Art Intelligence Global, GALERIE PATRICK SEGUIN and NOT A HOTEL are pleased to jointly present “Modern Dreamers: Iconic Art, Architecture and Design”, an exhibition opening on March 25th at Art Intelligence Global’s exhibition space in Hong Kong.

Coinciding with Art Basel Hong Kong, the exhibition is a collaborative showcase celebrating the intersections and synergies found at the highest level of art, architecture and design.

At the heart of the exhibition is a JEAN PROUVÉ-1944 6×6 Demountable House. The exhibition marks the unveiling of the Demountable House in Asia; after the exhibition, the Demountable House will be installed in NOT A HOTEL’s Tokyo headquarters.

The show also features rare architectural elements designed by Jean Prouvé, including a panel with portholes from the Bouqueval demountable school (Paris region) and a set of furniture by Jean Prouvé. Highlights include the aluminum table no. 804, a rare prototype shown for the first time, a set from one and the same sprovenance comprising an S.A.M. table no. 506 and its four Métropole chairs no. 305, all originally lacquered in Van Dyck brown, and a Cité armchair from 1930.

In dialogue with these pieces, Art Intelligence Global has curated a thoughtfully selected assemblage of works to be featured in the exhibition. Highlights include works by modern Japanese master Morikazu Kumagai, celebrated contemporary artist Yayoi Kusama, distinguished ceramicist Rikichi Miyanaga as well as Kazuo Yagi, one of the founding members of the post-war avant-garde movement Sōdeisha.

As one of the first of its kind in Asia, the multi-disciplinary exhibition offers a sophisticated fusion of art, design, history and culture and presents a unique opportunity to engage with 20th century innovation and modern to post-war artistic expression in an integrated, cohesive and interactive context.

MODERN DREAMERS:
ICONIC ART, ARCHITECTURE AND DESIGN
March 25 – April 7, 2025

Art Intelligence Global, Suite A,
1st Floor TS Tower, 43 Heung Yip Road
Wong Chuk Hang, Hong Kong, China

The Guéridon Haut, designed by JEAN PROUVÉ around 1941, features an oak veneer tabletop supported by three obliquely positioned triangular legs, connected by a three-branched tubular stretcher. The structure is secured with metal brackets screwed into the wood.

Created during the war, this now-iconic model follows the same leg principle as the S.A.M. dining table, developed simultaneously by Ateliers Jean Prouvé. Unlike versions with a metal base, this one stands out with a wooden structure, showcasing Jean Prouvé’s ingenuity and his ability to adapt to material shortages, particularly steel, under the extreme conditions of the war.

Pairing perfectly with the Métropole no. 305 chairs, the harmony of its proportions and the ideal diameter of its tabletop make this pedestal table easy to fit in any space.

For inquiries, please send us a private message or an email at info@patrickseguin.com

This Métropole no. 305 chair, lacquered in a metallic green, was designed by JEAN PROUVÉ around 1950.
Featuring a rare and elegant color, fully original, this chair reveals a remarkable patina that enhances this iconic and timeless model.

The Métropole chair embodies the fruits of Prouvé’s research into creating a chair that was both light and robust.Developed by the Ateliers Jean Prouvé in 1950, this new version of the “semi-metallic” chairs – metal frame, wooden seat – merged the principles of the prewar metal-framed chair no. 4 with the mounting systems of earlier wooden models. The frame featured two “uniform strength” pressed steel rear uprights, welded to curved tubes forming the front legs, with braces reinforcing the structure.

Put on the market a few months after the knockdown model (Cafétéria no. 300), the Métropole no. 305 introduced innovative methods for attaching metal components: a tubular brace connected the pressed steel rear uprights, to whose interior the tubes of the front legs were welded. The frame was notched to receive the backrest— fixed to welded plates with Parker screws and brass or aluminum studs—and the rear of the plywood seat, which slipped into a slot. The protective plugs for the legs were inserted into the metal uprights. The molded plywood components were varnished and the metal parts oven lacquered.

The Métropole no. 305 chair is one of the finest examples of Prouvé’s vision for industrialized production. Examples of this emblematic chair are notably part of the collections of major museums, such as the MoMa in New York and the Centre Georges Pompidou in Paris.

For this 20th edition of DESIGN MIAMI, GALERIE PATRICK SEGUIN is showing a selection of furniture and lighting designed by JEAN ROYÈRE from the late 1940s to the early 1960s.

Jean Royère approached his work with great freedom. He designed pieces that were daring and refined, combining traditional craftsmanship with contemporary innovation. Inspired by the armillary spheres of the 16th century, the “Sphere” table is a perfect example of this approach. Four spherical feet in gold metal support a rectangular marble top, giving an impression of levitation. It was designed in 1939 and exhibited that same year at the Salon des Artistes Décorateurs in Paris; this model was made for a private commission around 1950.

As with the “Sphere” table, the pair of “Auxerre” chairs reflects the extraordinary sense of proportion and volume that Royère demonstrated throughout his career. This model features armrests subtly incorporated into an extension of its wrap-around backrest. Its sinusoidal lines also contrast with the rectangularity of the nest of tables, whose gold patinated metal legs support a delicate, partially mirrored glass top. The “Dents Grecques” pattern formed by the legs, skillfully worked into the table design, contributes to its air of refinement.

The names of Jean Royère’s creations often betray their organic and vegetal inspirations – for example the “Bouquet” lights, wall- or ceiling-mounted, are composed of metal ‘branches’, each of which ‘blossoms’ into a lampshade. Beneath the “Bouquet” hanging light, the console table in black-stained oak with its openwork top filters the light, projecting a subtle play of shadows.

The installation is completed by an extremely elegant semi-circular dressing table made in 1962 for a private commission, adorned with three illuminated mirrors and accompanied by a “Gazelle” stool, whose sycamore legs resemble the animal’s horns.

DESIGN MIAMI.
December 3-8, 2024
Convention Center Drive & 19th Street
Miami Beach, Florida, USA
Booth G 01

GALERIE PATRICK SEGUIN announces the release of an exclusive video on its YouTube channel, featuring the “Better Days” House, designed by JEAN PROUVÉ in 1956.

This stop-motion video, created during the set-up of the house, immerses you in the fascinating construction process of this demountable house. Each step is revealed, showcasing the ingenuity of Prouvé’s construction system.

The “Better Days” House, designed by Jean Prouvé, perfectly summed up the notion of the industrially produced detached dwelling—lasting, light, economical and comfortable—that he had been working on for almost twenty years. The project also illustrated the constructor’s reactivity. Faced with the urgency of the situation caused by the housing crisis, in just a few weeks he perfected a model combining his earlier experiments with an innovative building technique and the latest materials.

The construction approach was based on a concept devised with architect Maurice Silvy at Prouvé’s factory in Maxéville in 1952. On a dished concrete base was placed a prefabricated steel central unit housing the kitchen, bathroom and toilet; supporting a pressed steel beam, the unit constituted the substructure. The shell was made of thermoformed wood sandwich panels and the roof of aluminum slabs that also extended out to cover the porch. The public was as enthused by the idea as practicing architects, but this 57m² (613 sq ft) house that took seven hours to assemble was too revolutionary for its time: the official approval needed for industrialization was not granted, and only five were ever built.

For inquiries about this historic demountable architecture, please send us an email at info@patrickseguin.com.⁠

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As part of the Art Basel Paris public program,GALERIE PATRICK SEGUIN is showing a JEAN PROUVÉ 6×9 demountable house on Avenue Winston Churchill, in front of the Grand Palais.

This stop-motion video, filmed during the two-day assembly of the house in the heart of Paris, highlights the fascinating construction process of this demountable architecture, designed in 1944 to be rapidly assembled and, if needed, demounted and moved elsewhere.

Free of charge and open to all, a visit to the 6×9 demountable house is an opportunity to observe the ingenuity of Prouvé’s construction system, deployed here using two portal frames around which the living spaces inside the pavilion are organized.

The 54m2 demountable house is furnished with a fine selection of Jean Prouvé furniture.

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JEAN PROUVÉ
Bench no. 356, ca. 1956
Cité universitaire Jean-Zay,
Antony, France

The bench no. 356, designed by JEAN PROUVÉ around 1956, was intended for the communal areas of the Cité universitaire Jean-Zay in Antony (Paris area).

Built in 1954 by architect Eugène Beaudouin, the university student residence in Antony was seen as a model: just as a city, the university accommodation complex included, besides lodgings, three swimming pools, two restaurants, three lecture halls, a theatre, a library, a nursery school, two day nurseries, an infirmary, a social care center, and shops.

This cushioned bench, fully original, features a metal frame based on the leg’s principle of the fauteuil léger no. 356. Made of a large-diameter tubular brace to which are welded tubular legs and sheet-metal support brackets, it ensures both stability and lightness.

Similar to the fauteuil léger no. 356, designed as part of the furniture program for student rooms, the bench no. 356 was specifically developed to furnish the communal areas of the Cité universitaire in Antony. Particularly noted for its comfort, it was produced in versions that seat between 3 and 9 people.

In addition to furnishing the communal areas, Jean Prouvé was also commissioned to design the furniture for the restaurants and 148 individual rooms in the university student residence, which was inaugurated on December 1, 1955.

l’architecture d’aujourd’hui, juillet 1956