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TRUFFLE design by Jean Marie Massaud
Truffle is a small armchair made of thermoplastic material available in the floor standing version or raised on a revolving metal base that gives it an unexpected lightness. Low and wide, Truffle is informal and highly versatile in every room; it is moreover perfect for outdoors. It is available in the polished colours white, black or spring green.
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Attractive shapes for a swivel armchair with an all-embracing and highly comfortable shell.
With its precise details, it is available in a wide range of fabrics and leather, and a two-colour option. The Oplà armchair fits into the living room or bedroom.
Dimensions: 70 x 70 x 80 cm |
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Bulle
Designed by Jan Sabro - Patented
kg. 17 - m3 0,31 - 1 x box
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| Frame: supporting varnished steel frame articulated in the middle, which supports the seat pages hinged on the same frame.Padding: indeformable polyurethane foam without C.F.C. and 100% polyester %uFB01bre.Peculiarity: this is an armchair that can be turned over and each page corresponds to a seat position. |
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Frame: supporting frame with a bended metal tube protected by a polyurethane foam membrane,%uFB01tted by an elastic fabric that forms the seat.Peculiarity: completely removable covers.Available in different colours.
Permanent Collection Museum of Modern Art,New York.
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Sontuoso, il design di Bob seduce con la sua linearit avvolgente.
La scocca in Frame Foam, poliuretano a struttura cellulare dotato di flessibilit, resistenza e leggerezza.
Il cuscinetto poggiareni in fibra 100% poliestere.
I piedini sono in polipropilene colore nero. Disponibile in pi versioni cromatiche. Completamente
sfoderabile.
Tecnologia: Centro Studi & Ricerche Busnelli |
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SPI model , A harmchair with simple lines to relax in. The tranquility of floating at sea
90 x 97 x 131 cm
- Marin rope over 250kg/cm²
- Inox engraved logo
- dralon sail
Woods :
- Natural Teck
- Varnish Douka
- VarnisWengué |
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The spare and essential lines created by dustsheets draped over furniture inspired the Enchanted Collection. The pieces are stately, expressing noble eccentricity. The tall legs and exaggerated back contours on the pieces create a breezy feeling, as if they would catch the wind like a ghost.
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Model Number 1007
Designer De Pas, D'Urbino, Lomazzi
Date of Design 1970 / 2003 Re-Edition
Model Description
Designed in 1970. Joe, an oversized baseball glove, is now being reissued in an indoor/outdoor polymer. Joe, in tobacco brown and monumental marble grey. Play ball!
Sofa appropriate for in-/outdoor commercial and residential use.
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Model Number .1020
Designer Frank Gehry
Date of Design 2004
Model Description
Molded Easy Chair appropriate for indoor/outdoor commercial, institutional and residential use.
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Model Number .1008
Designer Mario Bellini
Date of Design 2005
The MB Collection. Another classic Bellini. Another technological innovation. Self cushioning polymer. Armchair, sofa and pouf/table. For office, home and hospitality. Indoor/outdoor. Exceedingly comfortable. Produced in dark grey. Bravo Mario!
Armchair appropriate for indoor/outdoor commercial and residential use.
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- Totally removable covers.
- Structure: High frequency pressed laminated beech lacquered in a choice of
white, black or natural.
- Seat: HR 35 Kg Ultracel foam covered in fibre.
- Back: HR 30 Kg Ultracel foam covered in fibre.
- Base: F1 steel coated in epoxy resin and lacquered in a choice of white or
black. |
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Easy chair.
Frame: Solid wood.
Base: Steel legs in chrome finish or lacquered silver grey.
Filling: High resilience foam. |
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OAKLEAF - Bring nature inside!
From acorn and oak leaf to the most inspiring and sculptural sitting quality of our time- FERCHLAND's Oak Leaf - at the same time distinguished and impressive - elevates the sitting experience in both conference environments as well in private homes. |
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| Clear, uncluttered lines are the hallmark of this range of armchairs. Whether cubic or round, they make an inimitable fashion statement when used alone. The chairs complement each other in their design and fit seamlessly into any living environment. |
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| A "monolith hewn in leather" for your living environment. This intriguing formal idiom results from the tantalising embodiment of sweeping dynamism with just a hint of the erotic. The ergonomic hammock-like shape ensures unsurpassed seating comfort and is an open invitation to lie back and dream. The armchair has all the visual appeal of a sculpture further enhanced by the skilled craftsmanship of the fine leatherwork. All in all, a genuine work of art. |
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K07 YOUNG
Modern minimalistic sitting UP furniture designed and produced for young and "young" "
Formation:
One seat dim. 90 x 78 x 72
Two seat dim. 140 x 78 x 72
Three seat dim. 190 x 78 x 72
Different corner variations
All basic elements with or without back
Ergonomics and material:
-construction
wooden under construction (beech tree)
-seat
massive panel plate with double spinning (double spining springs,
coco and combination of high quality foamed and wadding material)
-under construction
independent round or quadratic legs
painted by RAL colour scale
Upholstery:
Bright selection of micro textile and leather
Design: Klun-ambienti/ Robert Klun udia
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Relax armchair and ottoman.
The armchair has an automatic return rotating action.
The bases are in mat lacquered aluminium with tubular steel structure, padded with CFC-free polyurethane foam and polyester wadding.
The covering, in fabric or in leather, is completely removable. |
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DESIGN: HUGO DE RUITER
The DS -166 from Hugo de Ruiter can justifiably lay claim to being unique and unrepeatable. The original idea was based on an artistic principle, yet without neglect of functionality. The outer form of the armchair has all the quality of a sculpture thanks to its upward tapering lines. This in turn results not from a mere whim of the designer or from the proverbial wet finger held aloft to see which way the wind is blowing. To the contrary: it is the palpable consequence of the inherent laws of ergonomics. What Hugo de Ruiter is attempting to do with the DS-166 is to express the idea of comfort and security through the swell of the armchair’s lines. And it is a security that anyone sitting in the DS-166 feels most profoundly. In figurative terms, his design blends the concepts of guarding and cosseting. The armchair’s swivel-tilt mechanism additionally helps underpin a sense of the lightness of being. In the DS-166, the grande geste of design becomes a harbinger of comfort, while the reduction of its lines imbues this seating with a peerless richness. |
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Design: Egon Eiermann, 1949
This is the best known and proportioned of Egon
Eiermann´s rattan furniture designs.
Over one hundred of the E10 chairs were used
both internally and externally in the German
Pavillion designed by Egon Eiermann at the
renowned 1958 World EXPO in Brussels.
Eiermann had an affection for the aesthetic and
working properties of rattan. In one of his early
house designs of 1936 he created garage doors
in rattan.
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Armchair with adjustable positions. Steel frame,padding in CFC-free polyurethane foam and polyester wadding .
Fabric or leather upholstery.
Floor support in black plastic material.
Side knobs adjust the back, the headrest is divided in two parts, each with an independent reclining position.
By tilting the base forward the armchair becomes a chaise longue.
Optional special fabric overcovers are available on request. |
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Cuna is a stylish rocking chair, conceived to bring out a smile. This design is capable of turning a monotonous moment spent waiting into something surprising and fun.
Aimed at serious, style-conscious clients, it attempts to awaken the small child inside everyone of us. Its sombre, straight lines, with its careful combination of materials (warm, such as solid wood and cold, such as metals) and great attention to detail, are joined in an innovative, dynamic new concept which is reflected in the sensation of gravity combined with unexpected movement:
(see: http://www.capdell.com/spanish/novedades/cuna.htm) |
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• Body and back cover quilted underneath with non-woven
polyester
• Body covered in polyether foam
• Back in polyether foam
• Seat covered in polyether foam en cased in a nonwoven/
foam composite mat
• Coil spring unit
• Wooden inner frame
• Metal skid optionally
• in a pearl matt lacquer or
• high-gloss chrome finish
• Alternatively plate foot with rotary function optionally with
• matt chrome finish or
• oak veneer, stained in accordance with the Rolf Benz
colour chart, or in
• walnut veneer |
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| Laminated birch veneer Upholstery: Sheepskin (grey, white, black, brown or sand beige), fabric or leather 5-star swivel base in aluminium. Steel pillar in chrome finish. |
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The "Lounge Chair" ("and Ottoman", 1955) is the only Eames model which deliberately acquiesces to the world of luxury and opulence. Above all, it represents a decisive contribution to the modern design of the '50s, which, freed of the austere geometric forms of the '20s, moved towards more sculpted and organic shapes.
Eames wanted to design a comfortable yet simple armchair, whose frame and upholstery are fused like two hands crossed together. This is the explanation he gave his wife, or at least that's how the story goes. The result fully respects his intentions: the armchair appears to wrap itself around the body like a glove, allowing the user to sink in slowly, just the way Eames intended it. Without in any way minimizing its innovative aspects regarding materials: multi-layered curved rosewood for the three wooden "frames," pressure-cast aluminium (painted black and polished in the upper section) for the five-spoked base.
Permanently on display at MoMA in New York. |
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"Barcelona" remains the piece most representative of Mies van der Rohe, a true icon of the design of the 1900s.
It was displayed in the German pavilion at the World Exhibition of Barcelona in 1929. Mies placed two armchairs next to each other as thrones for the Spanish royalty during the inaugural ceremony, while stools were provided for the followers of the sovereigns.
In line with the stylistic severity of the author, the form is designed exclusively on the basis of function. The body is only made from a structure of steel bars with leather straps to support the two cushions of the seat and back. It is as simple as it is extraordinary.
All the welding and the finishing are done by hand since the master rejected its production in series. This was a long and complex work: after welding, the structure is buffed for hours to eliminate every imperfection before the chrome plating. |
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"Grand Confort, petit modèle" - the armchair Grand comfort - in the two versions, petit and grand modèle - is part of the series of furnishings in tubular steel presented in 1929 at the Salon d'Automne in Paris, which were born from collaboration between Le Corbusier, his cousin Pierre Jeanneret and Charlotte Perriand.
In line with their views on the themes of proportion and ergonomics, they created the grand modèle for women, who tend to sit with their legs crossed in a diagonal line, and the petit modèle for men, who instead tend to sit straight with their legs open.
The prototype was different from the current model: in 1959 when the production in series began in Zurich, the interior decorator Heidi Weber suggested chrome-plating the structure, giving the cushions a square, formal appearance, and eliminating the spring mechanism in the back legs, which made the chair bend backwards. These changes did, without a doubt, contribute to its commercial success.
A sample of the petite modèle is on display at MoMA in New York. |
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Complementi Collection, Alzè chair
The original shape and small lateral drawers make it
particular and unique, also thanks to elegance and prestige of its leather coverings. |
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FIAM
GHOST
Designer Cini Boeri-Tomu Katayanagi
12 mm thick curved glass
h 68 w 95 d 75 cm
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The Sanluca armchair, designed in 1961 by the architects Ashille and Pier Giacomo Castiglioni, was to be an 'armchair for relaxation". The points of support, the slant of the surfaces, the sizes of the sections, everything has been studied in order to obtain the maximum degree of comfort: in this way the body can relax without sinking, maintaining a coned upright positions. Anything amounting to a (enrol and superfluous extra has been intentionally eliminated, and as far as the aesthetic appearance is concerned, the Sanluca armchair is an object with an essential and modem line.
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