The Black Swan theme arose from the wish to reconcile rationality with emotion, to stay composed yet carefree, elegant yet careless, lazy yet active. It was created from the idea of having Bruno Taut and Le Corbusier meet on the sofa and chat lovingly about Expressionist and rationalist architecture, wondering what would have happened if, by some strange twist of fate, the Expressionist school had prevailed over the rationalist, instead of the other way round. The name chosen is of fundamental importance. The idea was sparked by the eponymous film and more precisely by a series of frames in which, accompanied by a flurry of music and dance, a white swan transforms into a black swan and the diaphanous and elegant Odette turns into an equally fine but more disturbing character matched by the metamorphosis of the arms into wings. The sofa undergoes a similar transformation. Starting from a traditional and rational design focused on finding a balance between the soft cushions and the light frame, reminiscent of the elegance and precision of a ballet dancer, the sofa transforms itself with the cushions doubling and changing size, color and shape. The classical precision turns into expressive movement and a polite exchange of signs and proportions allows for the harmonious existence of minimalism and maximalism.
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