Missing Chairs was born from the idea that the chair never lives alone but is nearly always part of a greater object.
Missing Chairs, by Nobody&co
The What Containers are a complete system to use freestanding or to hang on a wall. The slim structure, made from canaletto walnut or grey oak, combined with the front in smoked glass or soft, sophisticated shades of lacquer. The handles are large elements in wood.
What containers, by Rodolfo Dordoni, for Molteni & C
Ease of travel in the jet age encouraged a growing fusion of cultural influences after World War II. Although Sori Yanagi’s stool was designed and manufactured in Japan, it employs western forms (the stool) and the material (bent plywood). Its calligraphic elegance, however, suggests a distinctly Asian sensibility despite the rarity of such seating furniture in traditional Japanese culture. The stool is made from two curving and inverted L-shaped sections, each forming one leg and half of the seat. A metal rod midway between the legs serves as a stretcher and holds the stool together.
Butterfly Stool, 1956, by Sori Yanagi (Japanese, born 1915); Originally manufactured by Tendo Co. Ltd. Now sold by Vitra.
It’s unusual for a high cafe chair to have any significant back support, this slender chair also sports an integrating a recessed footrest bar. Compliments include a table, and side chair.
Aline, by Andreas Störiko, for Wilkhahn
A seating collection launched by Moroso during the Milan Furniture Fair, which draws inspiration from a miniature painting from “The Garden of Life” by Naveen Patnaik. The book is beautifully illustrated and a practical guide for the use of plants in a range of applications – sacred, medicinal, culinary, cosmetic and aromatic. The found illustration provided style cues and ideas to the duo which eventually led to the new series of seating.
Take A Line For A Walk, by Alfredo Häberli, for Moroso
Mesa evolved from an architectural experiment which was to do with creating connections. Elastika was an installation created in the Moore Building in 2005 for the Miami Design Fair. The brief had been a sculptural structure to revivify the 1921 building’s atrium. Zaha Hadid’s proposal was an organic set of tentacles which linked spaces and floors across the atrium, defying changing levels and criss-crossing each other in mid-air. The effect was like a huge, sticky chewing gum pulled out of shape across the interior. This concept is now illustrated as a Vitra Edition table.
Mesa, by Zaha Hadid, for Vitra.