An update on the design classic, made with a stainless steel frame. Plasticised fabric mesh white or black.
Fellini Directors Chair, by Stefano Gallizioli, for Coro
Constructed entirely by hand, each piece is unique and “ad hoc” in the way that its webbed shell is constructed. In brass structure, lacquered in white, black, or orange epoxy, or entirely in 24k gold plate. Epoxy versions are suitable for outdoor use.
Acclaimed French designer Jean-Marie Massaud is known for his unconventional approach to design. He aims to blend intelligence with feeling, nature with culture, always ensuring that it is the human being who takes pride of place – this chair certainly satisfies all those aims with its light yet incredibly strong structure.
Ad hoc, by Jean-Marie Massaud, for Viccarbe
Whether in the dining room in chrome steel or on the patio under cover in stainless steel, the filigreed elegance of this chair cannot go unnoticed.
Sunray Stainless Steel Chairs, by Fabio Di Bartolomei, for Tonon
The basic idea for the chair originated from a interaction with a piece of cardboard.
“Torn acts like a light hug, the reduced volumes give it the effect of light in the room – so you sit relaxed in a airy chair with an associated stool”.
- Christian Werner
Torn Lounge Chair, by Christian Werner, for ligne roset
Marc Newson designed this form for an installation at the Fondation Cartier pour l’Art Contemporain. The individual elements were displayed connected together in the form of a three-quarter sphere. Only 50 examples of this chair were produced; its title Bucky was taken from the newly discovered molecule, the Buckminsterfullerene, named for its resemblance to Buckminster Fuller’s geodesic structures.
Bucky Lounge Chairs, 1995, by Marc Newson
The Swivel Chair does what it says, the unique arm design circles the back without connecting to it.
Luigi Colani is considered a maverick of 20th Century design. In a career spanning almost six decades, he has placed organic design firmly on the contemporary ‘map’, producing biodynamic designs for cars, boats, planes, ceramics, consumer goods, as well as creating alternative futuristic concepts for the design of transport and architecture. A strong influence on contemporary designers, Colani emphasised the importance and evolutionary potential of design at an early date, often pre-empting major design trends by decades.
Swivel Chair, 1971, by Luigi Colani for Lusch
(currently out of production)
The bright and the dark side of the moon. Its way from new to full moon and back again. This changeable picture is translated graphically into a functional set of two side tables. The integrated well-proportioned bowl in each table plate reminds of the moon’s crater surface. The tables’ base are produced in chromed or lacquered steel tube, the table plates are made from scratch resistant powder coated MDF, in white and black, matt and high gloss. Both elements can be arranged separately and overlapping.
Moon Table, by Matthias Demacker, for Seefelder
Torno is a side table, twisted, with sculpture characteristics. The innovative white synthetic quartz and the view through the twisted table give the Torno a special lightness.
Torno, by Stephan Veit, for Draenert
Described as a new typology within the world of chairs, the Gap Chair is made as a wood monostructure with a supporting cross under the seat. All proportions are thought out to be ergonomic and minimalistic, but still with a poetic attitude.
Gap Chair, by Werner Aisslinger, for Fornasarig
Korban/Flaubert is a design and production partnership between Janos Korban, a metal specialist, and Stefanie Flaubert, an architect. Founded in Stuttgart in 1993, the practice specialises in furniture, lighting and architectural installations in metal or plastic.
Korban and Flaubert draw inspiration for their investigations from sources as diverse as abstract mathematics and the natural world, but their completed work is rarely the outcome of a deliberate aesthetic path or a set technical procedure. Rather they let the experimental manipulation of materials and form dictate the nature of the final product. “Loose model experiments are developed along specific themes, with the freedom of not committing to any function in the early stages as the models become larger and larger we experiment with the effects of different materials and a function may emerge.”
Membrane Chaise Lounge, by Korban/Flaubert