L'Oiseau - 2d files - 3d files

Cork Family, Model D

vitra > Coffee table

Wooden Doll No. 2

vitra > Styling

Alexander Girard originally created the Wooden Dolls (1952), a whimsical assortment of figures both joyful and grim, for his own home. Today they add a charming touch to any interior.

ID Visitor Air

vitra > Chair

Antonio Citterio collaborated with Vitra to develop different versions of the ID Visitor chair, perfectly coordinated with the ID Chair Concept. Thanks to an understated design, they can be combined with almost any office chair and integrated in a wide variety of work environments.<br/><br/>ID Visitor Air has a particularly light and graceful appearance thanks to its slender plastic backrest. The perforated back allows for flexible movement and good air circulation, while offering targeted support. The seat padding is optionally available in a more sustainable PU-free version, and the cantilever base is stackable.<br/>

Eames Storage Unit ESU, Bookcase

vitra > Cabinet

The ESU Bookcase is four units high. Fitted with drawers and sliding doors, it provides plenty of practical storage space.

Girard Ornaments - Angel

vitra > Styling

The range of motifs does not limit the use of Ornaments by Alexander Girard to seasonal occasions but a number of them are perfect, for example, for Christmas time.

Grand Sofà 3½-Seater

vitra > Sofa

Grand Sof&#224; (2017) is Antonio Citterio's interpretation of luxurious comfort and contemporary design. The designer's Italian flair for lightness and elegance is united with the trademark quality and precision of the Swiss company Vitra.

Tabouret Bois

vitra > Stool

Tabouret Bois bears the unmistakable signature of Jean Prouv&#233;, reflecting an aesthetic based on structural requirements. The sturdy stool is available in natural oak, dark oak or American walnut.

APC

vitra > Chair

Designed by Jasper Morrison, the APC is reminiscent of classic wooden chairs while advancing the appearance and functionality of this typology. The graceful chair combines great stability with excellent comfort; its backrest is attached to the frame with resilient connectors that allow it to flex in response to the sitter's movements. The APC comes in a choice of two-tone colours and is suited for both indoor and outdoor use.

Joyn 2 Platform

vitra > Table

The Joyn 2 Platform serves as a basis for teamwork, and despite just four legs allows table lengths of up to 6.4 metres for 8 to 10 regular workspaces &#8211; with maximum legroom, easily accessible power and data options and diverse accessories for personalisation. The platforms emphasise the horizontal &#8211; only the accessories rise above the table surface.<br/> <br/>Joyn 2 Platform is modular in design and easy to reconfigure in diverse formats. The table tops are available in three versions: as one-piece tops, as tops with a gap in the middle for easy access to power and data connections, and as a version with a technical rail &#8211; in the latter two versions, accessories can be fitted individually and repositioned as required. End table tops measuring 80 cm in depth add an additional fully-fledged workstation at either end of the table. Joyn 2 Platform can be adjusted from 74 to 82 cm in height.<br/>

Ampi

vitra > Styling

Ampi serves as a wireless charger and offers the necessary power connections to transform any table into a workstation quickly and easily &#8211; whether at home or in the office.

Akari YP1

vitra > Styling

The Akari Light Sculptures (1951) by Isamu Noguchi are a series of luminaires, handcrafted from traditional washi paper by Japanese artisans. &#8216;The harshness of electricity is thus transformed through the magic of paper back to the light of our origin &#8211; the sun.&#8217; (Noguchi)

Belleville Armchair Wood

vitra > Chair

The contrasting materials of the moulded plywood veneer seat shell and slender black plastic frame constitute a characteristic feature of the Belleville Armchair. Its elegant armrests are an integral part of the curved structural frame and offer excellent comfort. The Belleville Armchair is also available with a plastic seat shell or with a cover in leather or fabric.

Soft Modular Sofa Three-seater, Chaise Longue

vitra > Sofa

With carefully balanced proportions, great comfort and a conscious renunciation of decorative details, the Soft Modular Sofa (2016) by Jasper Morrison unites the characteristics of a modular lounge sofa in its purest form.

Eames Plastic Armchair DAX

vitra > Chair

The Plastic Chairs by Charles and Ray Eames were the very first chairs to be developed out of plastic for industrial production. Their organically shaped seat shells can be combined with a variety of different bases. The DAX chair (Dining Height Armchair X-Base) has a visually understated four-legged tubular steel base, which comes in a powder-coated version that is also suited for outdoor applications.

Embroidered Pillows - Double Heart 2, blue

vitra > Styling

The designer Alexander Girard drew wide acclaim with his interior concept for the legendary Miller House (1953-57), for which he personally selected each individual object. The centrepiece of the house was a so-called 'conversation pit', a sunken seating area in the living room, with built-in sofas covered in fabrics by Girard and decorated with embroidered pillows made specifically for this setting. <br/><br/>Girard's famous 'double heart' motif was used and varied by the designer throughout his lifetime. It is composed of two intersecting S's that form a continuous loop of mirrored hearts. Each S represents the first letter of the pet names used by Girard and his wife &#8211; Sandro and Susie &#8211; which prompted him to name the double heart symbol '<a href="/en-me/magazine/details/sansusi">Sansusi</a>'.<br/><br/>The embroidered pillow with the 'Double Heart 2' motif was created by Alexander Girard for the Miller family in 1975 &#8211; 20 years after the completion of the Miller House.<br/>

Guéridon

vitra > Table

French designer and engineer Jean Prouv&#233; created the round, wooden Gu&#233;ridon table for the University of Paris in 1949. It comes in two different sizes and various types of high-quality wood.

Girard Ornaments - Rabbit

vitra > Styling

The range of motifs does not limit the use of Ornaments by Alexander Girard to seasonal occasions but a number of them are perfect, for example, for Christmas time.

Rotary Tray

vitra > Styling

Wall Clocks - Sunflower Clock

vitra > Styling

With his collection of Wall Clocks (1949-1960), George Nelson conceived a wide array of timepieces, many of which have since become icons of 1950s design.

Resting Bird

vitra > Styling

Numerous works by the creative duo Front are devoted to the systematic observation of sleeping or hibernating animals. This fascination inspired their design of a group of slumbering creatures &#8211; Resting Animals &#8211; whose poses exude a serene tranquillity. The Resting Birds are ornamental ceramic figures in two different sizes. Their peaceful presence goes beyond the decorative to communicate a deep sense of contentment.

Plywood Group DCW

vitra > Chair

The DCW (Dining Chair Wood) bears witness to the ultimate success of Charles and Ray Eames' early experiments with moulding plywood into complex shapes. Made entirely of wood, the appearance of this iconic chair remains as contemporary today as when it was first conceived.

Plywood Group LCM

vitra > Chair

Due to the slender organic shapes of its seat and back shells, the LCM (Lounge Chair Metal) by Charles and Ray Eames quickly acquired the nickname 'potato chip chair'.

Akari 10A

vitra > Styling

The Akari Light Sculptures (1951) by Isamu Noguchi are a series of luminaires, handcrafted from traditional washi paper by Japanese artisans. &#8216;The harshness of electricity is thus transformed through the magic of paper back to the light of our origin &#8211; the sun.&#8217; (Noguchi)

Eames Fiberglass Armchair LAR

vitra > Chair

The Shell Chairs by Charles and Ray Eames are among the most important designs in the history of furniture. Following their initial presentation at the 'Low Cost Furniture Design' competition organised by the Museum of Modern Art in 1948, the chairs were launched on the market in 1950 in an armchair version (A-shell) and as a simpler side chair (S-shell) &#8211; making them the first ever mass-produced chairs made of plastic. <br/><br/>With the debut of this revolutionary design, Charles and Ray Eames introduced a new furniture typology that has since spread around the globe: the multifunctional chair whose shell can be joined with a variety of different bases. Already in 1950, they presented a series of bases that enabled various sitting positions, including the low-slung LAR (Lounge Height Armchair Rod Base) with a geometric steel wire base, which quickly acquired the charming nickname 'Cat's Cradle' in reference to the children's string game. <br/><br/>The LAR seems to have been one of Charles and Ray's favourite designs: it can be spotted in numerous vintage photographs of the legendary Eames House in Pacific Palisades, both indoors and out. This also reveals how lightweight the chair is, and how easily it can be moved around.<br/><br/>Due to the organic shape of this classic armchair, the LAR is a striking solo piece, but it can also be paired with many types of sofas to create an appealing contrast. The LAR is offered as the Plastic Chair LAR with a polypropylene shell, or as the Fiberglass Chair LAR with a fibreglass shell that draws attention to the lively texture so valued by connoisseurs. The fascination of fibreglass lies in its irregular surface, whose clearly visible fibres make it appear almost like a natural material. The Fiberglass Chair LAR is not offered with full upholstery in order to show off the unique characteristics of this material to maximum effect. However, a comfortable seat cushion is optionally available.

Desk Clock - Cone Base Clock

vitra > Styling

The many accessories created for the home by George Nelson include a variety of table clocks. Representing a selection of these classic designs, the Desk Clocks offer a refreshing alternative to conventional clocks. Equipped with high-quality quartz movements, the charm of these decorative timepieces is equalled by their precision.

Elephant Stool

vitra > Stool

As one of the most famous objects of Japanese post-war design, the Elephant Stool was created by the prolific product designer Sori Yanagi. The stackable plastic stool can be used both indoors and outside.

Suita Club Sofa

vitra > Sofa

The Suita Club Sofa was developed for use in offices, waiting areas and lobbies. The construction and workmanship are designed to withstand the demanding conditions of such public areas. The upholstery of the backrest ensures a high degree of comfort without the need for additional cushions.

Eames Plastic Armchair DAL

vitra > Chair

The seat shells of the Eames Plastic Chairs can be combined with a variety of different bases. The base for the DAL chair (Dining Height Armchair La Fonda Base) was developed by Charles and Ray Eames in 1961 for the legendary New York restaurant La Fonda del Sol, whose interior was designed by their friend Alexander Girard. With its central pedestal consisting of four parallel shafts that split at the bottom to form a four-star base, it is one of the most elegant and unconventional bases ever designed by the Eameses.

Zoo Timers - Fernando the Fish

vitra > Styling

The Zoo Timers (1965) by George Nelson &#8211; wall clocks in the form of colourfully hand-drawn characters from the animal kingdom &#8211; offer children a playful and enjoyable approach to telling the time.

Elliptical Table ETR

vitra > Coffee table

The expansive, elegant ETR sofa table by Charles and Ray Eames comes with tops in a choice of black or white and a wire base with a chrome-plated or black powder-coated finish. On account of its elliptical shape, it quickly acquired the nickname 'surfboard table'.

Allstar

vitra > Office Chair

The Allstar office chair by Konstantin Grcic imparts a relaxed home-like feel and sense of familiarity. Its rounded form exudes comfort and yields a calming influence on the fast-paced dynamic of today's offices. Allstar also satisfies all the necessary functions of a task chair, allowing it to be used wherever high functional performance is desired but a classic office chair would not be appropriate for aesthetic reasons &#8211; an especially ideal choice for modern workplace concepts.

Heart Cone Chair

vitra > Chair

The Heart Cone Chair takes its name from the expressive, heart-shaped silhouette of its seat shell. Designed by Verner Panton in the late 1950s, the chair combines a comfortably upholstered seat with an understated, elegant base made of satin stainless steel.

Joyn 2 Meet

vitra > Table

Joyn 2 Meet offers meeting tables ranging from 120 x 80 cm to 900 x 180 cm. The base can be configured in diverse shapes and sizes for sitting or standing-height tables &#8211; on either glides or castors. Furniture on castors promotes dynamic work methods in the office, while variants with glides enable electrification cables to be concealed in the table legs.

Nuage

vitra > Styling

The Nuage vases produce an attractive interplay of light and shadow with their undulating shape and anodised aluminium finish in various colours. Flowers and grasses can be arranged in each cluster of eight individual tubes, and thanks to their precise outer contours, the vases can also be fitted together to create entire 'cloud formations'.

Organic Chair

vitra > Chair

Charles Eames and Eero Saarinen created the Organic Chair in 1940 as part of their entry for 'Organic Design in Home Furnishings', a competition organised by the Museum of Modern Art in New York. The small reading chair offers superb comfort, thanks to its comfortably upholstered, biomorphically shaped seat shell, and is also available in a version with a higher backrest: Organic Highback.

Wall Clocks - Sunburst Clock

vitra > Styling

With his collection of Wall Clocks (1949-1960), George Nelson conceived a wide array of timepieces, many of which have since become icons of 1950s design.

Amoebe

vitra > Chair

With its curving shapes and vivid colours, the Amoebe chair (1970) by Verner Panton embodies the exuberant spirit of the early 1970s. It is also available with an overhanging backrest under the name Amoebe Highback.

HAL Lounge Ottoman

vitra > Pouf

The compact HAL Lounge Chair (2021) is Jasper Morrison's reinterpretation of the softly upholstered four-legged armchair with a high backrest.

ID Soft L

vitra > Chair

The high backrest of ID Soft L comes with padded upholstery for excellent comfort. Although the chair exudes elegant sophistication, its sleek lines and minimal design also lend it an understated character. ID Soft L can be harmoniously combined with other chairs and is a perfect addition to many different settings.

Toolbox

vitra > Styling

The Toolbox by Arik Levy is designed as a practical organisational utensil for storing accessories and small items. Thanks to its handy size, it can be easily stowed in a cabinet or on a shelf, and it takes up little room on a table. The Toolbox is available in a selection of different colours.

Pon Ø35 cm

fredericia > Styling

Pon is a series of solid oak side tables designed by Jasper Morrison in 2016. The compact shape and variety of height options allow for a flexible and adaptable space. It’s equally appealing as a side table, ideal for a laptop or tablet, a book or magazine, and a drink or a snack. Use it as a stand-alone beside a lounge chair or grouped together in a sofa setup.

L'Oiseau

vitra > Styling

L'Oiseau by Ronan and Erwan Bouroullec, an avian figure of archaic simplicity, is reminiscent of the unpretentious artefacts of Nordic folk art. Its form attractively enriches interiors without the cuteness or even tackiness so commonly associated with animal figures. The figure is milled from a single block of the natural lightweight material cork with its characteristic irregular surface pattern and soft and pleasant texture. The limited and numbered edition of L'Oiseau in cork is available in addition to the existing versions in maple or ceramic.

Wingback Chair Black Oak Gentle 2 0193

tomdixon > Armchair

Wingback is Tom Dixon's much appreciated armchair with its expressive sweeping curves that act as a sculptural intervention. This armchair is upholstered using Kvadrat's Gentle 2 0193 wool fabric and features Black Oak legs. The wings provide convenient acoustic protection for mobile phone use and a headrest for quick snoozes. More Information Inspired by traditional 17th Century Wingback and balloon-back archetypes, the sofa was originally developed for Shoreditch House Members Club. Wingback’s recognisable silhouette is formed through a hard sculptural foam shell concealing a steel frame with modelled plywood base. It is then covered with cut foam and given a pocket-sprung seat cushion for maximum comfort. The collection is available in a wide range of colours and fabrics.

TROPICO GRANDE

fontanaarte > Table lamp

The "shape of light" is the central theme of this project by Gabriele and Oscar Buratti, which began with the Equatore family of lamps, presented in 2017 and now expanded to include other finishes, and continues with the new Meridiano and Tropico. Forms of glass and metal that collect, contain and diffuse light in space. Passing between opaline, coloured and transparent layers, emphasised by the refined curves and the magic of blown glass, the light is free to create surprising and fascinating effects, patterns and moods. Tropico is a spherical cap of opaque opaline glass, flattened and fixed by a large mirrored metal boss. The family comprises wall/ceiling and table versions, both available in three different sizes.

Flour

mutina > Wall Paint

Developed by OEO Studio, Accents collection offers a range of 6 lime based decorative paints called Limetouch.Mutina paints have been specifically developed to be paired with the ceramic tiles of the company, both in terms of palette and finish.

Chalk Matt

mutina > Wall Paint

Developed by OEO Studio, Accents collection offers a wide range of paints: 20 colours are available in the variants Matt and Satin.Mutina paints have been specifically developed to be paired with the ceramic tiles of the company, both in terms of palette and finish.

Credo Hall Chest

lexington > drawer

The patterned casted drawer fronts create a moir\?effect, lending a glamorous iridescence to any setting. The chest features soft-close drawer guides with touch latch hardware. The painted ivory matte and lacquered case sits on an iron base in a warm silver leaf finish.

Beaumont Settee Olympus Oatmeal Varese Lichen

jonathanadler > Sofa

<p><b>New Traditionalism.</b></p><p>Minimalist rigor meets cocoon-y comfort. Our Beaumont collection's architectural yet airy bases are juxtaposed with silhouettes softened by sculptural flair. Balance and geometry get a glamorous lift from shiny polished brass. Feels luxe and cozy in our Olympus Oatmeal bouclé or emanates a slight sheen in our surprisingly versatile lichen velvet.</p>

Matrice Essenza

florim > Wallcovering

An atlas of modular signs to be combined in a wide variety of layouts. «We love concrete as a material, its versatility and its plain, austere look. We have completed our carefully designed surfaces with graphic patterning inspired by the human actions of weaving and embroidering.» Barbara Brondi & Marco Rainò To appreciate the profundity of the design project undertaken by Barbara Brondi and Marco Rainò for Cedit, it is both necessary and explanatory to start from the title the collection bears. In modern usage the term Matrice, in Italian, refers to a die or mould used to reproduce an object, but its origins are much more remote, with a meaning closer to the English “matrix”, meaning the underlying basis of something. The root of the word is related to Mater or mother: the name Matrice thus relates to the origin or cause of something. This dichotomy is expressed in several levels within the work of these architects, who study the world from a sophisticated conceptual approach and then transform it into a design. Starting from the idea of ceramic coverings, which have always been a tool not so much of architecture as of interior design, the artists work back to the origin of the surface and its decoration within their own discipline: they look at what we used to call the modern age, where modernity has also brought an uncompromising brutality, and where the use of bare concrete became the statement of an attitude to life with no time to spare for manners. Concrete is originally a liquid material, intended for shaping, which can therefore absorb and retain any type of mark created by the material and mould used to form it. Architects midway between rationalism and brutalism have used the rough-and-ready language of concrete combined with a last, elegant, anthropic decorative motif impressed on the material, that makes the concept of covering superfluous, because its place, in its older meaning of decoration rather than functional cladding, is taken by the regular patterning created in the material itself. There are therefore various grounds for believing that, in this collection, the artists are once again working in architectural terms. Firstly, with a simplicity typical of BRH+, they reduce the initial concepts to their minimal terms. So although this is a collection of coverings for walls, indoor floors, outdoor pavings and curtain walls, a great deal of time was spent on destructuring the idea of the ceramic covering itself. Unfortunately, nowadays there is no space in the contemporary construction sector for the radical approach of the past, so the cladding designed for the building actually lays bare the interior, using the choice of material – accurately interpreted (with shade variation) on the basis of an assortment of various types – to restore visual elegance and a fundamental severity. Attention to scale is another architectural feature: Matrice offers modules with architectural dimensions and different sizes through the development of “large slabs”, eliminating the visual regular grid effect. Thanks to this visual reset, geographic forms are perceived to emerge from dense, grey concrete surfaces decorated as in bygone days by special processes and by weathering during drying. The various types of slab, each an atlas of subtle, vibrant signs on the surfaces, comprise finishes that reproduce the visual effect of reinforced concrete – with the aggregates in the cement more clearly visible, of formwork – with the signs impressed on the concrete by the timber used, of a structured surface resembling bare cement plaster, of ridged and streaked surfaces – with patterning resembling some kinds of linear surface finishing processes – and finally a smooth, or basic version, over which Matrice exercises the dichotomy referred to earlier. It is on these surfaces that Brondi and Rainò have imagined additional design reverberations, a figurative code that rejects the concept of the grid, previously inseparable from that of the module: by means of a vocabulary of graphic marks cut into the slabs with a depth of 3 mm (the width of the gap left between modules during installation), they provide a framework for infinite combinations of possible dialogues. Just as in embroidery, which is based on grids of stitches and geometric repetitions, and where every stitch is at right-angles to another one to construct forms and decorations. Also taken from embroidery is the idea of introducing a degree of “softness” to reduce the stiffness of intentionally deaf surfaces. There is the impression of patterns that can continue for infinity, as in textile weaving, and a scale that, unlike the surface being worked on, is imagined as suspended and lightweight. They may not admit it, but BRH+ know a lot about music, including electronic music, and it appears to me that this organised tangle of infinite signs – unidentifiable without an overview – is rather like the representations of synthesized sounds. Sounds that are produced by machines, and thus “woven” by sampling and overlapping sounds of the most unlikely origins, combined to form jingles which, once heard, are imprinted indelibly on the brain. This may be why I am so interested in the space between this “melodic film” and its deaf, damp substrate. The eyes can navigate this suspended reality without fear of disturbance. So we are faced with different surfaces, different sizes and different graphic signs. But only one colour (surprise!) to prevent a cacophony not just of signs but also of possible interpretations: the artists retain their radical principles (and their generosity), and as curators, a role in which they are skilled, they leave the players (architects and installers) to add their own interpretations. In their hands this colour, expressed in Matrice, will produce motifs on surfaces in living spaces for someone else. This stylish covering and its workmanship will be left to the hands of someone who will probably never read this, but will be on a building site, with the radio playing on a stereo system, concentrating on installing the very pieces we describe. So a radical, apparently silent, design project like this has repercussions for the real world we live in. Matrice has no form of its own but merely acquires the ornamentation drawn on its surfaces by a second group of artists. And here this routine action, standardised by the form approved for production and workmanlike efficiency, is the origin and cause of change, generating a variability of choices and interpretations, on that dusty building site where music plays and mortar flows.

Orient™

fritzhansen > Ceiling lamp

The Orient™ pendant is an ode to fine craftsmanship. Designed originally in 1963 by Jo Hammerborg, the pendant was relaunched in updated materials in 2013. The curvy organic shape with fine detailing elegantly conceals the light source and ensures a pleasant soft light without glare. Available in two colours, the stained ash with matt black aluminium is a modern interpretation of the original black version. The lighter version in Scandinavian oak and silver-coloured aluminium lends a Nordic expression to the pendant. In its largest size (Ø 500mm), the Orient™ makes a beautiful statement piece that works well in dining, living, work and entry areas.

AURA - LED blown glass wall light _ Marset

marset > Wall lamp

Silent Vase

muuto > Styling

A form in mouth blown glass, the Silent Vase is Scandinavian design at its subtlest. Available in three sizes and multiple colors, the Silent Vase is a humble yet decorative addition to any space.

Avail Coat Rack

muuto > Styling

Designed with Scandinavian materiality at its heart, the Avail Coat Rack brings the ideas of simplicity and functionality into the modern home. The design features 2 metal hooks that can be rearranged forever while also bringing hints of color to the form, allowing for the Avail Coat Rack to evolve as time passes while holding smaller objects on its minute plateau.

Story Pinboard

muuto > Styling

The Story Pinboard brings subtle feelings of Scandinavian design into any work or creative context, whether in the home office, in a kids room or within the workplace. Produced in cork, a material that is sourced from the renewable bark of cork oak trees, the Story Pinboard is recyclable in its entirety.

Dots Ceramic

muuto > Styling

The Dots Ceramic bring an artful expression to a Muuto icon, made in earthenware with a reactive glaze for a unique look, giving each single piece a distinct look while referencing the ideas of traditional craftsmanship. Combine the design across various colors and sizes along with the Dots Wood and Dots Metal for a unique expression.

Jellies coat hangers (2 pieces)

kartell > Styling

The Jellies coat hangers draw their inspiration from the tableware collection of the same name designed by Patricia Urquiola for Kartell. This accessory is available in three different sizes, each with its own specific texture.

Shanghai

kartell > Styling

A multi-faceted vase widening from the base to the top in a swirling motion. Shanghai is like refracted light radiating from prism-like crystals with an alternating play of flashes and shadows, creating irregular geometric forms.

Matelasse'

kartell > Styling

The distinctive feature and special allure of these original vases lie in their particular conformation, suggestive of a wafed fabric with irregular sinuosities caused by the different surface thicknesses.

Jelly

kartell > Styling

The special feature of this series lies in the conformation of the surface material which enhances the core that looks like jelly, just as the name suggests, evocative of the forms used in pastry-making.

All saints

kartell > Styling

Round mirror with a transparent or coloured frame, with a unique pleated effect.