[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-gubi-goes-al-fresco-2022":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":228},{"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":223,"matched_pages":224,"match_count":225,"two_pages":226,"show_text":227},24830,"Goes Al Fresco 2022","gubi-goes-al-fresco-2022","\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F2f\u002Fb9ca12ceb3a603dce7752cc604ad40-28fc22f114.pdf","GUBI",1852,"gubi","87.7 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],{"image":7,"text":15,"number":16},"GUBI.COM\nGOES AL FRESCO\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.3.png","2\nGUBI is venturing into the open air and breaking down the \nboundaries between inside and out. This new take on al fres-\nco design features new collections from archival and con-\ntemporary designers, alongside outdoor versions of much-\nloved indoor classics. In the threshold spaces between \ninside and outside, iconic designers’ visions of la dolce vita \ncome to life, with a refined bohemian aesthetic and a sense \nof celebration.\nThe divisions between inside and out have been blurring for \ndecades, and today, there is a distinct global shift towards \na more flexible approach to where we work, rest and play. \nWhereas once people wanted to ‘bring the outside in’ with \nbiophilic interiors, or take the inside out by creating ‘outdoor \nrooms,’ now indoor and outdoor areas are merging to cre-\nate overlapping zones where the conventional distinctions \nbetween indoors and out are eroded. Such threshold spac-\nes are no longer seen simply as welcome additions to our \nhomes, but an integral part of them.\nToday, more and more of us are investing in considered \nschemes that flow out onto a terrace or balcony, extending \nthe usable square footage of our homes. Architecture flows \noutside to create ‘transteriors’ – half-way spaces of transition \nthat are neither fully indoors nor entirely out. These might be \ncovered patios, sunrooms and conservatories, heated decks \nor greenhouses, pergolas strung with lights that draw the \neye and create a convivial atmosphere, or even simple cano-\npies to gather beneath. \nPeople are increasingly making design decisions that enable \nthem to extend the amount of the day – and the year – that \nthey can spend outside, investing in partially covered spaces \nthat offer shade from the sun in the summer and protection \nfrom the elements in the shoulder seasons. There is an al-\nmost magical appeal about the night sky, some wild weath-\ner, or a perfectly planted garden, enjoyed from the vantage \npoint of low-level seating in a warm, comfortable space.\nWhen moving outside, design lovers don’t leave their style \nor standards at the door – they prioritize the same aesthet-\nics and want all the same comforts of inside on the outside. \nChallenging the utilitarian focus of traditional outdoor furni-\nture, these new spaces demand the same aesthetic and er-\ngonomic standards as indoor design. The humble barbecue \ngrill teamed with a table and four chairs will no longer cut it.\nAs we move through, between, and within spaces, we want \nour design values to move with us. Outdoor spaces have ac-\nquired the same importance to us as rooms within the house \nGUBI       GOES\n AL  FR ESCO\n– zoned into comfortable, well-equipped extensions of the \nhome, providing for everything you might do inside, with aes-\nthetic standards to match. \nThere is a space for every purpose and every time of day, from \ncozy single-person nooks to afternoon sun traps for lounging \nwith family and friends, and from expansive dining areas with \nlong generous tables to secluded breakfast spots perfectly \npositioned to catch the morning light just for the family.\nDesigned to move easily between indoor and outdoor spac-\nes, GUBI’s new ‘transterior’ furniture and lighting includes \nthe refined alternative-lifestyle aesthetic of Gabriella Cres-\npi’s Bohemian ’72 Collection, loved by the stars of stage and \nscreen. GUBI adds dynamism to GamFratesi’s TS Table and \nBill Curry’s innovative Obello Lamp, reinventing them as por-\ntable accessories that follow us wherever we go, bringing the \nlook and feel of the indoors outside.\nThese transitional pieces are complemented by a selection of \nweatherproof options developed for year-round outdoor use. \nThe low-level lounging embodied in Pierre Paulin’s sculptural \nPacha Collection and the functional rigor of Marcel Gascoin’s \nC-Chair and F-Chair – now in teak – are reimagined for the \noutdoors. Out of production for decades, Mathieu Mategot’s \nTropique Collection is also back – its playful fringes and \nhammock-like seat and backrest perfect for poolside dining \nin the sun.\nStatement pieces create interest and tell a story – and while \na chandelier over the patio table might be impractical, adding \nportable table lamps or a striking piece of furniture is a simple \nway to elevate the atmosphere. You can create a bold and yet \nunified interior scheme that also encompasses the exterior \n– safe in the knowledge that everything has been optimized \nfor outdoor use. You will even find outdoor-ready upholstery \noptions to match your aesthetic taste.\nFrom design classics converted for outdoor use to original \ndesign masters’ takes on al fresco living and contemporary \nadditions to the collection, the newly expanded GUBI Col-\nlection has been curated without compromise to embrace all \nspaces. Under a roof or open to the elements, you can have \nthe best of GUBI wherever life takes you.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.4.png","4\nGABRIELLA\nCRESPI\nIn the year that Italian \ndesigner Gabriella Crespi \nwould have turned 100, \nand 50 years after its ini-\ntial conception, GUBI is \nputting the Bohemian 72 \nCollection into production \nfor the first time. The col-\nlection is the beginning of \na new collaboration with \nArchivio Gabriella Crespi \nand reflects the harmony \nbetween Crespi’s artis-\ntic, bohemian vision and \nher love of travel and \nGUBI’s confident cura-\ntions and global outlook. \n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.5.png","6\nD E S I G N E R \nTO     THE\nSTARS\nBorn in 1922, Italian artist and designer Gabriella Crespi would \nhave turned 100 this year. Throughout her extraordinary ca-\nreer in the design world, she moved effortlessly among both \nEuropean royalty and the Hollywood jet set. Her indisputable \nglamour and sophisticated sense of style made her a muse to \nthe fashion designer Valentino, and brought the likes of Au-\ndrey Hepburn, Gianni Versace, and Hubert de Givenchy into \nher social circle. As a designer, it was her gift for streamlined \nforms and lavish material finishes that won her a dedicated \nfollowing and saw her become a coveted partner to presti-\ngious fashion houses ranging from Dior to Stella McCartney.\nCrespi’s aesthetic was characterized by dualities, pairing \nmodernist functionality with an eye for the baroque, and shift-\ning between clean lines and sensuous curves. When she died \naged 95 in 2017, she left behind a repertoire of more than two \nthousand pieces, spanning furniture, jewelry, and sculpture \n– all imbued with an eclectic style that embraced both the \norganically whimsical and the formally geometric. \nCrespi’s daughter Elisabetta Crespi now heads up Archivio \nGabriella Crespi. “My mother was utterly Milanese,” she says. \n“She had extraordinary taste, stemming from her inner pas-\nsions and bohemian lifestyle. She was naturally elegant and \ndidn’t follow mainstream fashion; instead, she favored a cul-\ntivated simplicity in her aesthetic. She was modern, daring \n- almost radical in her propositions. From her innate allur-\ning qualities to the inviting furniture she designed, everything \nwas sophisticated yet unconventional, with a warm, human, \nand sensuous feel to it.”\nBohemian 72 Ottoman\nBohemian 72 Floor Lamp\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.6.png","8\nBohemian 72 Sofa\nBohemian 72 Ottoman\nBohemian 72 Lounge Chair\nTS Outdoor Coffee Table Ø80\nEpic Coffee Table \n9602 Floor Lamp\nGravity Table Lamp\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.7.png","10\nTo honor the inspiring and extraordinary designer that Ga-\nbriella Crespi was, GUBI is proud to introduce the Bohemian \n72 Collection. Elegant, flexible, and refined, this collection is \nthe distillation of Crespi’s vision of a versatile rattan furniture \nfamily for what she called her ‘house of the sun’. The pinnacle \nof the jet-set bohemian lounge lifestyle, Bohemian 72 brings \ntogether Crespi’s interest in natural materials, her fascination \nwith stacked sculptural forms, and her curiosity about Eastern \ncultures and philosophies, honed over years of travel.\nDuring her lifetime, these exclusive pieces were only ever pro-\nduced for private clients, but today, 50 years after they were \nfirst conceived, GUBI has worked from Crespi’s original draw-\nings to bring an extraordinary collection into production for \nthe first time. In these iconic rattan furniture designs, a worldly \nMilanese sophistication is conjured from one of nature’s most \nhumble-seeming materials.\nCrespi designed the Bohemian 72 Collection in the spring of \n1972 from the terrace of her home in Milan. Alongside the re-\nnowned ‘Rising Sun’ and ‘Five Positions’ Collections, Bohe-\nmian 72 was part of Crespi’s wider ‘Bamboo Collection’, de-\nsigned between 1972 and 1975. Comprising a lounge chair, \nthree-seater sofa, ottoman and floor lamp, the collection is the \nculmination of Crespi’s career-long mission to create furniture \nthat seamlessly unites indoor and outdoor living. \nLIFESTYLE\nBOHEMIAN 72    CRESPI’S\n      REFINED            LOUNGE\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.8.png","12\nDrawn to rattan for its strength and versatility, she conceived \nthese pieces at a time when the material was very much in \nvogue within the high-society circles in which she moved, \nviewed as the height of interior sophistication. Her deci-\nsion to use repeating layers of vertically coiled rattan vines,  \nhowever, was unusual for the time, and results in a distinctive \nand highly luxurious take on lounge furniture that has proven \ntruly timeless.\n \nCrespi’s goal was to create a flexible rattan seating collec-\ntion that felt equally at home in the city or the country, at \nthe seaside or high on a mountain slope. Her great ambi-\ntion, she once said, was to create ‘a house of the sun’ – an \nenvironment that radiated warmth, light and sophistication. \nRattan, with its gentle tones, natural appearance and the \nway light passes between its canes, is the perfect material \nto create such a setting. \n“I wanted to create the house of the sun,”  she said. “I \ncouldn’t help but do it with rattan and bamboo, materials of \nwhich I’m very fond and that combine strength and flexibility, \nthe warmth of mellow tones, and the ability to be run through \nby light. Very long spokes give an impression of the infinite \nand indeterminate just as cane thickets that rise toward the \nsky do in nature.”\nTo recreate Crespi’s original designs demands a high lev-\nel of craftsmanship, as the rattan canes must be steamed \nand then bent by hand around a die, specially made to the \ndimensions of her drawings. Because it is a natural material, \nstandardizing rattan is a complex process, and color, texture \nand dimension differ from vine to vine, introducing another \nlevel of skill to the production process. \nCRESPI’S  \nLOVE OF\nR\nA\nT\nT\nA\nN\nBohemian 72 Floor Lamp\nBohemian 72 Lounge Chair\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.9.png","14\nBohemian 72 Ottoman\nBohemian 72 Sofa\n9602 Floor Lamp\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.10.png","16\nEach of the seats is topped with a lavishly plump cushion that follows the \noutline of the rattan frame perfectly, based on Crespi’s original drawings. \nSleek in form but supremely soft, they introduce a cosseting level of com-\nfort to the collection. This near-decadent focus on indulgence is empha-\nsized in the backrest of the lounge chair, which has a generous 115º incline \nto encourage even deeper relaxation. \nThe floor lamp has a shade formed from a vertical arrangement of rattan \nstrips, with brass detailing. The pattern of the strips allows the lamp to cast \na beautifully delicate play of light and shade on the floor around it, evok-\ning an atmosphere of rustic warmth and bohemian sophistication. In all \nfour pieces, the bent rattan canes and strips are stained with antique color \nand finished with a gloss coating to ensure a consistent appearance and a \nrich and warming natural texture. Each member of the collection can stand \nproudly on its own, but taken as an ensemble, the quartet makes a timeless \nstatement of luxury. \nBOHEMIAN\n72 \n \nUP\nCLOSE\nLeft: Bohemian 72 Floor Lamp \nBohemian 72 Lounge Chair\nRight:  Bohemian 72 Lounge Chair\nTropique Dining Chair\nTropique Dining Table\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.11.png","18\nLeft: Bohemian 72 Lounge Chair\nRight: Bohemian 72 Ottoman, Epic Coffee Table \n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.12.png","GASCOIN \nOUTDOOR\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.13.png","22\nMARCEL \nGASCOIN \nFrench designer Marcel \nGascoin (1907-1986) was \none of the leading furniture \ndesigners of the post-war \nera. He is recognized for the \nvital role he played in the \nreconstruction of France \nafter the Second World \nWar, when his pragmatic \nmodular storage units and \nmatching sets of wooden \nfurniture, which focused on \nclean aesthetics and func-\ntionality, became a sta-\nple for French households.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.14.png","24\nDuring the post-war housing crisis in France, Gascoin \nworked as an interior architect and designer for the French \nMinistry of Reconstruction and Urbanism, designing homes \nas well as the furniture to go inside them. He drew on his \nlong-held love of wood, his childhood fascination with com-\npact and efficient nautical interiors, and his training as an \ninterior designer and cabinetmaker to create a new standard \nfor furniture that was rational and utilitarian.\nThe new concept of a “living-room” (pièce à vivre) was \nlaunched at the “Logis 49” fair in Paris, combining two tradi-\ntionally separate spaces for dining and resting or “living” and \nplacing the kitchen nearby. Forward-thinking for its time, and \ndriven by a strong social conscience, Gascoin’s democratic \ndesign connected art and industry, bringing together clean \naesthetics, efficient manufacturing processes and common \nsense to create some of the first modular and multifunction-\nal furniture sets. They balanced utility with elegance, used \ncoherent design to enable affordability, and have been de-\nscribed as “a model of modernity”.\nGascoin was a member of the UAM (L’Union des Artistes \nModernes or the French Union of Modern Artists) alongside \nimportant modernist designers such as Robert Mallet-Ste-\nvens, Charlotte Perriand, Jean Prouvé, Mathieu Martégot, \nEileen Gray, René Herbst and Le Corbusier. This was an in-\ntellectual movement bound by a philosophy of design that \nunited function with fabrication. In his own workshop, he \npassed his knowledge on to the next generation of interior \ndecorators and furniture designers, and several of Gascoin’s \napprentices, such as Michel Mortier, Pierre Paulin and Jo-\nseph-André Motte, went on to have distinguished careers as \ndesigners in their own right.\nToday, Gascoin’s work is being re-discovered by collectors, \ncurators and designers across the globe, all of whom ad-\nmire his quietly revolutionary approach to design. For the \nnew Gascoin Outdoor Collection, Marcel Gascoin's nautical \nupbringing inspired the combination of teak and woven cord, \na perfect material choice for high-quality exterior furniture.\nGASCOIN\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.15.png","26\nThe garden gets an upgrade with the simple functionality of \ntwo of Marcel Gascoin’s most enduring iconic designs. GU-\nBI’s new outdoor collection, now in teak, represents significant \ninnovation for Gascoin’s iconic design, adapting the C-Chair \nfor al fresco mealtimes, and adding a new lounge typology to \nGUBI’s collection.\nA new outdoor version of the much-loved C-Chair – a din-\ning chair originally designed in 1947 for post-war housing in \nFrance – is joined outside by a little-known Gascoin gem, the \nF-Chair. The more relaxed incline and paddle-shaped arm-\nrests, together with its woven seat which widens at the front, \nmake the F-Chair an altogether more leisurely affair.\nThis rarely seen design made its first appearance in 1949 at the \ntraveling exhibition ‘Maison Rurale’, which set out to showcase \nfurniture that met the particular needs of life in the countryside. \nHowever, it was never produced at scale, and original exam-\nples are rarities today.\nLeft: C-Chair Outdoor Dining\nRight: F-Chair Outdoor Lounge \nTS Outdoor Side Table Ø40\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.16.png","28\nBoth the C-Chair and the F-Chair are optimized for the out-\ndoors in both their ergonomics and their materiality. Propor-\ntions have been fine-tuned to maximize comfort and frames \nhave been carefully crafted with traditional joinery using plan-\ntation teak. The seats and backrests are tightly woven from \nan outdoor all-weather fiber made of an extruded polyethylene \nand twisted to resemble natural hyacinth woven furniture. The \nweave pattern creates triangle shapes from all four sides of \nthe seat and backrest, converging at the center of each like \nan envelope. The woven cord captures the natural look of the \nindoor version, while being durable enough to withstand the \nelements outside. \nA LEISURELY\n AFFAIR\nLeft: F-Chair Outdoor Lounge\nRight: C-Chair Outdoor Dining\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.17.png","30\nF-Chair Outdoor Lounge\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.18.png","O B E L L O\nO B E L L O\nO B E L L O\nO B E L L O\nO B E L L O\nO B E L L O\nO B E L L O\nO B E L L O\nO B E L L O\nO B E L L O\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.19.png","34\nBILL\nCURRY\nAmerican designer Bill Curry (1927-1971) \ncaptured the zeitgeist of the 1960s and ‘70s \nwith his iconic lamp designs. From his unique \nLos Angeles vantage point at the meeting \npoint of art, design and engineering, during \nan era defined by the space race, pop culture \nand a new forward-looking optimism, he \ntranslated the wonder and delight he saw \naround him into simple yet intelligent ideas \nwith clear visual narratives. Credited with \ndeveloping the first ‘total look’ lamp forms – \neliminating the base-bulb-shade concept and \ninstead exploiting the bare bulb in a playful, \nself-contained unit – he was recognized as \none of California’s leading designers by the \ntime he died at the age of just 43.\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.20.png","36\nAfter serving in the US Navy, Curry studied at Art Center \nCollege of Design in Pasadena, California, before starting his \ncareer as an ad man, graphic designer and art director in the \naerospace industry. His multi-disciplinary background and \nexposure to pioneering developments in electronics and sys-\ntems engineering in the aerospace industry gave Curry the \nexperience and confidence to venture into industrial design \nand launch his own home furnishings company, Design Line \nInc., in 1962.\nFrom the first human-made object touching the lunar sur-\nface in 1959 to Neil Armstrong’s first steps on the Moon in \n1969, the era was dubbed the ‘space age’ and its aesthet-\nics influenced a generation. At the same time, the miniskirt \nmoved from science fiction films to the high street, popu-\nlarized by designers such as Mary Quant, and a new gen-\neration of Disney artists turned Mickey Mouse into a global \nicon: pop culture was born. The modernism that had char-\nacterized American architecture since the 1930s evolved \ninto a futuristic style influenced by the space race as well \nas emerging car culture, jet engines, pop trends, and the \n‘Atomic Age’. From his beach house in Playa del Rey, Curry \nwatched the jets flying over Los Angeles Airport and, imag-\nined a future shaped by new technologies.\nHe absorbed all these influences and ideas to develop a new \nnorm for lighting – a single piece that combined stand, bulb \nand shade into one organic, yet bold and colorful ‘LA space-\npop’ form, fit for tomorrow’s world. He contrasted colorful \ncast-iron bases with transparent glass tops, and combined \ninterrelated materials, parts and colors across multiple prod-\nucts. His space-age ‘total look’ lamps were an instant hit \n– Industrial Design Magazine awarded his collection the \naccolade of ‘Best Lamps of the Year’ and the US Depart-\nment of Commerce showcased his Stemlite Collection in \nthe Soviet Union, Yugoslavia, and Iraq, as exemplars of \nAmerican design.\nBy 1969, with more than 50 national design awards, includ-\ning the New York Art Directors Club’s Award of Distinctive \nMerit, to his name, Curry was described by the Los Angeles \nTimes as “one of California’s leading designers” just before \nhis untimely death two years later. His legacy lives on today \nas one of the true pioneers of American space-age design.\nBill Curry designed the Obello Lamp in 1971. Using the visu-\nal form of a mushroom, he took inspiration from the atomic \nage, space race, and pop culture that would go on to define \n1970s Los Angeles. Sadly, he passed away the same year, \nand never saw the Obello Lamp go into production – in fact \nit was at such an early prototype phase that he hadn’t even \ngiven it a name.\nL.A. SPACE\n           POP\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.21.png","38\nHalf a century later, with the endorsement of his family, GUBI \nhas put Curry’s innovative design into production for the first \ntime, now as a portable version. With a frosted, mouth-blown \nglass shade, as used for Curry’s original lamps, and integrat-\ned dimmable-LED light source, the rechargeable lamp can \neasily be moved between inside and out. With a complete \ncharge in four and a half hours, providing up to 40 hours of \nlight, Obello will create a cozy atmosphere as the sun starts \nto set and last well into the night. The Obello Lamp is an icon-\nic space-age design that will make a strong statement, either \nas a playful center piece or a point of curiosity within any \noutdoor space.\nLet the Obello Lamp light up your interior or pick it up and \ncarry it outside to create the sense of an ‘outdoor room.’ The \nshade is made from mouth-blown glass – a challenge given \nits shape – as a nod to old petroleum lanterns, and the por-\ntable size makes it easy to carry. This materiality and crafts-\nmanship adds value and tactility, making each lamp unique.\nThe dimmer switch means it can be turned up as the sun \ngoes down to extend the evening beyond dusk. Its soft glow \nis created by two LEDs, a brighter bulb one facing upwards, \nand a dimmer bulb facing downwards into the lamp’s stem. \nThe integrated dual-output LED and frosted shade ensure \nan even light distribution and the same look from all angles. \nWhile the lamp should be stored and charged indoors, it is \nsplash-proof and so will withstand the odd rainshower, as \nwell as sand and soil. If you’re happy to be outside – so is \nthe Obello.\nThe Obello Lamp is being relaunched as part of GUBI’s mis-\nsion to reintroduce Bill Curry’s work to contemporary audi-\nences, securing his place in the design pantheon. Its striking \nform, flexible functionality and quality craftsmanship make it \nan ideal addition to the GUBI Collection.\nObello Lamp\nTropique Dining Chair\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.22.png","40\nGLASS \nMELTS\nAT \nDEGREES\n1120°\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.23.png","42\nObello Lamp\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.24.png","TS\nO\nU\nT\nD\nO\nO\nR\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.25.png","46\nGamFratesi was established in Copen-\nhagen in 2006 by Danish architect Stine \nGam (born 1975) and her partner, Ital-\nian architect Enrico Fratesi (born 1978). \nGam studied at the school of architecture \nin Aarhus, Denmark, before training \nand working as an architect in both It-\naly and Tokyo. Fratesi read architecture \nat universities in Florence and Ferrara \nand worked as an architect in Stockholm \nand Denmark while still studying. As a \npair, they operate in symbiosis, sharing \neverything across their personal and pro-\nfessional lives. Gam takes a particular \nand thoughtful approach to design, while \nFratesi moves more conceptually and \nenergetically. This instinctive and spon-\ntaneous fusion of two ways of working \nis one of their key strengths.\nG\nA\nM\nF\nR\nA\nT\nE\nS\nI\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.26.png","48\nThe TS Collection is already well known and appreciated among design \nlovers for its ability to suit any interior and setting. Now, the black-based TS \nSide and Coffee Tables are getting the outdoor treatment. The luxurious ta-\nbletops, in beautifully veined white travertine, complement the sharp, geo-\nmetric bases in powder-coated stainless steel, and enable the collection’s \nstylish interior aesthetic to cross the threshold into the open air.\nThe TS Collection for outdoor, offered in two sizes, creates a sophisticated \nand sculptural statement with its characteristic slender legs, crossing de-\ntails and contrasting solid tabletop. It was designed in 2014 by GamFratesi \nfor renowned restaurant The Standard in Copenhagen, from which it takes \nnot only its name, but also its aesthetics and material inspiration.\nBrought together with exceptional quality and craftsmanship, the TS Col-\nlection is a friendly combination of classic and contemporary lines – the \nfundamental characteristics of the GUBI Collection. The tables can be both \npractical and playful, creating different expressions with varying functions, \ndepending on the sizes and number of tables combined.\nAn understated colorway that lets the texture of the stone take centerstage, \nthe Neutral White travertine and black frame is the minimalist option, per-\nfect for a calm, quiet space or as a moment’s pause. The tables also com-\nbine well with the chairs and other seating in the outdoor GUBI Collection.\nTS Outdoor Side Table Ø40\nTropique Dining Chair\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.27.png","50\nC\nL\nA\nS\nS\nI\nC\n \n&\n \nC\nO\nN\nT\nE\nM\nP\nO\nR\nA\nR\nY\n \nL\nI\nN\nE\nS\nThe use of a matched-color marble and cement solution to fill \nthe naturally occurring crevasses in the travertine results in a \ndurable surface able to withstand the elements that is easily \ncleaned with a soft cloth. As a natural material, the stone will \ngain a beautiful patina over time. Their stainless-steel base, \nwith the added protection of powder coating, means that the \ntables can be left outside, but they should be brought inside \nin case of extreme heat or frosts to prevent damage caused \nby thermal shock.\nGamFratesi has been working with GUBI since the inception \nof their studio. With their own dual heritage, Italian Enrico \nFratesi and Danish Stine Gam share GUBI’s ability to syn-\nthesize seemingly opposing ideas – the classic and the con-\ntemporary, the intellectual and the sensual, the understated \nand the expressive, the manufactured and the unique. This \nalluring combination of styles is perfectly embodied in the TS \nCollection for both indoor and outdoor usage.\nTS Coffee Table Ø55\nGrace Lounge Chair\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.28.png","B E E T L E \n& \nBAT\nOUTDOOR\nB E E T L E \n& \nBAT\nOUTDOOR\nB E E T L E \n& \nBAT\nOUTDOOR\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.29.png","54\nInspired by the forms of nature, the Bat and Beetle Dining \nChairs by GamFratesi are among GUBI’s most celebrated fur-\nniture designs. These specially developed outdoor editions are \ntailor-made for al fresco living, breaking down the barriers be-\ntween indoors and outdoors and taking the iconic designs into \na new dimension. \n  \n“The Beetle and Bat Chairs are two of the most complex proj-\nects we have ever undertaken. Their free, organic yet precise \nlines are what make them unique,” says designer Stine Gam. \n“Both were inspired by nature, so we are delighted that they \ncan also be used outdoors and thus return to their natural hab-\nitat,” adds Enrico Fratesi.\nThe Beetle and Bat outdoor editions imbue their elegant lines \nwith an informality and lightness appropriate to the outdoor \nsetting. Both find design inspiration in the natural world. The \nBeetle Dining Chair is designed both to be robust and to gen-\ntly flex in response to micro-movements, echoing the com-\nplex movements a beetle can make while keeping its body \nparts rigid and defined. The organic shape and gentle curves \nof the Bat Dining Chair are a three-dimensional reflection \nof the webbed wings of the animal that inspired it, with the \nfront, arm and backrest forming a single continuous line when \nviewed from above.\n \n \n  \n  \n  \n  \n  \n  \nO\nF\nAlthough the chairs are still perfectly suitable for indoor use, \nGamFratesi has modified the designs to ensure they are also \noptimized for exterior settings. Pushing the boundaries of ther-\nmoplastic technology, the chairs’ curved outer shells benefit \nfrom the addition of a UV additive. This strengthens the poly-\npropylene, preventing the two colors – New Beige and Alabas-\nter White – from fading due to weather damage, thus making \ntwo already versatile chairs even more dynamic. A matt-satin \nfinish gives both chairs an engaging tactility, while their light \nweight enables both to be easily moved, further blurring the \nfrontiers between internal and external spaces. \nLike the indoor editions, each piece in the Beetle and Bat Out-\ndoor Collection is designed for disassembly and fully recycla-\nble. The optional seat cushion is upholstered in outdoor-appro-\npriate fabric and is equally suited to use on the Beetle and the \nBat, without any rigid fittings or fixings. Taking inspiration from \nthe branching form of a tree, the conical legs of both chairs \nseamlessly integrate with the structure under the seat. In this \nway, the chairs are functionally and aesthetically adapted for \noutdoor spaces, while preserving the qualities and values of \ntheir indoor counterparts.\nF\nO\nR\nM\nS\n \n \n  \n  \n  \n  \n  \n  \n \n \n \n \n \n \n  \n N\nA\nT\nU\nR\nE\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.30.png","56\nLeft: Beetle Outdoor Dining Chair, Bat Outdoor Dining Chair\nRight: Atmosfera Dining Table to seat eight people\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.31.png","58\nPACHA\nOUTDOOR\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.32.png","60\nBorn to a French father and a Swiss-German \nmother, Pierre Paulin (1927-2009) grew up \nin France, under the inspiration of his two \nuncles. His paternal uncle, Georges Paulin, \ninvented the Eclipse mechanical folding roof \nsystem and, working with Peugeot, Bentley \nand Rolls Royce, provided a role model for \ncreativity in business. His great uncle Freddy \nStoll was a sculptor and instilled in a young \nPaulin the notion that an object should be \nbeautiful from every angle.\n \n \nP\nI\nE\nR\nR\nE\n  \n  \n  \n  \n  \n \nP\nA\nU\nL\nI\nN\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.33.png","62\nPierre studied in France – first ceramics in Vallauris and then stone-carving \nin Burgundy, intending to become a sculptor. Sadly, a severed tendon in \nhis right arm put paid to his intentions to follow in his great uncle’s foot-\nsteps. He then enrolled at the cole Camondo design school in Paris, where \na teacher urged him to join furniture designer Marcel Gascoin’s workshop. \nHe served as an apprentice and learned his trade before travelling to Scan-\ndinavia and the United States. He cited Ray and Charles Eames and George \nNelson among his influences and, like Nelson, considered himself a func-\ntionalist who added “two little drops of poetry” to his work.\nPaulin went on to design his own furniture, stretching swimwear fabrics \nacross chair frames – perhaps inspired by the cars his uncle designed. He \nembarked upon successful collaborations with Thonet and Artifort – the \nlatter resulting in the Mushroom (1959), Tongue (1963) and Ribbon (1966) \nchairs, all of which have become sought-after classics. His low-slung fur-\nniture provided a new laid-back perspective on life and his forward-look-\ning, eclectic and sculptural approach to design reflected the mood of the \nswinging 1960s. \nPierre Paulin’s first sketches for what would become the Pacha Collection \nwere simple pencil outlines that resembled clouds. These forms became \nthe basis for the Pacha Lounge Chair, defining a new spirit of the era. With-\nout the constraint of legs, the Pacha heralded an era of low-level living, \nintroducing a new way of lounging when it was launched in 1975. The he-\ndonistic, sinuous style of Paulin’s design attracted the patronage of French \npresidents Georges Pompidou and François Mitterrand, for whom he re-\ndecorated parts of the Élysée Palace. However, he was reluctant to build on \nthis success – he refused to write marketing texts for the manufacturers to \npromote his products and wouldn’t dream of asking his influential patrons \nfor influence or introductions. \nWhen the industrial design firm that he and his wife, Maïa Wodzislawska-Pau-\nlin, had founded in the mid-1970s was sold to a French communications \nagency (now Havas Worldwide), he retreated to the Cévennes mountains \nof southern France. He poured all his efforts into designing and building a \ncountry house and a landscape – the final masterpiece before his death in \n2009 at the age of 81.\nBefore he died, Maïa Wodzislawska-Paulin, their son Benjamin, and Benja-\nmin’s wife Alice Lemoine – whose mother was a colourist for Paulin and a \nfamily friend – created a family enterprise called ‘Paulin, Paulin, Paulin’ to \nfulfil Paulin’s desire to see his unrealized designs put into production. It has \nsince evolved into something with a bigger purpose – to win the man and \nhis work the recognition he deserved within his lifetime but was too modest \nto pursue. Today, Kanye West, Nicolas Ghesquiere and Virgil Abloh figure \namong Paulin’s collectors and his designs can be found in contemporary \nart and design collections around the world, from the Museum of Modern \nArt, New York, to the Victoria and Albert Museum, London, along with the \nCentre Pompidou in Paris. His legacy has finally been assured.\nSITTING \nTHE\nCLOUDS\nIN\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.34.png","64\nPacha Outdoor Lounge Chair with swivel base\nTS Outdoor Coffee Table Ø80\nObello Lamp\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.35.png","66\nBreaking boundaries, Pierre Paulin’s pioneering seating con-\ncept is moving outdoors. Enchanting exteriors demand ded-\nicated seating to define spaces and create ambience. The \nsculptural softness of the Pacha Collection has always reward-\ned the sitter with a level of relaxation akin to sitting on the \nclouds that inspired it. Now the indoor collection’s signature \ncomfort and distinctive aesthetics are available outside. Its \nlow-slung typology – a rarity among outdoor seating products \n– is sure to make a statement.\nDesigned for durability, the Pacha Collection for outdoor fea-\ntures a specially developed membrane interlayer that is both \nwater-resistant and breathable to ensure quick drying after \nexposure to rain while maintaining the indulgent comfort of \nthe iconic original. The base is made from moisture-resistant \nplywood to provide increased protection in humid conditions \nand includes a full swivel mechanism in stainless steel. A re-\nmovable rain cover offers further protection from the elements \nso, as soon as the rain clears, you can sit among the clouds \nonce more.\nBREAKING \nBOUNDARIES\nPacha Outdoor Lounge Chair with swivel base\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.36.png","68\nLeft: Pacha Outdoor Six-Seater Sofa\nPacha Outdoor Lounge Chair with swivel base\nPacha Outdoor Ottoman\nTS Outdoor Coffee Table Ø80\nRight: Pacha Outdoor Lounge Chair with swivel base\nPacha Outdoor Lounge Chair with armrests and swivel base\nPacha Outdoor Two-Seater Sofa\nPacha Outdoor Ottoman with swivel base\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.37.png","70\nATMO SFERA\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.38.png","72\nBest known for collaborating with contemporary \ndesigners and reviving archival pieces, GUBI’s Mi-\nlan- based design studio has created an outdoor \ntable collection with the mood-setting title, Atmos-\nfera. Comprising a dining table in two sizes and \na coffee table, the collection has been conceived \nto bring an unique vibe when gathering outside for \nal fresco dining and lounging. The Atmosfera Col-\nlection represents the attention to detail and quiet \nelegance that characterizes GUBI.\nThe tables’ simple aesthetics maintain an un-\nderstated poise with a nod to classic references \nwithout being too formal. The tabletops are made \nfrom rhythmic, repeating slats of solid, premium \nteak, enclosed by a frame made from the same \nslats, giving a minimalist feel. The table legs are \nformed from two vertical slats, using a miter joint \nthat creates an inverted ‘L-shape’ on each corner. \nReferencing architectural and maritime design, the \nunusual leg design provides both structural sup-\nport and visual interest, giving the piece a certain \nlightness. Each leg protrudes slightly above the \ntabletop surface, culminating in a rounded detail \nin contrast to the geometric lines of the structure, \nthat gives a calm composure to the design. \nBoth dining tables – one to seat six and the other \nto seat eight – and the coffee table follow the same \ndesign, with considered differences in dimensions \nto reflect their functionality. Their calm and linear \nstyle links, accompanies and supports the iconic \nand eye-catching pieces in the GUBI Collection \nfor outdoor. With generous leg clearance, the At-\nmosfera Dining Tables pair particularly well with \noutdoor variants of the C-Chair, the Beetle and \nBat Chairs and the Tropique Chair. The Atmosfera \nCoffee Table is the perfect partner for the outdoor \nPacha Collection.\nAtmosfera Coffee Table\nPacha Outdoor Ottoman with swivel base\nPacha Outdoor Three-Seater Sofa with armrests\nPacha Outdoor Four-Seater Sofa with armrests\nTS Outdoor Coffee Table Ø80\nObello Lamp\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.39.png","74\nAtmosfera Dining Table To Seat Eight People\nTropique Dining Chair\nObello Lamp\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.40.png","76\nA\nL\nL \nA B O U T\nT E A K\nUsing teak as the only material enables the tables to define \nspaces within diverse indoor and outdoor environments. From \nan arid Mediterranean garden to a lush tropical backdrop or \na Nordic fjord deck, their tactile construction blends well \nwith any natural surroundings. Teak's high tensile strength \nand tight grain make it an excellent structural timber and a \nhigh-quality furniture wood. It is also rich in naturally occur-\nring oils, which make it inherently resistant to the effects of \nweather and natural wear and therefore particularly suitable \nfor outdoor furniture. GUBI’s teak is buffed, bringing the natu-\nral oils already contained within the wood to the surface, and \nburnished to produce a rich sheen and a consistent color.\nThe tables can be left outside, uncovered, and untreated all \nyear round, and will fade to a beautiful and even silver-gray \npatina with a characterful, slightly raised, texture over time. \nFor those who wish to preserve the wood’s honey-gold tones, \nan annual application of oil or sealant is a simple solution  – \nalternatively the tables can be flat-packed for winter storage.\nThe Atmosfera Collection only uses farmed plantation teak \nwith SVLK certification, which ensures biodiversity, sustain-\nable forestry practices, and provides additional economic \nbenefits to the local economy. The tables pack flat for efficient \ntransport and are made from wood only, which avoids extra \nprocesses and materials, such as metal or powder coating.\nTeak wood consists of heartwood which comes from the cen-\nter of the trunk and is the most desirable and best-performing \nwood of the teak tree. The heartwood is what is used by furni-\nture makers – it has a leather-like scent when newly sawn and \nits initial yellowish color quickly darkens to its characteristic \nrich brown hue.\nThe heartwood is rich in naturally occurring oils, which make \nit inherently resistant to the effects of weather, insects, rot, \nfungi and mildew, and therefore particularly suitable for out-\ndoor furniture. Its natural oils prevent it from warping, crack-\ning or becoming brittle. The fact that its natural oils remain \nlocked in the wood mean that teak is one of the most durable \nand long-lasting of all hardwoods, even if left uncared for. In \nparts of Western India, teak objects have been found intact \nthat date back over 2,000 years.\nTeak, or ‘tectona grandis’ to use its Latin name, originated \nin India, Myanmar and Laos and ancient teak forests can \nbe found across south and southeast Asia, with Myanmar’s \nforests still accounting for almost half the world’s naturally \noccurring teak. Teak plantations were established in India, In-\ndonesia, equatorial Africa, and the Caribbean in 19th century. \nTeak was first introduced to the Western world when sailors \nand traders visiting India and China in the early 1800s were \nimpressed by the wood in widespread use as a boatbuilding \nmaterial. Teak has been used to make ocean-going vessels \nfor more than 2,000 years and it continues to be used in the \nconstruction of ships and high-end yachts to this day. It was \nonly in the 1950s that it was introduced to America, and later \nto Europe, when it quickly became a popular choice for out-\ndoor furniture.\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.41.png","TRO\nPI\nQUE\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.42.png","80\nMATHIEU\nMATHIEU MATÉGOT \nDesigner Portrait\nMATÉGOT\nMathieu Matégot (1910–2001) was a ver-\nsatile, independent and self-taught Hungar-\nian designer, architect and artist who spent \nmost of his life in his beloved Paris, where he \nsettled in 1931 after travelling to Italy and \nthe United States, studying at Budapest’s \nSchool of Art and Architecture and gaining \nexperience in set design, window dressing, \nfashion, and tapestry. In 1939, Matégot \nvolunteered for the French army but was \ncaptured and held prisoner in Germany \nuntil his escape in 1944. Matégot’s wartime \ncaptivity was important to his later career, \nas it was here that he first learned about the \ntechniques and potential of sheet metal while \nworking in a mechanical accessories plant.\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.43.png","82\nPARIS\nAfter the war, Matégot established a furniture workshop, ini-\ntially in Paris and later in Casablanca, using materials such as \nrattan, glass, and Formica, but he is best known for his own \nground-breaking material and technique, which he named Ri-\ngitulle, made from perforated sheet metal. Like fabric, Rigitulle \ncan be bent, folded and shaped, giving the furniture and home \naccessories he designed transparency, weightlessness and \nenduring modernity. Matégot patented this material and tech-\nnique and set up his own production so that he could apply it to \nhis designs. He applied his inventive approach across a range \nof household objects from fruit bowls, lamps and coat racks to \nan extensive furniture collection including drinks trolleys and \ntwo inspired interlocking shelving systems. His three-legged \nNagasaki Chair (1954) and his Copacabana Lounge Chair \n(1955), both made of steel tube and perforated sheet metal, \nare now held in the design collections at Paris’ Musée des Arts \nDécoratifs and Centre Georges Pompidou respectively. \nLike many of his peers, Matégot travelled the world in search \nof inspiration and, upon his return, transformed the industri-\nal processes and aesthetic impressions he had collected into \nhis own unique designs and interpretations. Throughout the \n1950s, he devoted himself to the design of furniture and in-\nterior accessories, creating an impressive array of distinctive \nfurniture and home accessory designs that still resonate with \ncontemporary audiences and are now considered iconic. To \nTO\nensure quality in the production of his designs, Matégot manu-\nfactured in limited numbers of up to 400 in his own workshops \nin France and then Morocco. Production continued until the \nbeginning of 1960s when he left furniture design to devote him-\nself full-time to his tapestry work, which he would continue for \nthe rest of his career, becoming one of the preeminent artists \nwithin French modern tapestry. \nMore than five decades after it was first designed and 20 years \nsince the death of its designer, GUBI is proud to pay homage to \nMathieu Matégot with the relaunch of one of his most popular \ncollections. Out of production for decades, the Tropique Col-\nlection has been revived by GUBI for the 21st century, giving \na new generation a chance to live ‘la dolce vita’ as Mátegot \nimagined it.\nDeveloped soon after Matégot had returned from WW2 and set \nup his furniture workshop in Paris, Tropique was one of four key \ncollections that established his reputation as a designer. The \ncurvaceous forms won the attention of some of the most pres-\ntigious design publications of the day and earned him a place \nat some of the most important events and exhibitions of his \ntime. One such exhibition, Art & Decoration’s 'La Fleur dans la \nMaison’ in 1950, showcased the Tropique Collection immersed \nin tropical flora, brilliantly demonstrating the design’s affinity \nwith the natural world and the al fresco lifestyle.\nCASA\n     BLANCA\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.44.png","84\nTropique Dining Chair\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.45.png","86\nCreated in the 1950s, the Tropique Collection of outdoor fur-\nniture captures the timeless glamour and exotic luxury of out-\ndoor living on the Côte d’Azur in the mid-20th century. Com-\nbining material simplicity with a decadent aesthetic, Tropique \ncomprises two dining chairs and a dining table. The frame \nof each piece is made from stainless steel rods, incorporat-\ning a distinctive statement curve at the feet – a signature of \nMatégot’s style and a feature that unites the collection into a \nclear and cohesive whole.\nTo give his furniture a balance of strength, durability, and \napparent weightlessness, Matégot frequently turned to per-\nforated metal as a material choice, taking advantage of the \nfact it could be bent and shaped like fabric, resulting in light-\nweight, transparent surfaces. To create the Tropique Dining \nTable, a stainless steel sheet is pressed and welded onto the \nframe, providing a solid, functional surface that allows sun-\nlight to pass through.\nTropique Dining Chairs’ seats and backrests are today made \nfrom a durable yet gently flexible outdoor fabric that is at-\ntached to the underside of the curved armrests by a series \nof pins. This is a contemporary evolution of Matégot's initial \nconstruction whereby the fabric was woven through holes in \nthe metal. This maintains the look of the original design while \nallowing the upholstery fabric to be easily exchanged. Hung \nin a hammock-like manner across the frame, the textile seat \nresponds to the contours of the body. The backrest is padded \nwith foam instead of the original horsehair and a loose pillow \nadded to the seat ensures optimal comfort.\nThe Tropique Dining Chair is available with black or off-white \npowder-coated frames, for durability outdoors, and two up-\nholstery options. The option of adding tasseled fringes to the \narms, seat, and backrest introduces a note of playfulness \nperfectly in keeping with the design’s laidback poolside char-\nacter. Matégot’s assured used of textiles in this collection \noffers a hint of his later career, as, having found internation-\nal success as a furniture designer, he moved on to become \nequally influential as an upholsterer.\nOf all the iconic designs conceived by Mathieu Matégot \nduring his career, Tropique is among those that he loved the \nmost, having chosen it to furnish his own apartment. Re-\nstored and updated, GUBI’s revival of the Tropique Collection \nis a timely tribute to one of the most important and distinctive \nFrench designers of the modern age and the natural way to \ncelebrate his legacy.\nTropique Dining Chair With Fringes\nGLAMOUR\nTIMELESS\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.46.png","88\nLeft: Tropique Dining Chair\nRight: Tropique Dining Chair With Fringes\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fcd\u002Fbce76fb77ee094272b02c77240b86b-28fc25b062.47.png","90\nBOHEMIAN 72 \nLOUNGE CHAIR\nBOHEMIAN 72 \nFLOOR LAMP\nBOHEMIAN 72 \nSOFA\nBOHEMIAN \n72  \n \n \n \n          COLLECTION\nBOHEMIAN 72 \nOTTOMAN\nGASCOIN \nOUTDOOR  \n \n \n \n          COLLECTION\nC-CHAIR \nOUTDOOR DINING\nF-CHAIR\nOUTDOOR 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