Jean Royère | Media Coverage | KUKJE GALLERY
BIOGRAPHY
1902년 파리의 유복한 가정에서 태어난 장 로이에는 소위 말하는 디자인 영재로서, 30대 초반 무렵 상당한 상업적 성공을 이룬다. 수 세기 동안 가구제작 중심가였던 파리 동부지역에서 전통 공예를 공부한 그는 1933년 파리 샹젤리제에 위치한 칼튼 호텔의 카페와 레스토랑을 새롭게 디자인하면서 혁신적인 작업 결과를 선보였다. 이 후, 주목할만한 젊은 디자이너라는 명성과 함께 그의 디자인을 선호하는 고객층이 빠른 속도로 생겨나게 된다. 또한 1934년과 1937년, 당시 프랑스 예술의 흐름을 선도하던 살롱도톤(Salon d’Automne) 전시회와 프랑스 장식 예술가 협회전에 초대 출품 되기도 하였다.
2차 세계 대전 발발 이전, 장 로이에는 그의 디자인 원칙을 만들어 나갔는데 바로 단순한 라인과 공간의 중요성을 적용하는 동시에 재료에 대한 개방성과 창조성을 유지하는 것이었다. 미니멀 미학을 추구하는 작가로 인식되는 것을 경계했던 장 로이에는 그의 유희적인 작품명 – 새끼 코끼리(éléphanteau), 달걀(ouef), 공(boule), 북극곰(ours polaire), 클로버(trèfle) – 만큼이나 독창적인 재료 고유의 물성을 강조한 대표적인 의자, 소파 라인을 발전시켜 나갔다.
장 로이에의 명성이 높아질수록, 그의 작품은 중동·라틴아메리카를 비롯한 세계 곳곳에 선보여졌다. 대표적으로 이란의 샤, 후세인 요르단 국왕, 후에 레바논 대통령이 된 쉐합 왕자, 차기 사우디 아라비아 국왕 사우드와 그의 조카 파이살과 같은 컬렉터들에게 사랑 받았다. 장 로이에는 중동지역에서 행해졌던 대규모 프로젝트였던 테헤란의 원로원 건물(Senate Palace, 1959년) 뿐 아니라, 예루살렘의 엠베서더 호텔, 테헤란의 파크 호텔, 카이로의 세미라미스 호텔, 베이루트의 브리스톨과 캐피톨 호텔, 요르단 암만의 필라델피아 호텔과 암만 클럽 등 최고급 호텔의 실내 건축 작업을 진행하였다.
장 로이에는 1981년 세상을 떠났지만 이후에도 그의 작업에 대한 관심은 끊임없이 이어져, 1999년 10월 파리 장식사 박물관에서는 로이에의 작품을 소개하는 대규모 전시가 열리기도 하였다. 장 로이에가 보여준 천재성과 디자인사적 중요성은 오늘날까지 수많은 컬렉터, 학생, 디자이너들에게 지속적인 영향을 끼치고 있다.
Born in Paris in 1902, Jean Royère was something of a design prodigy achieving significant commercial success by his early thirties. His first breakthrough came when he was commissioned in 1933 to redesign the café and restaurant of the Hotel Carlton on Paris' Champs-Elysées. Approaching the project as an opportunity to design a complete environment, Royère created tables and semi-circular, wicker armchairs in a balance of comfort and style. The design instantly won the young designer a dedicated client base and he was invited to show his work at two of Paris’ most prestigious shows: the Salon d'Automne in 1934 and the Salon de la Société des Artistes Décorateurs in 1937.
During the prewar period, Royère laid out what would become his principles of design: openness to material, inventiveness while still attending to simple lines, and the importance of space. He manifested these values in his own home on the Rue de Passy, in Paris' affluent 16th arrondissement, which he filled with sofas in metal tubing frames and low coffee tables (radical at the time) squatting on long-tufted rugs. Rejecting what he perceived as an over reliance on the minimal aesthetic, Royère developed signature lines of chairs and couches that were notable for their material volume and fullness as well as their playful titles: éléphanteau (elephant calf), ouef (egg), boule (ball), ours polaire (polar bear), and trèfle (clover).
As his reputation grew, so did the scope of his ambitions, and Royère expanded his client base to the Middle East, opening offices in Cairo, Egypt and Beirut, Lebanon. This would prove to be a fateful decision as he was soon rewarded with commissions from the ruling elites in those burgeoning cultural centers, eventually becoming the Shah of Iran’s designer of choice as well as working for King Hussein of Jordan, Prince Chehab of Lebanon (before he became President of his country), and Saudi Arabia's future King Saud and his nephew, Faisal. Undertaken in 1959, Royère's largest single project in the Middle East was the Senate Palace in Teheran. Luxury hotels also provided major contracts, and Royère completed major commissions for the Ambassador Hotel in Jerusalem, the Park Hotel in Teheran, the Hotel Semiramis in Cairo, the Bristol and the Capitole in Beirut, and the Philadelphia and the Amman Club in the Jordanian capital of Amman.
In all of these spaces, many of them opulent, Royère never lost sight of his philosophy that it was not the furniture that was the most important – he famously quipped that “I am against furniture” – but the dynamic space that is created and complemented by good design. Having a Royère designed piece immediately sets a tone and brings light to any environment.
While never out of the public eye, interest in the visionary designer has steadily grown since his death in 1981. The Musée des Arts Décoratifs staged a major show of Royère's work in October 1999. Today, passionate interest among collectors, decorators, and students of design continue to confirm the brilliance and historical significance of Jean Royère.
2차 세계 대전 발발 이전, 장 로이에는 그의 디자인 원칙을 만들어 나갔는데 바로 단순한 라인과 공간의 중요성을 적용하는 동시에 재료에 대한 개방성과 창조성을 유지하는 것이었다. 미니멀 미학을 추구하는 작가로 인식되는 것을 경계했던 장 로이에는 그의 유희적인 작품명 – 새끼 코끼리(éléphanteau), 달걀(ouef), 공(boule), 북극곰(ours polaire), 클로버(trèfle) – 만큼이나 독창적인 재료 고유의 물성을 강조한 대표적인 의자, 소파 라인을 발전시켜 나갔다.
장 로이에의 명성이 높아질수록, 그의 작품은 중동·라틴아메리카를 비롯한 세계 곳곳에 선보여졌다. 대표적으로 이란의 샤, 후세인 요르단 국왕, 후에 레바논 대통령이 된 쉐합 왕자, 차기 사우디 아라비아 국왕 사우드와 그의 조카 파이살과 같은 컬렉터들에게 사랑 받았다. 장 로이에는 중동지역에서 행해졌던 대규모 프로젝트였던 테헤란의 원로원 건물(Senate Palace, 1959년) 뿐 아니라, 예루살렘의 엠베서더 호텔, 테헤란의 파크 호텔, 카이로의 세미라미스 호텔, 베이루트의 브리스톨과 캐피톨 호텔, 요르단 암만의 필라델피아 호텔과 암만 클럽 등 최고급 호텔의 실내 건축 작업을 진행하였다.
장 로이에는 1981년 세상을 떠났지만 이후에도 그의 작업에 대한 관심은 끊임없이 이어져, 1999년 10월 파리 장식사 박물관에서는 로이에의 작품을 소개하는 대규모 전시가 열리기도 하였다. 장 로이에가 보여준 천재성과 디자인사적 중요성은 오늘날까지 수많은 컬렉터, 학생, 디자이너들에게 지속적인 영향을 끼치고 있다.
Born in Paris in 1902, Jean Royère was something of a design prodigy achieving significant commercial success by his early thirties. His first breakthrough came when he was commissioned in 1933 to redesign the café and restaurant of the Hotel Carlton on Paris' Champs-Elysées. Approaching the project as an opportunity to design a complete environment, Royère created tables and semi-circular, wicker armchairs in a balance of comfort and style. The design instantly won the young designer a dedicated client base and he was invited to show his work at two of Paris’ most prestigious shows: the Salon d'Automne in 1934 and the Salon de la Société des Artistes Décorateurs in 1937.
During the prewar period, Royère laid out what would become his principles of design: openness to material, inventiveness while still attending to simple lines, and the importance of space. He manifested these values in his own home on the Rue de Passy, in Paris' affluent 16th arrondissement, which he filled with sofas in metal tubing frames and low coffee tables (radical at the time) squatting on long-tufted rugs. Rejecting what he perceived as an over reliance on the minimal aesthetic, Royère developed signature lines of chairs and couches that were notable for their material volume and fullness as well as their playful titles: éléphanteau (elephant calf), ouef (egg), boule (ball), ours polaire (polar bear), and trèfle (clover).
As his reputation grew, so did the scope of his ambitions, and Royère expanded his client base to the Middle East, opening offices in Cairo, Egypt and Beirut, Lebanon. This would prove to be a fateful decision as he was soon rewarded with commissions from the ruling elites in those burgeoning cultural centers, eventually becoming the Shah of Iran’s designer of choice as well as working for King Hussein of Jordan, Prince Chehab of Lebanon (before he became President of his country), and Saudi Arabia's future King Saud and his nephew, Faisal. Undertaken in 1959, Royère's largest single project in the Middle East was the Senate Palace in Teheran. Luxury hotels also provided major contracts, and Royère completed major commissions for the Ambassador Hotel in Jerusalem, the Park Hotel in Teheran, the Hotel Semiramis in Cairo, the Bristol and the Capitole in Beirut, and the Philadelphia and the Amman Club in the Jordanian capital of Amman.
In all of these spaces, many of them opulent, Royère never lost sight of his philosophy that it was not the furniture that was the most important – he famously quipped that “I am against furniture” – but the dynamic space that is created and complemented by good design. Having a Royère designed piece immediately sets a tone and brings light to any environment.
While never out of the public eye, interest in the visionary designer has steadily grown since his death in 1981. The Musée des Arts Décoratifs staged a major show of Royère's work in October 1999. Today, passionate interest among collectors, decorators, and students of design continue to confirm the brilliance and historical significance of Jean Royère.
EXHIBITIONS
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Feb 28, 2013 - Mar 31, 2013 |
