[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-moroso-general-collection-2023":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":749},{"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":744,"matched_pages":745,"match_count":746,"two_pages":747,"show_text":748},22681,"General Collection 2023","moroso-general-collection-2023","\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fdc\u002F2b5683c5fe52edfb3c7dae95083333-28e67c56df.pdf","Moroso",1342,"moroso","22.8 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345,349,353,357,361,365,369,373,377,381,385,389,393,397,401,405,409,413,417,421,425,429,433,437,441,445,449,453,457,461,465,469,473,477,481,485,489,493,497,501,505,509,513,517,521,525,529,533,537,541,545,549,553,557,561,565,569,573,577,581,585,589,593,597,601,605,609,613,617,621,625,629,633,637,641,645,649,653,657,661,665,669,673,677,681,685,689,693,697,701,705,709,713,717,721,725,729,733,737,741],{"image":7,"text":15,"number":16},"David Adjaye\nWerner Aisslinger\nRon Arad\nTord Boontje\nGabriele e Oscar Buratti\nFederica Capitani\nNipa Doshi & Jonathan Levien\nÓlafur Elíasson\nFront Design\nMartino Gamper\nGordon Guillaumier\nAlfredo Häberli\nSebastian Herkner\nBenjamin Hubert\nMassimo Iosa Ghini\nAnnabel Karim Kassar\nToshiyuki Kita\nDaniel Libeskind\nRoss Lovegrove\nJavier Mariscal\nNendo\nJonathan Olivares \nElena Sanguankeo\nStefan Scholten\nMarc Thorpe\nJohannes Torpe\nPatricia Urquiola\nEdward van Vliet\nTokujin Yoshioka\nDesigners\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.2.png","Designers\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.3.png"," \nIl design per Moroso non è \nsemplicemente un catalogo, un \ninventario, ma un flusso che si fonde \ne si confonde nella società; flusso \ngenerativo, perché senza l’abitare, \nsenza la persona, l’oggetto, qualunque \noggetto, non può esistere.\n \nAssemblare, mescolare, \nconnettere: i significati possono \nessere molti e diversi, rappresentano \nuna pluralità di verso che trova nelle \nrelazioni il tramite tra l’ordinario e \nl’extra-ordinario, la pratica che apre \nal quotidiano territori abitualmente \nestranei, la connessione tra frammenti \ndi contemporaneità e la memoria. \nAttraverso le relazioni, ogni progetto, \nogni prodotto, appare diverso agli \nocchi di ciascuno perché racconta \nuna diversa esperienza del mondo. \nUn approccio necessariamente \nesplorativo, mappatura tridimensionale \ndove il tempo si sovrappone allo spazio \ne viceversa, dove la struttura generata \ndalle relazioni con i designer non \nnecessariamente ha l’aspetto di una \nmatrice.\n \nGeografia delle emozioni, \nproiezione immaginifica e politica del \nmondo. Ricerca come viaggio, come \npossibilità, come dimensione estetica \nche anticipa e travolge. Design come \npassione, come bellezza che \nci obbliga a recuperare la capacità \ndi raccontare e coinvolgere, superando \nla dimensione del piacere immediato, \ndel semplice gradimento.\n \nFor Moroso, design is more than \njust a catalogue or an inventory: \nit is a flow which blends and mingles \nwith society, a generative flow, \nbecause without living, without people, \nno object can exist.\nAssembling, mixing, connecting: their \nmeanings can be many and varied, \nand they represent a plurality of \ndirection that finds the link between \nthe ordinary and the extra-ordinary \nin relationships, a practice that opens \nup habitually foreign territory to the \neveryday, the connection between \nfragments of modernity and memory. \nThrough these relationships, each \ndesign, each product, looks different to \neach observer, because it represents \na different experience of the world. \nThis inevitably requires an exploratory \napproach, three-dimensional mapping \nwhere time overlaps with space \nand vice versa, where the structure \ngenerated by relationships with \ndesigners does not necessarily appear \nas a matrix.\nGeography of the emotions, an \nimaginative and political projection of \nthe world. Research as a journey, as \npossibility, as an aesthetic dimension \nthat anticipates and immerses. Design \nas passion, as beauty, that forces us \nto rediscover our ability to narrate \nand engage, going beyond the \ndimension of immediate pleasure and \nof simple approval.\n “La storia di Moroso è la storia delle \nrelazioni con i designer, gente che il mondo \nsta cercando di cambiarlo positivamente, \ncon intelligenza e con quella febbre che \nmuove sempre gli artisti davanti alla \nbellezza. Chiedo loro di immaginare un \nmondo, non solo un oggetto, e di metterlo \nin relazione con il futuro” \n “The story of Moroso is the story of its \nrelationships with designers, people who \nare trying to change the world for the \nbetter, with intelligence and that impulse \nthat always moves artists when confronted \nwith beauty. I ask them to imagine a world, \nnot just an object, and to relate it to the \nfuture” \n \nPatrizia Moroso\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.4.png","Sir David Adjaye\n— Dar es Salaam, Tanzania, 1966\n \nArchitetto britannico nato in Tanzania \nda genitori ghanesi, affronta l’architettura con un\n approccio democratico intendendo la \nprogettazione innanzitutto come uno strumento \ndi aggregazione sociale. Il suo lavoro è \ncaratterizzato dalla creazione di luoghi inclusivi \ned aperti alle comunità, progettati a partire dalla \nrelazione dell’essere umano con la natura dello \nspazio e dalle emozioni derivate da un uso attento \ndei materiali e della luce. Nel 2017, per i servizi \nresi all’architettura, è stato insignito dalla regina \nElisabetta II del titolo di cavaliere. Medaglia d’oro \ndal Royal Institute of British Architects per l’anno \n2021. \n \nA British architect born in Tanzania to \nGhanaian parents, he takes a democratic approach \nto architecture, interpreting design above all \nas an instrument of social gathering. \nHis work is characterised by the creation of \ninclusive, community-led places, designed \non the basis of people’s relationship to the nature \nof the space and the emotions generated through \nthe careful use of materials and light. In 2017, \nhe was knighted by Queen Elizabeth II for services \nto architecture. He received the RIBA Royal \nGold Medal in 2021.\n→ Double Zero, 2015\nDouble zero, work in progress, 2015\nPhoto Gianni Antoniali \u002F Ikon\nWerner Aisslinger\n— Nördlingen, Germany, 1964\nIllustration by Josh Cochran for the Wall Street Journal, 2013\n \nNel suo lavoro esplora con un approccio \nartistico e sperimentale progetti nei campi \ndel design industriale e dell’architettura, sempre \naperto all’utilizzo di nuove tecnologie e \nalla ricerca di nuove funzionalità e significati. \nLe sue realizzazioni sono esposte nelle collezioni \npermanenti del MoMA e del Metropolitan Museum \ndi New York, del Fond National d’Art Contemporain \ndi Parigi, del Neue Sammlung Museum di Monaco \ne del Vitra Design Musuem di Weil am Rhein, \nin Germania. Werner Aisslinger vive a lavora \na Berlino.\n \nAlways open to the use of new technology \nand the search for new functionalities \nand meanings, his work takes an artistic and \nexperimental approach to projects in the fields of \nindustrial design and architecture. His creations \nare displayed in the permanent collections of the \nMoMA and the Metropolitan Museum in New York, \nthe Fond National d’Art Contemporain in Paris, \nthe Neue Sammlung Museum in Munich and the \nVitra Design Museum in Weil am Rhein, Germany. \nWerner Aisslinger lives and works in Berlin.\n→ Bikini Island, 2013 \u002F Wood Bikini, 2013\nPhoto Tom Nagy\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.5.png"," \nDagli anni ’80 il suo lavoro si pone \nprovocatoriamente al confine tra scultura, \narchitettura e design industriale, con un incessante \nprocesso creativo in grado di mescolare tecniche \nartigianali e avanzate tecnologie industriali. \nL’uso espressionistico di metalli come l’acciaio e \nl’alluminio, nell’incontro con Moroso, si è tradotto \nin sperimentazioni morfologiche nel campo \ndell’imbottito che hanno dato vita a prodotti \ndivenuti icone del design, come Spring Collection \n(1991) e Misfits (2007). Molti dei suoi lavori sono \nesposti nelle collezioni permanenti del Centre \nGeorges Pompidou di Parigi, del Metropolitan \nMuseum of Art di New York, del Victoria & Albert \nMuseum di Londra e del Vitra Design Museum in \nGermania.\n \nSince the ‘80s, his work has stood \nprovocatively on the boundary between sculpture, \narchitecture and industrial design, with \nan unceasing creative process that mixes craft \ntechniques with advanced industrial technology. \nIn his collaboration with Moroso, his expressionistic \nuse of metals such as steel and aluminium resulted \nin experiments in furniture forms which gave rise \nto what would become iconic pieces of design, \nsuch as the Spring Collection (1991) and Misfits \n(2007). Many of his works are on display in \nthe permanent collections of the Centre Georges \nPompidou in Paris, the Metropolitan Museum \nof Art in New York, the Victoria & Albert Museum \nin London and the Vitra Design Museum in \nGermany.\nRon Arad\n— Tel Aviv, Israel, 1951\n→ 1Skin, 2015 \u002F Do-lo-rez, 2008 \u002F Little Albert, 2000 \u002F Misfits, 2007 \u002F Modou, 2019 \u002F No Waste, 2004 \n\u002F Ripple Chair, 2005 \u002F Spring Collection, 1991 \u002F Victoria and Albert, 2000 \u002F Z-shelf, 2013\nPhoto Michael Castellana\nTord Boontje\n— Enschede, the Netherlands, 1968\n \nIl suo lavoro è caratterizzato da un \nimmaginario grafico costituito da elementi naturali \ndelicatamente intricati, figure che, come in un \nsogno, sono in grado di stimolare emozioni \ndi stupore e inquietudine; un’esplorazione \nromantica incline alla decorazione quanto alle \nqualità narrative di un prodotto, che incorpora \nnel design industriale una sensibilità poetica \ned artigianale sempre attenta alla sperimentazione \ndi materiali e tecnologie produttive. Molti dei \nsuoi progetti sono presenti nelle più importanti \ncollezioni internazionali, tra le quali il Victoria \n& Albert Museum di Londra e il MoMA di New York.\n \nHis work is characterised by imagery \nconsisting of delicately intricate natural elements, \nfigures which evoke feelings of wonder and \nunease, as in a dream; a romantic exploration \ntending to the decorative as much as to the \nnarrative quality of a product, bringing a poetic and \nhand-crafted sensibility to industrial design with \nan approach that focuses on experimentation with \nmaterials and production technology. Many of \nhis designs are displayed in major international \ncollections, including the Victoria & Albert Museum \nin London and MoMA in New York.\n→ O-Nest, 2006 \u002F Shadowy + Sunny, 2009\nSpring Collection, sketches, 1989\n“Happy Ever After”, Moroso showroom, Milano — Italy, \n2004\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.6.png"," \nDopo aver trascorso oltre un decennio \nlavorando come responsabile dello sviluppo dei \nprodotti e dei mobili per alcuni designer di fama \ninternazionale tra cui Patricia Urquiola, Marcel \nWanders e Arne Quinze, nel 2008 ha intrapreso \nla carriera di freelance fondando il proprio studio. \nDopo un periodo in Giappone durante il quale ha \npartecipato a progetti culturali e di design, si è \ntrasferita a Londra nel 2009 dove, parallelamente \nal lavoro dello studio, ha insegnato presso \nil Royal College of Art e la KLC School of Design.\n \nAfter spending over a decade working \nas the head of product and furniture development \nfor various internationally renowned designers \nincluding Patricia Urquiola, Marcel Wanders and \nArne Quinze, in 2008 she launched her freelance \ncareer by founding her own firm. Following time \nspent in Japan, where she participated in a number \nof cultural and design projects, in 2009 she moved \nto London, where she taught at the Royal College \nof Art and the KLC School of Design as well \nas pursuing her own work.\n \nUn lavoro trasversale che, dal 1991, opera \nsu diverse scale di progetto, dall’architettura \ndi edifici ed aree urbane a quella degli interni di \nspazi domestici e commerciali, dal design di mobili \ned oggetti all’allestimento di mostre e showroom. \nL’intento è quello di coniugare cultura \ne specializzazione professionale, sperimentazione \ne tecnica, visioni originali e qualità del prodotto. \nUn percorso professionale intenso e variegato, \ndove si intrecciano, contaminandosi, i temi, i luoghi \ne le tipologie, le aziende e le persone, i materiali \ne le lavorazioni.\n \nSince 1991 the firm has been involved \nin a wide range of projects on different scales, \nincluding architecture of buildings and urban \nareas, domestic and commercial interior design, \nfurniture design, and exhibition and showroom \ndesign. The intent is to combine culture and \nprofessional specialisation, experimentation and \ntechnique, original visions and product quality. \nAn intense and varied professional path, in which \nthemes, places and categories, brands and people, \nmaterials and workmanship mix together and \ninfluence one another.\nFederica Capitani\n— Milano, 1973\nGabriele & Oscar Buratti\n— Italy, 1962 and 1967\n→ Imba, 2015\n→ Frame-shift, 2021\nImba, work in progress, handicraft lab from Dakar — Senegal, \n2015\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.7.png","Nipa Doshi & Jonathan Levien\n— Mumbai, India, 1971; Elgin, Scotland, 1972\n \nNipa Doshi è nata a Bombay da una famiglia \nGujarati; a Londra, frequenta il Royal College \nof Art, dove incontra Jonathan Levien, scozzese, \nche diventerà suo partner di vita e di lavoro. \nL’approccio al progetto di Nipa è radicato \nnella cultura d’origine, proiettato al pluralismo \nculturale e caratterizzato dall’innata sensibilità \ngrafico-decorativa; Jonathan si pone in modo \ncomplementare, apportando aspetti propri \ndel design industriale, sia in termini produttivi che \ndi conoscenza dei materiali. Assieme sviluppano \nun linguaggio progettuale distintivo, sintesi \ndi tecnologia, narrazione, incontro di culture, \ndecorazione e processi produttivi a metà \ntra l’industria e l’artigianato. Vivono e lavorano \na Londra.\n \nNipa Doshi was born in Mumbai to a Gujarati \nfamily; she attended the Royal College of Art \nin London, where she met Scottish designer \nJonathan Levien, who was to become her partner \nin life and work. Nipa’s approach to design is \nrooted in her upbringing, focusing on cultural \npluralism and with a natural eye for visual culture; \nJonathan takes a complementary approach by \nbringing in his own elements of industrial design, \nboth in terms of production and of knowledge of \nmaterials. Together they create a distinctive design \nlanguage, a synthesis of technology, narrative, \ncultural hybridism, decoration and production \nprocesses that mix industry and craftsmanship. \nThey live and work in London.\n→ Armada, 2016 \u002F Casa Modernista, 2018 \u002F Impossible Wood, 2012 \u002F Modernista, 2017 \u002F My Beautiful \nBackside, 2008 \u002F Paper Planes, 2010\nPhoto Kate and Camilla\n \nArtista tra i più influenti a livello \ninternazionale, esplora attraverso diversi linguaggi \nespressivi le condizioni cognitive e culturali alla \nbase dei processi percettivi dell’essere umano. \nLa sua pratica, non limitata al contesto del museo \no della galleria, ricerca sempre uno scambio attivo \ncon le persone; spaziando dalla progettazione \ndi ambienti, resi immersivi dall’interazione di luce, \ncolore e movimento, ad installazioni che \nricontestualizzano i fenomeni naturali, le sue \nopere e i suoi progetti – intesi come “dispositivi \nper l’esperienza della realtà” – stimolano la \nconsapevolezza sul modo in cui le persone \ninteragiscono e interpretano il mondo, con una \nmarcata attenzione per le questioni legate \nalla sostenibilità e al cambiamento climatico. \nVive e lavora tra Berlino e Copenhagen.\n \nOne of the most influential international \nartists, he uses different creative languages \nto explore the cognitive and cultural conditions \nthat inform our processes of perception. \nHis work is not confined to museums and galleries, \nbut seeks to actively engage with the public, \nranging from designing immersive environments \nusing interactions of light, colour and movement, \nto installations that recontextualise natural \nphenomena. His work and designs – presented \nas “tools for experiencing reality” – encourage \nawareness of the way we interact with and interpret \nthe world around us, with a clear focus on issues \nrelated to sustainability and climate change. \nHe lives and works in Berlin and Copenhagen.\nÓlafur Elíasson\n— Copenhagen, Denmark, 1967\n→ Secret Cubic Shelves, 2021\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.8.png","Front Design\n— Stoccolma, Sweden, 1976 and 1977\n \nIl lavoro delle due designer svedesi Sofia \nLagerkvist e Anna Lindgren si pone in forma \ninnovativa rispetto ai canoni tradizionali del design \nscandinavo, verso territori più propriamente \nartistici ed espressivi. Nel loro linguaggio, \nil ricorso all’effetto visivo diviene il mezzo per \nmuoversi all’interno di uno spazio a metà tra \nl’ironia e la magia; il prodotto, prima di rispondere \nalle esigenze funzionali per il quale è progettato, \nviene vissuto come un racconto per coinvolgere \nl’osservatore, chiamato a scoprire attraverso \nla “sorpresa” i presupposti alla base del processo \ndi progettazione.\n \nThe work of Swedish design duo Sofia \nLagerkvist and Anna Lindgren is an innovative \ndeparture from the classic canons of Scandinavian \ndesign, exploring more artistic and expressive \nterritory. In their style, the use of visual effect \nbecomes the part-ironic and part-poetic means \nby which we move within a space. Before the \nproduct meets the functional needs for which it \nhas been designed, it is experienced as a narrative \nto engage the observer, whose attention is then \ndrawn to the principles of the design process \nthrough the element of surprise.\n→ Anomaly, 2013 \u002F Doodle, 2013 \u002F Pebble Rubble, 2022\n \nUn inizio da apprendista in una falegnameria, \nstudente di scultura all’Accademia di Belle Arti di \nVienna con Michelangelo Pistoletto ed infine, nel \n2000, laurea al Royal College of Art di Londra con \nRon Arad come insegnante. Un percorso formativo \nnon-convenzionale che da allora si è radicato \nnegli interstizi tra l’arte e il design, tra l’industria, \nl’artigianato e l’auto-produzione, contribuendo \nalla diffusione del ready-made funzionale come \npratica di progettazione orientata all’innovazione \nconcettuale e alla sostenibilità. Un approccio \nche gli ha permesso di appropriarsi – da designer – \ndella libertà espressiva propria degli artisti.\n \nBeginning as an apprentice to a furniture \nmaker, he went on to study sculpture under \nMichelangelo Pistoletto at the Academy of Fine \nArts, Vienna, before graduating in 2000 from the \nRoyal College of Art, London, where he studied \nunder Ron Arad. His unorthodox background has \nembedded his practice in the gaps between art \nand design, industry, craftsmanship and self-\nproduction, contributing a design practice led by \nconceptual innovation and sustainability to the \ndiffusion of functional ready-made products. This \napproach has enabled him to claim the expressive \nfreedom of the artist for himself as a designer.\nMartino Gamper\n— Merano, Italy, 1971\n→ Arco, 2017 \u002F St Mark, 2015\nPhoto Angus Mill\nPhoto Christopher Hunt\nMetamorphosis, 2013\nPhoto Alessandro Paderni \u002F Eye\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.9.png","Gordon Guillaumier\n— Malta, 1966\n \nIl suo lavoro abbraccia una vasta gamma di \nambiti – complementi d’arredo indoor e outdoor, \nilluminazione, ceramica, tappeti, accessori e \noggettistica – e conta su collaborazioni con \nimportanti brand internazionali. Nel 2002 fonda \na Milano lo Studio Gordon Guillaumier, con un \napproccio multidisciplinare focalizzato sullo \nsviluppo di prodotti, progettazione d’interni, \narchitettura, allestimenti di stand e consulenza. \nMolti dei suoi progetti hanno ricevuto importanti \nriconoscimenti, tra i quali: il Wallpaper Design \nAward 2014, il Compasso d’Oro ADI 2014, l’ADI \nDesign Ceramic Award, l’Archiproducts Design \nAward 2016 e 2018 e il NYCxDESIGN Awards 2019.\n \nHis work encompasses a vast range of \nproduct categories – including indoor and outdoor \nfurniture, lighting, ceramics, carpets, accessories \nand objects – and involves collaborations with \nmajor international brands. In 2002, he founded \nStudio Gordon Guillaumier in Milan, with a \nmultidisciplinary approach focused on product \ndevelopment, interior design, architecture, stand \ndisplays and consulting. Many of his designs \nhave won major awards, including the Wallpaper \nDesign Award 2014, the Compasso d’Oro ADI \n2014, the ADI Design Ceramic Award, the \nArchiproducts Design Award 2016 and 2018 and \nthe NYCxDESIGN Awards 2019.\n→ Freeflow, 2009 \u002F Josephine, 2017\nMassArt, Boston — USA, 2013\n \nIl linguaggio progettuale descrive \nperfettamente la dualità incarnata in ogni suo \nlavoro; da un lato, il tratto razionalista, \nordinatamente geometrico e modernista, \ncollegato a stretto segno con la scuola tedesca \ne mitteleuropea; dall’altro, l’espressività \nspiccatamente latina di chi, nato e vissuto a \nBuenos Aires fino alla tarda adolescenza, \nne ha assorbito l’energia gioiosa ed esplosiva. \nDue mondi opposti che inevitabilmente creano \nuna tensione creativa fuori dal comune, in una \ncontaminazione costante in grado di convergere \nforze apparentemente contrastanti. I suoi prodotti \ne i progetti sono stati esposti in numerose mostre \nin tutta Europa e, nel corso della sua carriera, \nè stato insignito di numerosi premi. Vive e lavora \na Zurigo.\n \nA design style that is the perfect expression \nof the duality embodied in each of his works: \nthe rationalist part, neatly geometric and modernist \nand closely linked to the German and Central \nEuropean school; and the expressive part, with \na distinctly Latin influence. Born and raised in \nBuenos Aires, he absorbed its joyful and explosive \nenergy. These two opposing worlds inevitably \ncreate an out-of-the-ordinary creative tension, \nin a constant mingling of influences which \nsuccessfully unites seemingly contrasting forces. \nHis products and designs have been shown in \nnumerous exhibitions throughout Europe, and he \nhas received many awards for his work over the \ncourse of his career. He lives and works in Zurich.\nAlfredo Häberli\n— Buenos Aires, Argentina, 1964\n→ Taba, 2020 \u002F Take a Line For a Walk, 2003\nTake a line for a walk collection, work in progress, 2016\nPhoto Alessandro Paderni \u002F Eye\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.10.png","Sebastian Herkner\n— Bad Mergentheim, Germany, 1981\n \nA connotare il suo lavoro sono la sensibilità \nper il colore, i materiali e le trame, l’amore per \nl’artigianato e la curiosità per le nuove tecnologie \ne le culture dei diversi Paesi. Dopo una breve \nparentesi lavorativa nello studio di Stella \nMcCartney a Londra, fonda nel 2006 il proprio \nstudio, con il quale progetta mobili, lampade \ne oggetti per importanti aziende del design ma \nanche progetti di architettura d’interni \ne allestimenti museali ed espositivi. Aspetti che \ngli sono valsi premi prestigiosi come l’IF Award, \nMaison & Objet\u002FDesigner of the Year 2016, l’Iconic \nAward e l’Elle Deco International Design Award \n(EDIDA)\u002F Best Designer of the Year 2021 \ne l’iF Design Award. \n \nHis work is characterised by his keen \nsense of colour, material and texture, a love \nof craftsmanship and curiosity about new \ntechnologies and world cultures. Following \na brief stint working in Stella McCartney’s London \nstudio, he founded his own studio in 2006, where \nhe designs furniture, lamps and objects for major \ndesign firms, as well as interior architecture and \nmuseum and exhibition design projects. This has \nled to him winning prestigious awards such \nas the IF Award, Maison & Objet\u002FDesigner of the \nYear 2016, the Iconic Award and the Elle Deco \nInternational Design Award (EDIDA)\u002F Best Designer \nof the Year 2021 and the iF Design Award. \n→ Banjooli, 2013 \u002F Pipe, 2015\nBanjooli collection, 2014\nBenjamin Hubert\n— United Kingdom, 1984\n→ Cradle, 2015 \u002F Net, 2013 \u002F Tape, 2018\nCradle collection, 2013\n \nSi è laureato nel 2006 in Disegno Industriale \ne Tecnologia presso la Loughborough University \nfondando il suo studio nel 2007 a Londra. \nCon il suo studio opera su una gamma diversificata \ndi progetti, spaziando dalle produzioni di prodotti \ndi largo consumo alle edizioni limitate e ai pezzi \nunici. Nel suo lavoro non segue le tendenze ma \nparte sempre da un’attenta analisi dei materiali e \ndei processi produttivi – con particolare attenzione \nalla tematica della sostenibilità – e alle modalità \ndi fruizione degli oggetti, all’interno di un costante \ndialogo con artigiani, modellisti e produttori.\n \nAfter graduating in Industrial Design \nand Technology in 2006 from Loughborough \nUniversity, he went on to found his own studio in \n2007 in London. His studio is involved in a wide \nvariety of designs, ranging from mass-produced \nproducts to limited editions and one-off pieces. \nRather than following trends, his work is always \nbased on a careful analysis of materials and \nproduction processes – with a particular focus on \nsustainability – and of how the objects are to be \nused, in the context of an ongoing dialogue with \ncraftspeople, model-makers and producers.\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.11.png","Annabel Karim Kassar\n \nArchitetto e designer franco-libanese, \nè fondatrice di AKK Architects, studio con sedi \na Parigi, Beirut, Dubai e Londra. Attraverso l’unione \ndi tecnologie innovative e collaborazioni con \nartigiani che portano nei progetti le loro tradizioni \nsecolari, AKK Architects crea importanti strutture \narchitettoniche contraddistinte da un linguaggio \nmulticulturale, espresso attraverso differenti livelli \ndi intervento che trovano nella selezione dei motivi \ndecorativi, dei materiali e nella gestione della luce \ngli elementi stilistici predominanti.\n \nFrench-Lebanese architect and designer, \nfounder of AKK Architects, with offices in Paris, \nBeirut, Dubai and London. By using cutting-\nedge technology as well as collaborating with \ncraftspeople who bring centuries-old traditions \nto designs, AKK Architects creates strong \narchitectural works marked by a multicultural style, \nexpressed through different levels of intervention \nwhere the handling of decoration, materials \nand light are the prevailing style features.\n→ Salon Nanà, 2021\nPhoto Paul Raeside\nMassimo Iosa Ghini\n— Bologna, Italy, 1959\n \nConsiderato tra gli architetti italiani di \nmaggior rilevanza internazionale, dal 1985, con \nla fondazione del movimento culturale Bolidismo \ne l’adesione al gruppo Memphis di Ettore Sottsass, \nè protagonista delle avanguardie dell’architettura \ne del design. Multidisciplinare, si occupa di \nprogettazione di spazi architettonici residenziali, \ncommerciali e museali, progettazione di aree \ne strutture dedicate al trasporto pubblico, oltre \nal design di catene retail. Molti suoi lavori sono \nparte di musei e collezioni private internazionali \ne hanno ricevuto riconoscimenti e menzioni, tra cui \nil Roscoe Award, USA, il Compasso D’Oro ADI, \nil Good Design Award del Chicago Athenaeum, \nl’IAI AWARD Green Design Global Award e l’\nIAI Awards, Shanghai, China, l’iF Product Design \nAward e il Red Dot Award, Germania.\n \nConsidered to be one of the most influential \nItalian architects in the world, he has been at \nthe vanguard of architecture and design since \n1985, when he founded the Bolidismo movement \nand joined Ettore Sottsass’ Memphis group. \nHis multidisciplinary approach encompasses the \narchitectural design of residential, commercial \nand museum spaces, the design of areas and \nstructures for public transport, as well as chain \nstores. Many of his works are part of museums \nand private collections around the world, and \nhave received numerous recognitions and awards, \nsuch as the Roscoe Award, USA, the Compasso \nd’Oro ADI, the Good Design Award of the Chicago \nAthenaeum, the IAI AWARD Green Design Global \nAward and the IAI Awards, Shanghai, China, the \niF Product Design Award and the Red Dot Award, \nGermany.\n→ Big Mama, 1992 \u002F New-tone, 1989 \u002F Papy Bergere, 1992\nPhoto Massimo Listri\nNewTone, sketches, 1989\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.12.png"," \nArchitetto polacco naturalizzato statunitense, \nnoto per la sua capacità di intersecare differenti \ndiscipline e culture con la passione per la musica, \nla filosofia, la letteratura e la matematica, è oggi \nriconosciuto come uno dei principali interpreti \ndell’architettura decostruttivista, oltre ad essere \nstrettamente legato alla rappresentazione della \nstoria e delle tragedie associate alla guerra, tanto \nda rappresentare il denominatore costante della \nsua produzione: dal museo dedicato al pittore \nebreo Felix Nussbaum (1998) ai musei ebraici \ndi Copenhagen e San Francisco, fino al più recente \nNational Holocaust Monument di Ottawa. Le sue \nidee hanno influenzato una nuova generazione di \narchitetti e di tutti quanti siano interessati al futuro \nsviluppo delle città e del pensiero. Fra i moltissimi \npremi ricevuti, nel 1985, il Leone di pietra alla \nBiennale di Venezia.\n \nPolish-born American architect, renowned \nfor his ability to interweave different disciplines \nand cultures with a passion for music, philosophy, \nliterature and mathematics. He is now recognised \nas one of the leading figures of deconstructivist \narchitecture, as well as being closely linked to \nrepresentations of the history and tragedies of war, \nso much so that it forms a common denominator \nthroughout his work: from the museum dedicated \nto Jewish painter Felix Nussbaum (1998) to \nthe Jewish museums in Copenhagen and \nSan Francisco, as well as the more recent National \nHolocaust Monument in Ottawa. His ideas have \ninfluenced a new generation of architects and all \nthose involved in the future development of cities \nand culture. His many awards include the Stone \nLion award at the Venice Biennale in 1985.\nDaniel Libeskind\n— Łódź, Poland, 1946\n→ Gemma, 2015\nPhoto Stefan Ruiz\nPhoto Alessandro Paderni\nGemma, sketches, 2015\n \nIl suo lavoro è riassumibile in un doppio-\napproccio: disegnare per i produttori europei – \nprincipalmente italiani – e collaborare con \nle industrie e l’artigianato tradizionale giapponese. \nUna modalità progettuale che, fin dal 1969, ha \ncontribuito a connotare la cultura del design \ncontemporaneo del Giappone. Molti dei suoi lavori \nsono stati selezionati per le collezioni permanenti \ndi musei come il MoMA di New York e il Centre \nGeorges Pompidou di Parigi. È stato consulente \ngovernativo per il design a Singapore, in Tailandia \ne in Cina. Tra i riconoscimenti internazionali, \nè stato insignito del premio Delta de Oro in Spagna \nnel 1990 e, nel 2011, del Compasso d’Oro ADI \nalla carriera.\n \nHis work can be summed up as a dual \napproach: designing for European manufacturers \n– mainly in Italy – and collaborating with Japanese \ntraditional crafts and local industries. \nSince 1969, this particular approach has \ncontributed to defining the culture of Japanese \ncontemporary design. Many of his works have \nbeen selected for the permanent collections \nof museums such as the MoMA in New York and \nthe Centre Georges Pompidou in Paris. He has \nalso served as governmental design advisor for \nSingapore, Thailand and China. His international \nawards include the Delta de Oro in Spain in 1990 \nand, in 2011, the Compasso d’Oro ADI lifetime \nachievement award.\nToshiyuki Kita\n— Osaka, Japan, 1942\n→ Saruyama, 1989 \u002F Saruyama Giro, 2013 \u002F Saruyama Island, 2006\nPalais de Tokyo, Paris — France, 2003\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.13.png","Ross Lovegrove\n— Cardiff, Wales, 1958\n \nSpaziando dall’industria del mobile \nall’elettronica di consumo, i suoi lavori si ispirano \nalle logiche e alla bellezza della natura. \nForme organiche e biomorfe, realizzate secondo le \nregole del metodo scientifico attraverso i sistemi \ndi produzione più avanzati. Progetti che, a pieno \ntitolo, definiscono un’espressività estetica in grado \ndi rappresentare un ponte tra ricerca e realtà, \ntra presente e un futuro che ormai è alle porte. \nI suoi lavori fanno parte delle collezioni permanenti \ndi vari musei di design internazionali, tra cui il \nMoMA di New York, il Design Museum di Londra \ne il Vitra Design Museum di Weil Am Rhein. \nAutore del libro SUPERNATURAL, opera a cura \ndi Phaidon, con saggi di Greg Lynn, Tokujin \nYoshioka e Cecil Balmond.\n \nInspired by the logic and beauty of nature, \nhis work ranges from the furniture industry to \nconsumer electronics. His organic, biomorphic \nforms are made according to scientific methods \nusing cutting-edge systems of production. \nIn their own right, these designs define an \naesthetic expression which bridges the gap \nbetween research and reality, between the present \nand a future which is almost upon us. His work is \npart of the permanent collections of numerous \ndesign museums around the world, including the \nMoMA in New York, the Design Museum in London \nand the Vitra Design Museum in Weil Am Rhein. \nHe is author of the book SUPERNATURAL, \npublished by Phaidon, featuring essays by Greg \nLynn, Tokujin Yoshioka and Cecil Balmond.\n→ Supernatural, 2005\n \nUn linguaggio espressivo complesso nelle \nintenzioni ma semplice nelle dichiarazioni, \ninnocente e, allo stesso tempo, provocatorio. \nNel suo lavoro l’immagine diviene illustrazione, \npittura, scultura, design, paesaggio: ogni disciplina \ncomporta l’assunzione di un rischio, una sfida \nall’establishment necessaria per instaurare \nun rapporto di intima complicità con l’interlocutore, \nun’empatia che si traduce sempre nella \ncomprensione spontanea e sincera del messaggio. \nFigura di spicco dell’arte spagnola, la sua opera \nè esposta nella collezione permanente di musei \ninternazionali come il MoMA, Fundación La Caixa \na Barcelona, Colección Ricard a Parigi, Colección \nAigües a Barcelona, IVAM a Valencia, Philadelphia \nMuseum of Art.\n \nAn expressive language which is complex \nin its intent yet simple in its statements, innocent \nyet provocative. In his work, image becomes \nillustration, painting, sculpture, design, landscape: \nevery discipline involves taking a risk, a challenge \nto the establishment necessary to connect with \nthe public in a relationship of close complicity, \nan empathy that is always reflected in the \nspontaneous and sincere understanding of the \nmessage. A leading figure of Spanish art, \nhis work is displayed in the permanent collections \nof international museums such as the MoMA, \nFundación La Caixa in Barcelona, Colección Ricard \nin Paris, Colección Aigües in Barcelona, IVAM \nin Valencia, Philadelphia Museum of Art.\nJavier Mariscal\n— Valencia, Spain, 1950\n→ Alessandra, 1995 \u002F Saula Marina, 1995\nDiatom, work in progress, 2014\nLos Muebles Amorosos, \nsketches, 1995\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.14.png","Nendo (Oki Sato)\n— Toronto, Canada, 1977\n \nGuidato dall’architetto Oki Sato, il collettivo di \nprofessionisti riunito sotto il nome Nendo, dal 2002 \nrappresenta una prospettiva nuova ed innovativa \nsul minimalismo, una ricerca portata avanti con un \napproccio poliedrico e multidisciplinare, spaziando \ndalla grafica al design di prodotto, dai progetti \nd’arredo all’architettura e alla realizzazione di \ninstallazioni. La parola “Nendo” in giapponese \nsignifica “modellare l’argilla”; un’indicazione \nche svela il background concettuale alla base \ndei diversi progetti, convergenza di tradizione \ne innovazione, di manualità e tecnologia. Il \nlavoro dello studio è presente nelle collezioni \npermanenti del MoMA di New York, del Musèe des \narts decoratifs di Parigi e del Victoria and Albert \nMuseum di Londra.\n \nSince 2002 this collective of professionals, \ngrouped under the name Nendo and led by \narchitect Oki Sato, has been offering a fresh new \ntake on minimalism. This research is driven by \na multifaceted and multidisciplinary approach, \nspanning graphic and product design, interiors, \narchitecture and installations. The Japanese word \nnendo, meaning “modelling clay”, reveals the \nconceptual background underpinning the various \nprojects, a blend of tradition and innovation, \nof manual skill and technology. The studio’s work \nis present in the permanent collections of the \nMoMA in New York, the Musée des Arts Décoratifs \nin Paris and the Victoria & Albert Museum \nin London.\n→ Cloud, 2013 \u002F Dew, 2009\nHeel, work in progress, 2013\nDew\nPhoto Alessandro Paderni \u002F Eye\nJonathan Olivares\n— Boston, Massachusetts (USA), 1981\n \nI suoi lavori si basano sulla ricerca della \ncomodità e sulla versatilità intesa come \ndisponibilità a svolgere più di una funzione. \nTra le sue fonti di ispirazione ci sono lo skateboard, \nsua grande passione fin da quando era un \nteenager, la musica hip-hop, la fotografia, l’arte, \nl’architettura, il cinema e il design. Nel 2006 ha \nfondato il suo studio a Los Angeles. Ha ricevuto \ndiversi premi, tra cui il Compasso d’Oro ADI, \ned è presenteo nelle collezioni permanenti dell’Art \nInstitute di Chicago, del Los Angeles County Art \nMuseum e del Vitra Design Museum.\n \nHis work is based on research into comfort \nand versatility in terms of the possibility of \ncarrying out more than one function. His sources \nof inspiration include skateboarding, his great \npassion ever since he was a teenager, hip-hop, \nphotography, art, architecture, cinema and design. \nIn 2006, he founded his own studio in Los Angeles. \nHe has received a number of awards, including \nthe Compasso d’Oro ADI, and is present in \nthe permanent collections of the Art Institute \nin Chicago, the Los Angeles County Art Museum \nand the Vitra Design Museum.\n→ Square, 2022\nPhoto Alessandro Paderni \u002F Eye\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.15.png"," \nLo Studio Scholten & Baijings, fondato nel \n2000 dai designer olandesi Stefan Scholten \n(1972) e Carole Baijings (1973), nell’arco di due \ndecenni ha sviluppato progetti multidisciplinari \nnel campo dell’interior design, della produzione \ndi complementi d’arredo e di tessuti riuscendo, \naccanto alla ricerca di forme minimali e di un uso \nequilibrato del colore, a mediare tra la produzione \nindustriale e le tradizionali tecniche artigianali. \nNel 2019, Carole e Stefan hanno deciso si \nesplorare individualmente nuove sfide creative. \nIl portfolio esistente dello Studio è supervisionato \ndallo Studio Stefan Scholten.  \n \nThe designers Stefan Scholten (1972) and \nCarole Baijings (1973) move fluidly between the \ndisciplines of art and design, and artisanal and \nindustrial processes, to create a visually arresting \ncollection of work which has strong references to \nthe past yet is overtly of the current moment. \nThey continue to combine minimal forms and \nbalanced use of colour with traditional craft \ntechniques and industrial production in a \ndistinctive. In 2019, Carole Baijings and Stefan \nScholten have decided to explore new artistic \nchallenges individually. The existing portfolio of \nStudio Scholten & Baijings will be supervised by \nStudio Stefan Scholten.\nStudio Scholten & Baijings\n— The Netherlands, 2000\n→ Ottoman, 2015\nOttoman, sketches, 2015\n \nClasse 1982, textile designer, nasce a \nBangkok da mamma italiana e papà tailandese. \nA 18 anni, sceglie l’Italia per la sua formazione \ne si laurea all’Accademia di Costume e Moda \ndi Roma specializzandosi in tessuti e stampa. \nNel suo laboratorio, crea collezioni e produzioni \nlimitate di tessuti e di sciarpe, offrendo ispirazione \nanche alle grandi aziende internazionali della \nmoda come Christian Dior, Mantero Seta, Carmina \nCampus di Ilaria Venturini Fendi, Woolmark e Pitti \nImmagine. Per Moroso ha realizzato la collezione \n7 Playds.\n \nTextile designer, born in Bangkok in 1982 to \nan Italian mother and Thai father. At 18, she came \nto Italy to study, graduating from the Accademia \ndi Costume e Moda in Rome, specialising in \ntextiles and prints. In her workshop, she creates \nlimited-run productions and collections of textiles \nand scarves, providing inspiration for major \ninternational fashion houses such as Christian Dior, \nMantero Seta, Carmina Campus by Ilaria Venturini \nFendi, Woolmark and Pitti Immagine. She created \nthe 7 Playds collection for Moroso.\nElena Sanguankeo\n— Bangkok, Thailand, 1982\n→ 7 Playds, 2019\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.16.png","Marc Thorpe\n— Nashville, Tennessee (USA), 1978\n \nIl suo approccio olistico mira all’integrazione \ntra architettura, design e tecnologia, al fine \ndi coinvolgere le componenti sociali dello spazio \ne della forma. Nel 2005, fonda la Marc Thorpe \nDesign con sede a New York, cooperativa di \narchitettura e design attiva nella creazione \ndi soluzioni innovative e progressive per il settore \ncommerciale, residenziale e del tempo libero. \nLo studio, ponendosi come un sistema aperto e \ndi scambio con i clienti e i collaboratori, stimola la \nscoperta del potenziale di ogni progetto attraverso \nla collaborazione con artisti digitali, designer \ninterattivi, ingegneri del suono e dell’illuminazione \ned esperti di social media.\n \nHis holistic approach attempts to integrate \narchitecture, design and technology, with the \naim of involving the social elements of space \nand form. In New York in 2005 he founded Marc \nThorpe Design, an architecture and design \ncooperative involved in the creation of innovative \nand progressive solutions for the commercial, \nresidential and leisure sectors. The studio acts \nas an open system of exchange with clients and \ncollaborators, fostering the discovery of each \nproject’s potential through collaboration with \ndigital artists, interactive designers, sound and \nlight engineers, and social media experts.\n→ Baobab, 2016 \u002F Husk, 2015 \u002F Mark Table, 2010 \u002F Morning Glory, 2014\n \nCreativo atipico, architetto autodidatta, \ndesigner industriale, grafico e produttore \nmusicale, non si conforma a confini prestabiliti \ndefinendosi semplicemente come un attivista \ndel design, rivelando nella varietà del suo portfolio \nun approccio sfrenato e intuitivo al design e alla \nvita in generale, fondato su principi di giocosità, \ncollaborazione, apertura mentale e desiderio \ndi sorprendere ed essere sorpresi. Lo studio opera \ndal 1997, guidato dalla convinzione che, come \nesseri umani, facciamo del nostro meglio quando \nperseguiamo cose che ci commuovono. Dal 2011 \nal 2015 Johannes è stato Direttore Creativo \ndi Bang & Olufsen.\n \nAn unconventional creative, self-trained \narchitect, industrial and graphic designer \nand music producer, he does not conform to \nestablished boundaries, calling himself simply a \ndesign activist. The diversity of his portfolio reveals \nan unrestrained and intuitive approach to design \nand to life in general, founded on the principles of \nplayfulness, collaboration, open-mindedness and \na desire to surprise and be surprised. \nThe studio has been operating since 1997, led \nby the conviction that, as human beings, we do our \nbest when we pursue what moves us. From 2011 \nto 2015, Johannes was Creative Director at Bang \n& Olufsen.\nJohannes Torpe\n— Skanderborg, Denmark, 1973\n→ Heartbreaker, 2019 \u002F Precious, 2019\nHusk, sketches, handicraft lab from Dakar — Senegal, \n2015\nHeartbreaker and Precious, work in progress, 2019\nPhoto Alessandro Paderni \u002F Eye\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.17.png","Patricia Urquiola\n— Oviedo, Spain, 1961\n \nDa oltre vent’anni è una delle figure più \nimportanti nel mondo del design contemporaneo \ne icona della progettazione femminile. \nDopo la laurea nel 1989 al Politecnico di Milano \ncon Achille Castiglioni, incontra diverse personalità \ndi spicco che contribuiscono a delineare il suo \npercorso: Achille Castiglioni, di cui diventa \nassistente nel corso di disegno industriale, Vico \nMagistretti, con cui collabora all’interno dell’ufficio \nsviluppo prodotto di De Padova, Piero Lissoni ed \ninfine Patrizia Moroso. Nel 2001 apre il proprio \nstudio, occupandosi di progetti d’architettura, di \nallestimento d’interni e di sviluppo di complementi \nd’arredo. Molti sui prodotti sono presenti nelle \ncollezioni del MoMA di New York, del Musée des \nArts decoratifs di Parigi, del Vitra Design Museum, \ndel Victorian & Albert Museum di Londra e del \nMuseo della Triennale di Milano.\n \nFor over twenty years, one of the leading \nfigures of the contemporary design scene and \nan icon of women’s design. After graduating \nunder the mentorship of Achille Castiglioni at the \nPolitecnico di Milano in 1989, she met a number \nof key figures who were to define her career: \nAchille Castiglioni, who she later assisted in his \nindustrial design course, Vico Magistretti, with \nwhom she worked in the De Padova product \ndevelopment department, Piero Lissoni, and \nPatrizia Moroso. In 2001 she opened her own \nstudio, dealing with projects of architecture, \ninterior design, and the development of furniture. \nMany of her products are present in the collections \nof the MoMA in New York, the Musée des \nArts Décoratifs in Paris, the Vitra Design Museum, \nthe Victoria & Albert Museum in London and \nthe Triennale Museum in Milan.\n→ Anorak, 2022 \u002F Antibodi, 2006 \u002F Belt, 2016 \u002F Bloomy, 2004 \u002F Bohemian, 2008 \u002F Bold, 2015 \u002F Chamfer, \n2018 \u002F Clarissa, 2014 \u002F Fishbone, 2012 \u002F Fjord, 2002 \u002F Gentry, 2011 \u002F Gentry Extra Light, 2018 \u002F \nGetlucky, 2020 \u002F Gogan, 2019 \u002F Highlands, 2003 \u002F Klara, 2010 \u002F Lilo, 2016 \u002F Lowland, 2000 \u002F Lowseat, \n2000 \u002F M.a.s.s.a.s., 2012 \u002F Mafalda, 2013 \u002F Mathilda, 2013-2017 \u002F Pacific, 2021 \u002F Phoenix, 2004 \u002F \nRedondo, 2010 \u002F Rift, 2009 \u002F Ruff, 2020 \u002F Sardinian Rugs, 2006 \u002F Shanghai Tip, 2006 \u002F Silver Lake, \n2010 \u002F Smock, 2005 \u002F Spring, 2010 \u002F Tender, 2014 \u002F Tropicalia, 2008 \u002F Volant, 2007\nChamfer, 2019\nPhoto Alessandro Paderni \u002F Eye\nEdward van Vliet\n— Winterswijk, the Netherlands, 1965\nSushi collection, work in progress, 2016\n \nIl suo lavoro si distingue per l’elevata \nattenzione al dettaglio e per l’enorme spettro di \ninfluenze che, contaminate insieme, liberano \nun livello di espressività estremamente distintivo. \nCon un approccio visionario, il suo lavoro \ntrascende i confini meramente estetici per \nesondare verso una dimensione esperienziale, \nuna vera e propria immersione sensoriale nel \nprogetto. Lo studio, con base ad Amsterdam, \nè specializzato nella realizzazione e sviluppo \ndi complementi d’arredo e di progetti d’interior per \nil mercato contract, residenziale e ufficio.\n \nHis work is characterised by exceptional \nattention to detail and a vast array of influences \nwhich, blended together, release a highly unique \nlevel of expression. The visionary approach\n of his work transcends mere aesthetic boundaries \nto enter an experiential dimension, resulting in \na sensory immersion in the design. \nThe Amsterdam-based studio specialises in the \ndevelopment and creation of furniture and interior \ndesigns for the contract, residential and office \nspace markets.\n→ Josh 2.0, 2021 \u002F Sushi Collection, 2008 \u002F Sushi Edition, 2016\nPhoto Alessandro Paderni \u002F Eye\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.18.png","Tokujin Yoshioka\n— Saga Prefecture, Japan, 1967\n \nCon una ricerca applicata nel campo del \ndesign, dell’arte contemporanea e dell’architettura, \nle sue opere esprimono sempre un forte \nrichiamano alla natura, con una poetica funzionale \na metà strada tra l’estetica giapponese e quella \ndel Nord Europa. Pulizia formale, colore bianco, \ntrasparenze; segni che raccontano come un \nbuon progetto non sia soltanto riconducibile alla \nstruttura ma, piuttosto, sia collegato all’emozione \nche normalmente si prova di fronte ad un semplice \nalito di vento, ad un profumo o un riverbero di luce \nappena accennato. Molte delle sue opere sono \npresenti nelle collezioni permanenti dei maggiori \nmusei internazionali, tra i quali il MoMA di \nNew York, Centre Georges Pompidou di Parigi \ne il Victorian & Albert Museum di Londra.\n \nThrough research carried out in the fields \nof design, contemporary art and architecture, \nhis work expresses a strong connection with \nnature, with a functional poetic that balances the \naesthetics of Japan with those of Northern Europe. \nClean lines, the colour white, transparency; \nthese are the signs that show how good design \ncannot be reduced to mere structure, but is \ninstead connected to the emotion we usually feel \nwhen experiencing a gust of wind, a scent, or the \nsubtlest reflection of light. Many of his works are \npresent in the permanent collections of major \ninternational museums, including the MoMA in \nNew York, the Centre Georges Pompidou in Paris \nand the Victoria & Albert Museum in London.\n→ Bouquet, 2008 \u002F Brook, 2015 \u002F Moon, 2010 \u002F Panna Chair, 2008\nTokujin for Moroso, Moroso showroom, Milan — Italy, 2007\nPhoto Alessandro Paderni \u002F Eye\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.19.png","Designers\n2023 ©Moroso Spa\nArt direction:\nPatrizia Moroso\nGraphic design:\nDesignwork\nTexts: Lorenzo Taucer\nPrinted in Italy \nby Nava\nMoroso Spa\nvia Nazionale 60\n33010 Cavalicco UD \n— Italy \nT +39 0432 577 111 \ninfo@moroso.it\nMilano Showroom\nvia Pontaccio 8\u002F10 \n20121 Milano \n— Italy \nT +39 02 7201 6336\nmilano@moroso.it\nwww.moroso.it\n@morosofficial\nMoroso Ltd\nLondon Showroom\n7-15 Rosebery Avenue \nLondon EC1R-4SP \n— UK \nT +44 (0)20 3328 3560 \ninfo@moroso.co.uk\nMoroso USA\nNew York Showroom\n105 Madison Avenue\nNew York, NY10016\n— USA\nT +1 212 334 7222\ninfo@morosousa.com\nMoroso Belgium\nClustr\nHam 1, 9000 Gent \n— Belgium\nT + 32 (0) 9 258 88 56 \ninfo@morosobelgium.be\nZürich Showroom\n@Ambiente 33\nOberdorfstrasse 33\n8810 Horgen\n— Switzerland\nT +41 552 16 16 16\ninfo@moroso.it\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.20.png","Unconventional \nPerspectives \non Italian Design \nsince 1952\nCompany Profile\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.21.png","Company Profile\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.22.png"," \nMoroso nasce nel 1952 per \nvolontà di Agostino Moroso che, \ninsieme alla moglie Diana, fonda \nl’azienda con l’intento di realizzare \ndivani, poltrone e complementi \nd’arredo puntando su un modello \nproduttivo in grado di bilanciare \nprocessi industriali con lavorazioni \ne finiture artigianali. Dalla fine \ndegli anni ’80, con la seconda \ngenerazione della famiglia, inizia \nun approfondito percorso di ricerca \nnell’ambito del design d’autore \naccompagnato dalla presenza \ndi Patrizia nella direzione artistica \ne Roberto nell’amministrazione. \n \nAlla cultura familiare si è aggiunta nel \ncorso degli anni una solida struttura \nmanageriale, capace di creare sinergie \nvincenti all’interno del mercato globale \ndell’Arredo-Design e A&D. Dal 2018 l’azienda \nè guidata da Damir Eskerica, precedentemente \na capo della Moroso Ltd.\n \nOggi l’azienda si posiziona \nnell’haute couture del design \ninternazionale e tra le aziende \nleader nel settore degli imbottiti. \nUna presenza tangibile e autorevole \ncostruita giorno dopo giorno sulla \ncapacità di imprimere un forte \nimpulso creativo ai progetti e di \nrealizzare prodotti di elevata qualità \nmanifatturiera. \n \nMoroso monitora e controlla direttamente \ntutte le fasi del processo produttivo, dalla \nselezione e acquisto delle materie prime alla \ngestione dello stoccaggio, dalla progettazione \ndei prototipi all’industrializzazione dei prodotti \nfiniti e alla logistica, sia attraverso le linee di \nproduzione interne che attraverso un \nconsolidato network di filiera. \n→\nMoroso, The Beauty of Design dal 1952\nMoroso, The Beauty of Design since 1952\n \nMoroso was founded in 1952, \nthe brainchild of Agostino Moroso \nwho, together with his wife \nDiana, founded the company with \nthe aim of manufacturing sofas, \narmchairs and furniture, based \non a production model which \nbalances industrial processes \nwith handcrafted techniques and \nfinishes. In the ‘80s, the second \ngeneration of the family began an \nin-depth process of research into \nquality design, led by Patrizia \nin artistic direction and Roberto \non the business side. \n \nOver the years, the company’s family \nculture has been joined by a strong managerial \nstructure, capable of creating successful \nsynergies within the global furniture design \nand A&D market. Since 2018, the company has \nbeen led by Damir Eskerica, previously at the \nhelm of Moroso Ltd. \n \nToday, the company positions \nitself in the haute couture segment \nof international design and as a \nleader in the upholstered furniture \nsector. This visible and respected \npresence has been built day \nafter day on the ability to impart \nextraordinary creativity to the \ndesigns and manufacture products \nof exceptional quality. \n \nMoroso directly monitors and controls \nall stages of the production process, from \nthe selection and purchase of raw materials \nto storage management, from prototype design \nto the industrialisation of finished products \nand logistics, both through in-house production \nlines and a well-established supply chain \nnetwork.\n→\nAntonio Citterio e Paolo Nava in azienda \ncon Agostino Moroso, 1972\nDiana Mansutti Moroso, \n1952\n2\n3\nCompany profile\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.23.png"," \nGrazie all’impegno e alla \nbravura dei suoi maestri artigiani \ne al contributo creativo di grandi \ndesigner internazionali, Moroso\nha creato negli anni una gamma \nvasta e differenziata di prodotti, \nmolti dei quali riconosciuti nel \nmercato come delle vere e proprie \nicone; una ricchezza che l’azienda \npropone al mercato sia attraverso la \ndistribuzione tradizionale \nche direttamente agli studi di \narchitettura e arredamento \nd’interni.\n \nInoltre, nel corso degli anni, \nl’azienda ha sviluppato numerosi \nprogetti di ricerca con artisti come \nÓlafur Elíasson, Marina Abramović, \nMichael Lin e Paola Pivi. \n \nUn orizzonte internazionale che ha reso \npossibile collaborare con alcune delle maggiori \nistituzioni dell’arte contemporanea, fra cui: il \nMoMA di New York, il Palais de Tokyo e il Grand \nPalais a Parigi, La Biennale di Venezia, il \nVictoria & Albert Museum di Londra e The Andy \nWarhol Museum di Pittsburgh. \n→\n \nThrough the hard work and \nexpertise of its skilled craftspeople \nand the creative contribution of \ngreat international designers, over \nthe years Moroso has created a \nwide and varied range of products, \nmany of which are recognised on \nthe market as iconic pieces. \nThe company offers this wealth \nof products to the market both \nthrough traditional retail and \ndirectly to architecture and interior \ndesign firms. \n \nOver the years, the company \nhas also developed a number \nof research projects with artists \nsuch as Ólafur Elíasson, Marina \nAbramović, Michael Lin and \nPaola Pivi. \n \nThis international outlook has led to \ncollaborations with some of the most renowned \ninstitutes of contemporary art, including the \nMoMA in New York, the Palais de Tokyo and the \nGrand Palais in Paris, the Venice Biennale, \nthe Victoria & Albert Museum in London and \nThe Andy Warhol Museum in Pittsburgh. \n→\n \nPhoto Gianni Antoniali\u002FIkon\nMichael Lin, Spring 2003\nSite specific Moroso Showroom, Milan\nPhoto Saverio Lombardi Vallauri\nPatrizia Moroso and Sir David Adjaye\nMarina Abramović, Patrizia Moroso \nand Daniel Libeskind\nÓlafur Elíasson, Green light. An artistic workshop \n57. Biennale Arte, Venezia\n4\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.24.png"," \nDa sempre Moroso ha posto al centro della \nsua attenzione la soddisfazione del Cliente, \nle sue esigenze e aspettative, e la necessità di \ngarantirgli prodotti e servizi di livello e qualità \nsuperiore.\n \nTutto ciò, unito a un forte \nrispetto per l’ambiente, ha \npermesso a Moroso di essere la \nprima azienda di imbottiti a ottenere \ndal 1994 la certificazione per \nla qualità dei cicli produttivi \n(ISO 9001) e dal 1999 quella per \nla gestione del sistema ambientale \n(ISO 14001).\n \nMoroso has always focused its attention \non satisfying the needs and expectations of its \ncustomers, and the importance of guaranteeing \nthem products and services of the very highest \nquality. \n \nCombined with a strong respect \nfor the environment, this has \nallowed Moroso to become the first \nfurniture company since 1994 to \nobtain certification for the quality \nof its productive cycles (ISO 9001) \nand the first since 1999 to obtain \ncertification for its environmental \nmanagement (ISO 14001).\nInteriors: Patricia Urquiola \u002F Photo Courtesy of Mutina\nGogan, sofa and low table,2019\nRuff, armchairs, 2020\n6\nCompany profile\n7\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.25.png"," \nMoroso da 70 anni rappresenta \nun approccio al design che va oltre la sola \nproduzione di complementi d’arredo. Alla base \ndel lavoro quotidiano permane, ancora oggi, il \nmodello introdotto da Agostino nel 1952: \nconiugare le competenze artigianali con \nl’industrializzazione dei processi produttivi. \nUna pratica che, a partire dalla visione creativa \ndi Patrizia Moroso, consente all’azienda di \ncontinuare a innovare trasformando idee \ne intuizioni sperimentali in prodotti commerciali, \nmantenendo allo stesso tempo la flessibilità \nproduttiva e il controllo sugli standard qualitativi \ne di sostenibilità. \n \nUn percorso che ha portato le \npersone coinvolte nella catena del \nvalore a vivere positivamente i \ncambiamenti in atto nella società e \nad offrire un contributo concreto nel \ndiffondere una cultura del design \ninclusiva e aperta alla diversità; un \nmodo unico di fare impresa che \nincoraggia i collaboratori, i fornitori \ne i clienti a ricercare l’eccellenza, \nispirandosi nel proprio lavoro \nquotidiano a cinque principi cardine:\n1. Out-of-the-Ordinary\n2. Visionary Leadership\n3. Creativity and Savoir-Faire \n4. Attitude to Learning \n5. Tradition in Innovation\n \nFor 70 years, Moroso has represented \na design approach that goes beyond mere \nfurniture production. Its day-to-day activity \nis still underpinned by the model introduced by \nAgostino in 1952: combining skilled \ncraftsmanship with industrial production \nprocesses. This practice, based on the creative \nvision of Patrizia Moroso, allows the company \nto keep innovating, transforming experimental \nideas and inspirations into commercial \nproducts, while keeping production flexible and \nclosely monitoring standards of quality and \nsustainability. \n \nThis process has led those \ninvolved in the value chain to \nexperience the changes currently \nunderway in society in a positive \nway, and to offer a concrete \ncontribution to spreading a culture \nof design that is inclusive and open \nto diversity. This unique way of \ndoing business encourages \ncollaborators, suppliers and clients \nto seek excellence, inspired in their \ndaily work by five key principles:\n1. Out-of-the-Ordinary\n2. Visionary Leadership\n3. Creativity and Savoir-Faire \n4. Attitude to Learning \n5. Tradition in Innovation\nIl Mondo Moroso\nThe Moroso Way\nCrafting, capitonné\nCrafting, Bouquet\nCrafting, Doodle\n8\n9\nCompany Profile — Our DNA\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.26.png","1.  Out-of-the-Ordinary\n \nRicerchiamo\nla bellezza aperti alla \ncontaminazione e\nalla sperimentazione.\n \nMuoverci lungo i confini tra \ndesign, architettura e arte \ncontemporanea ci consente di \nassimilare il lavoro del designer e \ndell’artista nella catena del valore \nin un percorso di continuo \naffinamento della visione creativa \ndel brand.\n \nWe seek beauty,\nwhilst remaining open \nto contamination \nand experimentation.\n \nMoving along the boundaries \nbetween design, architecture and \ncontemporary art allows us to \nintegrate the work of the designer \nand artist into the value chain, \ncontinuously fine-tuning \nthe brand’s creative vision.\nLo sguardo laterale. \nMoroso, une recherche entre Arts \ndécoratifs et Design\nMusée des Tissus et musée \ndes Arts décoratifs de Lyon, 2013\n11\n10\nCompany Profile — Our DNA\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.27.png","2. Visionary Leadership\n \nImmaginiamo lo spazio \ncome espressione \nd’identità e appartenenza \nculturale.\n \nOgni nostro progetto \nrappresenta una nuova prospettiva \nsul mondo, un’esperienza in grado \ndi coinvolgere l’immaginazione \ndelle persone e di connetterla con \nle idee dei designer attraverso \nfunzioni, forme, colori, superfici, \nmateriali e finiture.\n \nWe imagine space as \nan expression of cultural \nidentity and belonging.\n \nEach of our designs represents \na new perspective on the world, \nan experience that engages \npeople’s imagination and connects \nthem with the designer’s ideas \nthrough functions, shapes, colours, \nsurfaces, materials and finishes.\nPebble Rubble, seating system,2022\nCloud, coffee tables, 2012\n12\n13\nCompany Profile — Our DNA\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.28.png","Courtesy of Villa Borromeo Visconti Litta\n3. Creativity \n \nand Savoir-Faire \n \nLa diversità è per noi, \nuna naturale strategia di \ndiversificazione.\n \nSiamo un’azienda orientata alla \nsperimentazione che, dall’ambito \ntradizionale dell’imbottito, estende \nla propria ricerca nei diversi ambiti \ndell’abitare contemporaneo per \noffrire soluzioni complete coerenti \nper linguaggio e qualità \nmanifatturiera.\n \nFor us, diversity is \na natural diversification \nstrategy.\n \nWe are an experimentation-\noriented company that, from \nthe traditional sector of upholstered \nfurniture, chose to extend its \nresearch to different areas \nof contemporary living to offer \ncomprehensive solutions that are \nconsistent in terms of language \nand manufacturing quality.\nGlider, rocking sofa\ndesign Ron Arad, 2013\n14\n15\nCompany Profile — Our DNA\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.29.png","4. Attitude to Learning \n \nCondividiamo la \nconoscenza per crescere \nin modo sostenibile.\n \nRicerchiamo il confronto aperto \ne propositivo con i nostri \ncollaboratori, clienti, partner \ne fornitori, consapevoli che per \nsviluppare innovazione \ne anticipare i cambiamenti in\natto nella società è fondamentale \ncondividere la conoscenza.\n \nWe share knowledge \nto grow sustainably.\n \nWe seek open and proactive \ndialogue with our employees, \ncustomers, partners and suppliers, \nin the awareness that sharing \nknowledge is essential if you wish \nto develop innovation and \nanticipate the changes in society.\n17\nCompany Profile — Our DNA\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.30.png","5. Tradition\n \nin Innovation \n \nSiamo aperti e \npermeabili alle evoluzioni \nproduttive e tecnologiche.\n \nUniamo all’efficienza dei \nprocessi industriali l’esecuzione \ndi lavorazioni e finiture sartoriali \npromuovendo i savoir-faire \ndel lusso propri dei mestieri \ndell’artigianato sia nel mercato \nContract che Residenziale.\n \nWe are open and \npermeable to changes \nin production \nand technology.\n \nWe combine the efficiency of \nindustrial processes with the value \nof tailor-made workmanship and \nfinishes, promoting the exclusive \nsavoir-faire of luxury craftsmanship \nin both the Contract \nand Residential sectors.\n18\n19\nCompany Profile — Our DNA\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.31.png","Mission \n \nL’impegno comune \nper dare concretezza alla nostra \nambizione.\n \n“Vogliamo esaltare l’unicità \ndegli ambienti dell’abitare \ncontemporaneo attraverso idee, \nprogetti e prodotti innovativi che \nsuperino i confini dell’ordinario, \nin grado di emozionare \nle persone e coinvolgerle in \nesperienze di relazione costruite \nsul valore estetico e concettuale \ndelle nostre soluzioni, sulla loro \nqualità materiale e \nmanifatturiera, sulla eccellenza \ndel servizio e sulla condivisione \n– in ogni fase della filiera – di un \napproccio positivo e sostenibile \nalla vita”.\nVision\n \nWe are a community, \nsharing the idea of a future \nwith people’s value at its core.\n \n“In the art of doing \nbusiness, people represent \nour most precious resource; \nwe learn from them, and \nthrough their ideas we \ninnovate, together with them \nwe compete, and courageously, \nwe push our ambitions ever \nhigher. The company is their \nhome, the place where they \nare free to express their \ncreativity, grow and improve, \nto make an active and \nconstructive contribution \nto society through their day-to-\nday work”.\nMission\n \nThe shared commitment \nto give substance to our \nambition.\n \n“We want to highlight the \nuniqueness of contemporary \nliving spaces through \ninnovative ideas, designs and \nproducts which break the \nboundaries of the ordinary, \nwhich can move people and \nengage them in relationships \nbuilt on the aesthetic and \nconceptual value of our \nsolutions, on the quality of \ntheir material and \nmanufacturing, on the \nexcellence of the service and \non sharing a positive and \nsustainable approach to life \nacross the entire chain”.\nFront, Giulio Ridolfo and \nPatrizia Moroso\nPatricia Urquiola and Patrizia Moroso\nJonathan Levien and Nipa Doshi\nJavier Mariscal and Ron Arad\nVision\n \nSiamo una community \ncoesa attorno a un’idea di \nfuturo con al centro il valore \ndelle persone.\n \n“Nell’arte di fare impresa, \nle persone rappresentano la \nnostra risorsa più preziosa; da \nloro impariamo, grazie alle loro \nidee innoviamo, assieme a loro \ncompetiamo e, con coraggio, \nspingiamo sempre più in alto \nle nostre ambizioni. \nL’azienda è la loro casa, il luogo \ndove possono esprimere la loro \ncreatività, crescere e \nmigliorare, per portare – \nattraverso il lavoro quotidiano \n– un contributo attivo \ne costruttivo nella Società”.\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.32.png","Valori \nEtica — L’approccio etico è al \ncentro del nostro modo di fare \nimpresa.\n \nConsideriamo la nostra \nimpresa come un’unità sociale \nfinalizzata alla costruzione di \nvalore duraturo nel tempo. \nLo facciamo attraverso l’onestà \ne la trasparenza nei rapporti \ncon i nostri collaboratori, clienti \ne fornitori, con i designer e, più \nin generale, con chiunque \nabbia a che fare con noi, nel \npieno rispetto delle diversità e \ndella libertà di espressione.\n  \nBellezza — La componente \nestetica esprime una parte \nintegrante della nostra stessa \nidentità.\n \nViviamo la bellezza come \nun rapporto con il mondo \naperto alla curiosità, \nall’emozione e allo stupore. \nUn’attitudine che, con \ncoraggio, ci spinge a superare \nschemi e consuetudini, \ne ci permette di vivere \npositivamente e proattivamente \ni cambiamenti in atto nella \nSocietà, nella costante ricerca \ndel confronto con esponenti \nprovenienti da scenari culturali \naffini al mondo del Design, \ndell’Architettura e dell’Arte.\n  \nSostenibilità — Siamo \nconsapevoli della responsabilità \nche, come impresa, abbiamo \nnella Società.\n \nCi facciamo portatori, \nnei confronti di tutti gli attori \ncoinvolti nella nostra filiera, \ndi un approccio responsabile \nall’innovazione. Le nostre \nazioni e priorità sono dettate \ndai bisogni e dal sentire della \nSocietà e sono misurate \ncoerentemente ai loro possibili \nimpatti in termini ambientali, \nsociali ed economici.\nValues \nEthics — Moroso sees the \nbusiness as a social unit whose \npurpose is to build lasting \nvalue. \n \nThis commitment is made \nreal through the honesty \nand transparency of its \nrelationships with its \ncollaborators, clients and \nsuppliers, with its designers, \nand more generally, with \nanyone associated with the \ncompany, in full respect for \ndiversity and freedom of \nexpression. \n  \nBeauty — Moroso experiences \nbeauty as a relationship with \nthe world, open to curiosity, \nemotion and wonder. \n \nThis attitude boldly drives \nthe company to break free \nfrom the usual patterns and \ncustoms, allowing the changes \nsociety is undergoing to be \nexperienced in a positive, \nproactive way, in constant \npursuit of dialogue with \nrepresentatives from cultural \nbackgrounds related to the \nworld of design, art and \narchitecture. \n  \nSustainability — Moroso \npromotes a responsible \napproach to innovation with \nregards to all those involved \nin the supply chain. \n \nCompany actions and \npriorities are dictated by the \nneeds and feelings of society, \nand are measured accordingly \nagainst their possible impact \nin environmental, social and \neconomic impact.\nTord Boontje\nMarc Thorpe, Senegal 2016\nAlfredo Häberli\nMartino Gamper\n22\n23\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.33.png","Company Statement\nSiamo un’azienda \nindipendente, familiare \na conduzione manageriale \ncostruita attorno a un \nmodello che, nell’incontro \ntra arte e industria, \ndà forma alle idee dei \ndesigner bilanciando \nvisione creativa, processi \nindustriali e lavorazioni \nartigianali. Tutto made in \nItaly.\nWe are an independent, \nfamily-run company \nbuilt around a model that \ncombines art and \nindustry, balancing \ncreative vision, industrial \nprocesses and \ncraftsmanship to give \nshape to designers’ ideas. \nAll made in Italy.\nAlta Valle del Torre, Udine\nOUT catalogue, 2009\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.34.png","Art direction:\nPatrizia Moroso\nGraphic design:\nDesignwork\nPhotography:\nAlessandro Paderni\n[studio Eye]\nTexts: Lorenzo Taucer\nPrinted in Italy \nby Nava\nMoroso Spa\nvia Nazionale 60\n33010 Cavalicco UD \n— Italy \nT +39 0432 577 111 \ninfo@moroso.it\nMilano Showroom\nvia Pontaccio 8\u002F10 \n20121 Milano \n— Italy \nT +39 02 7201 6336\nmilano@moroso.it\nwww.moroso.it\n@morosofficial\nMoroso Ltd\nLondon Showroom\n7-15 Rosebery Avenue \nLondon EC1R-4SP \n— UK \nT +44 (0)20 3328 3560 \ninfo@moroso.co.uk\nMoroso USA\nNew York Showroom\n105 Madison Avenue\nNew York, NY10016\n— USA\nT +1 212 334 7222\ninfo@morosousa.com\nMoroso Belgium\nClustr\nHam 1, 9000 Gent \n— Belgium\nT + 32 (0) 9 258 88 56 \ninfo@morosobelgium.be\nZürich Showroom\n@Ambiente 33\nOberdorfstrasse 33\n8810 Horgen\n— Switzerland\nT +41 552 16 16 16\ninfo@moroso.it\nCompany Profile\n2023 ©Moroso Spa\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.35.png","Do-lo-rez\n001\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n101-102\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 13½\") \n107\nW63½\"×D54¼\" \nH22\" (seat 13¾\"-14¼\")\n103-104\nW81½\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n104+101\nW84½\"×D54¼\"xH31½\"117⅔\" \n80\n38\n69\n92\n138\n23\n161\n138\n35\n56\n69\n80\n34\n92\n138\n69\n80\n38\n92\n80\n38\n207\n207\n138\n69\n92\n299\nDo-lo-rez\n001\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n101-102\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 13½\") \n107\nW63½\"×D54¼\" \nH22\" (seat 13¾\"-14¼\")\n103-104\nW81½\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n104+101\nW84½\"×D54¼\"xH31½\"117⅔\" \n80\n38\n69\n92\n138\n23\n161\n138\n35\n56\n69\n80\n34\n92\n138\n69\n80\n38\n92\n80\n38\n207\n207\n138\n69\n92\n299\nDo-lo-rez\nDO0\ndesign: Ron Arad\nyear: 2008\nExample of composition\nIsland\nArmchair\nDO0107 + DO0107\nDo-lo-rez\n \nDisegnato da Ron Arad nel 2008, \nDo-lo-rez è un progetto sviluppato \nattorno alla trasposizione fisica  \ndel pixel, da singola parte elementare \ndi un’immagine a modulo base di \nun sistema imbottito. Costituito da \nparallelepipedi morbidi a base quadrata \naccostati tra loro in diverse altezze,  \nDo-lo-rez offre una libertà compositiva \nche ne amplifica la modularità,  \nla esaspera fino a renderla strutturale.  \nI singoli moduli, apparentemente \nmolto semplici, nascondono un’elevata \ncomplessità costruttiva: in basso più \nrigidi, per contenere il perno metallico; \npiù morbidi nella parte alta, per garantire \nil massimo comfort alla seduta.\n \nDesigned by Ron Arad in 2008, \nthe starting point for Do-lo-rez is the \nphysical transposition of a pixel, from \na single element of the base unit of an \nimage to basic module for a padded \nsystem. Using soft rectangular cubes \nwith a square base in a range of heights, \nDo-lo-rez takes the freedom of form \nand elevates its modularity so far that it \nitself becomes structural. The seemingly \nsimple individual elements conceal a \nremarkable structural complexity.  \nStiffer at the base, so as to hold a steel \npin, the blocks are softer at the top to \nensure maximum comfort.\nArmchair\nIsland\nRight - Left element 138\nRight - Left element 207\nExample of composition\nDo-lo-rez\n001\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n101-102\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 13½\") \n107\nW63½\"×D54¼\" \nH22\" (seat 13¾\"-14¼\")\n103-104\nW81½\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n104+101\nW84½\"×D54¼\"xH31½\"117⅔\" \n80\n38\n69\n92\n138\n23\n161\n138\n35\n56\n69\n80\n34\n92\n138\n69\n80\n38\n92\n80\n38\n207\n207\n138\n69\n92\n299\nDo-lo-rez\n001\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n101-102\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 13½\") \n107\nW63½\"×D54¼\" \nH22\" (seat 13¾\"-14¼\")\n103-104\nW81½\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n104+101\nW84½\"×D54¼\"xH31½\"117⅔\" \n80\n38\n69\n92\n138\n23\n161\n138\n35\n56\n69\n80\n34\n92\n138\n69\n80\n38\n92\n80\n38\n207\n207\n138\n69\n92\n299\nDo-lo-rez\n001\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n101-102\nW54¼\"×D36¼\" (seat 27¼\")\nH31½\" (seat 13½\") \n107\nW63½\"×D54¼\" \nH22\" (seat 13¾\"-14¼\")\n103-104\nW81½\"×D36¼\" (seat 27¼\")\nH31½\" (seat 15\")\n104+101\nW84½\"×D54¼\"xH31½\"117⅔\" \n80\n38\n69\n92\n138\n23\n161\n138\n35\n56\n69\n80\n34\n92\n138\n69\n80\n38\n92\n80\n38\n207\n207\n138\n69\n92\n299\nCourtesy by Villa Visconti Borromeo Litta di Lainate,Milano \n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.36.png","Do-lo-rez\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.37.png","Doodle\nDoodle\n931\nW82¾\"×D35½\" (seat 21¾\")\nH36¼\" (seat 15¾\")\n930\nW43¼\"×D27½\"\nH38½\" (seat 15¾\")\n110\n40\n98\n70\n210\n40\n92\n55\n90\nDU0\ndesign: Front \nyear: 2013\nSofa\nArmchair\n \nDisegnato nel 2013 dal duo svedese \nFront, Doodle riprende la forma di una \ncoperta ripiegata e la decora con un \nricamo nato da un grande scarabocchio, \nun disegno articolato e complesso \ncostruito su una scansione spontanea \ne accumulativa di segni, forme \ngeometriche, tracce di pensiero a flusso \ncontinuo. La seduta è delicata, assorta, \ni braccioli morbidi, la forma accogliente. \nIl rivestimento trapuntato segue le linee \ndella composizione sovrappensiero, \nconferendole tridimensionalità.  \nÈ un pensiero che ci accoglie, un sogno \nad occhi aperti.\n \nDesigned in 2013 by the Swedish \nduo Front, Doodle takes its shape \nfrom a folded blanket and decorates \nit with embroidery that starts as \na sweeping scrawl and ends as an \narticulate and complete drawing based \non a spontaneous and accumulative \narticulation of symbols, shapes, fleeting \nthoughts that come and go. The seat \nis delicate, deep in thought, armrests are \nsoft, the form welcoming. The quilting \non the upholstery follows the lines of the \ndoodle making it three-dimensional. \nIt is a welcoming thought, a daydream.\nDoodle\nDU0930\nSofa\nArmchair\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.38.png","Doodle\nDoodle\nDU0930\nDU0930\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.39.png","Doodle\nDoodle\nDU0931\nDU0931\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.40.png","design: Patricia Urquiola \nyear: 2011\nGentry\nGE0\nL153½\"×D118¼\" (seat 41¼\")\nH30\" (seat 26½\")\nL147¾\"×D76¾\" (seat 41¼\")\nH30\" (seat 26½\")\nC50\nA90\n105\n195\n300\n285\n390\n195\n105\n270\n375\n \nDisegnato da Patricia Urquiola nel \n2011, Gentry è una vasta collezione \ndi sedute costituita da divani, poltrone \ned elementi componibili in grado di \nrispondere a diverse esigenze di spazio \ne comfort. Alle eleganti versioni \na due o tre posti, in diverse misure \ne tre profondità, si aggiunge un’ampia \ngamma di elementi modulari. Gentry \nè un progetto nato dalla ricerca di una \ncomodità rigorosa, misurata ma al \ncontempo leggermente informale. \nI grandi cuscini indipendenti, di schiena \ne di seduta, rendono confortevoli \nposizioni convenzionali quanto \ndisinvolte.\n \nDesigned by Patricia Urquiola \nin 2011, Gentry is an extensive seating \ncollection consisting of sofas, armchairs \nand modular elements that can respond \nto different needs for space and comfort. \nA wide range of modular elements \ncomplements elegant two- or three-\nseater pieces, in various sizes and three \ndepths. The Gentry project began \nas a search for rigorous and restrained \ncomfort leavened with light informality. \nThe large independent cushions on seats \nand backs offer comfortable sitting \nin any posture, conventional or casual.\nL35½\"\nH30\" (seat 26½\")\nL41¼\"\nL41¼\"\nL76¾–88½\"\nL47¼\"\nL70¾–82¾\"\nL35½–41¼\"×D65\"\nH30\" (seat 26½\")\nL35½\"–41¼\"\nD29½\"\nH15¾\"\nL35½\"–41¼\"\nD35½\"–41¼\"\nH15¾\"\n858\n395\n331\n859\n011\n396\n017-076-077\n862-863\n397-398\n391-399\n880-881\n882-883\n864-865\n053\n387-388\n866-867\n334-335\n052\n214-772\n872-873-874-875\n626-627-628-629\n646-647-648-649\n90\n105\n90-105-120\n90-105-120\n75\n60-75-90\n90-105\n90-105\n90-105\n105\n195-225\n120\n90\n40\n180-210\n90\n90\n105\n165\n105\nD35½\"–41¼\"–47¼\"\n(seat 23¾\"–29¾\"–35½\")\n60-75\n90-105\n40\n67\n76\n210\nL82¾\"×D35½\"–41¼\"\n(seat 23¾\"–29¾\")\nH30\" (seat 26½\")\n855-002\nL94½\"×D35½\"–41¼\"\n(seat 23¾\"–29¾\")\nH30\" (seat 26½\")\n856-018\nL118\"×D35½\"–41¼\"\n(seat 23¾\"–29¾\")\nH30\" (seat 26½\")\n857-617\nL100½\"×D35½\" \n(seat 23¾\")\nH30\" (seat 26½\")\n003\nL70¾\"×D35½\"–41¼\"\n(seat 23¾\"–29¾\")\nH30\" (seat 26½\")\n886-887\n180\n240\n255\n300\nExamples of composition\nSofa\nElements\nChaise longue\nStool\nGentry\nGentry GE0599\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.41.png","Gentry\n→ \nGentry GE0C21\nFjord FJ0214, Tia Maria TI0T75\nPhoenix PH00HL\nGentry GE0868 + GE0869\nFjord FJ003K + FJ0017\nPhoenix PH00HL, Tia Maria TI0T72\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.42.png","Gentry\nGentry GE0856\nDew DW0077\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.43.png","Gentry\nGentry\n← \nGentry GE0002\nDew DW0077\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.44.png","Gogan\nGogan GG0SP3\nPhoto: Joel Matthias Henry\nCB1\nL141¾\"×D44\"×H27½\"\nSP3R-SP3L\nL159½\"×D127¼\"×H27½\" \nCC1\nCC2\nCC3R-CC3L\nL144¾\"×D58¼\"×H27½\" \nL142½\"×D58¼\"×H27½\" \nL143¾\"×D58¼\"×H27½\" \n180\n180\n360\n160\n104\n405\n184\n184\n368\n181\n181\n362\n184\n181\n365\n105\n148\n105\n148\n105\n148\n69\n112\n170\n143\n180\n323\n180-220\n284-324\nCA1-CA2\nL111 ¾-127¼\"×D67\"×H27½\" \n43\n112\n170\n10G-10H-10I-10P\nL50\"×D38¾\"×H13\" \n10D-10E-10F-10N\nL39½\"×D42¼\"×H10¾\" \n10A-10B-10C-10M\nL33¾\"×D33¾\"×H13\" \n33\n27\n108\n33\n86\n27\n103\n99\n127\n101\n85\n105\nØ80\nØ100\n10J-10K-10L-10Q\nL41½\"×D40½\"×H10¾\" \n018\nL102½\"×D48½\"×H27½\" \n003\nL122\"× D50¼\"×H27½\" \n001\nL34\"×D37¾\"×H26½\" \n260\n310\n86\n70\n44\n123\n70\n70\n44\n128\n70\n58\n42\n96\n67\nCB1\nL141¾\"×D44\"×H27½\"\nSP3R-SP3L\nL159½\"×D127¼\"×H27½\" \nCC1\nCC2\nCC3R-CC3L\nL144¾\"×D58¼\"×H27½\" \nL142½\"×D58¼\"×H27½\" \nL143¾\"×D58¼\"×H27½\" \n180\n180\n360\n160\n104\n405\n184\n184\n368\n181\n181\n362\n184\n181\n365\n105\n148\n105\n148\n105\n148\n69\n112\n170\n143\n180\n323\n180-220\n284-324\nCA1-CA2\nL111 ¾-127¼\"×D67\"×H27½\" \n43\n112\n170\n10G-10H-10I-10P\nL50\"×D38¾\"×H13\" \n10D-10E-10F-10N\nL39½\"×D42¼\"×H10¾\" \n10A-10B-10C-10M\nL33¾\"×D33¾\"×H13\" \n33\n27\n108\n33\n86\n27\n103\n99\n127\n101\n85\n105\nØ80\nØ100\n10J-10K-10L-10Q\nL41½\"×D40½\"×H10¾\" \n018\nL102½\"×D48½\"×H27½\" \n003\nL122\"× D50¼\"×H27½\" \n001\nL34\"×D37¾\"×H26½\" \n260\n310\n86\n70\n44\n123\n70\n70\n44\n128\n70\n58\n42\n96\n67\nCB1\nL141¾\"×D44\"×H27½\"\nSP3R-SP3L\nL159½\"×D127¼\"×H27½\" \nCC1\nCC2\nCC3R-CC3L\nL144¾\"×D58¼\"×H27½\" \nL142½\"×D58¼\"×H27½\" \nL143¾\"×D58¼\"×H27½\" \n180\n180\n360\n160\n104\n405\n184\n184\n368\n181\n181\n362\n184\n181\n365\n105\n148\n105\n148\n105\n148\n69\n112\n170\n143\n180\n323\n180-220\n284-324\nCA1-CA2\nL111 ¾-127¼\"×D67\"×H27½\" \n43\n112\n170\n10G-10H-10I-10P\nL50\"×D38¾\"×H13\" \n10D-10E-10F-10N\nL39½\"×D42¼\"×H10¾\" \n10A-10B-10C-10M\nL33¾\"×D33¾\"×H13\" \n33\n27\n108\n33\n86\n27\n103\n99\n127\n101\n85\n105\nØ80\nØ100\n10J-10K-10L-10Q\nL41½\"×D40½\"×H10¾\" \n018\nL102½\"×D48½\"×H27½\" \n003\nL122\"× D50¼\"×H27½\" \n001\nL34\"×D37¾\"×H26½\" \n260\n310\n86\n70\n44\n123\n70\n70\n44\n128\n70\n58\n42\n96\n67\ndesign: Patricia Urquiola \nyear: 2019\nGogan\nGG0\nSofas\nLow tables\nArmchair\nExamples of composition\n \nDisegnata da Patricia Urquiola nel 2019, la \ncollezione Gogan deriva il suo nome dalla parola che \ndescrive i sassi che in Giappone vengono posizionati \nsugli argini dei fiumi e dei laghi a protezione \ne abbellimento delle rive. Il divano e la poltrona \nricordano infatti delle pietre arrotondate scolpite \ndal vento e dall’acqua, massicce ma al contempo \nmorbide, su cui potersi adagiare. Come nelle \nsculture, dove i sassi stanno in equilibrio in virtù \ndegli incastri e della posizione, nelle sedute l’armonia \ntra gli elementi è data dalla forma non troppo \nregolare: grazie a un gioco di gravità e proporzione, \nciò che dovrebbe essere pesante riesce così \na risultare leggero. L’assetto della seduta è inclinato \nverso la parte posteriore; questo conferisce ai pezzi \ndella collezione un comfort estremo e consente \ndi mantenere lo schienale più basso.\n \nDesigned by Patricia Urquiola in 2019, \nthe Gogan collection derives its name from the word \nfor the stones placed along the edges of Japanese \nrivers and lakes to protect and beautify the banks. \nThe sofa and armchair, reminiscent of rounded \nstones sculpted by wind and water, are solid yet soft, \ninviting rest. As in sculptures, in which stones are \ndovetailed together in equilibrium, harmony between \nthe seating elements is given by forms that are not \ncompletely regular, with an interplay of gravity and \nproportion giving lightness to what should be heavy. \nThe seats slope towards the rear, ensuring that \nthe pieces in the collection possess a high level of \ncomfort and making a lower backrest possible.\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.45.png","Gogan GG0003 + GG010K\nRuff RU0061\nGogan GG0001\nBloomy BM006H\nGogan\nInteriors: Patricia Urquiola \u002F Photo Courtesy of Mutina\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.46.png","Gogan GG0SP5\nAnomaly AN1017, Ruff RU0061\nGogan\nInteriors: Claude Cartier Décoration \u002F Photo: Francis Amiant\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.47.png","Gogan GG0CC3 + GG010I\nRuff RU0061\nGogan GG0SP3, Getlucky GT0061\nGogan\nInteriors: Claude Cartier Décoration \u002F Photo: Guillaume Grasset\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.48.png","Los Muebles \nAmorosos\nLos Muebles Amorosos\nAE0001-AE0050-AE0015\nW39\"×D37\"\nH44\" (seat 18\")\nS10027\nW76¾\"×D37½\"\nH37\" (seat 17¾\")\n46\n94\n99\n195\n68\n112\n45\n95\n94\n68\ndesign: Javier Mariscal \nyear: 1995\nLos Muebles Amorosos\nAE0 + S10\nAlessandra\nSaula Marina\n \nDisegnata da Javer Mariscal nel \n1995, Los Muebles Amorosos rientra \ncompletamente nella cultura visiva \ndel mondo del fumetto dal quale il \ndesigner, per sua stessa ammissione, \nattinge nella fase creativa. Alessandra, \nEulalia Perez, Saula Marina sembrano \ncosì uscite direttamente dalle pagine \ndi qualche underground comix, con cui \ncondividono la stessa ironia al limite del \nsarcasmo e l’approccio ludico con la \nrealtà contemporanea. Anticonformista, \nlibertario, post-moderno: Mariscal \ndisegna la sceneggiatura di un racconto \nda una prospettiva adolescenziale, \ndove l’esperienza arriva sempre prima \ndell’essenza.\n \nDesigned by Javier Mariscal in 1995, \nLos Muebles Amorosos draws entirely \non the visual culture of the world of \ncomic books, a fact which Mariscal freely \nadmits to. Alessandra, Eulalia Perez, \nSaula Marina, seem to have stepped \nout of the pages of some underground \ncomic, with which they share the same \nirony, bordering on sarcasm, and \na playful approach to contemporary \nlife. Anti-conformist, libertarian, post-\nmodern: Mariscal designs the storyboard \nfor a tale told from the perspective \nof a teenager, where experience always \ncomes before meaning.\nAlessandra\nSaula Marina\nIllustration: Javier Mariscal\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.49.png","Los Muebles Amorosos\nS10027\nLos Muebles Amorosos\nAE0001\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.50.png","AE0050\nLos Muebles Amorosos\nS10027 + AE0050\nLos Muebles Amorosos\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.51.png","Loveland\nB04\nW90½\"×D37¾\" (seat 25¾\") \nH28¾\" (seat 16½\")\nC03\nW9½\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\")z\nB02\nW102¼\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\") \nCM1\nW108¼\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\") \nBA2\nW123½\"×D59½\" (seat 37¾\") \nCA2\nW130\"×D59½\" (seat 37¾\") \nBA1\nW112\"×D59½\" (seat 38\")\n \nCA1\nW118\"×D59½\" (seat 38\")\nBB3\nW131½\"×D59½\" (seat 37¾\") \nCB3\nW137¾\"×D59½\" (seat 37¾\") \nBJ7\nW135\"×D120½\" (seat 38\")\nCJ7\nW138\"×D123½\" (seat 38\") \n66\n96\n42\n73\n230\n65\n96\n42\n73\n49\n245\n66\n96\n42\n73\n260\n65\n96\n42\n73\n49\n275\n210\n315\n217\n330\n335\n230\n350\n237\n343\n350\n180\n285\n96\n65\n151\n187\n300\n96\n65\n151\n96\n65\n151\n96\n65\n151\n306\n96\n65\n151\n314\n96\n65\n151\n96\n65\n151\n96\n65\n151\nLoveland\nLoveland\nLL1\ndesign: Patricia Urquiola\nyear: 2023\n \nDisegnato da Patricia Urquiola nel \n2023, Loveland riprende e rinnova il \nsistema di sedute imbottite Lowland \ncon un approccio che ripensa un \nprodotto storico valorizzandone le \nqualità evergreen. Una nuova versione, \nelegantemente coerente al principio \nprogettuale originario, caratterizzata da \nuna seduta molto morbida e confortevole \ne dalla presenza, in sostituzione delle \nbasi in tubolare di acciaio, di basamenti \nin frassino massello posizionati in modo \nasimmetrico rispetto al perimetro di \nseduta. Una scelta che nobilita le qualità \narchitettoniche del sistema, senza \nrinunciare, sia nel singolo divano che \nnella composizione, alle qualità estetiche \ndi sofisticata memoria razionalista.\n \nDesigned by Patricia Urquiola in \n2023, Loveland revives and updates \nthe Lowland seating system with an \napproach that reimagines an iconic \nproduct and reinforces evergreen \nqualities. A new version with an elegant \ncoherence that remains faithful to the \nprinciples of the original design brief, \nwith wonderfully soft and comfortable \nseats and tubular steel runners with solid \nash bases positioned asymmetrically to \nthe edges of the seat. The new design \nchoices enhance the architectural \nqualities of the series while maintaining \nthe sophisticated rationalist mood of \nthis sofa, as a stand-alone piece or in a \ncomposition.\nLL1CB3\nLoveland\nB04\nW90½\"×D37¾\" (seat 25¾\") \nH28¾\" (seat 16½\")\nC03\nW9½\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\")z\nB02\nW102¼\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\") \nCM1\nW108¼\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\") \nBA2\nW123½\"×D59½\" (seat 37¾\") \nCA2\nW130\"×D59½\" (seat 37¾\") \nBA1\nW112\"×D59½\" (seat 38\")\n \nCA1\nW118\"×D59½\" (seat 38\")\nBB3\nW131½\"×D59½\" (seat 37¾\") \nCB3\nW137¾\"×D59½\" (seat 37¾\") \nBJ7\nW135\"×D120½\" (seat 38\")\nCJ7\nW138\"×D123½\" (seat 38\") \n66\n96\n42\n73\n230\n65\n96\n42\n73\n49\n245\n66\n96\n42\n73\n260\n65\n96\n42\n73\n49\n275\n210\n315\n217\n330\n335\n230\n350\n237\n343\n350\n180\n285\n96\n65\n151\n187\n300\n96\n65\n151\n96\n65\n151\n96\n65\n151\n306\n96\n65\n151\n314\n96\n65\n151\n96\n65\n151\n96\n65\n151\nLoveland\nB04\nW90½\"×D37¾\" (seat 25¾\") \nH28¾\" (seat 16½\")\nC03\nW9½\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\")z\nB02\nW102¼\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\") \nCM1\nW108¼\"×D37¾\" (seat 25¾\")\nH28¾\" (seat 16½\") \nBA2\nW123½\"×D59½\" (seat 37¾\") \nCA2\nW130\"×D59½\" (seat 37¾\") \nBA1\nW112\"×D59½\" (seat 38\")\n \nCA1\nW118\"×D59½\" (seat 38\")\nBB3\nW131½\"×D59½\" (seat 37¾\") \nCB3\nW137¾\"×D59½\" (seat 37¾\") \nBJ7\nW135\"×D120½\" (seat 38\")\nCJ7\nW138\"×D123½\" (seat 38\") \n66\n96\n42\n73\n230\n65\n96\n42\n73\n49\n245\n66\n96\n42\n73\n260\n65\n96\n42\n73\n49\n275\n210\n315\n217\n330\n335\n230\n350\n237\n343\n350\n180\n285\n96\n65\n151\n187\n300\n96\n65\n151\n96\n65\n151\n96\n65\n151\n306\n96\n65\n151\n314\n96\n65\n151\n96\n65\n151\n96\n65\n151\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.52.png","Loveland\nLL1D02\nLL1BA2\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.53.png","Loveland\nLL1CB3\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.54.png","LL1C03\nLoveland\nLoveland\nLL1CJ7\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.55.png","Lowland LLCB2\nLowland LL0CM9\ndesign: Patricia Urquiola \nyear: 2000\nLowland\nLL0\nBed\nLowland\nSofa\nStool\nBed\nL88¼–96-107¾\"×D37¾\" (seat 26\")\nH28¾\" (seat 16¼\")\nC18-C03-CM1\nL58¼\"×D23½\"×H16¼\"\n017\nL58¼\"×D42½\"×H16¼\"\n077\nL75¼–79¼-83\"×D96½\"\nH27¼\" \n175-176-177\n41\n51\n66\n41\n60\n36\n69\n245\n191-201-211\n108\n148\n148\n96\n224-244-274\n96\n154\n188-218\n302-333\n96\n188\n96\n274\n188\n284\n188\n284\n73\nExamples of composition\nL119–131\"×D60¾-\" \nH28¾\" \nCA1-CA2\nL111¾–123½\"×D74\" \nH28¾\" \nL111¾\"×D107¾\" \nH28¾\" \nL131\"×D111¾\" \nH28¾\" \nSF2-SH2\nCF5\n154\n284\n218\n333\nCI6\nLowland\nSofa\nStool\nBed\nL88¼–96-107¾\"×D37¾\" (seat 26\")\nH28¾\" (seat 16¼\")\nC18-C03-CM1\nL58¼\"×D23½\"×H16¼\"\n017\nL58¼\"×D42½\"×H16¼\"\n077\nL75¼–79¼-83\"×D96½\"\nH27¼\" \n175-176-177\n41\n51\n66\n41\n60\n36\n69\n245\n191-201-211\n108\n148\n148\n96\n224-244-274\n96\n154\n188-218\n302-333\n96\n188\n96\n274\n188\n284\n188\n284\n73\nExamples of composition\nL119–131\"×D60¾-\" \nH28¾\" \nCA1-CA2\nL111¾–123½\"×D74\" \nH28¾\" \nL111¾\"×D107¾\" \nH28¾\" \nL131\"×D111¾\" \nH28¾\" \nSF2-SH2\nCF5\n154\n284\n218\n333\nCI6\nSofa\nPouf\n \nDisegnato da Patricia Urquiola nel \n2000, Lowland è un sistema di sedute \ncostituito da elementi di forma semplice \nin rapporto dinamico l’una con l’altra. \nPensato anche per l’utilizzo in spazi \ncomuni e pubblici, esprime le sue \nqualità architettoniche prevalentemente \nin ambienti domestici. Essenzialità, \ndinamismo e trasformazione rappresentano \nil trait d’union che accomuna elementi \nformalmente separati. Seduta e schienale \nsono moduli da coordinare, accostare, \nriconfigurare con la massima libertà \ncompositiva. I braccioli racchiudono una \ncomposizione come due parentesi quadre \nracchiudono una frase. Un linguaggio \nche, dal divano, si estende per assonanza \nestetica anche al letto.\n \nDesigned by Patricia Urquiola in 2000, \nthe Lowland seating system comprises \nelements of simple form in dynamic \nrelationship with each other. Although \nalso conceived for use in common and \npublic spaces, its architectural qualities \nstand out in domestic environments. \nEssentiality, dynamism and transformation \nrepresent the trait d’union uniting elements \nof diverse forms. Seats and backs \nare modules that can be coordinated, \ncombined and reconfigured with full \ncompositional freedom. The armrests \nenclose a composition as brackets enclose \na sentence. A language that extends from \nthe sofa to the bed in aesthetic assonance.\nExemples of Compositions\nSofa\nStool\nBed\nLowland\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.56.png","Lowland LL0CM9\nLowland LL0CA3\nSushi collection S3007U\nLowland\nInteriors: Claude Cartier Décoration \u002F Photo: Erick Saillet\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.57.png","Lowland LL0CB2\nFjord FJ0017\nTia Maria TI0T72\nTaba TB2890\nSecret Cubic Shelves SC1762\nLowland\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.58.png","Lowland\nLowland LL0CA3\nSmock SM00VT, Ukiyo UK00S2\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.59.png","M.a.s.s.a.s.\nM.a.s.s.a.s. MA1A10\nM.a.s.s.a.s. MA1003\nM.A.S.S.A.S.\nSofa\nArmchair\nExamples of composition\nStool\nL96½\"×D41¼\" (seat 26\")\nH27½\" (seat 15¾\")\nL31½\"×D27½\"×H32¼\" (seat 18\")\n001\nL26¾\"×D25½\"×H31\" (seat 18½\")\n061\nL39¼\"×D39¼\"×H15¾\"\n017\n003\n245\n314\n180\n120\n300\n40\n70\n66\n105\n133\n172\n40\n70\n65\n46\n82\n70\n80\n47\n79\n65\n68\n40\n100\n100\n105\nL118\"×D67¾\" (seat 52¼\")\nH27½\" (seat 15¾\")\nL123½\"×D41¼\" (seat 26\")\nH27½\" (seat 15¾\")\nA50\nA10\nL123½\"×D41¼\" (seat 26\")\nH27½\" (seat 15¾\")\nA20\n180\n157\n337\n105\n66\nM.A.S.S.A.S.\nSofa\nArmchair\nExamples of composition\nStool\nL96½\"×D41¼\" (seat 26\")\nH27½\" (seat 15¾\")\nL31½\"×D27½\"×H32¼\" (seat 18\")\n001\nL26¾\"×D25½\"×H31\" (seat 18½\")\n061\nL39¼\"×D39¼\"×H15¾\"\n017\n003\n245\n314\n180\n120\n300\n40\n70\n66\n105\n133\n172\n40\n70\n65\n46\n82\n70\n80\n47\n79\n65\n68\n40\n100\n100\n105\nL118\"×D67¾\" (seat 52¼\")\nH27½\" (seat 15¾\")\nL123½\"×D41¼\" (seat 26\")\nH27½\" (seat 15¾\")\nA50\nA10\nL123½\"×D41¼\" (seat 26\")\nH27½\" (seat 15¾\")\nA20\n180\n157\n337\n105\n66\ndesign: Patricia Urquiola\nyear: 2012\nM.a.s.s.a.s.\nMA1\nSofa\nComposition\nArmchair\nSmall Armchair\n \nDisegnato da Patricia Urquiola nel \n2012, è costituito da blocchi smussati dal \ntaglio di una lama immaginaria. L’ordine \ngeometrico è rotto, travolto a favore di un \nmovimento, di un margine che attraversa \ni perimetri. Le facce rendono evidente la \nnervatura; alcune cuciture, evidenti come \nimbastiture, la disegnano, altre scompaiono. \nL’utilizzo è libero, la superficie morbida. \nLa forma esterna, dal punto di vista dei \nvolumi, appare indipendente dalla struttura \ne dall’imbottitura interna. Divano, poltrona, \npoltroncina: un sistema componibile dove \nogni elemento mantiene indipendente il \ncarattere, per funzione e presenza scultorea. \nIl nome – M.A.S.S.A.S. – è l’acronimo \ndi “Moroso Asymmetric Sofa System \nAdorably Stitched”: una scelta giocosa che \nperò risulta esaustiva nel descriverne le \ncaratteristiche formali. \n \nDesigned by Patricia Urquiola in 2012, \nthe collection consists of blocks trimmed \nby the cut of an imaginary blade. Geometric \norder is broken, swept away in favour \nof movement, of a margin that crosses \nperimeters. Faces reveal veining, visible \nin some of the stitching as tacking, while \nother stitching is hidden. It’s a flexible \ncollection with soft surfaces. The external \ncontours appear independent of the frame \nand internal padding. Sofa, armchair and \nsmall armchair: a modular system in which \neach element has an independent function \nand sculptural character. M.A.S.S.A.S. \nis the acronym of “Moroso Asymmetric Sofa \nSystem Adorably Stitched”, a light-hearted \ndescription that nevertheless fully reflects \nits physical characteristics. \nSofa\nArmchair\nSmall Armchair\nStool\nExamples of composition\nInteriors: Space1618 \u002F Styling: Nude.Productions\nPhoto: Dimitrii Tsyrenshchikov\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.60.png","M.a.s.s.a.s. MA1C30 \nFishbone FB0T65 + Net table NE106U\nM.a.s.s.a.s.\nM.a.s.s.a.s.\nM.a.s.s.a.s. MA1A20 \nTia Maria TI0T72 + Fjord FJ0214\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.61.png","M.a.s.s.a.s.\nM.a.s.s.a.s. MA1A50\nHusk HU1001 \nPhoenix PH00HY\nTia Maria TI0T70\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.62.png","Misfits\nMF0\ndesign: Ron Arad\nyear: 2007\nMisfits\n \nNel 2007, Ron Arad scava, taglia  \ne modella sei cubi di poliuretano di  \nun metro di lato con l’intenzione di creare \nun insieme di sedute componibili;  \nla condotta è libera, passionale, non \nsoggetta alle regole razionali della \nprogettazione industriale. Ogni singolo \nmodulo, pur mantenendo inalterate \nlarghezza e profondità, non trova \ncorrispondenza con l’altro: la continuità, \nnell’irregolarità, è materica e formale.  \nIl risultato è un sistema di sedute \nscultoree di grande comfort definite da \nvolumi plastici ed irregolari; per i maestri \nartigiani di Moroso, nel far aderire  \nalle linee curve e al gioco di pieni e \nvuoti il tessuto di rivestimento, una sfida \nmanifatturiera.\n \nIn 2007, Ron Arad dug into, cut apart \nand moulded six cubes of polyurethane \nwith one-metre sides in order to create \nan interlocking series of chairs; they \nare fiercely free and fiery, outside the \nrational rules-based world order of \nindustrial design. Despite maintaining \nequal width and depth, each individual \nmodule does not align with the others: \nin its irregularity, the continuity is in the \nmaterial and form. The result is a seating \nsystem of sculpted and wonderfully \ncomfortable seats, defined by irregular \nand flexible volumes; for the master \ncraftsmen of Moroso, aligning the \nupholstery fabric to the curvaceous lines \nand the play of solids and empty spaces \nrepresented a mastery of manufacturing.\nCorner 1\nCentral 1\nPouf 1\nCorner 2\nCentral 2\nPouf 2\nMisfits\n270\nW39¼\"×D39¼\" (seat 26¾\")\nH34¾\" (seat 17\") \n272\nW39¼\"×D39¼\" (seat 24\")\nH35½\" (seat 17¼\") \n273\nW39¼\"×D39¼\" (seat 22½\")\nH38½\" (seat 17\") \n271\nW39¼\"×D39¼\" (seat 26¾\")\nH38¼\" (seat 17¼\")\n274\nW39¼\"×D39¼\"×H11¾\"-14¼\" \n275\nW39¼\"×D39¼\"×H13½\"-17\" \n43\n88\n68\n100\n30\n36\n100\n100\n100\n100\n34\n43\n100\n100\n100\n100\n44\n97\n68\n100\n44\n90\n61\n100\n43\n98\n57\n100\nMF0271\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.63.png","MF0270 + MF0273 + MF0273 \n+ MF0270 + MF0274\nMF0271 + MF0273 + MF0272 \n+ MF0273 + MF0270 + MF0274 \n+ MF0275\nMisfits\nMisfits\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.64.png","My Beautiful \nBackside\nMBB\n0T6\nW63\"×D35\" (seat 23½\")\nH39\" (seat 15¾\")\n0T7\nW82¾\"×D35\" (seat 23½\")\nH39\" (seat 15¾\")\n0T8\nW102¾\"×D35\" (seat 23½\")\nH39\" (seat 15¾\")\n0T9\nW120¾\"×D35\" (seat 23½\")\nH39\" (seat 15¾\")\n40\n99\n60\n75\n89\n160\n210\n261\n307\ndesign: Nipa Doshi and Jonathan Levien\nyear: 2008\nMy Beautiful Backside\nMD0\nBench 160\nBench 261\nBench 307\nBench 210\n \nDisegnato nel 2008 da Nipa Doshi  \ne Jonathan Levien, My Beautiful \nBackside è una collezione di divani che, \nfin dal nome, promuove lo schienale \ncome elemento centrale nell’idea di \nprogetto. Se formalmente la struttura \ndelle sedute segue un’impostazione \nrigorosamente ortogonale, nell’uso di \nricami, bottoni, di cuscini decorativi, \nnei dettagli e nella selezione dei tessuti \nemerge un’inclinazione influenzata \nda ricerche proprie del mondo \ndell’abbigliamento; una caratteristica \nche, accanto alla qualità distintiva del \ncomfort – elusiva reminiscenza di  \nun daybed orientale – accosta una forte \ncomponente visiva e comunicativa.\n \nDesigned by Nipa Doshi and \nJonathan Levien in 2008, My Beautiful \nBackside is a collection of sofas that, \nas the name suggests, emphasises \nthe backrest as the central element in \nthe design brief. While the structure of \nthe seats follows a strictly angular shape, \nfrom the use of embroidery, buttons, \ndecorative cushions, alongside the \ndetails and the choice of fabrics emerges \na suggestion influenced by in-house \nresearch into the world of upholstery; \na trait that matches the distinctive quality \nof the elusive comfort reminiscent of \nan Asian daybed with a powerful visual \nand communicative statement.\nMD00T8\nBench 160\nBench 210\nBench 261\nBench 307\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.65.png","My Beautiful Backside\nMy Beautiful Backside\n→\nMD0T6\nMD0T7 + MD080 (cushion)\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.66.png","My Beautiful Backside\nMD00T9\nMD00T8\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.67.png","Pacific\n018\nW98½\"×D47¼\" (seat 30½\") \nH30½\" (seat 16\")\n001-0V6\nW39¼\"×D36¼\" (seat 25¼\")\nH28¾\"–29¼\" (seat 15¾\") \n017\nØ27½\"×H15\"\n003\nW118\"×D51¼\" (seat 30½\")\nH30½\" (seat 16\")\nE50\nW59\"×D51¼\" (seat 30½\")\nH30½\" (seat 16\") \nE51\nW59\"×D51¼\" (seat 30½\")\nH30½\" (seat 16\") \n010\nW56¾\"×D45\" (seat 30½\")\nH30½\" (seat 16\") \n41\n77\n77\n130\n40\n73\n64\n92\n100\n302\n250\n77\n120\n38\nØ70\n41\n77\n77\n130\n41\n77\n77\n130\n41\n77\n77\n114\n150\n150\n144\nPA10V6 + PR1017\nPacific\nPA1\ndesign: Patricia Urquiola\nyear: 2021\nSofas\nSofas\nElements\nArmchair\nPouf\n \nDisegnata da Patricia Urquiola nel \n2021, Pacific è una collezione costituita \nda divani di diverse misure, una poltrona, \nun pouf e un sistema componibile \nversatili per l’uso in ambienti domestici \ne spazi pubblici. Nel nome un rimando \ndiretto alle atmosfere distese e rilassate \ndella West Coast americana; per certi \naspetti, il proseguimento del percorso \nprogettuale iniziato con la collezione \nRedondo del 2010. Le forme arrotondate \ne oversize, l’avvolgente comodità \nesaltata e definita dalla totale assenza \ndi spigoli e dai dettagli di couture, \npredispongono all’utilizzo di tessuti di \nrivestimento morbidi e lanosi, in grado  \ndi creare straordinari effetti tattili.  \n \nDesigned by Patricia Urquiola in \n2021, the versatile Pacific collection \ncomprises sofas of various sizes,  \nan armchair and an interlocking system, \nall equally suited to both domestic  \nand public settings. The name, referring \nto the laid-back atmosphere of the \nAmerican West Coast, suggests  \na continuation of the design exercise \nlaunched with the 2010 Redondo \ncollection. The rounded and oversize \nshapes, and the enveloping comfort \n— enhanced and defined by the total \nabsence of corners and by the couture \ndetails — demand upholstery in soft, \nwoolly fabrics capable of creating \nextraordinary tactile effects. \nPacific\nPacific\n018\nW98½\"×D47¼\" (seat 30½\") \nH30½\" (seat 16\")\n001-0V6\nW39¼\"×D36¼\" (seat 25¼\")\nH28¾\"–29¼\" (seat 15¾\") \n017\nØ27½\"×H15\"\n003\nW118\"×D51¼\" (seat 30½\")\nH30½\" (seat 16\")\nE50\nW59\"×D51¼\" (seat 30½\")\nH30½\" (seat 16\") \nE51\nW59\"×D51¼\" (seat 30½\")\nH30½\" (seat 16\") \n010\nW56¾\"×D45\" (seat 30½\")\nH30½\" (seat 16\") \n41\n77\n77\n130\n40\n73\n64\n92\n100\n302\n250\n77\n120\n38\nØ70\n41\n77\n77\n130\n41\n77\n77\n130\n41\n77\n77\n114\n150\n150\n144\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.68.png","PA1B00\nPA10V6\nPacific\nPacific\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.69.png","PA1A00\nPacific\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.70.png","PA1B00\n←\nPA1018\nPacific\nPacific\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.71.png","Pebble Rubble\nEA1\nW70½\"×D49¼\" (seat 28½\")\nH34¾\" (seat 16½\")\nEB1\nW103¾\"×D62¼\" (seat 31¾\")\nH31¼\" (seat 16½\")\nEB2\nW87\"×D60\" (seat 29\")\nH29½\" (seat 16½\")\nEB3\nW90¾\"×D57½\" (seat 34½\")\nH34¾\" (seat 16½\")\nEB4\nW88¼\"×D61¾\" (seat 32¾\")\nH34¾\" (seat 16½\")\nEC1\nW59½\"×D54¾\" (seat 28¾\")\nH31¼\" (seat 16½\")\nEC2\nW55\"×D49¾\" (seat 29\")\nH34¾\" (seat 16½\")\nEC3\nW59\"×D51¼\" (seat 23¼\")\nH34¾\" (seat 16½\")\nEC4\nW76¼\"×D52¾\" (seat 24\")\nH29½\" (seat 16½\")\nED1\nW97\"×D59¾\" (seat 36\")\nH34¾\" (seat 16½\")\nED2\nW93¾\"×D61¼\" (seat 31\")\nH29½\" (seat 16½\")\nEE1\nW53¼\"×D53\" (seat 26½\")\nH31¼\" (seat 16½\")\nEE2\nW53¼\"×D48½\" (seat 27¾\")\nH34¾\" (seat 16½\")\nEA2\nW70\"×D50\" (seat 26¾\")\nH34¾\" (seat 16½\")\nEA3\nW70½\"×D55¼\" (seat 29½\")\nH31¼\" (seat 16½\")\nA\n1\n2\n42\n89\n72\n125\n42\n79\n80\n158\n42\n75\n74\n152\n42\n89\n93\n146\n42\n89\n83\n157\n264\n42\n79\n73\n139\n42\n89\n73\n126\n42\n89\n92\n151\n42\n75\n79\n156\n42\n79\n68\n134\n42\n89\n70\n123\n135\n135\n238\n247\n42\n89\n59\n130\n42\n75\n61\n134\n151\n139\n150\n194\n221\n230\n224\n42\n89\n68\n127\n42\n79\n75\n140\n179\n179\n178\nA\n1\n2\nA\n1\n3\nB\n3\n4\n3\n1\n2\nB\nB\n1\n4\n1\n2\n3\nB\nC\n3\n1\n1\n2\nC\n2\n1\nC\n4\nC\n1\nD\n2\n1\nE\n2\nE\n3\nD\n4\n1\nPebble Rubble\nPebble Rubble\nPR2\ndesign: Front\nyear: 2021\n \nDisegnato da Sofia Lagerkvist e \nAnna Lindgren di Front Design nel 2021, \nPebble Rubble è un sistema di sedute \nche, partendo dalle scansioni in 3D \ndelle diverse forme organiche trovate \ndalle designer nelle foreste svedesi, \ngioca con la similitudine tra i volumi \nimbottiti e quelli di enormi ciottoli \nlevigati dall’incessante opera del vento \ne della poggia, ammantati da uno strato \norganico o vegetale in grado di rendere \nle superfici accoglienti e confortevoli. 15 \nmoduli multielemento (seduta e schienali) \naccostabili in modo libero, flessibile e \ncreativo e 3 sassi-pouf offrono infinite \npossibilità compositive ricreando, \nattraverso l’utilizzo di diverse tipologie \ne materiali di rivestimento, la piacevole \nillusione di un paesaggio naturale. \n \nA project by Swedish designers \nSofia Lagerkvist and Anna Lindgren of \nFront Design in 2021, Pebble Rubble is \na seating system that started life as 3D \nscans of different natural formations \npicked out by the designers in the forests \nof Sweden. There is a resemblance \nbetween the padded volumes that \nresemble oversized pebbles, smoothed \nby incessant wind and rain, and cloaked \nin an organic or vegetal layer that \ngives the surfaces a welcoming and \ncomfortable look. Fifteen multi-elemental \nmodular pieces that are approachable, \nflexible and imaginative, and three \npebble-ottomans of all different shapes \nand materials, offer infinite creative \ncapacity to recreate the pleasing illusion \nof a natural landscape.\nPR2EE1\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.72.png","Pebble Rubble\nPebble Rubble\nPR2EA2 + R2EC4 + PR2077 \n+ PR2214\nPR2EA1\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.73.png","Pebble Rubble\nPR2EA1 + PR2EB1 \n+ PR2214\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.74.png","←\nPR2EE1 + PR2EA1 \n+ PR2EB1\nPR2ED1\nPebble Rubble\nPebble Rubble\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.75.png","Redondo\nRedondo RD0003\ndesign: Patricia Urquiola\nyear: 2010\nRedondo\nRD0\nSofa\nSmall Armchair\nArmchair\nRedondo\n \n215\n003\nW84½\"×D40¾\"×H33\"\n0M1\nW96½\"×D40¾\"×H33\"\n001-0V6\nW37½\"×D37\"×H29½\"\n061\nW29¼\"×D29½\"×H29½\"\n017\nW33½\"×D27½\"×H15¾\"\n245\n95\n74\n85\n0\n4\n4\n8\n7\n7\n4\n0\n1\n40\n75\n66\n94\n40\n75\n53\n75\n40\n70\n202–212–222\n016-017-018\nW79½\"–83½\"–87½\"×D87½\"×H37¼\" \n(mattress W63\"–67\"–70¾\"×H7¾\")\n222\n94\n50\nmattress\n160\u002F170\u002F180\n×200×20H\n202–212–222\n175-176-177\nW79½\"-83½\"-87½\"×D87½\"×H37¼\" \n(mattress W63\"–67\"–70¾\"×H7¾\")\n222\n94\n50\nmattress\n160\u002F170\u002F180\n×200×20H\nSofas\nRedondo\n \n215\n003\nW84½\"×D40¾\"×H33\"\n0M1\nW96½\"×D40¾\"×H33\"\n001-0V6\nW37½\"×D37\"×H29½\"\n061\nW29¼\"×D29½\"×H29½\"\n017\nW33½\"×D27½\"×H15¾\"\n245\n95\n74\n85\n0\n4\n4\n8\n7\n7\n4\n0\n1\n40\n75\n66\n94\n40\n75\n53\n75\n40\n70\n202–212–222\n016-017-018\nW79½\"–83½\"–87½\"×D87½\"×H37¼\" \n(mattress W63\"–67\"–70¾\"×H7¾\")\n222\n94\n50\nmattress\n160\u002F170\u002F180\n×200×20H\n202–212–222\n175-176-177\nW79½\"-83½\"-87½\"×D87½\"×H37¼\" \n(mattress W63\"–67\"–70¾\"×H7¾\")\n222\n94\n50\nmattress\n160\u002F170\u002F180\n×200×20H\nBeds\nArmchair\nSmall Armchair\nPouf\n \nDisegnata da Patricia Urquiola nel \n2010, Redondo è una collezione di due \ndivani, a due e tre posti, due poltrone, \ngrande e piccola, un pouf e un letto \nche, nel disegno, si ispirano agli interni \nimbottiti delle auto americane degli \nanni ’50 e ’60 e al comfort on-the-road \nche accompagnava nei lunghi viaggi \ntra la East e la West Coast. La forma \nnasce dall’accostamento di due volumi, \nuna scocca imbottita che avvolge \nin continuità i grandi cuscini di seduta. \nForme curve esaltate dall’assenza di \nspigoli e dalla morbidezza del tessuto, \nimpreziosito da un decoro ricamato \ndove il filo, come una matita, segna \nun’elegante geometria tridimensionale. \n \nDesigned by Patricia Urquiola in \n2010, Redondo is a collection of a two- \nand a three-seater sofa, a large \nand a small armchair, a pouf and a bed. \nThe design was inspired by the \nupholstered interiors of American cars \nof the 50s and 60s, and the comfort \nof long car journeys between the East \nand West Coasts. The contours are \nproduced by a padded shell that wraps \nitself around large seat cushions. \nCurves are enhanced by the absence \nof edges and the softness of the fabric, \ndecoratively embroidered with a thread \nthat, like a pencil, traces an elegant \nthree-dimensional geometry. \n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.76.png","Redondo\nRedondo RD0001\nRedondo RD0003 + RD0001\nGogan GG01OI\nNet table NE106U\nShanghai Tip SH0242\nAnomaly AN1017\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.77.png","Redondo\nRedondo RD00M1\nRedondo\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.78.png","Rift\nRift\nRF0\ndesign: Patricia Urquiola\nyear: 2009\n \nDisegnato da Patricia Urquiola nel \n2009, Rift è una famiglia di sedute \nispirata dagli effetti non prevedibili della \nnatura. Un sistema modulare imbottito, \ndue poltrone, una sedia cantilever \ne due sgabelli sono costruiti su una \ndisposizione dei volumi asimmetrica, \ncorrispondenza diretta al significato del \nnome che in geologia significa fessura, \nspaccatura. In Rift falde multilivello \nstimolano una seduta informale, \ndeclinata al personale anche nell’uso \ncollettivo; come placche tettoniche, \ni diversi strati tendono a scontrarsi \ne a sovrapporsi in un originale effetto \ndi movimento, rendendo fluidi luoghi \nrigidi e formali senza alterarne l’identità.\n \nDesigned by Patricia Urquiola in \n2009, Rift is a line of chairs inspired by \nthe unpredictability of nature. \nA modular padded seating system with \ntwo armchairs, a cantilever chair and \ntwo footstools are built around the \nasymmetric positioning of different \nvolumes, harking back to the product’s \nname, which refers to a crack or fissure. \nMultiple layers inspire relaxed seating, \ndesigned for the individual yet perfect \nfor the public spaces: like tectonic \nplates, the different layers tend to collide \nand overlap giving a highly original \nimpression of movement, transforming \neven the most formal space into \nsomething fluid yet without ever altering \nits character.\nRF0111\nSofas\nArmchair\nSools\nChair\nRift\n338\nW22¾\"×D20½\" (seat 15¾\")\nH32¼\" (seat 19\")\n112\nW19¾\"×D20\" (seat 13¾\")\nH37½\" (seat 29¼\")\n111\nW19¾\"×D20\" (seat 13¾\")\nH32¼\" (seat 24\")\n061\nW27½\"×D26¾\" (seat 19¾\")\nH29¼\" (seat 17\")\n345\nW112¼\"×D83¾\"\nH24½\"(seat 15¼\")\n346-347\nW141¾\"×D83¾\"\nH27¼\"(seat 15¼\")\n348-349\nW135½\"×D67\"\nH27¼\"(seat 15¼\")\n001\nW33¾\"×D33\" (seat 22\")\nH29¼\" (seat 16¼\")\n2\n5\n \n2\n8\n \n0\n4\n \n8\n4\n \n 51\n 82\n 35\n 62\n 51\n 95\n 35\n 74\n 58\n 50\n285\n39\n62\n213\n360\n39\n213\n69\n70\n43\n50\n74\n68\n41\n56\n75\n84\n170\n39\n69\n344\n 50\n86\nSofas\nArmchairs\nChairs\nStools\nRift\n338\nW22¾\"×D20½\" (seat 15¾\")\nH32¼\" (seat 19\")\n112\nW19¾\"×D20\" (seat 13¾\")\nH37½\" (seat 29¼\")\n111\nW19¾\"×D20\" (seat 13¾\")\nH32¼\" (seat 24\")\n061\nW27½\"×D26¾\" (seat 19¾\")\nH29¼\" (seat 17\")\n345\nW112¼\"×D83¾\"\nH24½\"(seat 15¼\")\n346-347\nW141¾\"×D83¾\"\nH27¼\"(seat 15¼\")\n348-349\nW135½\"×D67\"\nH27¼\"(seat 15¼\")\n001\nW33¾\"×D33\" (seat 22\")\nH29¼\" (seat 16¼\")\n2\n5\n \n2\n8\n \n0\n4\n \n8\n4\n \n 51\n 82\n 35\n 62\n 51\n 95\n 35\n 74\n 58\n 50\n285\n39\n62\n213\n360\n39\n213\n69\n70\n43\n50\n74\n68\n41\n56\n75\n84\n170\n39\n69\n344\n 50\n86\nSmall armchair\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.79.png","Rift\nRF0345 + RF0347 \nRF0061\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.80.png","Rift\nRF0348\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.81.png","←\nRF0001\n↑\nRF0347\n→\nRF0001\nRift\nRift\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.82.png","design: Annabel Karim Kassar \nyear: 2021\nSalon Nanà\nSN1\n \nDisegnata da Annabel Karim Kassar \nnel 2021, la collezione Salon Nanà \ncomprende un sistema componibile \ndi divani, due tipologie di tavolini e un \n“mezze”, un materasso da conversazione \ntradizionalmente usato nei salotti delle \ncase mediorientali e nelle sedute majlis. \nI divani combinano una silhouette \ngenerosa e il comfort dei grandi cuscini \nin piuma con una selezione di preziosi \ntessuti, dai rigati di memoria marocchina \nalle opzioni di colore primario in tessuto \ndi lino, cotone o velluto. La collezione \nsi completa con i grandi tavoli quadrati \ne i tavolini Not a Harem, caratterizzati dai \ndisegni impressi su tela dei decori tipici \ndelle piastrelle moresche.\n \nDesigned by Annabel Karim Kassar \nin 2021, the Salon Nanà collection \nincludes a modular sofa system, two \ntypes of coffee tables and a “mezze”, \na conversation mattress traditionally \nused in the living rooms of Middle \nEastern homes and in majlis seating. \nThe sofas combine a generous silhouette \nand the comfort of large down pillows \nwith a selection of choice fabrics, from \nMoroccan memory stripes to primary \ncolour options in linen, cotton or velvet. \nThe collection is completed \nby large square tables and Not a Harem \ncoffee tables featuring distinctive \ndesigns based on typical Moorish tile \ndecorations, printed on canvas.\nSalon Nanà\nSofa\nElements\nElements\nArmchair\nL102¾\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL88½\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\n002\nL124¾\"-161½\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\n003-C10\nL37½\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n001\n018\n257\n011\n07A-0W9-0M5\n023-022-037-031\nL82¼\"-97¼\" \nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL76\"-112¼\"-91¾\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL39¼\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n072\u002F073\nLD41¼\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n032-033\nL118½\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n86\n105\n46\n65\n82\n46\n63\n80\n67\n57\n95\n86\n105\n67\n86\n105\n217\n205-245\n193-285-233\n100\n297\n105\n67\n86\n105\n193\n309-410\n06J-T80-T86-T97\nL35½\"×D35½\"\nH12½\"\n00B-00A\nL13¾\"-17¾\"\nD13¾\"-17¾\"\nH13\"-15¾\"\nTable\n90\n90\n32\n33-40\n33-45\n33-45\nExamples of composition\nMezze\nC30\nL123¼\"×D72¾\"×H32¼\" (seat 18\")\nL190¼\"×D138¼\"×H32¼\" (seat 18\")\nC40\nM06\nL72¾\"×D42½\"\nH26¾\" (seat 13¾\")\n185\n108\n35\n68\n017\nL37½\"\nD26½\"×H15¾\"\n0TH-0TG\nL76\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nStool\n95\n67\n40\n105\n483\n351\n245\n193\n185\n108\n186\n313\n185\n67\nL44½\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\nL52\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\n04S\n0D3-0D4\n113\n132\n114\n152\nL52\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\n0DH-0DI\n132\n114\n152\nSalon Nanà\nSofa\nElements\nElements\nArmchair\nL102¾\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL88½\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\n002\nL124¾\"-161½\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\n003-C10\nL37½\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n001\n018\n257\n011\n07A-0W9-0M5\n023-022-037-031\nL82¼\"-97¼\" \nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL76\"-112¼\"-91¾\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL39¼\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n072\u002F073\nLD41¼\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n032-033\nL118½\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n86\n105\n46\n65\n82\n46\n63\n80\n67\n57\n95\n86\n105\n67\n86\n105\n217\n205-245\n193-285-233\n100\n297\n105\n67\n86\n105\n193\n309-410\n06J-T80-T86-T97\nL35½\"×D35½\"\nH12½\"\n00B-00A\nL13¾\"-17¾\"\nD13¾\"-17¾\"\nH13\"-15¾\"\nTable\n90\n90\n32\n33-40\n33-45\n33-45\nExamples of composition\nMezze\nC30\nL123¼\"×D72¾\"×H32¼\" (seat 18\")\nL190¼\"×D138¼\"×H32¼\" (seat 18\")\nC40\nM06\nL72¾\"×D42½\"\nH26¾\" (seat 13¾\")\n185\n108\n35\n68\n017\nL37½\"\nD26½\"×H15¾\"\n0TH-0TG\nL76\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nStool\n95\n67\n40\n105\n483\n351\n245\n193\n185\n108\n186\n313\n185\n67\nL44½\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\nL52\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\n04S\n0D3-0D4\n113\n132\n114\n152\nL52\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\n0DH-0DI\n132\n114\n152\nSalon Nanà\nSofa\nElements\nElements\nArmchair\nL102¾\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL88½\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\n002\nL124¾\"-161½\"×D43\" (seat 33¾\")\nH32¼\" (seat 18\")\n003-C10\nL37½\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n001\n018\n257\n011\n07A-0W9-0M5\n023-022-037-031\nL82¼\"-97¼\" \nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL76\"-112¼\"-91¾\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nL39¼\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n072\u002F073\nLD41¼\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n032-033\nL118½\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\n86\n105\n46\n65\n82\n46\n63\n80\n67\n57\n95\n86\n105\n67\n86\n105\n217\n205-245\n193-285-233\n100\n297\n105\n67\n86\n105\n193\n309-410\n06J-T80-T86-T97\nL35½\"×D35½\"\nH12½\"\n00B-00A\nL13¾\"-17¾\"\nD13¾\"-17¾\"\nH13\"-15¾\"\nTable\n90\n90\n32\n33-40\n33-45\n33-45\nExamples of composition\nMezze\nC30\nL123¼\"×D72¾\"×H32¼\" (seat 18\")\nL190¼\"×D138¼\"×H32¼\" (seat 18\")\nC40\nM06\nL72¾\"×D42½\"\nH26¾\" (seat 13¾\")\n185\n108\n35\n68\n017\nL37½\"\nD26½\"×H15¾\"\n0TH-0TG\nL76\"\nD43\" (seat 33¾\")\nH32¼\" (seat 18\")\nStool\n95\n67\n40\n105\n483\n351\n245\n193\n185\n108\n186\n313\n185\n67\nL44½\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\nL52\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\n04S\n0D3-0D4\n113\n132\n114\n152\nL52\"\nD59¾\" (seat 45\")\nH32¼\" (seat 18\")\n0DH-0DI\n132\n114\n152\nSofa\nElements\nElements\nMezze\nStool\nExemples of composition\nArmchair\nTable\nSalon Nanà\nSalon Nanà SN1M06\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.83.png","Salon Nanà\nSalon Nanà SN10TH + SN10M5 + \nSN1073 + SN10DI + SN1106J\nNanook NA006X, Frame -Shift FS0L1C\nSama 01GM68\n",83,{"image":346,"text":347,"number":348},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.84.png","Salon Nanà\nSalon Nanà SN1037 + SN1M06 \n+ SN100A + SN100B\n",84,{"image":350,"text":351,"number":352},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.85.png","←\nSalon Nanà\nSN1018 + SN100A +SN100B\nDew DW0017\nSardinian rugs 6T03A0\n↑\nSalon Nanà SN1001\nYumi YU0935 \n→\nSalon Nanà\nSN1M06 + SN100B\nSalon Nanà\nSalon Nanà\n",85,{"image":354,"text":355,"number":356},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.86.png","Saruyama\nSaruyama\n04N\nW94½\"×D78¾\"xH35½\" \n001\nW30¼\"×D35½\"\nH16½\" (seat 13¾\") \n076\nW33½\"×D19¾\"\nH13¾\" \n214\nW26\"×D22½\"\nH13¾\"  \n061-0V8\nW20½\"×D20½\"\nH24½\" (seat 16¼\")\n90\n200\n240\n85\n118\n105\n39\n39\n85\n96\n35\n35\n35\n57\n50\n77\n66\n85\n42\n90\n32\n41\n43\n38\n13\n52\n62\n41\n186\n018\nW73¼\"×D41¼\"\nH33½\" (seat 15¼\")\n078\nW37¾\"×D46½\"\nH33½\" (seat 15¼\") \n017\nW17\"×D15\"xH16¼\"\nSofa\nSofa\n \nNel primo divano, progetto \nanticipatore di straordinaria poesia \ndisegnato da Toshiyuki Kita nel 1989, \ntre moduli di forma geomorfa diversi \nl’uno dall’altro formavano una grande \nisola di forma circolare. Nel 2006, \ncon le Saruyama Islands, il progetto \nviene ripreso e ampliato affiancando \nal primo un arcipelago di isole colorate \ne indipendenti: un divano, una chaise \nlongue, una poltroncina e tre diversi \npouf: ogni singolo elemento è una \nmini-struttura abitabile coerente, per \npresenza formale, alla natura organica \ninsita nel progetto originario.  \nNon semplici oggetti ma campi di \nrelazione in grado di interpretare  \nun movimento, una variazione di flusso, \ne di ampliare l’orizzonte delle possibili \nconfigurazioni spaziali.\n \nThe first sofa, a revolutionary \nproject of exquisite poetry designed by \nToshiyuki Kita in 1989, is made up \nof three modules of different shapes \nwhich, joined together, formed a large \ncircular island. With Saruyama Islands, \nin 2006 the design was developed and \nexpanded, combining with the first an \n“archipelago” of independent and vibrant \nislands made up of a sofa, a chaise \nlongue, an armchair and three different \nottomans: each element works together \nor independently of each other, at the \nsame time maintaining unchanged the \norganic aesthetic features and function \ninherent in the initial design. Something \nmore than mere objects, they are spaces \nof interaction that are able to interpret \na movement, a shifting flow, and to push \nthe boundaries of configurations \nof space.\nArmchair\nPouf\nPouf\nSettee\nSofa\nSaruyama Giro\ndesign: Toshiyuki Kita\nyear: 2006\nSaruyama\nSY0 + S40\nSY004N\nSofa\nSettee\nArmchair\nPouf\nPouf\nSaruyama Giro\n",86,{"image":358,"text":359,"number":360},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.87.png","Saruyama\nSY004N\n",87,{"image":362,"text":363,"number":364},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.88.png","Saruyama\nSaruyama\nS40078 + S40001 + S40076 + S40214\n←\nSY004N + S40078 + S40001 \n+ S40076 + S40214\n",88,{"image":366,"text":367,"number":368},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.89.png","Shanghai Tip\nShanghai Tip SH0018\n003\nShanghai Tip\n018\nL84¼\"×D43¼\" (seat 23½\")\n(cushion 35½\") H27¼\"–33½\"\nL96\"×D43¼\" (seat 23½\")\n(cushion 41¼\") H27¼\"–33½\"\n04S\nL39¼\"\nD63¾\" (seat 44\") \n0D3-0D4\nL42¼\"\nD63¾\" (seat 44\") \nSofa\n023+0D3\nL123¾\"\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\n077+04D+0D3\nL163\"\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\n077+04D+0D3\nL42¼\"+78¾\"+42¼\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\nChaise longue\n39\n69\n60\n244\n100\n107\n214\n75-100\n75-100\n157-207\n150-200\n75-100\n75-100\n100\n207\n60\n100\n60\n100\n39\n107\n39\n50\n43\n48\n45\n28\n32\n32\n35\n68-90-105\n52\n107-100\n107\n0\n0\n1\n82-107\n110\n112\n162\n85\n90\n90\n105\n105\n038-039-022-023\nL61¾\"–81½\"\nD43¼\" (seat 23½\") \n04P-04D\nL59\"–78¾\"\nD43¼\" (seat 23½\")\n04A-011\nL29½\"–39¼\"\nD43¼\" (seat 23½\")\n024-025-012-013\nL32¼\"–42¼\"\nD43¼\" (seat 23½\")\nElements\n0TG-0TH\nL81½\"\nD43¼\" (seat 23½\")\nPeninsula\n010\nL43¼\"×D43¼\" \nExamples of composition\nCorner\n077\nL42¼\"×D42¼\"\nH15¼\"\n017-280\nL39¼\"–42¼\"×D19¾\nH15¼\"\n242-342\nL12½\"×D12½\"\nH17\"\n243-343\nLØ13¾\"×H19\"\n0K5-0K4-0K6\nL26¾–35½–41¼\"\nD17¾\" \n080\nL20½\"×D11\"\nStool\nTables\nCushions\n100\n100\n314\n414\n200\n112\n162\n107\n107\n414\n100\n107\n207\n112\n162\n100\n100\n207\n60\n100\n003\nShanghai Tip\n018\nL84¼\"×D43¼\" (seat 23½\")\n(cushion 35½\") H27¼\"–33½\"\nL96\"×D43¼\" (seat 23½\")\n(cushion 41¼\") H27¼\"–33½\"\n04S\nL39¼\"\nD63¾\" (seat 44\") \n0D3-0D4\nL42¼\"\nD63¾\" (seat 44\") \nSofa\n023+0D3\nL123¾\"\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\n077+04D+0D3\nL163\"\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\n077+04D+0D3\nL42¼\"+78¾\"+42¼\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\nChaise longue\n39\n69\n60\n244\n100\n107\n214\n75-100\n75-100\n157-207\n150-200\n75-100\n75-100\n100\n207\n60\n100\n60\n100\n39\n107\n39\n50\n43\n48\n45\n28\n32\n32\n35\n68-90-105\n52\n107-100\n107\n0\n0\n1\n82-107\n110\n112\n162\n85\n90\n90\n105\n105\n038-039-022-023\nL61¾\"–81½\"\nD43¼\" (seat 23½\") \n04P-04D\nL59\"–78¾\"\nD43¼\" (seat 23½\")\n04A-011\nL29½\"–39¼\"\nD43¼\" (seat 23½\")\n024-025-012-013\nL32¼\"–42¼\"\nD43¼\" (seat 23½\")\nElements\n0TG-0TH\nL81½\"\nD43¼\" (seat 23½\")\nPeninsula\n010\nL43¼\"×D43¼\" \nExamples of composition\nCorner\n077\nL42¼\"×D42¼\"\nH15¼\"\n017-280\nL39¼\"–42¼\"×D19¾\nH15¼\"\n242-342\nL12½\"×D12½\"\nH17\"\n243-343\nLØ13¾\"×H19\"\n0K5-0K4-0K6\nL26¾–35½–41¼\"\nD17¾\" \n080\nL20½\"×D11\"\nStool\nTables\nCushions\n100\n100\n314\n414\n200\n112\n162\n107\n107\n414\n100\n107\n207\n112\n162\n100\n100\n207\n60\n100\n003\nShanghai Tip\n018\nL84¼\"×D43¼\" (seat 23½\")\n(cushion 35½\") H27¼\"–33½\"\nL96\"×D43¼\" (seat 23½\")\n(cushion 41¼\") H27¼\"–33½\"\n04S\nL39¼\"\nD63¾\" (seat 44\") \n0D3-0D4\nL42¼\"\nD63¾\" (seat 44\") \nSofa\n023+0D3\nL123¾\"\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\n077+04D+0D3\nL163\"\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\n077+04D+0D3\nL42¼\"+78¾\"+42¼\nD43¼\"–63¾\" (seat 23½\"–44\")\n(cushion 35½\") H27¼\"–33½\"\nChaise longue\n39\n69\n60\n244\n100\n107\n214\n75-100\n75-100\n157-207\n150-200\n75-100\n75-100\n100\n207\n60\n100\n60\n100\n39\n107\n39\n50\n43\n48\n45\n28\n32\n32\n35\n68-90-105\n52\n107-100\n107\n0\n0\n1\n82-107\n110\n112\n162\n85\n90\n90\n105\n105\n038-039-022-023\nL61¾\"–81½\"\nD43¼\" (seat 23½\") \n04P-04D\nL59\"–78¾\"\nD43¼\" (seat 23½\")\n04A-011\nL29½\"–39¼\"\nD43¼\" (seat 23½\")\n024-025-012-013\nL32¼\"–42¼\"\nD43¼\" (seat 23½\")\nElements\n0TG-0TH\nL81½\"\nD43¼\" (seat 23½\")\nPeninsula\n010\nL43¼\"×D43¼\" \nExamples of composition\nCorner\n077\nL42¼\"×D42¼\"\nH15¼\"\n017-280\nL39¼\"–42¼\"×D19¾\nH15¼\"\n242-342\nL12½\"×D12½\"\nH17\"\n243-343\nLØ13¾\"×H19\"\n0K5-0K4-0K6\nL26¾–35½–41¼\"\nD17¾\" \n080\nL20½\"×D11\"\nStool\nTables\nCushions\n100\n100\n314\n414\n200\n112\n162\n107\n107\n414\n100\n107\n207\n112\n162\n100\n100\n207\n60\n100\ndesign: Patricia Urquiola \nyear: 2008\nShanghai Tip\nSH0\n \nDisegnato da Patricia Urquiola nel \n2006, è un sistema caratterizzato da \nun linguaggio formale affine a un gusto \nsemplice ed essenziale. Molto elegante \ne minimale con lo schienale abbassato; \ndi grande comfort quando lo schienale, \ndotato di meccanismo d’inclinazione, \nsi alza. Il nome richiama i bastoncini di \nlegno colorato del famoso gioco, \ntrasposti nel progetto nei tubi di acciaio \nverniciato dei piedi del divano e delle \ngambe dei tavolini. La comodità è \nun elemento intrinseco, enfatizzata dalla \npresenza di cuscini in piuma d’oca.\n \nDesigned by Patricia Urquiola in \n2006, this system is characterised \nby a formal language representing simple \nand essential taste. Elegant and minimal \nwith the backrest lowered, it offers great \ncomfort when the backrest, which has \na tilting mechanism, is raised. The name \nrecalls the coloured wooden sticks \nof the famous game, symbolised here in \nthe painted steel tubes of the sofa’s feet \nand the coffee table’s legs. Comfort is \nan intrinsic feature, represented by the \npresence of goose down pillows.\nSofa\nElements\nChaise longue\nCorner\nPeninsula\nTables\nStool\nExemples of compositions\nCushions\n",89,{"image":370,"text":371,"number":372},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.90.png","Shanghai Tip\nShanghai Tip\nShanghai Tip \nSH0022 + SH00D4\nShanghai Tip \nSH0022 + SH00D4 + SH0343\n",90,{"image":374,"text":375,"number":376},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.91.png","Shanghai Tip\nShanghai Tip\nSH0077 + SH004D + SH0012\nSH0023 + SH00D3\n",91,{"image":378,"text":379,"number":380},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.92.png","Taba\nTaba TB2002 + TB2444 \n+ TB2807 + TB2891\nTaba TB2002 + TB2444 + \nTB2891+ TB2807\nSofa\nBench\nArmchair\nOttoman\ndesign: Alfredo Häberli\nyear: 2020\nTaba\nTB2\nTaba\n001-0V6\nW26¾\"×D33½\" (seat 20½\")\nH27½\"–28\" \n444\nW59\"×D15¾\"×H15¾\" \n807\nW29\"×D19¾\"×H15¾\" \n808\nW31½\"×D13½\"×H15¾\" \n890\nWØ15¾\"×H15¾\" \n891\nWØ15¾\"×H26¾\" \n831-0VT\nW24½\"×D30\" (seat 18½\")\nH27½\"–28\"\n0X9-0X4-002\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n0X9-0X4\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n5\n8\n2\n5\n68\n46\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n6\n7\n7\n4\n62\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n47\n87\n40\n52\n83\n214\n183\n214\n183\n48\n79\n87\n40\n52\n83\n48\n79\n150\n0\n4\n0\n4\n74\n80\n68\n40\n40\n34\n40\n50\nØ40\nØ40\nTaba\n001-0V6\nW26¾\"×D33½\" (seat 20½\")\nH27½\"–28\" \n444\nW59\"×D15¾\"×H15¾\" \n807\nW29\"×D19¾\"×H15¾\" \n808\nW31½\"×D13½\"×H15¾\" \n890\nWØ15¾\"×H15¾\" \n891\nWØ15¾\"×H26¾\" \n831-0VT\nW24½\"×D30\" (seat 18½\")\nH27½\"–28\"\n0X9-0X4-002\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n0X9-0X4\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n5\n8\n2\n5\n68\n46\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n6\n7\n7\n4\n62\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n47\n87\n40\n52\n83\n214\n183\n214\n183\n48\n79\n87\n40\n52\n83\n48\n79\n150\n0\n4\n0\n4\n74\n80\n68\n40\n40\n34\n40\n50\nØ40\nØ40\nTaba\n001-0V6\nW26¾\"×D33½\" (seat 20½\")\nH27½\"–28\" \n444\nW59\"×D15¾\"×H15¾\" \n807\nW29\"×D19¾\"×H15¾\" \n808\nW31½\"×D13½\"×H15¾\" \n890\nWØ15¾\"×H15¾\" \n891\nWØ15¾\"×H26¾\" \n831-0VT\nW24½\"×D30\" (seat 18½\")\nH27½\"–28\"\n0X9-0X4-002\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n0X9-0X4\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n5\n8\n2\n5\n68\n46\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n6\n7\n7\n4\n62\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n47\n87\n40\n52\n83\n214\n183\n214\n183\n48\n79\n87\n40\n52\n83\n48\n79\n150\n0\n4\n0\n4\n74\n80\n68\n40\n40\n34\n40\n50\nØ40\nØ40\nTaba\n001-0V6\nW26¾\"×D33½\" (seat 20½\")\nH27½\"–28\" \n444\nW59\"×D15¾\"×H15¾\" \n831-0VT\nW24½\"×D30\" (seat 18½\")\nH27½\"–28\"\n0X9-0X4-002\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n0X9-0X4\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n5\n8\n2\n5\n68\n46\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n6\n7\n7\n4\n62\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n47\n87\n40\n52\n83\n214\n183\n214\n183\n48\n79\n87\n40\n52\n83\n48\n79\n150\n0\n4\n0\n4\nTaba\n001-0V6\nW26¾\"×D33½\" (seat 20½\")\nH27½\"–28\" \n444\nW59\"×D15¾\"×H15¾\" \n831-0VT\nW24½\"×D30\" (seat 18½\")\nH27½\"–28\"\n0X9-0X4-002\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n0X9-0X4\nW84½\"×D32½\" (seat 20½\")\nH34½\" \n5\n8\n2\n5\n68\n46\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n6\n7\n7\n4\n62\n1\n7\n-\n0\n7\n3\n4\n-\n2\n4\n47\n87\n40\n52\n83\n214\n183\n214\n183\n48\n79\n87\n40\n52\n83\n48\n79\n150\n0\n4\n0\n4\nArmchair\nSofa\nOttoman\nBench\n \nDisegnata da Alfredo Häberli nel \n2020, Taba è una famiglia di otto \nelementi imbottiti progettati per un \nutilizzo multifunzionale: vivere, sedersi, \nconversare, lavorare. L’ispirazione deriva \nda un vecchio gioco rurale argentino, \nun gioco di abilità da farsi su un terreno \nmorbido e umido. “Taba” è un osso \ndi mucca con applicate due piastre di \nmetallo che deve essere lanciato con \nestrema abilità, in modo che la parte \nvincente rimanga verso l’alto. La famiglia \nè composta da un divano, due poltrone \ne cinque ottoman; giocando, è possibile \nprogettare svariate tipologie di ambienti \npubblici.\n \nDesigned by Alfredo Häberli in 2020, \nTaba is a family of eight upholstered \npieces designed for multifunctional \nuse: socialising, relaxing and working. \nIts inspiration comes from an old \nArgentinian game of skill played on soft, \nhumid ground. A “taba” is a cow bone \nwith two metal plates attached, which \nplayers try to throw in such a way that \nit settles in a particular orientation \non landing. The family consists of a sofa, \ntwo armchairs and five ottomans, which \ncan be configured to create various \ntypes of public environments.\nInteriors: Alfredo Haberli\nPhoto: Jonas Kuhn\n",92,{"image":382,"text":383,"number":384},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.93.png","Taba\nTaba\nTaba TB2002 + TB2808 + \nTB2890 + TB2891\nTaba TB2001\nInteriors: Alfredo Haberli\nPhoto: Jonas Kuhn\n",93,{"image":386,"text":387,"number":388},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.94.png","→ \nTaba TB20V6 + TB2444 \n+ TB2890 + TB2891\nTaba TB2002 + TB2444 \n+ TB2891\nTaba\n",94,{"image":390,"text":391,"number":392},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.95.png","807\nW29\"×D19¾\"×H15¾\" \n808\nW31½\"×D13½\"×H15¾\" \n890\nWØ15¾\"×H15¾\" \n891\nWØ15¾\"×H26¾\" \n74\n80\n68\n40\n40\n34\n40\n50\nØ40\nØ40\n807\nW29\"×D19¾\"×H15¾\" \n808\nW31½\"×D13½\"×H15¾\" \n890\nWØ15¾\"×H15¾\" \n891\nWØ15¾\"×H26¾\" \n74\n80\n68\n40\n40\n34\n40\n50\nØ40\nØ40\nTape\nTape\n0X3\nW91¾\"×D26½\" ×H16¾\" \n0X6\nW91¾\"×D10¾\"×H28¼\" \n0X5\nW61½\"×D10¾\"×H28¼\" \n06I\nW15¾\"×D15¾\"×H18¼\"\n0X5\nW39¼\"×D23½\"×H12\"\n0X7\nW37¼\"×D10¾\"×H24\" \n0X8\nW37¼\"×D10¾\"×H24\"\n0X2\nW61½\"×D26½\"×H16¾\" \n0X1\nW26½\"×D26½\"×H16¾\" \n72\n27\n233\n156\n94\n61\n27\n94\n61\n27\n42\n67\n46\n40\n30\n60\n100\n40\n67\n156\n233\ndesign: Benjamin Hubert\nyear: 2018\nTape\nTP0\nExample of composition\n \nDisegnato da Benjamin Hubert \nnel 2018, Tape è un sistema di sedute \nimbottite costituito da elementi di forma \nessenziale pensati come dei mattoncini \nmodulari – sedute, schienali e braccioli – \nda assemblare in composizioni libere  \ned estremamente versatili. Il rivestimento \nprevede, in presenza di cuciture, \nl’utilizzo di un nastro termosaldato, una \ntecnica derivata dall’industria sportiva, \nin particolare nella realizzazione \ndi snowboard, sci e abbigliamento \nwaterproof. Un’ispirazione messa in \nrisalto anche nella presenza di una \ngrande tasca sul bracciolo, disponibile \nanche con presa USB e caricatore \nwireless con protocollo Qi.\n \nDesigned by Benjamin Hubert  \nin 2018, Tape is an upholstered seating \nsystem consisting of simple lines \narranged as modular building blocks \n— seats, backrests and armrests — \nwhich can be assembled almost at will, \nwith a range of versatile options for \narrangement. The upholstery and seams \nrely on polyurethane tape, a technique \ninspired by the sporting industry, \nwhere it is used in the construction of \nsnowboarding, ski and wet-weather gear. \nThis inspiration is further evident in the \nlarge pocket on the armrest, which  \nis also available with a USB port and  \nQi wireless charger.\nElements\nElements\nLow tables\nTP0X7 + TP00X6 + TP0X5 + TP0X3 \n+ TP0X2 + TP0X1\n",95,{"image":394,"text":395,"number":396},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.96.png","TP0X8 + TP00X6 + TP0X5 + \nTP0X3 + TP0X2 + TP0X1 + TP06H \n+ TP06I \nTape\n",96,{"image":398,"text":399,"number":400},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.97.png","Tape\nTP0X8\nTP0X2 + TP00X5 + TP0X7 + TP0X1 \nTP00X5 + TP0X2 + TP0X7\nTape\nPhoto: Philip Kottlorz\nPhoto: Philip Kottlorz\n",97,{"image":402,"text":403,"number":404},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.98.png","Victoria & Albert\ndesign: Ron Arad\nyear: 2000\u002F2016\nVictoria & Albert\nVA0\nArmchair\nSofa\nSmall armchair\nLittle Albert\n \nDisegnata da Ron Arad nel 2000, \nla collezione Victoria & Albert si sviluppa \na partire da un punto di vista ironico e \noriginale: un “donut” schiacciato al \ncentro e rimodellato con un approccio \nscultoreo. Un’idea che, nella \ntrasposizione in immagine, si trasforma \nin figure disegnate in continuità, flussi \ncurvilinei tracciati senza mai staccare \nla matita dal foglio. Dall’immagine alla \nforma la corrispondenza è rigorosa. \nSulla conchiglia interna in materiale \ncomposito, l’imbottitura e il vestito cuciti \nsu misura si sovrappongono al flusso \nsenza mai interromperlo, evidenziando la \nperfetta coincidenza tra il valore tecnico \ned espressivo del progetto.\n \nDesigned by Ron Arad in 2000, \nthe Victoria & Albert collection grew \nfrom an ironic and original perspective: \na “doughnut” squashed in the middle \nand reworked with a sculptor’s eye. \nThe image-drawn form transforms \ninto a continuous flow of curving lines \ndrawn without ever lifting the pencil \noff the paper. There is a rigorous \ncorrespondence between the image \nand the form. The sewn-to-measure \npadding and upholstery over an inner \nfibreglass frame reveal the interaction \nbetween the technical and expressive \nmerits of the design without interrupting \nor overpowering its fluidity.\nVA0061\n74\nVictoria & Albert\n \n047-048\nW117\"×D49\"×H56\" (seat 17\")\n044-045\nW80¾\"-100½\"×D37\"×H42¼\" (seat 17\")\n43\n125\n297\n205-255\n107\n43\n95\n107\n43\n65\n74\n77\n47\n65\n85\n85\n74\n103\n81\n142\n061\nW29¼\"×D25\"\nH30¼\" (seat 17\")\n0V8\nW29¼\"×D25\"\nH32\" (seat 18½\")\n001\nW40½\"×D33\"×H33½\"\n042\nW29¼\"×D24\"×H27½\" (seat 17\")\n62\n70\n43\nSofas\nArmchair\nSmall armchairs\nOutdoor\n",98,{"image":406,"text":407,"number":408},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.99.png","Victoria & Albert\nVictoria & Albert\n→\nVA0048\nVA0061\n \nCourtesy by Villa Visconti Borromeo Litta di Lainate,Milano\n",99,{"image":410,"text":411,"number":412},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.100.png","VA0048\nVictoria & Albert\n",100,{"image":414,"text":415,"number":416},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.101.png","←\nVA0042\nVictoria & Albert\nVictoria & Albert\n",101,{"image":418,"text":419,"number":420},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.102.png","Anomaly\nAnomaly\nAN1\ndesign: Front\nyear: 2013\nPouf\nPouf\n \nDisegnato da Sofia Lagerkvist \ne Anna Lindgren di Front Design \nnel 2013, Anomaly è una creatura \ndall’identità delicatamente inquietante, \ntrasfigurazione fantastica di un mondo \nfiabesco, a tratti surreale. Un progetto \nche vive di contraddizioni, a metà strada \ntra la manipolazione visionaria di un \ncorpo e la progettazione di un oggetto \nda compagnia, docile e innocuo.  \nLa scelta del cuoio naturale come \nmateriale di rivestimento, se letto come \nuna trasformazione zoomorfa, ne \naccentua la natura organica, ambigua \ne misteriosa; se compreso in una \ndimensione cosmetica, ricorda le tonalità \ncade e rassicuranti della cipria.\n \nDesigned by Sofia Lagerkvist and  \nAnna Lindgren of Front Design  \nin 2013, Anomaly is a creature which \nis slightly unsettling, the fantastical \ntransfiguration of a fairytale and often \nsurreal world. Anomaly is a project full \nof contradictions, halfway between \nvisionary manipulation of a body and a \ndesign of a household pet-object, docile \nand harmless. The choice of natural \ncoloured leather could be interpreted as \nan organic, ambiguous and mysterious \nzoomorphic transformation; if taken  \nin a cosmetic direction, the colours can \nbe taken as reminders of the warm, \nreassuring tones of face powder.\nAnomaly\n017\nW24\"×D21¼\"×H17¾\" \n61\n54\n45\n",102,{"image":422,"text":423,"number":424},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.103.png","AN1017\nAN1017\nAnomaly\nAnomaly\n",103,{"image":426,"text":427,"number":428},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.104.png","Antibodi\nAntibodi\n256\nW34¾\"×D34¼\" (seat 22\")\nH30¼\"(seat 14½\")\n257\nW35½\"×D61¾\" (seat 48\")\nH30¼\" (seat 14½\")\n457\nW35½\"×D61¾\" (seat 48\")\nH30¼\" (seat 14½\")\n456\nW34¼\"×D34¼\" (seat 22\")\nH30¼\" (seat 14½\")\n88\n88\n37\n56\n77\n87\n90\n90\n37\n122\n77\n157\n87\n37\n56\n77\n87\n90\n37\n122\n77\n157\ndesign: Patricia Urquiola \nyear: 2006\nAntibodi\nAB0\nArmchairs\nChaise longue\n \nDisegnate da Patricia Urquiola \nnel 2006, la poltrona e la chaise \nlongue Antibodi sono caratterizzate \nda un rivestimento portante ottenuto \ncucendo dei cerchi di tessuto doppiato \nsecondo una struttura grafica a base \ntriangolare e successivamente fissato \nal telaio in acciaio inox in assenza \ndi imbottitura. Il risultato è una \ncomposizione tridimensionale bicolore \nche, per l’ambivalenza della costruzione \ngeometrica rivela, con i petali rivolti \nverso l’alto, l’energia vitale e femminea \ndi un’esplosione floreale; con i petali \nrivolti verso il basso, la natura severa e \nmatelassé della sua natura razionale.\n \nDesigned by Patricia Urquiola in \n2006, the Antibodi armchair and chaise \nlongue is recognisable for its supporting \nupholstery, obtained by stitching circles \nof double-sided fabric using the layout of \na graphic structure with a triangular base \nwhich is directly fixed to the stainless-\nsteel frame in the absence of padding. \nThe result is a three-dimensional, \ntwo-tone composition that exploits the \nambiguity of its geometric construction. \nThe upholstery has a dual personality, \nthe life force and femininity of a floral \nexplosion when the petals face upwards, \nintentionally severe and exposing \nthe matelassé weaving of its functional \nnature when the petals face down.\nAB0256\nArmchairs\nChaise longue\n",104,{"image":430,"text":431,"number":432},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.105.png","Antibodi\nAB0456\nAntibodi\nAB0256\n",105,{"image":434,"text":435,"number":436},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.106.png","Antibodi\n← \nAB0257\nAntibodi\nAB0457\n",106,{"image":438,"text":439,"number":440},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.107.png","091\nL35½\"×D34¾\" (seat 20¾\")\nH39¾\" (seat 17\")\n096\nL33½\"×D32¾\" (seat 20¾\")\nH32¼\" (seat 17\")\n061\nL23½\"×D25½\" (seat 20¾\")\nH33\" (seat 17¾\")\n53\n45\n40\n45\nØ40\nØ70\n75\n90\n88\n43\n101\n53\n85\n83\n43\n82\n60\n60\n65\n45\n84\n0AX-0AZ\nL17¾\"×D15¾\"×H17¾\"\n0AV-0AY\nL29¼\"×D27½\"×H15¾\"\nArmada\nAR1\ndesign: Doshi+Levien\nyear: 2016\nHighback\nSmall Armchair\nArmchairs\nSide Tables\nLowback\nSmall Club\nSide Tables\nArmada AR10AY + AR1091\n \nDisegnata da Nipa Doshi e \nJonathan Levien nel 2016, Armada è \nuna collezione composta da tre diverse \nsedute progettate per l’utilizzo in spazi \nhospitality e aree lounge. Nelle poltrone, \ncaratterizzate da due diverse altezze \ndi schienale, la sottile scocca imbottita \nracchiude un voluminoso cuscino di \nseduta, a garanzia del comfort e, nella \nversione a schienale alto, anche di \nprivacy. La poltroncina è caratterizzata \nda una base a piedistallo completamente \nimbottita ed è adatta a tavoli da \nriunione e sale d’attesa. La collezione \nè completata da un tavolino proposto \nin due diverse misure.\n \nDesigned by Nipa Doshi and \nJonathan Levien in 2016, the Armada \ncollection consists of three different \narmchairs suitable for use in hospitality \nand lounge areas. In the larger \narmchairs, which have backs of two \ndifferent heights, the thin padded shell \nencloses a voluminous cushion that \nguarantees comfort and also offers \nprivacy in the high-back version. \nThe small armchair features a fully \npadded pedestal base and is suitable \nfor meeting-room tables and waiting \nrooms. The collection is completed by \na coffee table available in two different \nsizes.\nArmada\nArmada\nAR1061 + AR1096 + AR1091\n",107,{"image":442,"text":443,"number":444},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.108.png","Armada\nAR1096 + AR1091\nArmada\nAR10AX + AR10AV\nArmada AR1061 \nCloud CL0T61 + CL0T62\nArmada\nArmada\n",108,{"image":446,"text":447,"number":448},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.109.png","Bloomy\nBM0\ndesign: Patricia Urquiola\nyear: 2004\nSmall Armchairs\nSmall Armchairs\nArmchairs\nSide Table\nArmchair\nSide Table\nCustom made\n \nDisegnata da Patricia Urquiola nel \n2004, Bloomy è una famiglia di sedute \nimbottite ispirate ai diversi momenti  \nche un fiore attraversa nell’arco della  \nsua vita. Partendo dalla gemma – \nincantevole suggestione progettuale  \n– il bocciolo diventa una sedia, il fiore \naperto una poltroncina, il fiore in \npiena fioritura una poltrona. Urbana e \nmetropolitana, tropicale o dai caldi colori \nmaterici, a seconda del rivestimento \nutilizzato assume connotazioni nuove, \nclassiche o contemporanee, borghesi  \no squisitamente anticonformiste.  \nA completare la collezione, alle poltrone \nè associato un tavolino con base \nin acciaio bianco o nero e piano in \nLaminam®.\n \nDesigned by Patricia Urquiola in \n2004, Bloomy is a line of padded \nseating inspired by the life cycle of a \nflower. Starting from germination — \nan enchanting design proposal — the \nbud becomes a chair, the open flower \na lounge chair and the armchair is \nthe flower in full bloom. Urban and \nmetropolitan, tropical or with warm \nmaterial shades, the upholstery  \nconfers upon it new connotations, \nclassic or contemporary, conventional  \nor exquisitely non-conformist.  \nThe collection is rounded off with a small \ntable with white or black steel legs and \na Laminam® top.\nBloomy\nBloomy\n050-0NC\nW22\"-24½\"×D22\"\nH29¼\"-28¾\" (seat 18\")\n061\nW25¼\"×D25½\"\nH28\" (seat 16¼\")\n001\nW35\"×D33¾\"\nH28\" (seat 15¾\")\n0V6\nW35\"×D33¾\"\nH29½\" (seat 17¼\")\n46\n56\n56-62\n74-73\n41\n65\n55\n45\n43\n64\n71\n40\n86\n89\n89\n71\n44\n86\n75\n06H\nW17\"×D17¾\"×H21¾\"\nBloomy\n050-0NC\nW22\"-24½\"×D22\"\nH29¼\"-28¾\" (seat 18\")\n061\nW25¼\"×D25½\"\nH28\" (seat 16¼\")\n001\nW35\"×D33¾\"\nH28\" (seat 15¾\")\n0V6\nW35\"×D33¾\"\nH29½\" (seat 17¼\")\n46\n56\n56-62\n74-73\n41\n65\n55\n45\n43\n64\n71\n40\n86\n89\n89\n71\n44\n86\n75\n06H\nW17\"×D17¾\"×H21¾\"\n",109,{"image":450,"text":451,"number":452},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.110.png","BM0050\n←\nBM0001 + BM0061\nBloomy\nBloomy\n",110,{"image":454,"text":455,"number":456},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.111.png","Bohemian\nCourtesy by Spaghetti Wall\nBohemian\n061\nW37¾\"×D40½\" (seat 24½\")\nH32¼\" (seat 15¾\")\n036\nW41¼\"×D65\" (seat 43¼\")\nH40¼\" (seat 15\")\n001\nW36¼\"×D39¼\" (seat 23½\")\nH40¼\" (seat 15\")\n018-0VU (with back cushions)\nW90½\"×D45\" (seat 27½\")\nH28¾\" (seat 14½\") \n003-0VZ (with back cushions)\nW110¼\"×D45\" (seat 27½\")\nH28¾\" (seat 14½\") \n96\n40\n82\n62\n103\n92\n38\n102\n60\n100\n105\n38\n102\n110\n165\n230\n37\n73\n70\n114\n280\n37\n73\n70\n114\ndesign: Patricia Urquiola\nyear: 2008\nBohemian\nBH0\n \nDisegnata da Patricia Urquiola \nnel 2008, Bohemian è una famiglia di \nprodotti costituita da divani, poltrone \ne chaise longue che interpretano \nin modo originale il capitonné. Senza \ntrasgredire la geometria, la lavorazione \nè immaginata come un rivestimento \nliquido che, sciogliendosi sulla struttura \nportante della seduta, sia in grado \ndi addolcirne i tratti e renderla, con un \nmovimento quasi casuale, più avvolgente  \ne confortevole. Una piacevole \ndeformazione che mantiene il fascino \nmanifatturiero attraverso l’utilizzo \ndi bottoni automatici che, rendendo \nsfoderabile il rivestimento, ne \nrivoluzionano il concetto.\n \nDesigned by Patricia Urquiola \nin 2008, Bohemian is a line of products \nthat includes sofas, an armchair and \na chaise longue that gives a new spin \non button tufting. Without forgoing the \ngeometry, the upholstery of this range \nappears to be almost liquid in shape, as \nif melting over the frame to create soft, \ncomforting, almost casual lines. \nIt is a pleasing deformation that retains \nthe manufacturing allure with buttons \nthat, when pressed, make the fabric \nremovable, revolutionising the concept.\nBH0001\nSofa\nArmchair\nSmall Armchair\nChaise longue\nSofa\nSmall armchair\nArmchair\nChaise longue\n",111,{"image":458,"text":459,"number":460},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.112.png","BH0001\nBH0061\nBohemian\nBohemian\n",112,{"image":462,"text":463,"number":464},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.113.png","Bohemian\nBH00VZ\n",113,{"image":466,"text":467,"number":468},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.114.png","Bouquet\ndesign: Tokujin Yoshioka\nyear: 2008\nChair\nBQ0050\n \nDisegnata da Tokujin Yoshioka nel \n2008, Bouquet è una poltrona imbottita \ndi elegante concezione, un tributo \nalla bellezza che sfiora la dimensione \nspirituale nella semplicità del gesto \nripetuto. Il vestito, formato da quadrati \ndi tessuto piegati manualmente e cuciti \nuno ad uno con sapiente cura e infinita \npazienza, avvolge la scocca di seduta \nfino a ricoprirla interamente di soffici \npetali. Allegoria del sogno, raffinata \ntrasposizione poetica celebrata nella \nmaterialità insita nell’oggetto industriale, \nla poltroncina rende felice colui che  \nvi si siede, così come un bouquet di fiori \ngratifica chi lo riceve.\n \nDesigned by Tokujin Yoshioka in \n2008, Bouquet is a padded armchair \nwith an elegant concept, a tribute  \nto the almost spiritual beauty which lies \nin the simplicity of a repeated gesture. \nThe coating, formed from squares of \nfabric which are hand folded and sewn \none by one by skilled hands and infinite \npatience, envelops the shell until all \nthe interior is covered in soft petals. \nAllegory of dreams, sophisticated poetic \ntransformation celebrated in an object \nof industrial design, the chair makes \neveryone who sits in it happy, like the gift \nof a bouquet of flowers.\nBouquet\nBQ0\nChair\nBouquet\n050\nW30¼\"×D32¾\"\nH32¾\" (seat 15\") \n38\n83\n83\n77\n",114,{"image":470,"text":471,"number":472},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.115.png","Bouquet\nBouquet\nBQ0050\nBQ0050\n",115,{"image":474,"text":475,"number":476},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.116.png","Clarissa\ndesign: Patricia Urquiola \nyear: 2014\nCL1\nArmchair\nFootstool\n03P-03Q\nL37¾\"×D40½\"×H40½\"\n(seat 17¾\")\n96\n45\n103\n103\nArmchair\nFootstool\n017\nL22\"×D24¾\"×H17\"\n43\n63\n56\nClarissa Santoni\nCL103K\n \nDisegnata da Patricia Urquiola nel \n2014, Clarissa è una collezione costituita \nda un’importante poltrona relax e da una \nsedia. La poltrona, completata da un \npoggiapiedi, si distingue per la vistosa \nseparazione tra il volume geometrico \ne secco della scocca e la morbidezza \nvisiva dell’interno; una seduta imbottita \ndi grande comfort e impatto scenico. \nNella sedia imbottita, l’elegante essenza \ngrafica e decorativa della poltrona è \nmantenuta nell’uso in contrasto di colore \ntra esterno ed interno.\n \nDesigned by Patricia Urquiola \nin 2014, the Clarissa collection consists \nof a chair and an imposing relaxation \narmchair. The armchair, which is \ncompleted by a footrest, is notable \nfor the striking contrast between the \naustere geometric presence of the shell \nand the inner softness - a padded seat \nof great comfort and visual impact. \nThe armchair’s elegant graphic and \ndecorative essence is maintained in the \nupholstered chair, which has interior and \nexterior surfaces of contrasting colours.\nClarissa\nClarissa Santoni \nCL103K\nNet table NE106I\nUkiyo UK00S2\nArtwork by Fathi Hassan, Eating Stars\n",116,{"image":478,"text":479,"number":480},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.117.png","←\nClarissa CL103P\nClarissa CL103Q\nPhoenix PH00HL + PH0OHY\nRedondo RD0003\nClarissa\nClarissa\nInteriors: Neil Cownie Architect \u002F Photo: Jack Lovel\n",117,{"image":482,"text":483,"number":484},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.118.png","Dew\n077\nØ39¼\"×H13¾\"\n017\nØ27½\"×H13¾\" \n35\n70\n35\n100\nDew\nDW0\ndesign: Nendo\nyear: 2009\nOttoman\nOttoman\nDW0017\n \nDisegnato nel 2009 da Nendo, \nDew è un pouf rotondo dove le linee \ndella tensione superficiale di una \ngoccia d’acqua si trasformano in un \nintreccio di strisce di pelle. Come nel \nlavoro degli artisti dell’arte optical \ndegi anni ’60, Nendo studia i processi \npercettivi alla base del movimento, \ntraducendoli in una disposizione di \nlinee e forme geometriche organizzate \nsecondo un approccio matematico e \ncon un linguaggio grafico. L’effetto \nottico, enfatizzato dai rapporti di \nestensione e dall’uso del bicolore, nella \nsua semplicità permette una lettura \nmultipla dell’oggetto, allo stesso tempo \nstrutturale e di superficie.\n \nDesigned by Nendo in 2009,  \nDew is a round ottoman where the \nsurface tension lines of a drop of water \nare transformed into a network of \nstrips of leather. As with some optical \nworks by artists of the ’60s, Nendo \nstudied the perceptual processes \nunderlying the movement, translating \nthem into an arrangement of lines \nand geometric shapes arranged in a \nprecise mathematical approach and a \ngraphic language. The optical effect, \nemphasised by reports of extension \nand the use of black and white in its \nsimplicity allows multiple reading of the \nobject, both structural and surface.\nDew\n",118,{"image":486,"text":487,"number":488},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.119.png","Dew\nDW0017 + DW0077\nDew\n",119,{"image":490,"text":491,"number":492},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.120.png","Fjord FJ003K\nFjord\nFjord + Fjord H\n \n03K-03G\nL37½\"×D31½\" (seat 19¾\")\nH40¼\" (seat 15¼\")\n001\nL34¼\"×D24\" (seat 16½\")\nH25¼\" (seat 16½\")\n214\nL17¼\"×D19¾\"×H13\"\n017\nL29½\"×D21¾\"×H13¾\"\n077\nL43¼\"×D29½\"×H15\"\n39\n102\n50\n80\n95\n45\n73\n55\n58\n55\n45\n76\n55\n45\n76\n55\n45\n76\n250\n250\n313\n55\n45\n76\n313\n64\n77\n50\n49\n77\n90\n50\n49\n42\n64\n42\n61\n87\n33\n50\n44\n35\n55\n75\n38\n75\n110\n105-106\nL22¾\"×D21¾\"×H28¾\"\n(seat 17¾\")\n111\nL19¼\"×D19¾\"×H30¼\"\n(seat 25¼\")\n112\nL19¼\"×D19¾\"×H35½\"\n(seat 30¼\")\n116\nL98½\"×D21¾\"×H30\"\n(seat 17¾\")\n119\nL98½\"×D21¾\"×H30\"\n(seat 17¾\")\n117\nL123¼\"×D21¾\"×H30\"\n(seat 17¾\")\n120\nL123¼\"×D21¾\"×H30\"\n(seat 17¾\")\n45\n73\n55\n58\n105-106\nL22¾\"×D21¾\"×H28¾\"\n(seat 17¾\")\nFjord + Fjord H\n03K-03G\nL37½\"×D31½\" (seat 19¾\")\nH40¼\" (seat 15¼\")\n001\nL34¼\"×D24\" (seat 16\nH25¼\" (seat 16½\")\n39\n102\n50\n80\n95\n45\n73\n55\n58\n55\n45\n76\n250\n313\n64\n77\n50\n49\n42\n64\n42\n61\n87\n105-106\nL22¾\"×D21¾\"×H28¾\"\n(seat 17¾\")\n111\nL19¼\"×D19¾\"×H30¼\n(seat 25¼\")\n116\nL98½\"×D21¾\"×H30\"\n(seat 17¾\")\n117\nL123¼\"×D21¾\"×H30\"\n(seat 17¾\")\nFjord + Fjord H\n \n03K-03G\nL37½\"×D31½\" (seat 19¾\")\nH40¼\" (seat 15¼\")\n001\nL34¼\"×D24\" (seat 16½\")\nH25¼\" (seat 16½\")\n214\nL17¼\"×D19¾\"×H13\"\n017\nL29½\"×D21¾\"×H13¾\"\n077\nL43¼\"×D29½\"×H15\"\n39\n102\n50\n80\n95\n45\n73\n55\n58\n55\n45\n76\n55\n45\n76\n55\n45\n76\n250\n250\n313\n55\n45\n76\n313\n64\n77\n50\n49\n77\n90\n50\n49\n42\n64\n42\n61\n87\n33\n50\n44\n35\n55\n75\n38\n75\n110\n105-106\nL22¾\"×D21¾\"×H28¾\"\n(seat 17¾\")\n111\nL19¼\"×D19¾\"×H30¼\"\n(seat 25¼\")\n112\nL19¼\"×D19¾\"×H35½\"\n(seat 30¼\")\n116\nL98½\"×D21¾\"×H30\"\n(seat 17¾\")\n119\nL98½\"×D21¾\"×H30\"\n(seat 17¾\")\n117\nL123¼\"×D21¾\"×H30\"\n(seat 17¾\")\n120\nL123¼\"×D21¾\"×H30\"\n(seat 17¾\")\n45\n73\n55\n58\n105-106\nL22¾\"×D21¾\"×H28¾\"\n(seat 17¾\")\ndesign: Patricia Urquiola \nyear: 2002\nFjord\nFJ0\nPouf\nFjord Relax\nArmchair\nSmall Armchair\nFjord H\nBar Stool\nArmchair\nStool\nChair\nBar Stool\nFjord H\nBeam\n \nDisegnata da Patricia Urquiola nel \n2002, la collezione Fjord deriva dall’idea \ndi scardinare l’oggetto simmetrico e \nperfetto di derivazione scandinava con \nun nuovo modo, più contemporaneo, \norientato alla ricerca di una bellezza rotta \ne asimmetrica. L’influenza scandinava \nevocata dal nome si ritrova anche \nnella presenza di un taglio allungato, \nmetafora delle insenature delle coste \nnordiche. Come in un ciclo naturale, la \nscocca della poltrona, sagomata dal \ntempo e dall’acqua, diventa poltroncina \ne poi ancora sgabello. Linee dolci che \nsostengono e accolgono, evidenziate \ndall’accuratezza delle cuciture a vista in \narmonia continua con l’essenzialità della \nstruttura.\n \nDesigned by Patricia Urquiola in \n2002, and inspired by the search \nfor disrupted and asymmetrical beauty, \nthe Fjord collection stems from the idea \nof adding a new and more contemporary \nflavour to the symmetry and perfection \nof Scandinavian style. The Scandinavian \ninfluence evoked by the name is also \nfound in the presence of an elongated \nincision, a metaphor for the coves of the \nnorthern coasts. As in a natural cycle, \nthe shell of the armchair, moulded by \ntime and water, turns first into a small \narmchair and then into a stool. The \npleasing lines are bold and welcoming, \nhighlighted by precise stitching that is \nhighly visible and always in harmony with \nFjord’s structural essence.\n",120,{"image":494,"text":495,"number":496},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.121.png","Fjord\nFjord FJ0017 + FJ0077\n← \nFjord FJ003K + FJ0017\n \n \n214\nL17¼\"×D19¾\"×H13\"\n017\nL29½\"×D21¾\"×H13¾\"\n077\nL43¼\"×D29½\"×H15\"\n55\n45\n76\n55\n45\n76\n250\n55\n45\n76\n313\n77\n90\n50\n49\n33\n50\n44\n35\n55\n75\n38\n75\n110\n112\nL19¼\"×D19¾\"×H35½\"\n(seat 30¼\")\n119\nL98½\"×D21¾\"×H30\"\n(seat 17¾\")\n120\nL123¼\"×D21¾\"×H30\"\n(seat 17¾\")\n45\n73\n55\n58\n105-106\nL22¾\"×D21¾\"×H28¾\"\n(seat 17¾\")\n",121,{"image":498,"text":499,"number":500},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.122.png","Fjord\nFjord FJ003K + FJ0214 + FJ0017\n← \nFjord FJ0001\n",122,{"image":502,"text":503,"number":504},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.123.png","Gemma\nGemma\n061\nW36½\"×D29¼\" (seat 21¼\")\nH31½\" (seat 15¾\")\n831-0VT\nW104\"×D33¾\" (seat 20¾\")\nH31½\" (seat 16½\")\n40\n93\n80\n53\n74\n54\n42\n264\n80\n50\n86\n53\ndesign: Daniel Libeskind \nyear: 2015\nGemma\nGM0\nSofa\nArmchair\n \nDisegnata nel 2015 da Daniel \nLibeskind, la collezione Gemma si  \nè evoluta intorno all’idea del contrasto e \ndell’esperienza percettiva che ne deriva \nquando applicato ad una forma.  \nNel percorso di progettazione, \nl’architetto si è profondamente \nispirato alle forme geologiche naturali: \ncristalli, gemme, concrezioni naturali \ndi roccia. Nel divano come nella \npoltrona la conformazione spigolosa, \nquasi appuntita della geometria \ntridimensionale contraddice la \nmorbidezza della sua imbottitura.  \nIl design, così, si pone con una duplice \nvalenza: creare una scultura per la \ncasa o l’ufficio e ricollegarsi al lavoro \narchitettonico di Libeskind.\n \nDesigned by Daniel Libeskind \nin 2015, the Gemma collection was \ndeveloped around the idea of contrast \nand experience derived from the \nperception of a shape. In the design \nprocess, the architect Libeskind drew \na tremendous amount of inspiration \nfrom natural geological forms including \ncrystals, gems and natural rock \nformations. In the sofa and the armchair, \nthe sharp asymmetry of its three-\ndimensional geometry contrasts with \nthe softness of the upholstery. \nThe design offers a dual value: to create \na sculpture piece for the home or \noffice and connect to Libeskind’s large \noeuvre.\nGM0061\nSofa\nArmchair\n",123,{"image":506,"text":507,"number":508},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.124.png","Gemma\nGM0003 + GM0061\nGemma\nGM0061\n",124,{"image":510,"text":511,"number":512},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.125.png","GM0003 + GM0061\nGemma\n",125,{"image":514,"text":515,"number":516},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.126.png","Getlucky\nGT0\ndesign: Patricia Urquiola\nyear: 2020\nSmall Armchair\n \nDisegnata da Patricia Urquiola \nnel 2020, la poltroncina Getlucky \nsi distingue per l’essenzialità geometrica \ndella forma, resa evidente dal rapporto \nbinario tra seduta e schienale. Pensata \ncome poltroncina da tavolo, è costituita \nda uno schienale morbido ed avvolgente \nagganciato ad una base completamente \nimbottita. È disponibile anche nella \nversione girevole.\n \nDesigned by Patricia Urquiola in \n2020, the Getlucky armchair is notable \nfor its geometric simplicity of form, \nclearly seen in the binary relationship \nbetween seat and back. Conceived \nas a dining small armchair, it consists of \na soft and enveloping back on a ful\nly padded base, and is also available \nin a swivel version.\nGetlucky GT0061\n061\nW24\"×D22¼\"×H30\" \n61\n47\n76\n46\n57\n61\n77\n46\n57\nSmall Armchair\nSwivel Small Armchair\nGetlucky\nGetlucky GT0061\nInteriors: Smirnova Interiors Paris\nInteriors: Claude Cartier Décoration\nPhoto: Guillaume Grasset\n",126,{"image":518,"text":519,"number":520},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.127.png","→\nGetlucky GT0061\nGetlucky GT0061\nGetlucky\nGetlucky\nphoto Joel Matthias Henry\nphoto Joel Matthias Henry\n",127,{"image":522,"text":523,"number":524},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.128.png","Getlucky\nGT0\ndesign: Patricia Urquiola\nyear: 2020\nChair\nGT002A\nGetlucky\n \nDisegnata da Patricia Urquiola \nnel 2023, la sedia imbottita Getlucky \nsi pone in continuità estetica con la \npoltroncina da tavolo presentata nel \n2020. Lo schienale, elemento distintivo \ndel progetto originario, viene adattato ad \nuna struttura in legno massello; comoda, \ndalle proporzioni generose e accoglienti, \nla seduta si presta a diverse tipologie \ndi rivestimento, dai velluti ai tessuti \nelastici o ai bouclé. Un complemento \nin grado di conferire ad un’ambiente \ndining, residenziale e pubblico, un forte \ncarattere contemporaneo.\n \nThe Getlucky padded chair, \ndesigned by Patricia Urquiola in 2023, \nmaintains aesthetic continuity with the \ndining armchair presented in 2020.\nThe backrest, a distinctive feature \nof the original project, has been \nadapted to a frame of solid wood, \nwhile the comfortable and generously \nproportioned seat lends itself to various \ntypes of covering, ranging from velvets \nto elastic fabrics or bouclé. It ensures \na strong contemporary impact in \nresidential and public dining rooms alike.\nChair\nGetlucky\n02A-050\nW24\"×D23½\" (seat 18\")\nH30\" (seat 19½\")\n76\n49\n46\n60\n61\nPhoto: Leonardo Duggento\nPhoto: Leonardo Duggento\n",128,{"image":526,"text":527,"number":528},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.129.png","Getlucky\nGetlucky\nGT002A\nGT002A\n",129,{"image":530,"text":531,"number":532},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.130.png","Husk\nHusk\nHU0\ndesign: Marc Thorpe\nyear: 2015\nSmall armchair\nArmchair\nSmall Armchair\nArmchair\nHU1061\n \nDisegnata nel 2015 da Mark Thorpe, \nHusk trae ispirazione dal cartoccio, \nla parte che ricopre esternamente la \npannocchia del mais. I campi  \ndi granturco dipingono il paesaggio \ndell’Italia settentrionale, in particolar \nmodo attorno alla città di Udine.  \nIl mais costituisce una risorsa a livello \nplanetario, attraversa frontiere e assume \nmolteplici forme. Per il designer è \nl’opportunità di trasformare l’architettura \ndel cartoccio in un prodotto di uso \nquotidiano universalmente riconoscibile \ne accettato. Husk è presente anche nella \ncollezione M’Afrique, in una versione \nintrecciata realizzata manualmente  \na Dakar, in Senegal.\n \nDesigned in 2015 by Mark Thorpe, \nHusk is inspired by the outer shell of \ncorn of the same name. The fields \nof corn punctuate the landscape of \nnorthern Italy, in particular around the \ncity of Udine. Corn is used as a resource \nglobally across all borders and takes \nmany forms. For Thorpe, this was an \nopportunity to translate the architecture \nof the husk from an ear of corn to \nproduce a globally recognisable and \naccepted object for daily use. Husk can \nalso be found in the M’Afrique collection, \na braided version manufactured by  \nhand in Dakar, Senegal.\nHusk\n001\nW33¾\"×D28¼\" (seat 22½\")\nH28¼\" (seat 16¼\")\n061\nW26\"×D23½\" (seat 17¼\")\nH29½\" (seat 17¾\")\n45\n75\n66\n44\n60\n41\n72\n86\n57\n72\nHusk\n001\nW33¾\"×D28¼\" (seat 22½\")\nH28¼\" (seat 16¼\")\n061\nW26\"×D23½\" (seat 17¼\")\nH29½\" (seat 17¾\")\n45\n75\n66\n44\n60\n41\n72\n86\n57\n72\n",130,{"image":534,"text":535,"number":536},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.131.png","HU1001 + HU1061\nHusk\nHusk\nHU1001\n",131,{"image":538,"text":539,"number":540},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.132.png","Lilo\nLilo\n001\nW31½\"×D36¼\"\nH40¼\" (seat 15\")\n02Q-02R\nW31½\"×D36¾\"\nH38½\" (seat 16½\")\n036\nW25\"×D51\"×H33\"\n017\nW18½\"×D20¾\"×H16½\"\n38\n46\n102\n92\n42\n98\n93\n42\n53\n47\n80\n80\n84\n130\n64\ndesign: Patricia Urquiola \nyear: 2015\nLilo\nLI1\nArmchair\nArmchair Wing\nChaise longue\nFoot stool\n \nDisegnata da Patricia Urquiola nel \n2015, Lilo è una famiglia di poltrone \nche omaggia, in una raffinata e colta \nfusione di memorie progettuali, il design \nscandinavo e l’idea modernista degli \nanni ’50 incarnata nel lavoro dei grandi \nmaestri del design italiano, in particolare \ndi Achille Castiglioni di cui la designer, \nall’inizio della sua carriera, fu assistente. \nDisponibile anche nella versione  \ncon schienale ad ali e chaise longue, Lilo \nè una poltrona accogliente, morbida e \naccomodante, dimostrando nei fatti una \nversatilità d’utilizzo che la rende perfetta \nnegli spazi pubblici come negli ambienti \ndomestici.\n \nDesigned by Patricia Urquiola in \n2015, with its refined and elegant fusion \nof styles recollecting past projects, \nLilo is a line of armchairs inspired by \nScandinavian design, the modernist \nideals of the 1950s and how these were \nreflected in the work of the great masters \nof Italian design, especially Achille \nCastiglioni for whom, at the beginning \nof her career, the designer worked as an \nassistant. Also available as a wingback \nchair and chaise longue, Lilo is a soft, \naccommodating and inviting armchair, \ndemonstrating effectively a versatility \nof use which makes it perfect for public \nspaces and in the home.\nLI1001 + LI1017\nArmchair\nArmchair Wing\nFoot stool\nChaise longue\n",132,{"image":542,"text":543,"number":544},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.133.png","Lilo\nLI1036\nLilo\nLL102Q\n",133,{"image":546,"text":547,"number":548},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.134.png","LI1001\nLilo\n",134,{"image":550,"text":551,"number":552},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.135.png","Loveseat\ndesign: Patricia Urquiola\nyear: 2023\nLoveseat\nLS1\nArmchair\n \nLoveseat, poltrona disegnata da \nPatricia Urquiola nel 2023, è l’evoluzione \ndel sistema di sedute Lowseat, \nprogettato dalla designer per Moroso  \nnel 2000. La nuova versione si concentra \nsulla poltrona, conferendole maggior \nforza e intensità. Le basi in tubolare \ndi acciaio lasciano il posto a delle \ngambe in legno massello posizionate \nesternamente al volume di seduta; una \nsoluzione strutturale che conferisce  \na Loveseat una personalità decisa  \ne contemporanea, accentuando  \nil carattere indipendente della seduta \nsingola senza rinunciare alla possibilità \ndi unire più poltrone in configurazioni \nmultiple adatte a spazi pubblici  \ne collettivi.\n \nLoveseat, an armchair designed by \nPatricia Urquiola in 2023, is the evolution \nof the Lowseat system by the same \ndesigner in 2000. The revival focuses \non the armchair, giving it an enhanced \ndominance and intensity. The tubular \nsteel runners give space for legs of ash \nthat are placed outside the mass of the \nsofa, providing a structural solution that \ngives Loveseat a strong, contemporary \ncharacter. Bold and independent, it’s the \nperfect stand-alone piece, but can also \nbe grouped with other chairs for use in \npublic or community spaces.\nLS1831\nArmchair\nLoveseat\n001\nW39¼\"×D37½\" (seat 22\")\nH24½\" (seat 17\")\n831\nW39¼\"×D37½\" (seat 22\")\nH24½\" (seat 17\")\n100\n100\n43\n62\n56\n95\n43\n62\n56\n95\n",135,{"image":554,"text":555,"number":556},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.136.png","Loveseat\nLoveseat\n→\nLS1831\nLS1001\n",136,{"image":558,"text":559,"number":560},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.137.png","Loveseat\nLS1831\nLoveseat\nLS1001\n",137,{"image":562,"text":563,"number":564},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.138.png","Klara\nPhoto: Fernando Guerra\nKL0\ndesign: Patricia Urquiola \nyear: 2010\nLow table\nChairs\nRocking armchair\nArmchairs\n \nDisegnata da Patricia Urquiola \nnel 2010, Klara è una poltrona allo \nstesso tempo funzionale e decorativa, \ndal sapore artigianale ma con una \nreminiscenza finemente secessionista. \nIl telaio, con una marcata precisione \nformale, svincola i braccioli dal legame \ncon lo schienale, facendoli risultare \nstrutturalmente liberi. Il progetto \nreinterpreta lo spirito delle prime \navanguardie del design industriale, \nbasato sulla convergenza tra arte, \nindustria e artigianato. Elegante e \ncomoda, rimanda alle prime produzioni \nseriali di inizio Novecento anche per \nl’utilizzo della Paglia di Vienna, tecnica  \ndi intreccio artigianale praticata in Friuli \npiù di cent’anni fa.\n \nDesigned by Patricia Urquiola in \n2010, Klara is an armchair which \nis both functional and decorative, which \nfeels artisan-made but with delicately \nindependent echoes. The frame has \nan extremely precise form, where the \narmrests, freed from the backrest, are \nstructurally independent. The project \nis a reinterpretation of the spirit of \nthe first forays into industrial design, \nbased on a close collaboration between \nart, industry and craft. Stylishly \ncomfortable, it is reminiscent of the first \nmass produced pieces of the early \n20th century, also in its use of woven \nVienna straw, a craft technique \ncommonly used in the Friuli region \nof Italy a century ago.\nKlara\nKL0190\nKlara\n001-492-49A-491-490-493\nW31½\"×D29½\" (seat 21¼\") \nH36½\" (seat 15¾\")\n190-478-284\nW32¼\"×D37½\" (seat 18¾\") \nH36½\" (seat 15¾\")\n017\nW23½\"×D15¾\"×H15¾\"\n40\n57\n93\n54\n75\n80\n48\n80-81\n41\n55\n49\n45\n44\n42\n56\n33\n73\n37\n84\n48\n62\n80-81\n41\n55\n49\n40\n57\n93\n50\n95\n82\n40\n40\n60\n495-995-996-975\nW19¼\"×D21¾\" (seat 16¼\") \nH31½\" (seat 18¾\")\nG25-G26-G30-G31\nW19¼\"×D21¾\" (seat 16¼\")\nH31¾\" (seat 18¾\")\n653-783\nØ17¼\"×H17¾\"\n655-785\nØ22\"×H16½\"\n657-787\nØ28¾\"×H13¾\"\n659-789\nØ33\"×H14½\"\nArmchairs\nRocking armchairs\nFoot stool\nChairs\nLow tables\nKlara\n001-492-49A-491-490-493\nW31½\"×D29½\" (seat 21¼\") \nH36½\" (seat 15¾\")\n190-478-284\nW32¼\"×D37½\" (seat 18¾\") \nH36½\" (seat 15¾\")\n017\nW23½\"×D15¾\"×H15¾\"\n40\n57\n93\n54\n75\n80\n48\n80-81\n41\n55\n49\n45\n44\n42\n56\n33\n73\n37\n84\n48\n62\n80-81\n41\n55\n49\n40\n57\n93\n50\n95\n82\n40\n40\n60\n495-995-996-975\nW19¼\"×D21¾\" (seat 16¼\") \nH31½\" (seat 18¾\")\nG25-G26-G30-G31\nW19¼\"×D21¾\" (seat 16¼\")\nH31¾\" (seat 18¾\")\n653-783\nØ17¼\"×H17¾\"\n655-785\nØ22\"×H16½\"\n657-787\nØ28¾\"×H13¾\"\n659-789\nØ33\"×H14½\"\n",138,{"image":566,"text":567,"number":568},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.139.png","KL0001\nPhoto: Fernando Guerra\nKlara\n←\nKL049A\n",139,{"image":570,"text":571,"number":572},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.140.png","↑\nKL0001 + KL0490 + KL049A \n+ KL0789\nKlara\nKlara\nKL0G31 + KL0975\n",140,{"image":574,"text":575,"number":576},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.141.png","Mathilda\nMA3\ndesign: Patricia Urquiola\nyear: 2013\nChair\nBar Stool\nMathilda MA3973\n \nDisegnato da Patricia Urquiola \nnel 2013, Mathilda è un progetto \nmoderno, in senso architettonico, nel \nrapporto proporzionale tra l’insieme \ne il dettaglio. L’idea è semplice, perfetta \nper la funzione alla quale è riservata: \ndue cavalletti conferiscono solidità \ne appartenenza, sorreggono la seduta \nprestandosi contemporaneamente \ncome sostegni per lo schienale e come \nsupporto impilabile. Per certi aspetti, \nè una forma conosciuta acquisita dalla \nmemoria collettiva, dalla quale deriva \nl’aspetto familiare e rassicurante. \nUn’eleganza sobria e ponderata in grado \ndi riportare l’oggetto nel contemporaneo, \nassicurandone la funzionalità, il comfort \ne valore estetico.\n \nDesigned by Patricia Urquiola \nin 2013, Mathilda is a modern project \nin an architectural sense, i.e. in the \nproportional relationship between the \nwhole and the detail. It is based \non a simple idea perfectly suited to its \nintended function: two trestles confer \nsolidity and integration, forming a base \nfor the seat and backrest and also \nproviding stackability. In certain respects \nit is a known form drawn from collective \nmemory, the source of its familiar \nand reassuring appearance. A sober \nand thoughtful elegance establishes \nits contemporary credentials, ensuring \nfunctionality, comfort and aesthetic \nappeal.\n09V-977\nL22½\"×D18½\"×H31¼\"\n(seat 19\")\n971-972\nL22½\"×D19¾\" (seat 14¾\")\nH36¾\" (seat 26½\")\n973-974\nL22½\"×D19¾\" (seat 14¾\")\nH36¾\" (seat 30\")\n47\n50\n57\n57\n48\n69\n37\n50\n57\n37\n50\n67\n46\n46\n93\n76\n93\n77\nChair\nBar Stool\nMathilda\nMathilda MA3977\n",141,{"image":578,"text":579,"number":580},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.142.png","Mathilda MA3973\n←\nMathilda MA3977\nMathilda\nMathilda\n",142,{"image":582,"text":583,"number":584},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.143.png","Panna chair\nPanna chair\nPC0\ndesign: Tokujin Yoshioka\nyear: 2008\nArmchair\nArmchair\nPC0001\n \nDisegnata nel 2008 da Tokujin \nYoshioka, Panna Chair esprime nel \nnome, nel materiale, nelle cuciture e \nnelle goffrature il suo spirito, il profondo \nsenso di appagamento fisico ed emotivo \nche riesce a donare. Per la prima volta, \nun tessuto tipicamente utilizzato nella \nproduzione dei materassi viene applicato \nad una poltrona; pensato originariamente \nper la sua funzionalità, il rivestimento \nè reinterpretato dal designer in chiave \npoetica, come un abito da indossare, \nsoffice ed aderente. Un’esperienza \nsensoriale che prende vita nel momento \nin cui qualcuno ci si siede: morbida, \ncomoda, una forma avvolgente che si \nadatta al corpo, abbracciandolo.\n \nDesigned in 2008 by Tokujin \nYoshioka, the Panna Chair’s name, \nmaterial, stitching, and embossing all  \ntell of the soul of the armchair and \nthe sense of physical and emotional \nsatisfaction which it is able to impart. \nFor the first time, a fabric typically used \nin manufacturing mattresses is applied \nhere to an armchair; originally devised \nfor its practicality, the designer gives it \na poetic twist, turning it into a soft and \nenveloping item of clothing to be worn. \n It offers a sensory experience that \nbegins as soon as someone sits in it: \nsoft, comforting, its shape adapts to the \nuser, and embraces them.\nPanna chair\n001\nW31\"×D31½\" (seat 19¼\")\nH28\" (seat 15\")\n38\n71\n49\n80\n79\n",143,{"image":586,"text":587,"number":588},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.144.png","PC0001\nPC0001\nPanna chair\nPanna chair\n",144,{"image":590,"text":591,"number":592},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.145.png","Paper Planes\ndesign: Nipa Doshi & Jonathan Levien \nyear: 2010\nPaper Planes\nPP0\nArmchairs\nSettee\n \nDisegnata da Nipa Doshi e Jonathan \nLevien nel 2010, Paper Planes nasce \ndalla progettazione di un tessuto ispirato \nalla carta millimetrata. Come un origami \nfuori scala, la configurazione della \nseduta deriva dal piegare e appuntire \nla carta esplorando forme e strutture, \nproducendo angoli, linee, poligoni. \nUna scultura funzionale che richiede, \nnonostante l’apparente semplicità, una \nmagistrale abilità sartoriale. Durante \nla fase di imbastitura le righe del \ndecoro, data la particolarità geometrica \ndella seduta, impongono la perfetta \nconvergenza, non lasciando al maestro \nartigiano il minimo margine d’errore.\n \nDesigned by Nipa Doshi and \nJonathan Levien in 2010, Paper Planes \noriginated from a fabric design based \naround graph paper. Like an outsized \norigami piece, the configuration of the \nseat derives from the act of folding and \nadding sharp lines to the paper, playing \nwith forms and structures and producing \nangles, lines and shapes. A functional \nsculpture that, despite its seeming \nsimplicity, requires extraordinary \nmastery of materials. Given the unique \nshape of the seat, the tacking stage \nfor the decorative lines necessitates a \nperfect alignment that leaves the master \ncraftsman no room for error.\nArmchairs\nSettee\nPaper Planes\n365-379\nW35¾\"×D33½\" (seat 19\")\nH35¾\" (seat 15\")\n366-380\nW35¾\"×D33½\" (seat 19\")\nH35¾\" (seat 15\")\n368-381\nW35¾\"×D33½\" (seat 19\")\nH43\" (seat 15\")\n369-382\nW35¾\"×D33½\" (seat 19\")\nH43\" (seat 15\")\n744-745\nW71¾\"×D33½\" (seat 19\")\nH43\" (seat 15\")\n38\n73\n91\n48\n85\n38\n73\n91\n48\n85\n38\n73\n109\n48\n85\n38\n73\n109\n48\n85\n182\n38\n73\n109\n48\n85\n91\n91\n91\n91\n",145,{"image":594,"text":595,"number":596},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.146.png","Paper Planes\nPP0365 + PP0368 + PP0365 + PP0374\nPaper Planes\nPP0379 + PP0380\n",146,{"image":598,"text":599,"number":600},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.147.png","Custom made\nPaper Planes\nPP0369\nPaper Planes\n",147,{"image":602,"text":603,"number":604},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.148.png","Pipe\ndesign: Sebastian Herkner \nyear: 2015\nPI0\nArmchair\nSettee\nSide tables\nChaise longue\nSettee\nChaise longue\nPI00NQ + PI0S80\n \nDisegnata da Sebastian Herkner \nnel 2015, Pipe è una famiglia di \nprodotti che antepone alla più comune \nricerca sulla forma sottile una scelta \nin controtendenza: l’oversize. E, \nnonostante questo, riesce a mantenersi \nleggera. Il progetto si articola così \nattorno all’aspetto più rassicurante che \nuna forma voluminosa è in grado di \nesprimere: la semplicità. La struttura, \nessenziale e robusta, è costruita con un \ntubo in acciaio verniciato a polvere dal \ndiametro di 80mm, il cuscino di seduta \nricorda l’idea del modulo gonfiabile \nmentre lo schienale, come una parentesi \nevidenziata in “grassetto”, promette \ncomodità e simpatia.\n \nDesigned by Sebastian Herkner \nin 2015, Pipe is a line of products that \nswims against the currents of the \ncommon research into the slim form  \nand toward the countertrend: the \noversized. Despite this, it remains light, \nethereal. The design is thus structured \naround the most reassuring aspect \nof a voluminous form: simplicity.  \nThe minimalist and rugged structure is \nbuilt with a powder-painted aluminium \ntube with a diameter of 80 mm. Resting \non it is a seat cushion that recalls the \nidea of the inflatable module. The back, \nlike a bold parenthesis, promises comfort \nand sympathy.\nPipe\nArmchair\nSide tables\nPipe\n458-0NQ\nW39¼\"×D32¼\" (seat 22\")\nH28\" (seat 15\")\n442-0NS\nW67¾\"×D34¼\" (seat 24\")\nH28\" (seat 15\")\nS80-S81\nØ14½\"×H21¾\" \nS82-S83\nØ25½\"×D14¼\" \n476-477-0NM-0NZ\nW45¼\"×D60¼\" (seat 50\")\nH27¼\" (seat 15¾\")\n38\n71\n56\n100\n172\n82\n38\n71\n61\n87\n115\n40\n69\n127\n153\n36\n65\n44\n37\n",148,{"image":606,"text":607,"number":608},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.149.png","PI00NQ\nPI0477\nPipe\nPipe\n",149,{"image":610,"text":611,"number":612},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.150.png","PH1\nChair\nPH102A\nPheaby\nChair\nPheaby\ndesign: Patricia Urquiola\nyear: 2023\n \nNella sedia imbottita Pheaby, \ndisegnata da Patricia Urquiola nel \n2023, l’approccio costruttivo si esprime \nattraverso un insolito antagonismo tra \ndesign artigianale e pensiero industriale, \nrisolto nella massima efficienza \nstrutturale degli elementi costitutivi. \nLe gambe, appoggi più simili all’idea \ndi un cavalletto da falegname che \nalla gamba di una sedia, supportano \nuna seduta morbida, rotondeggiante \ne completamente priva di spigoli. \nPheaby sfrutta così al massimo le \ncaratteristiche dei materiali che la \ncompongono rivelando, nella sua \nversatilità, leggerezza e comodità, la \nnatura razionale alla base di ogni scelta \nformale.\n \nThe approach to construction in \nthe Pheaby padded chair, designed by \nPatricia Urquiola in 2023, involves an \nunusual antagonism between artisanal \ndesign and industrial thinking, resolved \nin the structural efficiency of the \ncomponent parts. The legs, perhaps \nmore suggestive of a carpenter’s trestle \nthan conventional chair legs, support \na soft rounded seat completely free of \nedges. The properties of the materials \nused for construction are exploited  \nto the full, offering versatility, lightness \nand comfort that bear witness to  \nthe rationality underlying every stylistic \nchoice.\nPheaby\n02A\nW20¼\"×D22¼\" (seat 17\")\nH30½\" (seat 18½\")\n47\n77\n43\n57\n51\n",150,{"image":614,"text":615,"number":616},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.151.png","Pheaby\nPheaby\nPH102A\nPH102A\nPhoto: Leonardo Duggento\n",151,{"image":618,"text":619,"number":620},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.152.png","Precious\nPrecious\n0FU-0FS-0NT\nW18¾\"×D19½\" (seat 15¾\")\nH31¾\" (seat 18½\")\n1A4-1A5-1A6\nW17¼\"×D15¾\"\nH25¼\" (seat 17¾\")\n1A1-1A2-1A3\nW17¼\"×D15¾\"\nH30¾\" (seat 17¾\")\n0FE-0FF-0QV\nW18¾\"×D19½\" (seat 15¾\")\nH38½\" (seat 25¼\")\n0FG-0FO-0NV\nW18¾\"×D19½\" (seat 15¾\")\nH44\" (seat 30¾\")\n0FV-0FR-0NI\nW20½\"×D20½\" (seat 15¾\")\nH32½\" (seat 18½\")\n0FM-0FN-0NU\nW22\"×D22¼\" (seat 18½\")\nH28\" (seat 15¾\")\n0PM-0PN-0PU\nW22¼\"×D22¼\" (seat 18½\")\nH28\" (seat 15¾\")\n49\n40\n81\n48\n47\n56\n82\n47\n52\n40\n52\n66\n57\n40\n56\n47\n71\n40\n56\n47\n71\n40\n44\n44\n64\n45\n40\n78\n45\n98\n45\n40\n64\n49\n112\n45\n40\n78\n49\n49\n51\ndesign: Johannes Torpe\nyear: 2019\nPrecious\nPR1\nSmall armchairs\nBar stools\n \nDisegnata nel 2019 da Johannes \nTorpe, le sedie Precious sono state \ndisegnate cercando di assottigliare le \nsezioni al limite del possibile, quasi  \na sfidare le leggi di tenuta strutturale. \nL’estetica minimale non va a discapito \ndella solidità, qualità che rende Precious \nadatta anche ad un uso intensivo non \nresidenziale. Binomio esemplare tra \npulizia della forma e funzionalità,  \nla sedia è arricchita da raffinati dettagli \ncostruttivi: le gambe, estremamente \nsottili, il vassoietto della seduta in \nacciaio verniciato o cromato completato \nda un’elegante selezione tessile.\n \nDesigned by Johannes Torpe in \n2019, the Precious chair design is an \nattempt to slim down the cross-section \nto the lowest limit possible, almost \nseeking to defy the laws of physics. \nThe product’s minimalist shape \nnevertheless is combined with solidity, \nmaking it suitable for heavy-duty use, \nsuch as in the contract industry. \nA perfect combination, therefore, and \nnot a contraposition between crisp, \nclear-cut shapes and solidity, the \nPrecious collection offers a rich and \nrefined variety of finishing touches. \nThe legs of the chairs are extremely \nslender and the chrome-plated or \npainted steel plate forming the base \nof the seat are rounded off with an \nelegant selection of fabrics.\nPR10FN\nBar stools\nChairs\nSmall armchairs\nChairs\n",152,{"image":622,"text":623,"number":624},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.153.png","Precious\nPrecious\nPR10FG + PR11A1\nPR10PU + PR10NU\n",153,{"image":626,"text":627,"number":628},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.154.png","Precious\nPR10NI\nPR10FR\nPrecious\n",154,{"image":630,"text":631,"number":632},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.155.png","061\nW35\"×D31\"×H28¼\" \n0V8\nW35\"×D31\"×H28¾\" \n89\n43\n72\n52\n78\n52\n78\n44\n72\n89\nRuff\ndesign: Patricia Urquiola \nyear: 2020\nRU0\nArmchair\nSwivel Armchair\nArmchair\n \nDisegnata da Patricia Urquiola nel \n2020, Ruff è una poltroncina pensata \nprevalentemente per l’utilizzo nel settore \ncontract, in particolare per tutti \ngli spazi che necessitano di soluzioni \nin grado di accogliere e creare ambienti \nfavorevoli alla conversazione e \nalla socialità. Ruff, sorella lounge della \npoltroncina Getlucky, è progettata \nsecondo un principio geometrico \nsemplice ed equilibrato: schienale \ne braccioli sono costituiti da un unico \nelemento che avvolge la seduta correndo \nesternamente lungo il margine della \nstessa; un ideale contrappeso che \nconferisce una presenza armoniosa \ned elegante.\n \nDesigned by Patricia Urquiola in \n2020, Ruff is a small armchair designed \nprincipally for use in the contract sector, \nparticularly in spaces that need to \nbe able to accommodate and create \nenvironments conducive to conversation \nand sociability. Ruff, the lounge sister \nof the Getlucky armchair, is designed \nto a simple and balanced geometric \nprinciple: the backrest and armrests \nare made as a single element that wraps \naround the seat, running externally \nalong its edge and forming an ideal \ncounterweight with a harmonious and \nelegant presence.\nRuff RU0061\nRuff\nRuff RU0061\nInteriors: Ada Ekrem, Expo Nova Møbelgalleri AS\nInteriors: Claude Cartier Décoration\nPhoto: Pierrick Verny \n",155,{"image":634,"text":635,"number":636},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.156.png","Ruff RU0061\nGogan GG0003 + GG010K\nRuff RU0061\nRuff\nRuff\nInteriors: Claude Cartier Décoration\nPhoto: Guillaume Grasset\nInteriors: Patricia Urquiola \u002F Photo Courtesy of Mutina\n",156,{"image":638,"text":639,"number":640},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.157.png","Smock\nSmock\nSM0\ndesign: Patricia Urquiola\nyear: 2005\nArmchair\nArmchair\nSM00VT\n \nDisegnata da Patricia Urquiola nel \n2005, la poltrona Smock promuove \nla tecnica di ricamo utilizzata per \nl’arricciatura del tessuto – il punto \nsmock – a incipit progettuale; fondendo \nartigianalità e processo industriale, la \ndesigner genera una figura sofisticata \ned elegante, capace di penetrare \nl’universo simbolico femminile. Due anelli \ndiventano braccioli, ricordando nella \npurezza dell’esecuzione stilistica una \nbamboo bag; il guscio è un gilet aperto, \npronto per essere indossato, un’alcova \nintima e accogliente. I ricami laterali –  \na punto smock – rendono il drappeggio \ndelicato nello stile, leggero nella forma, \ninfondendo all’oggetto la grazia e la \nraffinatezza proprie di un accessorio \npersonale.\n \nDesigned by Patricia Urquiola in \n2005, the Smock armchair elevates the \nembroidery technique used to drape \nthe fabric — the eponymous smock \nstitching at the heart of this project; \nblending craftsmanship and industrial \nprocessing, the designer created a \nstylish, sophisticated piece which feeds \ninto the symbolic feminine universe.  \nTwo rings become armrests similar to  \nthe simple style of a bamboo bag;  \nthe shell is an open tanktop ready to be \nslipped into, a comfy and welcoming \nnest. The side embroidery — in \nsmocking stitch — renders the draping \ncontemporary, and give a lightness to \nthe form, giving the chair the grace \nand sophistication of a classic fashion \naccessory.\nSmock\n0VT\nW39¼\"×D31½\"\nH26¾\" (seat 13¾\")\n35\n68\n80\n100\n",157,{"image":642,"text":643,"number":644},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.158.png","SM00VT\nSmock\nSmock\nSM00VT\n",158,{"image":646,"text":647,"number":648},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.159.png","Spring collection\nSpring collection\nSS0002\nW78¾\"×D38¼\"\nH41\"(seat 18\")\nSP0050\nW30¾\"×D23¼\"\nH23½\" (seat 11\") \nSZ0061\nW30\"×D33\"\nH30¼\" (seat 17¾\") \nSQ0001\nW48¾\"×D36¼\" \nH38½\"(seat 18\")\nSB0061\nW33\"×D49½\"\nH39¾\" (seat 19¼\") \nSF0050\nW24¾\"×D28¼\"\nH29½\" (seat 17¾\") \nSK0061\nW25½\"×D41\"\nH30¾\" (seat 27¼\") \nTZ0001\nW52¼\"×D34¾\" (seat 20½\")\nH37\" (seat 16½\") \n46\n98\n28\n60\n46\n104\n200\n97\n45\n77\n84\n49\n70\n101\n45\n53\n75\n69\n78\n42\n94\n126\n63\n72\n65\n104\n133\n88\n92\n78\n59\n76\n84\n124\ndesign: Ron Arad\nyear: 1989\nSpring collection\nArmchairs\nSofa\nArmchairs\n \nDisegnata da Ron Arad nel 1989, \nSpring collection dimostra come, \npartendo dalla poltrona Soft Big Easy \n(prima versione morbida di uno dei \nprogetti più rappresentativi del designer) \nun volume, in quanto semplice forma, \npossa essere tradotto in prodotto \nindustriale attraverso una \nreinterpretazione dei materiali e dei \nprocessi produttivi. Il risultato è una vera \ne propria antologia del lavoro di Ron \nArad, oggetti-icona, unici per morfologia \ne dinamica della forma, nati da un gesto \nartistico ma, allo stesso tempo, portatori \ndi un linguaggio progettuale collocabile \nnello spazio intermedio tra design, \nscultura e architettura.\n \nDesigned by Ron Arad in 1989, \nSpring collection is a demonstration \nof how volume, as a simple form, \ncan be translated into an industrial \nproduct by reinterpreting the materials \nand production processes, starting \nwith the Soft Big Easy armchair \n(the first soft version of one of the \ndesigner’s most iconic pieces). \nThe result is an anthology of Ron Arad’s \nworks, icon-objects, unique for their \nmorphology and dynamic forms, an \nartistic statement but also a recognisable \ndesign language at the crossroads \nof design, sculpture and architecture.\nTZ0001\nSF0050\nSofa\nArmchairs\nArmchairs\nOutdoor\n",159,{"image":650,"text":651,"number":652},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.160.png","Spring collection\nSpring collection\n \n↑\nSQ0001\n→\nSS0002\nSF0050\nPhoto Tom Vack\nPhoto Tom Vack\n",160,{"image":654,"text":655,"number":656},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.161.png","SF0050\nSpring collection\n",161,{"image":658,"text":659,"number":660},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.162.png","Spring collection\n↑\nSB0061\n→\nSZ0061\n←\nSF0050 + SB0061\nPhoto Tom Vack\nPhoto Tom Vack\n",162,{"image":662,"text":663,"number":664},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.163.png","Square\nSQ1\ndesign: Jonathan Olivares\nyear: 2022\nSmall armchair\nSmall Armchair\nSettee\nSettee\nSQ1061 + SQ1078\nPhoto: Gianluca Vassallo\nPhoto: Gianluca Vassallo\n \nDisegnata da Jonathan Olivares \nnel 2022, Square è una poltroncina \nimbottita derivata dall’unità quadrata di \nbase che costituisce la trama e l’ordito \ndi un tessuto. Essenziale e dalla natura \nprettamente geometrica, se ingrandita \ne astratta la forma rappresenta il tessuto \nutilizzato per realizzarla. Realizzata \noriginariamente per lo showroom Kvadrat \ndi New York, Square è concepita come \nun oggetto adattabile, formale e,  \nallo stesso tempo, anticonvenzionale, \nflessibile nell’uso grazie allo schienale \nche funge anche da sgabello, perfetta \nper gli spazi di lavoro collaborativi e agili \nche richiedono continue riorganizzazioni.\n \nDesigned by Jonathan Olivares in \n2022, Square is an upholstered armchair \nderived from the basic square unit that \nmakes up the warp and weft of a woven \ntextile. With its essential geometric \nforms, if enlarged and abstracted, the \nchair’s shape represents the textile \nused to make it. Originally designed for \nKvadrat’s flagship New York showroom, \nSquare is conceived as an adaptable \nobject, formal yet at the same time \nanti-conventional. It is flexible thanks \nto its back that can also function as an \nottoman, perfect for collaborative and \nagile workspaces that are regularly \nreorganised.\nSquare\n46\n70\n45\n70\n45\nSquare\n061\nW17¾\"×D27¾\" (seat 17¾\")\nH27¾\" (seat 18¼\")\n078\nW37½\"×D27¾\" (seat 17¾\")\nH27¾\" (seat 18¼\")\n95\n46\n70\n45\n70\n46\n70\n45\n70\n45\nSquare\n061\nW17¾\"×D27¾\" (seat 17¾\")\nH27¾\" (seat 18¼\")\n078\nW37½\"×D27¾\" (seat 17¾\")\nH27¾\" (seat 18¼\")\n95\n46\n70\n45\n70\n",163,{"image":666,"text":667,"number":668},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.164.png","SQ1061\nSQ1061 + SQ1078\nSquare\nSquare\nPhoto: Daniele Ansidei\nPhoto: Gianluca Vassallo\n",164,{"image":670,"text":671,"number":672},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.165.png","0V6 389\nL31½\"×D34¾\"×H43¼\" \n(seat 15¾\")\n036\nL35½\"×D58¾\"×H35½\" \n(seat 14½\")\n0V7\nL25½\"×D24¾\"×H13¾\"\n40\n88\n80\n110\n37\n140\n90\n35\n63\n65\n90\nTake a line for a walk\nTK0\ndesign: Alfredo Häberli\nyear: 2003\u002F2016\nArmchair\nChaise Longue\nFootstool\nChaise Longue\nArmchair\nFootstool\nTake a line for a walk TK0036\nMorning Glory MG006H\n \nDisegnata da Alfredo Häberli nel \n2003, la poltrona si presenta come una \nscocca imbottita, comoda e protettiva, \nper appoggiare il capo, riposare o isolarsi \ndall’ambiente circostante. Perfetta per \nl’utilizzo in ambienti dove è necessario \nottenere il giusto compromesso tra \ncomfort e riservatezza, mantiene \ninalterata la forza comunicativa anche \nin contesti residenziali. La collezione \ncomprende la poltrona, disponibile \nanche nella versione con trapunta \nimbottita, il poggiapiedi e una chaise \nlongue. Il design è un prestito da \nuna famosa citazione dell’artista svizzero \nPaul Klee: “A drawing is simply a line \ngoing for a walk”.\n \nDesigned by Alfredo Häberli in \n2003, the armchair resembles a padded \nand comfortable protective shell in \nwhich to relax or hide oneself away. \nIdeal for environments that seek a \nbalance between comfort and privacy, \nits communicative power remains \nunchanged even in residential settings. \nThe collection comprises the armchair – \nalso available in a padded quilt version \n– a footrest and a chaise longue. \nThe name is taken from a famous quote \nby the Swiss artist Paul Klee: “A drawing \nis simply a line going for a walk”.\nTake a line for a walk\nTake a line for a walk\nTK00V6\n",165,{"image":674,"text":675,"number":676},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.166.png","Take a line for a walk\nTake a line for a walk\nTake a line for a walk \nTK00V6 + TK00V7\nTake a line for a walk \nTK00V6\n",166,{"image":678,"text":679,"number":680},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.167.png","Tropicalia\nTropicalia TR0128\ndesign: Patricia Urquiola \nyear: 2008\nTropicalia\nTR0\nArmchairs\nChaise Longue\nChairs\nDay Bed\nCocoon\nTropicalia\n \n133\n464-465\nL21¼\"×D22\" (seat 17¼\")\nH32\" (seat 17¾\")\n467-468\nL23¼\"×D22\" (seat 17¼\")\nH32\" (seat 17¾\")\n458-459\nL35\"×D34¼\" (seat 22½\")\nH30¾\" (seat 14½\")\n461-462\nL37\"×D34¼\" (seat 22½\")\nH30¾\" (seat 14½\")\n470-471\nL35½\"×D61¾\" (seat 48\")\nH30¼\" (seat 14½\")\n45\n81\n30\n67\n137\n122\n186\n130\n70\n94\n107\n186\n44\n56\n54\n45\n81\n44\n56\n59\n37\n78\n57\n87\n89\n37\n78\n57\n87\n94\n37\n77\n122\n157\n90\n060\nL73¼\"×D73¼\" (seat 48\")\nH54\" (seat 11¾\")\n128\nL42\"×D27½\"×H54¼\"\nChairs\nArmchairs\nChaise Longue\nDay Bed \nCocoon\n \nDisegnata da Patricia Urquiola \nnel 2008, Tropicalia è una collezione \ncostituita da due poltrone, due sedie, \nuna chaise longue, un day-bed e \nun “cocoon”, una poltrona sospesa da \ngiardino di grande impatto. Attraverso \nun make-up creativo, la designer \ntraveste il telaio facendo assumere alle \nsedute personalità diverse a seconda \ndei colori utilizzati. Il giro di filo è simile \na un colpo di matita, marca una \nsuperficie che è contemporaneamente \ngrafica e strutturale, diventa gesto \ncostruttivo e forma d’identità. \nLa struttura, in acciaio inox o verniciato, \nè adatta all’uso esterno.\n \nDesigned by Patricia Urquiola in \n2008, the Tropicalia collection consists \nof two armchairs, two chairs, a chaise \nlongue, a day-bed and a striking cocoon \n(a suspended garden chair). \nThe designer has creatively disguised \nthe frame, allowing the seats to take \non different personalities depending \non the colour schemes employed. \nThe threading resembles a pencil line; \non a surface that is both graphic and \nstructural it becomes both a constructive \ngesture and a form of identity. With a \nstainless or lacquered steel frame, the \ncollection is suitable for outdoor use.\nTropicalia\n \n133\n464-465\nL21¼\"×D22\" (seat 17¼\")\nH32\" (seat 17¾\")\n467-468\nL23¼\"×D22\" (seat 17¼\")\nH32\" (seat 17¾\")\n458-459\nL35\"×D34¼\" (seat 22½\")\nH30¾\" (seat 14½\")\n461-462\nL37\"×D34¼\" (seat 22½\")\nH30¾\" (seat 14½\")\n470-471\nL35½\"×D61¾\" (seat 48\")\nH30¼\" (seat 14½\")\n45\n81\n30\n67\n137\n122\n186\n130\n70\n94\n107\n186\n44\n56\n54\n45\n81\n44\n56\n59\n37\n78\n57\n87\n89\n37\n78\n57\n87\n94\n37\n77\n122\n157\n90\n060\nL73¼\"×D73¼\" (seat 48\")\nH54\" (seat 11¾\")\n128\nL42\"×D27½\"×H54¼\"\nTropicalia TR0128\n",167,{"image":682,"text":683,"number":684},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.168.png","Tropicalia\nTropicalia\n← \nTropicalia \nTR0464 + TR0467\nTropicalia TR0459\n",168,{"image":686,"text":687,"number":688},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.169.png","←\nTropicalia TR0471\nTropicalia TR0060\nTropicalia\n",169,{"image":690,"text":691,"number":692},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.170.png","Fishbone\nFB0\ndesign: Patricia Urquiola \nyear: 2012\nT59\nT67\nT58\nT57\nT64\nT63\nT65\n \nDisegnata da Patricia Urquiola nel \n2012, la collezione di tavolini Fishbone \nè contraddistinta da un motivo a lisca \ndi pesce che interpreta in chiave \ncontemporanea la tecnica dell’intarsio \nesaltando le caratteristiche decorative \ndel metacrilato. Nei piani, gli abbinamenti \ngiocano sull’accostamento grafico di \ncolori e suggestioni materiche: tinte \npastello e colori pieni come l’avio e il \nbordeaux sono associati alla sabbia \no al corno. Ideali per il completamento \ndi qualsiasi tipologia di interior, sono \ndisponibili in versioni cromatiche che \nspaziano dalla presenza del giallo, \nalle tonalità verde-azzurro o ad un mix \ndi rosso fragola, cacao e tortora.\n \nDesigned by Patricia Urquiola \nin 2012, the Fishbone coffee table \ncollection has a distinctive herringbone \ndesign that interprets the inlay technique \nin a contemporary key, enhancing \nthe decorative characteristics of \nmethacrylate. The tops feature graphic \ncombinations of colours and textures in \nwhich pastel shades and fuller colours \nsuch as air force blue and burgundy are \ncombined with sand or horn. Ideal for \nfinishing any type of interior, they are \navailable in colour versions ranging from \na yellow tone, to green-blue shades or \na combination of strawberry red, cocoa \nand dove grey.\nFishbone\nSide tables\nT63\nL21¼\"×D13½\"\nH19¾\"\nT64\nL26¾\"×D21¼\"\nH17¾\"\nT65-T66\nL42½\"×D26¾\"\nH15¾–23¾\"\n50\n34\n50\n34\n45\n42\n68\n50\n54\n68\n95\n54\n54\n50\n40-60\n40-60\n54\n68\n68\n108\nT57\nL21¼\"×D13½\"\nH19¾\"\nT58\nL26¾\"×D16½\"\nH17¾\"\nT59\nL26¾\"×D21¼\"\nH19¾\"\nT67-T68\nL37½\"×D37½\"\nH15¾–23¾\"\nLow Tables\nFishbone\n",170,{"image":694,"text":695,"number":696},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.171.png","Fishbone\nFishbone\nFishbone \nFB0T65 + FB0T64 \n+ FB0T63\nFishbone\nFB0T59 + FB0T58 \n+ FB0T57\n",171,{"image":698,"text":699,"number":700},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.172.png","Phoenix\nPH0\ndesign: Patricia Urquiola \nyear: 2004\nLow Tables\n \nDisegnati da Patricia Urquiola \nnel 2004, i tavolini della collezione \nPhoenix sono caratterizzati dalla forma \novoidale e leggermente irregolare \ndei piani. Due superfici orizzontali che, \ncome proiezioni bidimensionali \ndi forme organiche, scivolano l’una \nsull’altra, sovrapponendosi in parte. \nUna suggestione che svela la scelta \ndel nome, derivata dalla silhouette \ndell’astronave USS Phoenix di \nStar Trek, serie televisiva icona della \ncultura fantascientifica americana \ndegli anni ’60.\nDesigned by Patricia Urquiola in 2004, \nthe tables of the Phoenix collection \nhave distinctive tops, ovoid and slightly \nirregular in shape. Two horizontal \nsurfaces slide over each other, partially \noverlapping, like two-dimensional \nprojections of organic shapes. \nThis image explains the choice of \nname, derived from the silhouette of the \nspaceship USS Phoenix from Star Trek, \nthe iconic 1960s science fiction series \nproduced for American television.\n0HL\nL37½\"×D38½\"×H10¾\"\n0HZ-0KG\nL37½\"×D38½\"×H10¾\"–13\"\n0HY\nL53¼\"×D38½\"×H13\"\n0HP-0KP\nL53¼\"×D38½\"×H10¾\"–13\"\n27\n98\n95\n27-33\n27-33\n98\n95\n33\n98\n135\n98\n135\nLow Tables\nPhoenix\nPhoenix PH00KG + PH00HP\n",172,{"image":702,"text":703,"number":704},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.173.png","→\nPhoenix PH00HL + PH00HY \nClarissa CL103Q\nPhoenix PH00HZ + PH00KP\nPhoenix\nInteriors: Neil Cownie Architect \u002F Photo: Jack Lovel\n",173,{"image":706,"text":707,"number":708},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.174.png","RW03FS\nRows\nRW0\nRows\ndesign: Patricia Urquiola\nyear: 2023\n \nDisegnati da Patricia Urquiola nel \n2023, i tavoli della collezione Rows \nsuscitano, per estetica ed espressività \ndella forma, suggestioni che dal déco \narrivano fino al razionalismo degli anni \n‘30. Il tavolo Vertical, con un richiamo \nvelatamente monumentale, porta \nall’interno di uno spazio il fascino e la \nforza di una struttura architettonica, \nquasi a ricercare la similitudine con le \nscanalature di una colonna. Un’essenza \nscultorea resa ancora più evidente nel \ntavolo Diagonal, dove l’impulso al rigore \nortogonale si apre all’utilizzo della \nlinea obliqua; geometria che, per sua \nstessa natura, è in grado di conferire \nalla struttura una maggiore dinamicità. \nIl piano è proposto in continuità formale \ncon i mobili contenitori, nella versione in \nlegno, in vetro retro-verniciato o in una \npregiata selezione di marmi.\n \nThe aesthetic expressiveness of \nthe Rows table collection, designed \nby Patricia Urquiola in 2023, shows \ninfluences ranging from deco to 1930s \nrationalism. The Vertical table has \na subtle appeal, with a distinct and \nattractive architectural quality that \nbrings to mind images of a fluted column. \nSculptural influence is even more evident \nin the Diagonal table, which displays \northogonal rigour in its use of oblique \nlines to give a more dynamic feel. The \ntops maintain continuity of form with the \nstorage units, and are available in wood \nor back-painted glass, or in a range of \nfine marbles.\nRows tables\n2FQ-3FQ-4FQ\nW70¾\"×D37½\"×H29\"\n2FR-3FR-4FR\nW94½\"×D39¼\"×H29\"\n2FS-3FS-4FS\nW94½\"×D39¼\"×H29\"\n2FT-4FT\nW118\"×D39¼\"×H29\"\n180\n240\n300\n95\n74\n100\n74\n100\n74\n100\n74\n240\nTables\nTables\nPhoto: Leonardo Duggento\n",174,{"image":710,"text":711,"number":712},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.175.png","Rows\nRW04FT\n",175,{"image":714,"text":715,"number":716},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.176.png","Rows\nRW03FR\n",176,{"image":718,"text":719,"number":720},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.177.png","RW03FR\nRows\nRows\nRW03FR\nPhoto: Leonardo Duggento\n",177,{"image":722,"text":723,"number":724},"\u002Fmedia\u002Fimages\u002Fc8\u002F3f1e95ae5624207dc53822b8201485-28e67db66c.178.png","Frame-Shift\ndesign: Gabriele e Oscar Buratti\nyear: 2021\nBookshelf\nFrame-Shift FS0L1D\n \nDisegnata da Oscar e Gabriele \nBuratti nel 2021, Frame-Shift è un \nmobile-libreria estremamente versatile \nper funzionalità e per presenza estetica. \nI ripiani in legno sono sostenuti \nda una leggera scatola in estruso di \nalluminio pensata per ospitare pannelli \nscorrevoli di chiusura su entrambi i lati, \npermettendo così l’utilizzo sia a parete \nche al centro della stanza. Il mobile può \nessere composto con estrema libertà per \nadattarsi agli spazi della casa in maniera \nflessibile e articolata: da mobile basso \no base porta TV, a credenza a parete \nfino a grande libreria a quattro o cinque \npiani, anche da utilizzare come divisorio \na centro stanza. \n \nDesigned by Oscar and Gabriele \nBuratti in 2021, Frame-Shift is a highly \nversatile bookcase, both functionally \nand aesthetically. 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