[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-moroso-at-home-2024-2025":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":445},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":440,"matched_pages":441,"match_count":442,"two_pages":443,"show_text":444},22682,"At Home 2024-2025","moroso-at-home-2024-2025","\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fdc\u002F5459a70574c88812fa660a6af03709-28e67c56e1.pdf","Moroso",1342,"moroso","16.5 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405,409,413,417,421,425,429,433,437],{"image":7,"text":15,"number":16},"At Home\n2024\u002F2025 \nHandbook\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.2.png"," \n“Volevo soltanto dire che al di là delle istruzioni \nper l’uso, gli strumenti e le cose sono, nella vita degli uomini, \ni mezzi con i quali essi compiono o cercano di compiere \nil rito della vita e se c’è una ragione per la quale esiste il \ndesign, la ragione – l’unica ragione possibile – è che il design \nriesca a restituire o a dare agli strumenti e alle cose quella \ncarica di sacralità per la quale gli uomini possano uscire \ndall’automatismo mortale e rientrare nel rito.”\n \n“I just wanted to say that beyond the instructions \nfor use, tools and things are, in the life of men, the means \nwith which they perform or try to perform the rite of life and \nif there is a reason why design exists, the reason – the only \npossible reason – is that design can restore or give to tools \nand things that charge of sacredness through which men can \nemerge from mortal automatism and re-enter the rite.” \n \nEttore Sottsass \n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.3.png","Patricia Urquiola\nGruuve\nPacific\nGogan\nGentry \nFjord\nLilo\nKlara\nBohemian\nM.a.s.s.a.s.\nRedondo\nRuff\nLoveland\nLoveseat\nRows\nRows + Pheaby\nRows + Getlucky\nGetlucky \nChamfer\nAntibodi\nShanghai Tip\nTropicalia\nSpring\nClarissa\nSmock\nTender\nMathilda\nTheo\nRon Arad\nOne Page\nSpring Collection\nVictoria & Albert\nRipple\nFront\nPebble Rubble \nDoodle\nAnomaly\nAnnabel Karim Kassar \nSalon Nanà\nStefan Scholten\nTulp + Vol\nVol\nDoshi+Levien\nMy Beautiful Backside\nPaper Planes\nArmada\nImpossible Wood \nBortotto Zanellato\nMangiafuoco \nToshiyuki Kita\nSaruyama\nTokujin Yoshioka\nBouquet \nNendo\nDew\nJavier Mariscal\nAlessandra\nSaula Marina \nAlfredo Häberli\nTake a line for a walk\nEdward Van Vliet\nAriel + Ayub\n[Sushi Collection]\nSebastian Herkner\nPipe \nPatricia Urquiola\nFishbone\nMarc Thorpe\nMark Table\nMorning Glory \nPhilippe Bestenheider\nNanook\nBenjamin Hubert\nNet \nM’Afrique collection\nShadowy, Tord Boontje\nJardin Suspendu, Concetta Giannangeli\nImba, Federica Capitani\nHusk, Sebastian Herkner\nBanjooli, Sebastian Herkner\nArco, martino Gamper \nVisual index\nIndice \u002FIndex\n004\n010\n014\n020\n030\n032\n034\n036\n040\n044 \n048\n052\n059\n060\n062\n066\n070\n072\n078\n080\n082\n088\n090\n092\n094\n096\n100\n102\n108\n114\n116\n120\n128\n130\n132\n136\n140\n144\n146\n148\n150\n154\n159\n160\n162\n166\n166\n168\n170\n172\n174\n176\n177\n178\n180\n184\n184\n190\n192\n194\n197\n200\n \nIl nostro cuore batte per la bellezza, per la passione \ne la felicità che il design riesce ancora a suscitare in noi. \nUn cuore “dipinto con le forbici”, à la Matisse, ricalcando \nil profilo di Soft Heart, poltrona a dondolo disegnata \nda Ron Arad nel 1991.\n \nOur heart beats for beauty, for the passion and \nhappiness that design still manages to arouse in us. \nA heart “painted with scissors,” à la Matisse, tracing the \noutline of Soft Heart, a rocking chair designed by Ron Arad \nin 1991.\nAt Home\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.4.png","design: Patricia Urquiola \nyear: 2024\n \nLo spirito degli anni Settanta, la \nrivoluzione culturale che in quell’epoca si traduce \nin arredi dall’approccio più informale, ispirano \nGruuve, sistema che cattura l’anima \nanticonformista dell’epoca e le dà la forma di \nun divano a composizione libera. Le linee fluide \ndei moduli della collezione sono pensate\nper trasmettere un senso di dinamicità alla casa \ne garantire una decisa flessibilità compositiva.\n \nThe spirit of the 1970s, the cultural \nrevolution that in that era translated into furniture \nwith a more informal approach, inspired Gruuve, \na system that captures the nonconformist soul of \nthe era and gives it the form of a free composition \nsofa. The fluid lines of the collection’s modules \nare designed to convey a sense of dynamism \nto the home and provide definite compositional \nflexibility.\nGruuve\nGruuve, sofa \nA1533\nLittle Heavy, armchair \nA6706\nMangiafuoco, side table\nJoy, pouf \nA7185\nGruuve, sofa \nA1539\nShiny Gogan, low table\n004\nAt Home — Patricia Urquiola\n005\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.5.png","Gruuve, sofa \nA1539\nRuff, armchair large \nA6705\nMangiafuoco, side table\nShiny Gogan, low table\n006\n007\nAt Home — Patricia Urquiola\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.6.png","Gruuve, sofa\nShiny Gogan, low table\nGruuve, sofa\nLittle Heavy, armchair\nMangiafuoco, side table\nJoy, pouf\n008\n009\nAt Home — Patricia Urquiola\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.7.png","Pacific\nPacific, sofa + pouf \nA8840\nRuff, armchair \nA2332\nGogan, low table\nDew, ottoman\nB0215 + B0216\nPacific, armchair \nA7000\nGogan, low table\ndesign: Patricia Urquiola\nyear: 2021\n \nLe forme arrotondate e lievemente \noversize, l’avvolgente comodità definita dalla \ntotale assenza di spigoli e dai dettagli di couture, \nrimandano direttamente alle atmosfere distese\ne rilassate della West Coast americana degli \nanni ‘50.\n \nThe rounded and slightly oversized \nshapes, the enveloping comfort defined by the \ntotal absence of edges and couture details, \nhark directly back to the laid-back and relaxed \natmospheres of the American West Coast of\nthe 1950s.\n010\n011\nAt Home — Patricia Urquiola\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.8.png","Pacific, sofa\nA1508\nGogan, low table\nDew, ottoman\nB0255 + B0211\nPacific, sofa \nA1433\nRuff, armchair \nA8529\nGogan, low table\nMangiafuoco, side table\nM’Afrique, dehors\n012\n013\nAt Home — Patricia Urquiola\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.9.png","design: Patricia Urquiola \nyear: 2019\nGogan\nGogan, sofa \nA8530\nPhoenix, low table\nGogan, sofa + low table \nA8844\n \nGogan deriva il suo nome dalla parola che \ndescrive i sassi posizionati sugli argini dei fiumi e \ndei laghi giapponesi a protezione ed abbellimento \ndelle rive. Allo stesso modo, nelle sedute, \nl’armonia tra gli elementi è data dalla loro forma \nnon troppo regolare, dagli incastri e dalla loro \nposizione.\n \nGogan derives its name from the word \ndescribing the stones placed on the banks of \nJapanese rivers and lakes to protect and beautify \nthe banks. Similarly, in seating, the harmony \nbetween the elements is provided by their not-so-\nregular shape, joints and position.\n015\n— Patricia Urquiola\nAt Home\n014\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.10.png","Gogan, sofa \nA8530\nGogan, armchair \nA8529\nGogan, low table\nBloomy, side table\n— Patricia Urquiola\nAt Home\n017\n016\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.11.png","Gogan, sofa \nA8844\nGogan, low table\nPipe, armchair\nA0532-Gentle\nGogan, sofa \nA8844\nGogan, low table\nRuff, small armchair\nB0234\n018\n019\nAt Home — Patricia Urquiola\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.12.png","design: Patricia Urquiola \nyear: 2011\nGentry\nGentry, sofa \nA5224\nDo-lo-rez, ottoman\nGentry, sofa \nA5225\nDew, ottoman \nFishbone, side table\n \nGentry è un progetto nato dalla ricerca di \nuna comodità rigorosa, misurata ma al contempo \nleggermente informale. I grandi cuscini \nindipendenti, di schiena e di seduta, rendono \nconfortevoli posizioni convenzionali quanto \ndisinvolte.\n \nGentry is a design born from the search \nfor rigorous, measured yet slightly informal \ncomfort.The large independent back and seat \ncushions make conventional yet casual positions \ncomfortable.\n021\n— Patricia Urquiola\nAt Home\n020\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.13.png","Gentry, sofa \nB0213\nDew, ottoman \nB0251\nGentry, sofa \nA7107\nOne Page, armchair \nB0252\nSecret Cubic Shelves, bookshelf\nMangiafuoco, side table\nJoy, pouf\n022\n023\nAt Home — Patricia Urquiola\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.14.png","Secret Cubic Shelves, \nbookshelf\nRuff, armchair large A6705\nPacific, pouf B0245\nMangiafuoco, side table \nGentry, sofa A7107\nOne Page, armchair B0252\nOne Page, pouf\nB0252 + A7193\nRows, sideboard dining\n— Patricia Urquiola\nAt Home\n025\n024\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.15.png","Gentry Extra Light, sofa\nB0167\nNet, side table\nCloud, low table\nGentry Extra Light, sofa\nDew, ottoman\nUkyio, low table\nNet, side table\n026\n027\nAt Home — Patricia Urquiola\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.16.png","Gli orientali dicono: \nLa perfezione è bella ma è stupida, \nbisogna conoscerla ma romperla.\nLa combinazione tra regola e caos \nè la vita, è l’arte, \nè la fantasia, è l’equilibrio.\nOrientals say: \nPerfection is beautiful but stupid\none must know it but break it.\nThe combination of order and chaos\nis life, is art\nis imagination, is balance. \nBruno Munari\nFjord, armchair + footstool\nA6186\n028\n029\nAt Home\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.17.png","design: Patricia Urquiola \nyear: 2000\nFjord\n \nFjord nasce dall’idea di scardinare \nl’oggetto simmetrico e perfetto di derivazione \nscandinava con un modo nuovo e contemporaneo \norientato alla ricerca di una bellezza rotta e \nasimmetrica. Linee dolci che sostengono \ne accolgono, evidenziate dall’accuratezza delle \ncuciture a vista in armonia continua con \nl’essenzialità delle strutture.\n \nFjord was born from the idea of unhinging \nthe symmetrical and perfect object of \nScandinavian derivation with a new and \ncontemporary way oriented toward the search \nfor a broken and asymmetrical beauty. Soft lines \nthat support and welcome, highlighted by\nthe accuracy of the visible stitching in continuous \nharmony with the essentiality of the structures.\nFjord, footstool\nFjord, armchair\nB0250 + A0867\n030\n031\nAt Home — Patricia Urquiola\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.18.png","design: Patricia Urquiola \nyear: 2015\nLilo\n \nLilo omaggia, in una raffinata e colta \nfusione di memorie progettuali, il design \nscandinavo e l’idea modernista degli anni ’50 \nincarnata nel lavoro dei grandi maestri del \ndesign italiano.\n \nLilo pays homage, in a refined and \ncultured fusion of design memories, \nto Scandinavian design and the modernist idea \nof the 1950s embodied in the work of the great \nmasters of Italian design.\nLilo, armchair\nA8169 + A7390 + A7864 \n+ A7390 + A8186\nLilo, armchair\nA6062 + A6079 + A6064 \n+ A6084 + A6063\nNet, side table\n032\n033\nAt Home — Patricia Urquiola\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.19.png","Klara, armchair \nB0218 + A5862\n+ low table\nKlara, armchair \nA1640 + A1594\nKlara, armchair\nA2507 + A1594\nKlara, armchair \nB0213\nMangiafuoco, side table\nTheo, small table\ndesign: Patricia Urquiola \nyear: 2010\nKlara\n \nKlara è una poltrona funzionale e \ndecorativa, dal sapore artigianale ma con una \nreminiscenza finemente secessionista. Il telaio, \ncon una marcata precisione formale, svincola \ni braccioli dal legame con la schiena facendoli \nrisultare strutturalmente liberi.\n \nKlara is a functional and decorative \narmchair with a handcrafted flavor but a finely \nsecessionist reminiscence. The frame, with \na marked formal precision, releases the \narmrests from their connection to the back, \nmaking them structurally free.\n034\nAt Home — Patricia Urquiola\n035\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.20.png","design: Patricia Urquiola\nyear: 2008\nBohemian\nBohemian, armchair \nB0200\nAnomaly, ottoman\n \nBohemian interpreta in modo originale il \ncapitonné. Senza trasgredire la geometria, la \nlavorazione è immaginata come un rivestimento \nliquido che, sciogliendosi sulla struttura portante \ndella seduta, è in grado di addolcirne i tratti. \nUna piacevole deformazione che mantiene \nil fascino manifatturiero attraverso l’utilizzo \ndi bottoni automatici che rendono il rivestimento \nsfoderabile.\n \nBohemian interprets capitonné in an \noriginal way. Without transgressing the geometry, \nthe workmanship is imagined as a liquid \nupholstery that, melting on the supporting \nstructure of the seat, is able to soften its \nfeatures. A pleasant deformation that maintains \nthe manufacturing charm through the use of \nsnaps that make the cover removable.\nBohemian, armchair\nA7776 + A7859\n037\n— Patricia Urquiola\nAt Home\n036\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.21.png","Bohemian, sofa\nA7865 + A0216\nShanghai Tip, small table\nBohemian, sofa\nB0216\n038\n039\nAt Home — Patricia Urquiola\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.22.png","M.a.s.s.a.s., sofa\nA6351\nNet, side table\nFishbone, side table\nM.a.s.s.a.s., sofa \nA7296\nFjord, footstool\nTia Maria, small table\ndesign: Patricia Urquiola\nyear: 2012\nM.a.s.s.a.s.\n \nBlocchi smussati dal taglio di una lama \nimmaginaria. L’ordine geometrico è rotto, travolto \na favore di un movimento, di un margine che \nattraversa i perimetri. Le facce rendono evidente \nla nervatura; alcune cuciture, evidenti come \nimbastiture, la disegnano, altre scompaiono. \nIl nome – M.A.S.S.A.S. – è l’acronimo di “Moroso \nAsymmetric Sofa System Adorably Stitched”: \nuna scelta giocosa ma esaustiva nel descrivere \nle caratteristiche formali.\n \nBlocks blunted by the cut of an imaginary \nblade. Geometrical order is broken, overwhelmed \nin favor of movement, of an edge that crosses the \nperimeters. Faces make the piping evident; some \nseams, evident as basting, draw it, others \ndisappear. The name - M.A.S.S.A.S. - stands for \n“Moroso Asymmetric Sofa System Adorably \nStitched”: a playful but comprehensive choice\n in describing the formal characteristics.\n040\nAt Home — Patricia Urquiola\n041\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.23.png","M.a.s.s.a.s., sofa \nA5877\nPanna chair, armchair\nCloud, low table\nTerreria, bookcase\nM.a.s.s.a.s., sofa \nA6351\nCloud, low table\n043\n— Patricia Urquiola\nAt Home\n042\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.24.png","design: Patricia Urquiola\nyear: 2010\nRedondo\nRedondo, armchair\nA5938\nRedondo, sofa\nA4284\n \nRedondo si ispira agli interni imbottiti delle \nauto americane degli anni ’50 e ’60 e al comfort \non-the-road che accompagnava i viaggiatori nei \nlunghi viaggi tra la East e la West Coast. La forma \nnasce dall’accostamento di una scocca che \navvolge in continuità i grandi cuscini di seduta. \nForme curve esaltate dall’assenza di spigoli \ne dalla morbidezza del tessuto, impreziosito da \nun decoro ricamato dove il filo, come una matita, \nsegna un elegante geometria tridimensionale.\n \nRedondo is inspired by the upholstered \ninteriors of American cars of the 1950s and \n1960s and the on-the-road comfort that \naccompanied travelers on long journeys between \nthe East and West Coasts. The shape comes \nfrom the juxtaposition of a shell that wraps large \nseat cushions in continuity. Curved forms \nenhanced by the absence of edges and the \nsoftness of the fabric, embellished with an \nembroidered decoration where the thread, like \na pencil, marks an elegant three-dimensional \ngeometry.\n044\nAt Home — Patricia Urquiola\n045\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.25.png","Redondo, sofa\nA7154\nOne Page, armchair\nB0252\nMangiafuoco, \nside table\nPacific, pouf  \nB0245\nShiny Gogan, \nlow table\n046\n047\nAt Home — Patricia Urquiola\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.26.png","Ruff\ndesign: Patricia Urquiola \nyear: 2020\n \nRuff gioca sul design della geometria: \nun armonioso e riuscito intreccio tra seduta \ne schienale. Il dialogo tra le forme è scultoreo se \nriferito ai volumi, architettonico se in rapporto \ncon lo spazio circostante; una forma funzionale \nche non dimentica di essere un oggetto che abita \nun luogo.\n \nRuff plays on the design of geometry: \na harmonious and successful interweaving \nof seat and back. The dialogue between forms \nis sculptural when referring to volumes, \narchitectural when relating to the surrounding \nspace; a functional form that does not forget \nthat it is an object inhabiting a place.\nRuff, armchair large \nA6705\nMangiafuoco, side table\nRuff, armchair large\nA6705 + A9093\nMangiafuoco, side table\nRows, sideboard dining\n048\n049\nAt Home — Patricia Urquiola\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.27.png","Ruff, armchair\nA8523\nRuff, armchair\nA7073\nInteriors: Claude Cartier Décoration, Photo: Pierrick Verny\nInteriors: Claude Cartier Décoration, Photo: Guillaume Grasset\n050\n051\nAt Home — Patricia Urquiola\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.28.png","Loveland, sofa \nA6946\nRuff, armchair \nA8529\nTheo, small table\nDew, ottoman \nB0251\nPebble Rubble, pouf \nA1202\nLoveland, sofa \nA6946\nRows, sideboard living\ndesign: Patricia Urquiola \nyear: 2023\nLoveland\n \nLoveland riprende e rinnova il sistema \ndi sedute imbottite Lowland con un approccio \nche ripensa un prodotto storico valorizzandone le \nqualità evergreen. Elegantemente coerente \nal principio progettuale originario, si caratterizza \nper una seduta molto morbida e confortevole \ne per la presenza di basamenti in legno \nmassiccio. Una scelta che nobilita le proprietà \narchitettoniche del sistema senza rinunciare alle \nqualità estetiche di sofisticata memoria \nrazionalista.\n \nLoveland revives and renews the Lowland \nupholstered seating system with an approach \nthat rethinks a historic product while enhancing \nits evergreen qualities. Elegantly consistent with \nthe original design principle, it is characterized \nby a very soft and comfortable seat and \nthe presence of solid wood bases. A choice that \nennobles the architectural properties of the \nsystem without sacrificing the aesthetic qualities \nof sophisticated rationalist memory.\n052\n053\nAt Home — Patricia Urquiola\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.29.png","Loveland, sofa \nA1026\nTheo, low table\nDew, pouf \nB0255\nRows, sideboard living\n054\n055\nAt Home — Patricia Urquiola\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.30.png","Loveland, sofa A1432\nMangiafuoco, side table\nTheo, small table\nDew, ottoman B0251\nRows, cabinet\nLoveland, sofa A1026\nRows, consolle + sideboard living \nPebble Rubble, pouf A1217\n056\n057\nAt Home — Patricia Urquiola\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.31.png","Loveseat\ndesign: Patricia Urquiola\nyear: 2023\nRows, sideboard dining\nLoveseat, armchair A1439\nRows, sideboard living\nPebble Rubble, pouf A7034\n058\n059\nAt Home — Patricia Urquiola\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.32.png","Rows, consolle + sideboard living \nMangiafuoco, side table\nPebble Rubble pouf \nA1217\nRows\ndesign: Patricia Urquiola\nyear: 2023\n \nLa collezione Rows esprime, nella sua \ngeometria minimale, una raffinata memoria \nartistica. Si distingue per la presenza, nei fianchi, \nnelle ante e nelle basi dei tavoli di una \nlavorazione allo stesso tempo formale e \ndecorativa ispirata alle nature morte di Amédée \nOzenfant, fondatore nel 1918 del movimento \nPurista. I tavoli della collezione suscitano, per \nestetica ed espressività della forma, suggestioni \nche dal déco arrivano fino al razionalismo\ndegli anni ’30.\n \nThe Rows collection expresses, in its \nminimal geometry, a refined artistic memory. \nIt is distinguished by the presence, on the sides, \ndoors and bases of the tables, of workmanship\nat once formal and decorative inspired by the still \nlifes of Amédée Ozenfant, founder in 1918 \nof the Purist movement. In terms of aesthetics \nand expressiveness of form, the tables in \nthe collection evoke suggestions that reach from \nDeco to the rationalism of the 1930s.\nRows, sideboard living\nPhoto: Leonardo Duggento\n060\n061\nAt Home — Patricia Urquiola\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.33.png","Rows + Pheaby\ndesign: Patricia Urquiola\nyear: 2023\nRows, sideboard dining\nRows, table\nPheaby, small armchair \nA9092\n062\n063\nAt Home — Patricia Urquiola\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.34.png","Pheaby, chair \nA1431\nRows, table\nRows + Pheaby\ndesign: Patricia Urquiola\nyear: 2023\n \nNella seduta imbottita Pheaby l’approccio \ncostruttivo si esprime attraverso un insolito \nantagonismo tra design artigianale e pensiero \nindustriale, risolto nella massima efficienza \nstrutturale degli elementi costitutivi. Le gambe, \nappoggi più simili all’idea di un cavalletto da \nfalegnameria che alla gamba di una sedia, \nsupportano una seduta morbida, tondeggiante\ne completamente prima di spigoli.\n \nIn the Pheaby upholstered seat, the \nconstructive approach is expressed through an \nunusual antagonism between handcrafted design \nand industrial thinking, resolved in the maximum \nstructural efficiency of the constituent elements. \nThe legs, resting more like the idea of a \ncarpenter’s trestle than the leg of a chair, support \na soft, rounded seat without any edges.\n064\nAt Home — Patricia Urquiola\n065\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.35.png","Rows + Getlucky\nGetlucky, dining chair \nA2321\nRows, table\ndesign: Patricia Urquiola\nyear: 2023\n \nLa sedia imbottita e la poltroncina \nGetlucky si distinguono per l’essenzialità \ngeometrica delle forme rese evidenti dalla \nmarcata relazione binaria tra seduta e schienale, \nelemento distintivo del progetto.\n \nThe upholstered chair and small armchair \nGetlucky are distinguished by the geometric \nessentiality of the forms made evident by the \nmarked binary relationship between seat \nand back, a distinctive element of the design.\n066\n067\nAt Home — Patricia Urquiola\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.36.png","Getlucky, dining chair \nA7034\nRows, table + cabinet\n068\n069\nAt Home — Patricia Urquiola\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.37.png","Getlucky\ndesign: Patricia Urquiola\nyear: 2020\nGetlucky, small armchair\nA7927 + A7861 + A8839\nGetlucky, small armchair\nA0143\nInteriors: Claude Cartier Décoration, Photo: Pierrick Verny\nInteriors: Claude Cartier Décoration, Photo: Guillaume Grasset\n070\nAt Home — Patricia Urquiola\n071\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.38.png","Chamfer, sofa \nA3478\nNet, side table\nChamfer\ndesign: Patricia Urquiola\nyear: 2018\n \nUn’intuizione derivata dal linguaggio della \ncarpenteria rappresenta il tratto distintivo di un \nsistema nuovo per costruzione formale e versatile \nper flessibilità compositiva. Se dal punto di vista \nletterale il termine chamfer indica lo smusso \ncreato con il taglio a 45° di un angolo retto, \nnel divano esprime un duplice ampliamento di \nprospettiva: esternamente l’angolazione \nammorbidisce e funge da guida; internamente, \nracchiude e sostiene, favorendo uno stile \ndi seduta allo stesso tempo rilassato e formale.\n \nAn intuition derived from the language of \ncarpentry is the hallmark of a system that is new \nin formal construction and versatile in \ncompositional flexibility. If from a literal point of \nview the term chamfer indicates the bevel \ncreated by cutting a right angle at 45°, in the sofa \nit expresses a twofold expansion of perspective: \nexternally, the angle softens and acts as a guide; \ninternally, it encloses and supports, favoring \na seating style at once relaxed and formal.\n073\n— Patricia Urquiola\nAt Home\n072\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.39.png","Chamfer, sofa \nA7920\nLilo, armchair\nNet, side table\nMorning Glory, side table\nChamfer, sofa \nA7791\nNet, side table\n074\nAt Home — Patricia Urquiola\n075\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.40.png","Antibodi, chaise longue\nA0921 + A3467\nI petali dei fiori stanno all’India \ncome i giornali vecchi \ne le scatole vuote \ne le latte e le auto fuori uso \nstanno all’America. \nFlower petals are to India \nas old newspapers \nand empty boxes \nand tins and discarded cars \nare to America.\nEttore Sottsass\n076\nAt Home\n077\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.41.png","design: Patricia Urquiola \nyear: 2006\nAntibodi\nAntibodi, chaise longue \nA0881 + A0870\nAntibodi, armchair\nA0932 + A0895\n \nLa poltrona e la chaise longue Antibodi \nsono caratterizzate da una struttura portante \nottenuta cucendo dei cerchi di tessuto secondo \nuno schema grafico a base triangolare fissato \na un telaio in acciaio in assenza di imbottitura.\nIl risultato è una composizione tridimensionale \nbicolore che rivela, con i petali rivolti verso l’alto, \nl’energia vitale di un’esplosione floreale; \ncon i petali rivolti verso il basso, la natura severa \ne matelassé della sua struttura razionale.\n \nThe Antibodi armchair and chaise longue \nfeature a load-bearing structure obtained by \nsewing circles of fabric according to a triangular-\nbased graphic pattern attached to a steel frame \nin the absence of padding. The result is a two-\ncolor, three-dimensional composition that \nreveals, with the petals facing upward, the vital \nenergy of a floral explosion; with the petals \nfacing downward, the severe, matelassé nature\nof its rational structure.\n078\nAt Home — Patricia Urquiola\n079\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.42.png","design: Patricia Urquiola \nyear: 2008\nShanghai Tip\nShanghai Tip, sofa system \n+ low table \nA8161\nUkiyo, low table\nSardinian Rug\n \nElegante e di grande comfort, il sistema \nShanghai Tip traspone, nella disposizione \nirregolare dei tubi di acciaio utilizzati per i piedi \ndel divano e per le gambe dei tavolini, \ni bastoncini di legno colorato del famoso gioco \nda tavolo.\n \nElegant and highly comfortable, the \nShanghai Tip system transposes, in the irregular \narrangement of steel tubes used for the sofa \nfeet and coffee table legs, the colored wooden \nsticks of the famous board game.\n080\n081\nAt Home — Patricia Urquiola\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.43.png","design: Patricia Urquiola\nyear: 2010\nTropicalia\nTropicalia, armchair\nversion B + version A\nTropicalia, armchair\nversion B\n \nNella collezione Tropicalia il giro di filo è \nsimile a un colpo di matita, marca una superficie \nche è contemporaneamente grafica e strutturale, \ndiventando simultaneamente gesto costruttivo \ne forma d’identità. La struttura, in acciaio inox \no verniciato, è adatta all’uso esterno.\n \nIn the Tropicalia collection, the turn \nof the wire is similar to a pencil stroke, marking \na surface that is simultaneously graphic \nand structural, becoming simultaneously \na constructive gesture and a form of identity. \nThe structure, in stainless steel or painted, \nis suitable for outdoor use.\n082\nAt Home — Patricia Urquiola\n083\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.44.png","Tropicalia, chair \n+ chair with arms\n085\n084\nAt Home — Patricia Urquiola\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.45.png","Tropicalia, armchair\nTropicalia,  \nchaise longue\n086\n087\nAt Home — Patricia Urquiola\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.46.png","Spring\ndesign: Patricia Urquiola\nyear: 2010\nSpring, sofa\nA6068\n \nSpring è un sistema imbottito costituito \nda elementi componibili con e senza bracciolo, \npouf e chaise longue dall’estetica rigorosamente \ngeometrica e razionale. Nonostante le dimensioni \nridotte dei singoli moduli, mantiene il comfort di \nun divano importante.\n \nSpring is an upholstered system \nconsisting of modular elements with and without \nan armrest, pouf and chaise longue with \na rigorously geometric and rational aesthetic. \nDespite the small size of the individual modules, \nit maintains the comfort of an important sofa.\n089\nAt Home — Patricia Urquiola\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.47.png","Clarissa\nClarissa Santoni, armchair\nPelle Santoni® + A0189\nNet, side table\nUkiyo, low table\nClarissa, armchair\nA8522 + A0820\ndesign: Patricia Urquiola \nyear: 2014\n \nClarissa è una poltrona relax di grande \ncomfort e impatto scenico che si distingue per \nla vistosa separazione tra il volume geometrico \ne secco della scocca e la morbidezza visiva \ndell’interno.\n \nClarissa is a relaxation armchair of great \ncomfort and scenic impact that is distinguished \nby the conspicuous separation between the dry, \ngeometric volume of the shell and the visual \nsoftness of the interior.\n090\nAt Home — Patricia Urquiola\n091\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.48.png","Smock\nSmock, armchair\nB0250\nSmock, armchair \nB0232\nShanghai Tip, small table\ndesign: Patricia Urquiola\nyear: 2005\n \nSmock promuove la tecnica del ricamo \nutilizzata per l’arricciatura del tessuto – il punto \nsmock – a incipit progettuale. Fondendo \nartigianalità e processo industriale, la designer \ngenera una figura sofisticata ed elegante capace \ndi comprendere l’universo simbolico femminile. \nDue anelli diventano braccioli ricordando una \nbamboo bag; i ricami laterali rendono il \ndrappeggio delicato nello stile e leggero nella \nforma, infondendo all’oggetto la grazia propria \ndi un accessorio personale.\n \nSmock promotes the embroidery \ntechnique used to curl fabric - the smock stitch - \nto a design incipit. Fusing craftsmanship and \nindustrial process, the designer generates \na sophisticated and elegant figure capable of \nunderstanding the feminine symbolic universe. \nTwo rings become arms, recalling a bamboo bag; \nside embroideries make the draping delicate in \nstyle and light in form, infusing the object \nwith the grace proper to a personal accessory.\n092\n093\nAt Home — Patricia Urquiola\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.49.png","Tender\nTender, sofa \nA7859\nFishbone, side table\nNet, side table\ndesign: Patricia Urquiola\nyear: 2014\n \nCogliere la leggerezza nel pieno, \nla morbidezza nel solido, e renderla progetto. \nPatricia Urquiola trova conferma alla sua \nintuizione e disegna un sistema modulare nuovo \nper forma e costruzione. L’approccio è tecnico: \nun telaio in alluminio, gambe arrotondate \ndi legno, cuscini abbondanti, tavolini e superfici \norizzontali. Pochi componenti facilmente \nassemblabili e intercambiabili in infinite \ncomposizioni.\n \nCapturing the lightness in the full, \nthe softness in the solid, and making it design. \nPatricia Urquiola finds confirmation to her \nintuition and designs a modular system that is \nnew in form and construction. The approach \nis technical: an aluminum frame, rounded wooden \nlegs, abundant cushions, small tables \nand horizontal surfaces. Few components easily \nassembled and interchangeable into endless \ncompositions.\n— Patricia Urquiola\nAt Home\n095\n094\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.50.png","Mathilda\ndesign: Patricia Urquiola\nyear: 2013\u002F2023\nMathilda, armchair\nA6700 + B0245 + A9096\n \nLa collezione Mathilda è costituita da una \nsedia in legno imbottita ed impilabile e da una \npoltrona contraddistinta dalla stessa, garbata \nestetica retrò. Con l’aggiunta degli sgabelli \ne dei tavoli, la serie sottolinea l’importanza della \nfascia colorata che sembra avvolgere tutti gli \nelementi strutturali: il cavalletto al piano \ndel tavolo, i braccioli alla struttura delle sedute. \nGli elementi si sovrappongono in un gioco \ncromatico e permettono di scegliere diverse \ncombinazioni di materiali, texture e colori.\n \nThe Mathilda collection consists of \nan upholstered, stackable wooden chair and an \narmchair distinguished by the same, graceful \nretro aesthetic. With the addition of the stools \nand tables, the series emphasizes the \nimportance of the colorful band that seems \nto envelop all the structural elements: the trestle \nto the table top, the armrests to the seating \nstructure. The elements overlap in a color play \nand allow for different combinations of \nmaterials, textures and colors.\n096\n097\nAt Home — Patricia Urquiola\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.51.png","Mathilda, chair\nA4517 + A7276 + B0214\nIl naturale, table\n098\n099\nAt Home — Patricia Urquiola\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.52.png","Theo\nTheo, small table\nPebble Rubble, sofa\nNet, side table\nTheo, small table\nLoveland, sofa\nPhoto: Leonardo Duggento\ndesign: Patricia Urquiola\nyear: 2023\n \nAttraverso una progressiva riduzione degli \nelementi decorativi, Theo reinterpreta il pensiero \ndelle prime avanguardie del Novecento, \nriferendosi in particolare all’opera di Theo van \nDoesburg, che nel 1917 assieme a Piet Mondrian \nfondò la rivista De Stijl. L’approccio costruttivo \nsi appropria così dei principi del neoplasticismo, \nproiettando in scala una piccola architettura.\n \nThrough a progressive reduction\n of decorative elements, Theo reinterprets the \nthinking of the early twentieth-century avant-\ngarde, referring in particular to the work of Theo \nvan Doesburg, who in 1917 together with \nPiet Mondrian founded the magazine De Stijl. \nThe constructive approach thus appropriates\nthe principles of neoplasticism, projecting \na small-scale architecture.\n100\n101\nAt Home — Patricia Urquiola\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.53.png","design: Ron Arad\nyear: 2024\nOne Page\nOne Page, armchair B0252\nSecret Cubic Shelves, bookshelf\nMangiafuoco, side table\nOne Page, armchair B0252 \nOne Page, pouf B0252 + A9205\nTheo, small table\nMangiafuoco, side table\n \nConcepita seguendo idealmente la \nmodellazione di un unico foglio di carta, \nOne Page è un tributo alla continuità delle forme \nche esaltano la poetica scultorea di Ron Arad \ne l’expertise manifatturiero di Moroso. Il “foglio” \nsi sviluppa in un doppio livello: l’imbottitura in \npoliuretano flessibile è supportata da una \nstruttura portante in poliuretano rigido. Il risultato \nè una poltrona in cui seduta, braccioli e schienale \ndanno vita ad un continuum avvolgente, sottile e \nmolto confortevole.\n \nConceived by ideally following the \nmodeling of a single sheet of paper, One Page is \na tribute to the continuity of forms that enhance \nRon Arad’s sculptural poetics and Moroso’s \nmanufacturing expertise. The “sheet”  \nis developed in a double layer: the flexible \npolyurethane upholstery is supported by a rigid \npolyurethane support structure. The result is\nan armchair in which the seat, armrests and back \ncreate an enveloping, subtle and very \ncomfortable continuum.\n102\n103\nAt Home — Ron Arad\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.54.png","One Page, armchair \nA9205\nTheo, small table\nMangiafuoco, side table\n104\n105\nAt Home — Ron Arad\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.55.png","La scelta dei colori \nnon deve essere un azzardo. \nDovrebbe essere \nuna decisione consapevole.\nI colori hanno un significato \ne una funzione.\nChoosing colors \nshould not be a gamble. \nIt should be \na conscious decision.\nColours have meaning \nand function.\nVerner Panton\nSoft Heart, armchair\nA0867\n106\n107\nAt Home\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.56.png","design: Ron Arad\nyear: 1989\nSpring collection\nSoft Big Easy, armchair\nSoft Little Heavy, armchair \nA0914\n \nSpring Collection dimostra come, \npartendo dalla poltrona Soft Big Easy, un volume \nin quanto semplice forma possa essere tradotto \nin prodotto industriale attraverso una \nreinterpretazione dei materiali e dei processi \nproduttivi. Il risultato è una vera e propria \nantologia del lavoro di Ron Arad, oggetti-icona \nunici per morfologia e dinamica della forma, nati \nda un gesto artistico ma, allo stesso tempo, \nportatori di un linguaggio progettuale collocabile \nnello spazio intermedio tra design, scultura \ne architettura.\n \nSpring Collection demonstrates how, \nstarting with the Soft Big Easy armchair, \na volume as a simple form can be translated into \nan industrial product through a reinterpretation \nof materials and production processes. The result \nis a true anthology of Ron Arad’s work, objects-\nicons unique in morphology and dynamics \nof form, born from an artistic gesture but, at the \nsame time, bearers of a design language that can \nbe located in the intermediate space between \ndesign, sculpture and architecture.\n108\n109\nAt Home — Ron Arad\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.57.png","Size Ten, armchair\nA0866\nSoft Little Heavy, armchair\nSoft Big Heavy, armchair\nA0914 + A0872\n111\n— Ron Arad\nAt Home\n110\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.58.png","Victoria & Albert, sofa\nA3748\nL’arte è un modo \nper vincere la paura... \nUn modo di tentare \ndi finir dentro nell’ignoto, \ndi fermarlo \nquesto ignoto \nin qualche maniera.\nArt is a way \nof overcoming fear... \nA way of trying to end \nup inside \nin the unknown, \nto stop this unknown \nsomehow.\nEttore Sottsass\n112\n113\nAt Home\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.59.png","Victoria & Albert, armchair \nA0867\nLittle Albert, armchair\ndesign: Ron Arad\nyear: 2000\nVictoria & Albert\n \nLa collezione Victoria & Albert si sviluppa \na partire da un punto di vista ironico e originale: \nun “donut” schiacciato al centro e rimodellato \ncon un approccio scultoreo. Un’idea che, nella \ntrasposizione in immagine, si trasforma in figure \ndisegnate in continuità, flussi curvilinei tracciati \nsenza mai staccare la matita dal foglio.\n \nThe Victoria & Albert collection is \ndeveloped from an ironic and original point of \nview: a “donut” squashed in the center and \nreshaped with a sculptural approach. An idea \nthat, when transposed into an image, is \ntransformed into figures drawn in continuity, \ncurvilinear flows traced without ever taking \nthe pencil off the paper.\n114\n115\nAt Home — Ron Arad\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.60.png","design: Ron Arad\nyear: 2004\nRipple Chair\nRipple Chair\nPhoto: Massimo Gardone\n \nRielaborazione figurativa e tridimensionale \ndel simbolo dell’infinito, Ripple Chair, nella \ntrasposizione in una forma fisica dell’increspatura \ngenerata da un flusso d’onda sull’acqua, evoca il \nricordo di oggetti impossibili immaginati in \nqualche laboratorio escheriano. Un movimento \nche rende fluida la materia plastica, la trasforma \nastraendola dalla sua funzione pratica e \nstrutturale.\n \nA figurative and three-dimensional \nreworking of the symbol of infinity, Ripple Chair, \nin its transposition into a physical form of the \nripple generated by a wave flow on water, evokes \nthe memory of impossible objects imagined in \nsome Escherian laboratory. A movement that \nmakes plastic matter fluid, transforms it by \nabstracting it from its practical and structural \nfunction.\n116\n117\nAt Home — Ron Arad\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.61.png","Ripple Chair\n118\n119\nAt Home — Ron Arad\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.62.png","Pebble Rubble\nPebble Rubble, sofa\nA1 - A1213 + A1202 + A1211\nB1 - A1217 + A1212 + A1216\nPebble Rubble, pouf\nA1213 + A1206 + A1209 + A1205\nLakelet, low table\ndesign: Front\nyear: 2022\n120\n121\nAt Home — Front\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.63.png","Pebble Rubble, sofa + pouf\nLakelet, low table\nPebble Rubble, sofa + pouf\nA1438 + A1205 + A1432 \n+ A1432 + A7058 + A8775\nCloud, low table\nMangiafuoco, side table\n122\n123\nAt Home — Front\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.64.png","Lakelet, low tables\n \nPebble Rubble trova ispirazione da una \nmeticolosa indagine naturalistica delle forme \npresenti in natura. Rocce, muschio, alberi caduti \ne specchi d’acqua diventano, nell’immaginario \ndelle designer, luoghi in cui riposarsi e rilassarsi. \nScansionate in 3D, queste forme organiche si \ntrasformano in oggetti d’arredo che esprimono, \ninnanzitutto, un’esperienza sensoriale.\nUna piacevole illusione che attrae e incuriosisce \nalterando la nostra percezione del tempo: veloce \ne frenetico quello della quotidianità, lento \ne imperscrutabile quello della natura.\n \nPebble Rubble finds inspiration from \na meticulous naturalistic investigation of forms \nfound in nature. Rocks, moss, fallen trees and \nbodies of water become, in the designers’ \nimagination, places to rest and relax. Scanned in \n3D, these organic forms are transformed into \nfurniture objects that express, first and foremost, \na sensory experience. A pleasant illusion that \nattracts and intrigues by altering our perception \nof time: fast and frenetic that of everyday life, \nslow and inscrutable that of nature.\nPebble Rubble\ndesign: Front\nyear: 2022\n124\n125\nAt Home — Front\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.65.png","Pebble Rubble, sofa\nA1 - A1202 + A1216 + A1209\nB1 - A1202 + A1204 + A1203 \nPebble Rubble, pouf A1213\nPebble Rubble, sofa\nC1 - A1207 + A1203 + A1209 \nPebble Rubble, pouf A1207\nCloud, low table\n126\n127\nAt Home — Front\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.66.png","Doodle, sofa \nB0213\nAnomaly, ottoman\nNet, side table\nDoodle, armchair\nB0200\nDoodle\ndesign: Front\nyear: 2013\n \nDoodle riprende la forma di una coperta \nripiegata e la decora con un ricamo nato da \nun grande scarabocchio, un disegno articolato e \ncomplesso costruito su una scansione spontanea \ne accumulativa di segni, forme geometriche \ne tracce di pensiero a flusso continuo. La seduta \nè delicata, assorta, i braccioli morbidi, la forma \naccogliente. Il rivestimento trapuntato segue \nle linee della composizione sovrappensiero \nconferendole tridimensionalità. È un pensiero \nche ci accoglie, un sogno ad occhi aperti.\n \nDoodle takes the shape of a folded blanket \nand decorates it with an embroidery born from \na large doodle, an articulate and complex design \nbuilt on a spontaneous and accumulative \nscansion of signs, geometric shapes and traces \nof thought in a continuous flow. The seat is \ndelicate, absorbed, the arms soft, the shape \nwelcoming. The quilted upholstery follows \nthe lines of the overthinking composition, giving \nit three-dimensionality. It is a thought that \nwelcomes us, a daydream.\n128\nAt Home — Front\n129\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.67.png","Anomaly, ottoman \nB0245\nRows, sideboard dining\nAnomaly\ndesign: Front\nyear: 2013\n \nDisegnato da Sofia Lagerkvist e Anna \nLindgren di Front Design nel 2013, Anomaly \nè una creatura dall’identità delicatamente \ninquietante, trasfigurazione fantastica di un \nmondo fiabesco, a tratti surreale. Un progetto \nche vive di contraddizioni, a metà strada tra \nla manipolazione visionaria di un corpo e \nla progettazione di un oggetto da compagnia, \ndocile e innocuo. La scelta del cuoio naturale \ncome materiale di rivestimento, letto come \nuna trasformazione zoomorfa, ne accentua la \nnatura organica, ambigua e misteriosa.\n \nDesigned by Sofia Lagerkvist and Anna \nLindgren of Front Design in 2013, Anomaly is \na creature which is slightly unsettling, the \nfantastical transfiguration of a fairytale and often \nsurreal world. Anomaly is a project full of \ncontradictions, halfway between visionary \nmanipulation of a body and a design of a \nhousehold pet-object, docile and harmless. \nThe choice of natural coloured leather could \nbe interpreted as an organic, ambiguous \nand mysterious zoomorphic transformation.\n130\n131\nAt Home — Front\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.68.png","design: Annabel Karim Kassar \nyear: 2021\nSalon Nanà\nSalon Nanà, armchair\nA8840\nSalon Nanà, sofa + low tables \nA1306\nDew, ottoman \nB0255 + B0254\n \nSalon Nanà evoca le atmosfere conviviali \ntipiche della fine dell’Ottocento, sottile rimando \nletterario al libro “Nana” di Emile Zola, mescolato \na ricordi e reminiscenze del Libano nella sua età \ndell’oro - az-zaman al-jamil - ovvero gli anni ’50 \ne ’60 del Novecento. Il divano combina una \nsilhouette generosa e il comfort dei grandi \ncuscini in piuma con un “Mezze”, un materasso \nda conversazione tradizionalmente utilizzato \nnelle sedute majlis, un grande tavolo quadrato\ne i due tavolini Not a harem.\n \nSalon Nanà evokes the convivial \natmosphere typical of the late 19th century, \na subtle literary reference to the book “Nana” \nby Emile Zola, mixed with memories and \nreminiscences of Lebanon in its golden age \n- az-zaman al-jamil - that is, the 1950s and 1960s. \nThe sofa combines a generous silhouette and the \ncomfort of large feather cushions with a “Mezze,” \na conversation mattress traditionally used in \nmajlis seating, a large square table and the two \nNot harem tables.\n132\nAt Home — Annabel Karim Kassar\n133\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.69.png","Salon Nanà, sofa \nA7074\nSalon Nanà, low table\nNanook, side table\nFrame-Schift, bookcase\n134\nAt Home — Annabel Karim Kassar\n135\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.70.png","Tulp + Vol\ndesign: Stefan Scholten\nyear: 2024\nVol, table\nTulp, dining chairs \nA8638\nTulp, dining chairs\nA7096\n \nTulp, sedia imbottita dalla forma aperta\n e confortevole, è uno spiritoso richiamo \nall’immagine di un tulipano, fiore tipico del \npaesaggio olandese.\n \nCollezione raffinata e versatile di tavoli \ne sgabelli, Vol esprime l’attenzione del designer \nnel ricercare il giusto rapporto tra estetica, \nfunzionalità e impatto ambientale. Una scelta \nvisibile sia negli elementi strutturali, sia nei \nrivestimenti, con la scelta del linoleum, del legno \ncomposto Alpi e dell’Ecotone™, materiale \ncomposito ad alte prestazioni realizzato in vetro \nriciclato.\n \nTulp, an upholstered chair with an open \nand comfortable shape, is a witty reference\n to the image of a tulip, a flower typical of the \nDutch landscape\n \nA refined and versatile collection of tables \nand stools, Vol expresses the designer’s attention \nto seeking the right relationship between \naesthetics, functionality and environmental \nimpact. A choice visible in both structural \nelements and upholstery, with the choice of \nlinoleum, Alpi composite wood and Ecotone™, \na high-performance composite material made \nfrom recycled glass.\n136\n137\nAt Home — Stefan Scholten\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.71.png","Vol, table\nTulp, dining chair\nA8638\n— Stefan Scholten\nAt Home\n139\n138\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.72.png","design: Stefan Scholten\nyear: 2024\nVol\nVol, table + stool\nVol, stool\n140\nAt Home — Stefan Scholten\n141\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.73.png","My Beautiful Backside, sofa\nYellow green version\nL’arredamento della nostra casa \ndiventa il teatro della vita privata, \ndella scena dove ogni stanza \npermette il cambiamento, \nla dinamica degli atteggiamenti \ne delle situazioni: \nè la casa palcoscenico.\nThe furnishing of our home \nbecomes the theater \nof our private life, \nthe scene where each room\nallows for change, \nthe dynamics of attitudes \nand situations: \nit is the stage house.\nAlessandro Mendini\n142\n143\nAt Home\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.74.png","design: Doshi + Levien\nyear: 2008\nMy Beautiful \nBackside\n \nUna collezione di divani che, fin dal nome, \npromuove lo schienale come elemento centrale \nnell’idea di progetto. Se formalmente la struttura \ndelle sedute segue un’impostazione \nrigorosamente ortogonale, nell’uso di ricami, \nbottoni, di cuscini decorativi, nei dettagli e \nnella selezione dei tessuti emerge un’inclinazione \ninfluenzata da ricerche proprie del mondo \ndell’abbigliamento; una caratteristica \nche, accanto alla qualità distintiva del comfort \n– elusiva reminiscenza di un daybed orientale – \naccosta una forte componente visiva\ne comunicativa.\n \nA collection of sofas that, right from its \nname, promotes the backrest as a central \nelement in the design idea. If formally the \nstructure of the seats follows a strictly orthogonal \nlayout, in the use of embroidery, buttons, \ndecorative cushions, in the details and in the \nselection of fabrics there emerges an inclination \ninfluenced by research proper to the world \nof clothing; a characteristic that, alongside the \ndistinctive quality of comfort - elusive \nreminiscence of an oriental daybed - juxtaposes \na strong visual and communicative component.\nMy Beautiful Backside, sofa\nDeep blue version\nMy Beautiful Backside, sofa\nLight blue version\n144\n145\nAt Home — Doshi + Levien\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.75.png","design: Doshi + Levien\nyear: 2008\nPaper Planes\nPaper Planes, armchair\nShanghai Tip, small table\nPaper Planes, armchair\nMauve\n \nPaper Planes nasce dalla progettazione \ndi un tessuto ispirato alla carta millimetrata. \nCome un origami fuori scala, la configurazione \ndella seduta deriva dal piegare e appuntire la \ncarta esplorando forme e strutture, producendo \nangoli, linee e poligoni. Una scultura funzionale \nche richiede, nonostante l’apparente semplicità, \nuna magistrale abilità sartoriale.\n \nPaper Planes was born from the design of \na fabric inspired by graph paper. Like an outsized \norigami, the configuration of the seat comes from \nfolding and pinning paper by exploring shapes \nand structures, producing angles, lines and \npolygons. A functional sculpture that requires, \ndespite its apparent simplicity, masterful tailoring \nskills.\n146\n147\nAt Home — Doshi + Levien\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.76.png","Armada, small club \nA3289 + A7195\nCloud, low tables\nArmada, lowback + highback\nA6485 + B0236\nArmada\ndesign: Doshi + Levien\nyear: 2008\n \nArmada è una collezione di sedute \nscultoree progettata per spazi aperti e aree \nlounge. Le forme gonfiate delle poltrone si levano \ndalla seduta come vele riempite dal vento, \ncreando un senso di leggerezza e movimento e \nconcedendo al contempo una certa privacy \ne riservatezza. Il linguaggio della forma esplora \nl’uso della superficie e del volume attraverso la \ncombinazione di sottili fianchi imbottiti e cuscini \nmorbidi e voluminosi all’interno, per offrire il \ncomfort giusto quando si lavora in movimento.\n \nArmada is a collection of sculptural \nseating designed for open spaces and lounge \nareas. The inflated forms of the armchairs rise \nfrom the seat like wind-filled sails, creating a \nsense of lightness and movement while granting \na sense of privacy and confidentiality. \nThe language of form explores the use of surface \narea and volume through the combination of thin \npadded sides and soft, voluminous cushions \non the inside to provide just the right amount of \ncomfort when working on the move.\n148\nAt Home — Doshi + Levien\n149\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.77.png","design: Doshi + Levien\nyear: 2008\nImpossible \nWood\nImpossible Wood, chair\nNo Waste, table\n \nIdealmente, una struttura in legno curvato \nirrealizzabile se non tramite stampaggio a \niniezione. Concretamente, una scocca in \npolipropilene che mantiene, nella texture di \nsuperficie, le qualità visive del legno.\n \nIdeally, a curved wood frame unfeasible \nexcept by injection molding. Concretely,\na polypropylene shell that retains, in surface \ntexture, the visual qualities of wood.\n150\nAt Home — Doshi + Levien\n151\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.78.png","Mangiafuoco, side table\nRuff, armchair \nA6705\nLuce e colore sono strettamente collegati.\nI colori, in natura, possono cambiare in modo \nradicale se si passa dalla luce \ndel giorno a quella artificiale o semplicemente \nda un’illuminazione forte a una debole. \nInoltre, la percezione del colore è influenzata \ndalla struttura del materiale.\nAnche se un pezzo di tessuto ha lo stesso \ncolore di un piatto smaltato, \nalla fine si comporteranno in modo \ncompletamente diverso.\nLight and color are closely linked. \nThe colors can make a crucial change \nin nature, if you switch from daylight \nto artificial light or just from strong to weak \nillumination. In addition, color perception \nis affected by the material structure. \nEven if a piece of textile can have the same \ncolor as a shiny enamel plate, then they \nwill act completely different.\nVerner Panton\n152\nAt Home\n153\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.79.png","Mangiafuoco\ndesign: Bortotto Zanellato\nyear: 2024\n \nNel progetto Mangiafuoco, un semplice \npiatto di rame acquista uno splendore imprevisto \nuna volta cotto ad alte temperature, assumendo \ntonalità sorprendenti e mantenendo intatta la \nnatura del metallo. Nei due tavolini la grande \nsuperficie smaltata gioca sul passaggio di cromie \ndifferenti e imprevedibili, nate dall’accostamento \ne dalla sovrapposizione di polveri vetrose e dal \nrigoroso rispetto dei tempi di cottura. Il risultato \nsono degli oggetti unici, imperfetti e, per questo, \ncosì seducenti, profondi ed emozionanti.\n \nIn the Mangiafuoco project, a simple \ncopper plate acquires an unexpected splendor \nonce fired at high temperatures, taking on \nsurprising hues while keeping the nature of the \nmetal intact. In the two small tables, the large \nenameled surface plays on the passage of \ndifferent and unpredictable colors, born from the \njuxtaposition and superimposition of glassy \npowders and the strict observance of firing times. \nThe result is unique, imperfect objects and, for \nthis reason, so seductive, profound and exciting.\nMangiafuoco, side table\n154\n155\nAt Home — Bortotto Zanellato\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.80.png","Uno si siede\npiù comodamente\nsu un colore \nche ama.\nOne sits \nmore comfortably \non a colour \nthat one likes.\nVerner Panton\nSaruyama, sofa \nA7652\n— Bortotto Zanellato\n157\nAt Home\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.81.png","design: Toshiyuki Kita\nyear: 2006\nSaruyama\nSaruyama, sofa A7652\nSaruyama Islands, armchair A5863\nSaruyama Islands, footstool\nA5861 + A0918 + A5876 + A5877 \n \nL’intuizione arriva sul \nmonte Takasaki, dall’osservazione \ndei piccoli macachi giapponesi: \nliberare l’istinto animale, \nla giocosità recondita insita in \nognuno di noi attraverso la \nprogettazione di uno spazio dove \nsedersi, sdraiarsi, arrampicarsi. \nSedute multiple a \ncaratterizzazione organica, \nespressione morfologica della \ncultura della bellezza e della \ntransitorietà. Tre elementi, \nindipendenti ma accostabili in \nuna sola, unica isola circolare alla \nquale, con Saruyama Islands,\nsi affianca un arcipelago di isole \ncolorate composto da piccole \nsedute, chaise longue e tavolini. \n \nThe intuition comes on \nMount Takasaki, from observing \nthe little Japanese macaques: \nto release the animal instinct, the \nhidden playfulness inherent in \neach of us through the design of \na space where we can sit, lie \ndown, climb. Multiple seats with \norganic characterization, \nmorphological expression of the \nculture of beauty and transience. \nThree elements, independent but \njuxtaposable in a single, circular \nisland to which, with Saruyama \nIslands, is joined by an \narchipelago of colorful islands \ncomposed of small seats, chaise \nlongues and small tables.\n159\n— Toshiyuki Kita\nAt Home\n158\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.82.png","Bouquet\ndesign: Tokujin Yoshioka\nyear: 2008\nBouquet, armchair\nB004\nBouquet, armchair\nB002\n \nBouquet è una poltrona imbottita di \nelegante concezione, un tributo alla bellezza che, \nnella semplicità del gesto ripetuto, sfiora \nla dimensione spirituale. L’abito, composto da \nquadrati di tessuto piegati manualmente e cuciti \nuno ad uno con sapiente cura e infinita pazienza, \navvolge la seduta fino a ricoprirla interamente \ndi soffici petali. Allegoria del sogno, raffinata \ntrasposizione poetica celebrata nella materialità \ninsita nell’oggetto industriale, la poltrona rende \nfelice colui che vi si siede, così come un bouquet \ndi fiori gratifica chi lo riceve.\n \nBouquet is an upholstered armchair of \nelegant conception, a tribute to beauty that, \nin the simplicity of the repeated gesture, touches \non the spiritual dimension. The dress, composed \nof fabric squares folded by hand and sewn one \nby one with expert care and infinite patience, \nenvelops the seat until it is entirely covered with \nsoft petals. An allegory of dreams, a refined \npoetic transposition celebrated in the materiality \ninherent in the industrial object, the armchair \nmakes happy the one who sits in it, just \nas a bouquet of flowers gratifies the one who \nreceives it.\n160\nAt Home — Tokujin Yoshioka\n161\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.83.png","Dew\ndesign: Nendo\nyear: 2009\n \nLe linee della tensione superficiale di \nuna goccia d’acqua si trasformano in un intreccio \ndi strisce di pelle di diversa larghezza. \nCome in un lavoro degli artisti dell’arte optical, in \nDew Nendo studia i processi percettivi alla base \ndel movimento, traducendoli in una disposizione \ndi linee e forme geometriche organizzate \nsecondo un approccio matematico e con un \nlinguaggio grafico. L’effetto ottico, enfatizzato \ndai rapporti di estensione e dall’uso del bicolore, \npermette una lettura multipla dell’oggetto, allo \nstesso tempo strutturale e visivo.\n \nThe lines of the surface tension of a drop \nof water are transformed into a weave of leather \nstrips of different widths. As in a work of the \nartists of optical art, in Dew Nendo studies the \nperceptual processes underlying movement, \ntranslating them into an arrangement of lines \nand geometric shapes organized according to a \nmathematical approach and with a graphic \nlanguage. The optical effect, emphasized by \nextension ratios and the use of two-tone, allows \nfor a multiple reading of the object, at once \nstructural and visual.\nDew, ottoman \nB0251\nDew, ottoman \nB0255 + B0254\nSilver Lake, armchair\nDew, ottoman\nB0255 + B0254\nDew, ottoman\nB0251 + B0255\n162\n163\nAt Home — Nendo\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.84.png","Tratto gli oggetti \ncome fossero esseri umani. \nLi faccio sorridere.\nI treat objects\nas if they were human beings.\nI make them smile.\nAlessandro Mendini\nIllustrazione \u002Fsketch\nJavier Mariscal, 1995\n164\n165\nAt Home\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.85.png","design: Javier Mariscal \nyear: 1995\nLos Muebles \nAmorosos\nSaula Marina, sofa\nA0914 + A921\nAlessandra, armchair\nAlessandra, armchair\nA0914 + A921\n \nLos Muebles Amorosos rientra \ncompletamente nella cultura visiva del mondo \ndel fumetto, alla quale il designer appartiene. \nAlessandra e Saula Marina sembrano così uscite \ndirettamente dalle pagine di qualche \nunderground comix, con cui condividono \nla stessa ironia e l’approccio ludico alla realtà. \nAnticonformista, libertario, post-moderno: \nMariscal disegna la sceneggiatura di un racconto \nda una prospettiva molto personale.\n \nLos Muebles Amorosos falls completely \nwithin the visual culture of the comic world,\nto which the designer belongs. Alessandra and \nSaula Marina thus seem to come straight out \nof the pages of some underground comix, with \nwhich they share the same irony and playful \napproach to reality. Nonconformist, libertarian, \npost-modern: Mariscal draws the script of a story \nfrom a very personal perspective.\n166\n167\nAt Home — Javier Mariscal\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.86.png","Take a line for \na walk\ndesign: Alfredo Häberli\nyear: 2003\nTake a line for a walk, armchair \nGentry, sofa\nTake a line for a walk, armchair \nB0240\n \n“Il disegno è l’arte di condurre una linea \na fare una passeggiata”, Paul Klee. \nMacchine, astronavi, poltrone di comando, \nun universo di riferimenti maschili, legami emotivi \nche rievocano stupori e ricordi dei giochi \nd’infanzia. Un guscio avvolgente, comodo \ne protettivo, per appoggiare il capo, riposare \no isolarsi dall’ambiente circostante. \n \n“Drawing is the art of leading a line for\na walk,” Paul Klee.\nCars, spaceships, command chairs, a universe of \nmasculine references, emotional ties that evoke \namazement and memories of childhood games. \nAn enveloping shell, comfortable and protective, \nto rest your head, rest or isolate yourself from \nyour surroundings. \n168\n169\nAt Home — Alfredo Häberli\n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.87.png","design: Edward Van Vliet\nyear: 2016\nAriel, armchair\nA7391 + A1136\nAriel, armchair\nA7391 + A1136\nAyub, armchair\nA1136 + A7391\nAriel + Ayub\n \nLe poltrone Ariel e Ayub sono parte della \nSushi Collection, serie versatile di sedute che \nnella densità di sovrapposizione e nell’accumulo \nfolle e maniacale di colori, ricami damascati, \nsimbologie orientali, decori floreali e pattern \ndigitali offre un’ampia gamma di opzioni \ndi utilizzo, dalle aree lounge agli ambienti per \nconversazioni intime e appuntamenti vis-à-vis.\n \nThe Ariel and Ayub armchairs are part of \nthe Sushi Collection, a versatile series of seating \nthat in its density of overlapping and crazy, manic \naccumulation of colors, damask embroidery, \noriental symbolism, floral decorations and digital \npatterns offers a wide range of options for use, \nfrom lounge areas to settings for intimate \nconversations and vis-à-vis appointments.\n170\n171\nAt Home — Edward Van Vliet\n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.88.png","Pipe, armchair + low table\nA7803 + A8072\nPipe, armchair \n+ low table\nA7803 + A8072 \nPipe\ndesign: Sebastian Herkner \nyear: 2015\n \nAnteporre il grosso al fino, prediligendo \nuna scelta in antitesi rispetto alla più comune \nricerca sulla forma sottile. E, nonostante questo, \nmantenersi leggeri, lievi. Il progetto si articola \ncosì attorno all’aspetto più rassicurante \ndell’oversize: la semplicità.\n \nAnteposing the chunky to the fine, \npreferring a choice in antithesis to the more \ncommon pursuit of subtle form. And, in spite of \nthis, keeping light, slight. The project is thus \narticulated around the most reassuring aspect \nof the oversize: simplicity.\n172\n173\nAt Home — Sebastian Herkner\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.89.png","design: Patricia Urquiola \nyear: 2012\nFishbone\nFishbone, side tables\n174\n175\nAt Home\n",89,{"image":370,"text":371,"number":372},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.90.png","design: Marc Thorpe \nyear: 2014\nMorning Glory\ndesign: Marc Thorpe \nyear: 2010\nMark Table\nMorning Glory, \nside table\nMark Table, \nlow table\n177\nAt Home\n176\n",90,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.91.png","design: Philippe Bestenheider \nyear: 2008\nNanook \nNanook, side table\n178\n179\nAt Home\n",91,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.92.png","design: Benjamin Hubert \nyear: 2013\nNet\nNet, side table\n180\n181\nAt Home\n",92,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.93.png"," \nLa collezione M’Afrique nasce da \nun pensiero, dal sentirsi affini all’Africa senza \nchiederle di essere banalmente esotica. \nProgetti non omologati per antonomasia, diversi, \nche arricchiscono di contenuti una produzione \ndecorativa basata sulla ripetizione di un cliché. \nOggetti al contempo consueti, rivisitati da \ndesigner che con l’Africa mantengono rapporti \ndi vita, di sintonia concettuale e di fascinazione \nculturale.\n \nPer l’Occidente l’africanità significa arte \nd’aeroporto, maschere e feticci, tamburi e danze. \nPer Moroso è l’occasione di reinterpretare \nil vivere fuori inteso come nuova concezione \nintimamente legata ai colori e alle sensazioni \ndello stare all’aperto.\n \nThe M’Afrique collection was born from \na thought, from feeling akin to Africa without \nasking it to be banally exotic. Projects that are \nnot homologated by definition, different, that \nenrich with content a decorative production \nbased on the repetition of a cliché. Objects at \nonce customary, revisited by designers who \nmaintain relationships of life, conceptual \nharmony and cultural fascination with Africa.\n \nFor the West, African-ness means airport \nart, masks and fetishes, drums and dances. \nFor Moroso it is an opportunity to reinterpret \noutdoor living understood as a new concept \nintimately linked to the colors and sensations \nof being outdoors.\nMade in Senegal\nM’Afrique \ncollection\nMade in Senegal\n182\n183\nAt Home — M'Afrique\n",93,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.94.png","design: Tord Boontje \nyear: 2009\nShadowy\nJardin Suspendu, accessories\ndesign: Concetta Giannangeli, 2016\nShadowy, armchair\nJardin Suspendu, accessories\n184\n185\nAt Home — M'Afrique\n",94,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.95.png","Shadowy, armchair\nTuttifrutti + Panafricana + Chilly\nJardin Suspendu, accessories\n— M'Afrique\nAt Home\n187\n186\n",95,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.96.png","Shadowy, armchair\nChilly\nShadowy, armchair\nPanafricana\n188\n189\nAt Home — M'Afrique\n",96,{"image":398,"text":399,"number":400},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.97.png","design: Federica Capitani \nyear: 2015\nImba\nImba, armchair\nImba, armchair + chaise longue\nJardin Suspendu, accessories\n190\n191\nAt Home — M'Afrique\n",97,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.98.png","design: Marc Thorpe \nyear: 2015\nHusk\nHusk, armchair\nShadowy, armchair\n192\n193\nAt Home — M'Afrique\n",98,{"image":406,"text":407,"number":408},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.99.png","design: Sebastian Herkner \nyear: 2013\nBanjooli\nBanjooli, chair\n195\n— M'Afrique\nAt Home\n194\n",99,{"image":410,"text":411,"number":412},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.100.png","design: Martino Gamper\nyear: 2017\nArco\nArco, cocoon \nBanjooli, chair\n197\n— M'Afrique\nAt Home\n196\n",100,{"image":414,"text":415,"number":416},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.101.png","Lo scopo principale del mio lavoro \nè quello di stimolare le persone \na usare la loro immaginazione.\nLa maggior parte delle persone \npassa la propria vita in modo triste, \nnella conformità dei colori \ngrigi-beige, con una paura mortale \ndi usare i colori. \nRicercando e sperimentando \nattraverso l’illuminazione, i colori, \ni tessuti, i mobili e utilizzando \nle tecnologie più recenti, \ncerco di mostrare nuove strade \ne di incoraggiare le persone \na usare la loro immaginazione per \nrendere più eccitante l’ambiente \nin cui vivono.\nThe main purpose of my work \nis to provoke people into using \ntheir imagination. \nMost people spend their lives \nliving in dreary, grey-beige \nconformity, mortally afraid of using \ncolours. By experimenting \nwith lighting, colours, textiles, \nand furniture and utilising the latest \ntechnologies, I try to show new \nways, to encourage people to use \ntheir imagination and make \ntheir surroundings more exciting.\nVerner Panton\nArco, armchair + pouf + cocoon \nBanjooli, chair\n198\n199\nAt Home — M'Afrique\n",101,{"image":418,"text":419,"number":420},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.102.png","Gruuve\nBohemian\nsofa\n→ 038, 039\nBohemian \narmchair\n→ 036\nBohemian \nchaise longue\nChamfer\nsofa system\n→ 072, 073, 074, 075\nGruuve\nsofa system\n→ 004, 005, 006\u002F007, \n008, 009, 048\nGruuve\nsofa system\nDoodle\nsofa\n→ 129\nDoodle \narmchair\n→ 128\nShiny Gogan\nlow table\n→ 004, 006\u002F007, \n009, 046\u002F047\nVisual Index\nBohemian \nsmall armchair\n→ 037\nRedondo\nsofa\n→ 045, 046\u002F047\nRedondo\narmchair\n→ 044\nRedondo\nsmall armchair\nSalon Nanà\nsofa system\n→ 133, 134\u002F135\nSalon Nanà\nchaise longue\nSalon Nanà\narmchair\n→ 132\nSalon Nanà\nlow table\n→ 133, 134\u002F135\nM.a.s.s.a.s.\nsofa system\n→ 040,041, 042, 043\nM.a.s.s.a.s.\narmchair\nPacific\nsofa system\n→ 013\nPacific\nsofa system\n→ 011, 012\nPacific\nsofa system\n→ 012\nPacific \narmchair\n→ 010\nPacific\npouf\n→ 011,\n024\u002F025, \n046\u002F047\nGentry\nsofa system\n→ 020, 021, 022, 023, \n024\u002F025\nGentry extra light\nsofa system\n→ 026, 027\nGentry\npouf\nGogan\nsofa system\n→ 014, 015, 016\u002F017, \n018, 019\nGogan \narmchair\n→ 016\u002F017\nGogan \nlow table\n→ 014, 016\u002F017, \n018, 019\nLoveland\nsofa system\n→ 052, 053, 053, \n054\u002F055, 056, 057\nLoveseat\narmchair \n→ 059\nPebble Rubble\nsofa system\n→ 101, 120\u002F121, 122, 123, \n125, 126\u002F127\nPebble Rubble \npouf\n→ 053, 061, 120\u002F121, \n122, 123, 125, \n126\u002F127\nSaruyama Island\nsettee, footstool, 2 seater sofa\n→ 158\u002F159\nSaruyama\nsofa\n→ 156\u002F157, 158\nSaruyama Giro\nstool\n200\n201\nAt Home\n",102,{"image":422,"text":423,"number":424},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.103.png","Antibodi\nchaise longue\n→ 077, 078\nVictoria & Albert\nsofa\n→ 113\nVictoria & Albert\nsofa\nVictoria & Albert \narmchair\nVictoria & Albert \nsmall armchair\n→ 114\nLilo\nchaise longue\nAntibodi\narmchair\n→ 079\nArmada\nhighback\n→ 148\nArmada \nlowback\n→ 148\nArmada \nsmall club\n→ 149\nArmada \nsmall table\nClarissa\narmchair\n→ 090, 091\nClarissa\nfootstool\nFjord Relax\narmchair\n→ 028\u002F029, \n030\nKlara\narmchair\n→ 034, 035\nKlara\narmchair\nKlara\narmchair\nKlara\nrocking chair\nLilo\narmchair\n→ 032\u002F033, 075\nMathilda\nsmall armchair\n→ 096\u002F097\nFjord\nbar stool\nFjord\nfootstool\n→ 028\u002F029, 031, \n040\nLilo\nfootstool\nVisual Index\nGetlucky\narmchair\n→ 070, 071\nFjord\nsmall \narmchair\nGetlucky\nchair\n→ 066, 068\u002F069\nMathilda \nchair\n→ 098\u002F099\nMathilda \nstool\nShanghai Tip\nsofa system\n→ 080\u002F081\nShanghai Tip\npouf\n→ 080\u002F081\nShanghai Tip\nsmall table\n→ 038\u002F039, 080\u002F081, \n093, 147\nTender\nsofa system\n→ 094\u002F095\nSpring\nsofa system\n→ 088\u002F089\nSaula Marina\nsofa\n→ 166\nAlessandra\narmchair \n→ 166, 167\nAlessandra\narmchair \nKlara\nside table\n→ 034\nBouquet\nsmall armchair\n→ 160, 161\nFjord H.\nchair\nImpossible Wood\nchair\n→ 150, 151\nMy Beautiful Backside\nbench 160\n→ 143, 144\nMy Beautiful Backside\nbench 210\n→ 145\nMy Beautiful Backside\nbench 261\n→ 144\nMy Beautiful Backside\nbench 307\nPaper Planes\narmchair\n→ 146, 147\nPaper Planes\narmchair\nPheaby\nsmall \narmchair\n→ 062\u002F063\nPheaby\nchair\n→ 064, 065\nOne page\narmchair\n→ 023, 024\u002F025, \n046\u002F047, 102, \n103, 104\u002F105\nOne page\npouf\n→ 024\u002F025, \n103\nLos Muebles \nAmorosos\n202\n203\nAt Home\n",103,{"image":426,"text":427,"number":428},"\u002Fmedia\u002Fimages\u002F6c\u002F0948ba543093ead9d281152d365a6a-28e67d412d.104.png","Tulp\nchair\n→ 136, 137, 138\u002F139\nAnomaly\nottoman\n→ 036, 129, \n130, 131\nDew\nottoman\n→ 011, 013, 027, 053, \n054\u002F055, 056, 133, \n162, 163\nRows\nsideboard \n→ 049, 052, 058, \n062\u002F063 \nRows\nsideboard \n→ 024\u002F025, 054\u002F055, \n060\nRows\ntable\n→ 064, 065\nRows\ntable\n→ 066, 067, 068\u002F069\nIl Naturale\ntable\n→ 098\u002F099\nIl Naturale\nsmall table\nNo Waste\ntable\n→ 150, 151\nVisual Index\nBonobo\narmchair\nSkin\nchair\nSkin\nsoft chair\nAriel\narmchair\n→ 170, 171\nAyub\narmchair\n→ 171\nJuju\narmchair\n Mimi\narmchair\nRows\ncabinet\n→ 068\u002F069\nRows\nconsolle\n→ 061\nMathilda \ntable\nRuff\nsmall armchair\n→ 018, 050, \n051\nRuff\narmchair\n→ 006\u002F007, 011, \n012, 024\u002F025, 048, \n049, 053\nRipple Chair\nchair\n→ 116, 117, \n118\u002F119\nPipe \nchair\n→ 011, 019, \n172, 173\nPipe \nchaise longue\nPipe \nsmall table\n→ 172, 173\nDonut\npouf\nJoy\npouf \n→ 005, 008, \n023\nFrame-Shift\nbookcase\n→ 134\u002F135\nSecret Cubic Shelves\nbookshelf \n→ 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\n084\u002F085\nTropicalia\nchair\n→ 083, \n084\u002F085\nTropicalia\nday bed\nTropicalia\ncocoon\nVisual Index\nArco\narmchair high\n→ 198\nArco\nchair a\n→ 198\nArco\nchair b\n→ 198\nArco\nsmall table\n→ 198\nArco\nlarge table\nArco\ncocoon\n→ 197, 198\nBanjooli\nsettee\nBanjooli\narmchair\n→ 194\u002F195, \n196, 198\nBanjooli\nchair\n→ 194\u002F195, \n196, 198\nBanjooli\nsmall+large tables\nBaobab\nstool\nHusk  \narmchair M\u002FL\u002FXL\n→ 192\u002F193\nImba\nchaise longue\n→ 191\nImba\narmchair\n→ 190, 191\nImba\nstool\nJardin Suspendu\nbaskets\n→ 184, 185, 186\u002F187, \n191, \nModou\nday bed\nModou\nsmall armchair\nModou\narmchair\nModou\nchaise longue\nNanook\nside table\n→ 135, 178, 179\nNet\nside table\n→ 026, 027, 032\u002F033, 041, \n072, 073, 074, 075, 090, \n094\u002F095, 101, 129, 180, 181\nPhoenix\nlow table\nPhoenix\nlow table\n→ 015\nTheo\nsmall table\n→ 035, 053, 054\u002F055, \n056, 100, 101\nUkiyo\nlow table\n→ 027, 090\nBloomy\nside table\n→ 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