the interior design world. In an ideal compromise between artisan tradition and the needs and tastes of mass production, Jiroutek managed to reduce costs of production, allowing mass production at affordable prices, without compromising the quality of the design.
From Halabala to Jiroutek, each of the masters mentioned is distinguished by a unique style that makes his furniture and objects recognizable and appreciated. Their contribution not only defined the styles of an era as varied as the 20th century, but laid the foundations for contemporary design, offering inspiration for contemporary furnishings.
