Just as the curves of the human body flow into one another, the same can be said of the Bardot. The absence of distinct angles and lines permit the exterior and interior to gently merge together, creating a continuous form that allows fabric to conform to its shape, similar to the way a dress fits the body. Inspired by the feminine silhouette, Hayon wanted the sofa to “feel like a fruit, tender to the touch,” while at the same time be extremely durable “like combining the lightness and strength of a ballerina.”
“Many sofas are too big to actually use in city apartments, so I wanted to make one that looked big and felt generous, but would actually work in smaller spaces.” Even though it may have a deceivingly compact footprint, the comfortable and functional Bardot retains an impressive elegance regardless of its location.
Dutch based design duo Minale-Maeda (Kuniko Maeda and Mario Minale) playfully reprise Gerrit Rietveld’s grace to reconsider his de Stijl masterwork, Buffet for dutch design company Droog. The Rietveld LEGO Buffet uses over 25,000 pieces of LEGO, updating the de Stijl’s call for simplified materials through the use of the iconic toy building blocks known to us as children, creating a re-iteration of one of modern design’s most relevant historical suggestions.
The idea of generating tables of different heights through the repetition of a single building block is what informs Layer, a table composed of a glass tabletop supported by a base made by stacking a variable number of wooden rings which repropose the structure of a pals trunk. The use of the rings is what allows the table’s height and dimensions to be varied, depending on whether one or two columns are employed and how many rings are stacked to create them.
Layer, by Luca Nichetto, for Gallotti & Radice
Carlos Tíscar has designed OTTO, a bench program for the Swiss company Girsberger. Seat and backrest fully upholstered with pocket spring core, fabric or leather, with a steel chromed frame.
With its visual linearity and soft and welcoming structure, this armchair is the epitome of extreme and deliberate simplicity. The internal supporting frame is made from glass-reinforced plastic and processed with original slits and ribbing that guarantee the comfort of the seat. The padding is made from polyurethane foam and polyester wadding.
The fabric or leather upholstery, combined with polyester wadding, is removable thanks to two lateral zips that give it an original finish. The covers are available in plain or two-tone colours.
Cloth, by Jehs+Laub, for Cassina
Comfortable is not the first word that comes to mind when describing modern chairs. Merging clean lines with soft interiors can be difficult to achieve; however, through the vision of young American designer Brad Ascalon, uniting these seemingly contradictory qualities has been accomplished. Ascalon’s Pillar chair provides a comfortable experience, while remaining true to the purity of line associated with modernism.
To make the chair more inviting, the seat, sides and back are shaped to form an interior cocoon while the exterior remains clean and crisp. Ascalon believes if the chair were visually, as well as physically comfortable, it would have appeal to both commercial and residential audiences. “Pillar has a curvaceous residential quality on the interior, while remaining true to the disciplines of modernism on the exterior. It is elegant, inviting and has presence in its simplicity,” says Ascalon
Dutch designer Marcel Wanders has designed the Tulip Armchair, recently presented at Salone Internazionale del Mobile in Milan.
Tulip Armchair, by Marcel Wanders, for Cappellini
A furnishing system features a structure in which seamless horizontal planes hold up the vertical elements and are fitted with extruded aluminium cross-beams, allowing the the front doors to slide.
Multiuse, by Angelo Mangiarotti, for Agape Casa