The shape of the shelving unit recalls rocks rising steeply out of the sea, natural cliff faces created by the constant action of waves and strong winds. To change the oblique angle from right to left or vice versa, simply turn the shelving unit upside down.
Ledge, by Kazuhiro Yamanaka, for Pallucco
Its quirky, but it works. A lounge chair that could fit well in either a home or office environment. A bit more casual than the standard classics, this chair looks like it might waddle away if not watched.
There it stands, bold and robust — and that really is important as this is not a chair for formal sitting, but an invitation to relax, lean back and put your feet up — ideally on the matching stool.
ClassiCon Satyr Armchair, Satyr II, by ForUse
“A light décor that faithfully reproduces a portion of sky. It includes, within the physical perimeter of the object, the depth of infinity. And infinite are also the feelings for the objects that will exist in space and time and that these doors, once open, will wake up. The cupboard has inside lighting and wooden doors featuring optical fibre décors of various diameters whose position is governed by the star map constellation”.
Voltaceleste, by Salvatore Indriolo, for Horm
Designed for Ergonomic comfort, the seat fabric is removable, polished aluminum or nickel legs.
Dart Chair, by Hannes Wettstein, for Molteni & C
Modular seating designed for the contract market, OMA (Office for Metropolitan Architecture) has commissioned a special version of M2 for the Seattle Public Library.
M2, by Scott Wilson, for Quinze & Milan
Ja, Gerrit is a domestic secretarial desk, which could function as a double desk, his and hers. Volumes are marked by geometrical spaces which intersect to define the space. The small variations of material and colour between varnished wood and black leather is interrupted by the bright colours of retro-varnished glass.
Ja, Gerrit, by Alberto Sala, for Bernini
Made from enameled steel, nylon and leather, the two orbits enclose the sitter. Dynamic.
Lounge Chair (1955), $16,000, by Luciano Grassi, Sergio Conti and Marisa Forlani, for Paoli at Wright