Splendid geometries and graphic patterns are revealed in decorative cushions that make use of nuances and juxtapositions to lend dynamism to the furnishings.
The separation between the loadbearing metal structure and the cushions, reminiscent of the architectural relationship between the concrete skeleton and the in-fill paneling, is consistent with the principles of rationalism.
The separation between the metal structure and the cushions is consistent with the principles of Rationalism, just as the separation between the parts is based on an industrial approach to production, reminiscent of the architectural relationship between the loadbearing structure and the in-fill elements.
Designed for ease of conversation, the armchair was exhibited in 1929 at the Salon d’Automne in Paris as the archetype of the modern concept in furnishings, interpreted by its authors as “household equipment”.
Designed by Patricia Urquiola, Moncloud is an extremely elegant, versatile sofa, studied to rethink upholstered furniture design with an eye to circularity. The wood structure lifts the upholstered parts off the floor, lending the entire sofa the lightness and softness of a cloud. The fabric upholstery envelops the contours of the sofa, creating a distinctive fold that enhances the beauty of its silhouette. The backrest cushions, instead, are defined by centre stitching that lends a unique, sophisticated aesthetic signature to each module.
Over the years, Cassina has worked very closely with Charlotte Perriand, her daughter Pernette and the Fondation Le Corbusier to introduce new versions and finishes that, while reinterpreting the original design, remain faithful to its authenticity.
All the structural elements are seamlessly integrated into the whole – made up of seat, backrest and armrests – making Lady a made-in-Italy masterpiece, awarded the Medaglia d'Oro at the IX Triennale di Milano in 1951.
Designed for ease of conversation, the armchair was exhibited in 1929 at the Salon d’Automne in Paris as the archetype of the modern concept in furnishings, interpreted by its authors as “household equipment”.
Designed for ease of conversation, the armchair was exhibited in 1929 at the Salon d’Automne in Paris as the archetype of the modern concept in furnishings, interpreted by its authors as “household equipment”.
Over the years, Cassina has worked very closely with Charlotte Perriand, her daughter Pernette and the Fondation Le Corbusier to introduce new versions and finishes that, while reinterpreting the original design, remain faithful to its authenticity.
Over the years, Cassina has worked very closely with Charlotte Perriand, her daughter Pernette and the Fondation Le Corbusier to introduce new versions and finishes that, while reinterpreting the original design, remain faithful to its authenticity.
Over the years, Cassina has worked very closely with Charlotte Perriand, her daughter Pernette and the Fondation Le Corbusier to introduce new versions and finishes that, while reinterpreting the original design, remain faithful to its authenticity.
In 1974, Charlotte Perriand collaborated in the first reworking of the original, in one size only, with chrome finish. Over the years, the finishes have been expanded and the sizes modified.
In 1974, Charlotte Perriand collaborated in the first reworking of the original, in one size only, with chrome finish. Over the years, the finishes have been expanded and the sizes modified.
The extruded aluminum base allows the pieces to be arranged in a broad array of configurations that, given its clean lines, make it ideal for contemporary interior design.
The spacious seat, high backrest and upholstered armrest are shaped to create an enveloping effect, further accentuated by the soft, down-wrapped padding.
A sectional floor sofa that offers various backrest and seat options to be used as stand-alone sculptural elements or to pair in ample arrangements; add design ottomans and coffee tables for decorator flair.
The generous padding that envelops the seat, armrests and backrest of the settee signals an immediate sense of comfort. Tied to the history of Chandigarh, the Indian city designed by Le Corbusier in the 1950s, the family of furnishings – which, in addition to the small sofa, includes the equally iconic armchair – pays tribute to Pierre Jeanneret, a key figure in the creation of the city and considered the author of many pieces of its furniture.
The pleat on the front and back of the backrest-armrest, encases a zipper that extends to the base, and the gros-grain piping around the sofa seat cushions announce its luxury and artisan heritage.
The sofa possesses the elegance and powerful, bold lines of the original design but aims for a more minimalist design, doing away with the padded side cushions in both the two-seat and three-seat sofas.
The Esosoft collection comprises eight modules that can be used as individual sofas or combined to form L-shaped sofas, ensuring the utmost flexibility in configuring living spaces. Benches, ottomans and a series of coffee tables complete the family.
A material approach that sculpts the pieces like chunks of ice, combines flexibility and support through the optimized relationship between the elastic webbing and the empty spaces in the foam.
Design brilliance, business insight and made-in-Italy artisan craftsmanship shine in an even more contemporary version that retains the bicycle-chain mechanism to adjust the backrest position.
A deeper seat and more generous proportions for the two-seat sofa, three-seat sofa and armchair, and an accessory down-filled lumbar cushion sized to boost the ergonomic effect.
The unpretentious innovation of the adjustable headrest and the reassuring appearance and simplicity of the soft padding sum up the singularity of this design by Vico Magistretti.
Maralunga 50 maintains intact the innovation of the original model – the headrest that moves to raise or lower the backrest, thanks to a mechanism made from a simple bicycle chain.
The Met family comprises stand-alone and sectional sofas and an armchair, in a product range that also includes a club chair and chaise longue, for relaxing and sharing.
Mex Cube is the intuition that turned into a project. A graceful succession of variations on a theme, in which each shape is purposely designed to keep pace with the rhythms of daily life and conversation.
From stand-alone to corner sofa or sofa with island, the arrangement options are many, thanks to the different-sized bases to which the cushions – filled with 100% recycled fiber developed by – are attached.
Miloe is right at home in any residential setting, thanks to a vast and versatile array of pieces that includes a chaise longue and, with a focus on flexibility, pieces more streamlined in size.
The wide array of pieces includes various lengths and depths, from the two-seat and three-seat sofas to the sofas with chaise longue, as well as easily paired elements, all come complete with backrest with fold-up and down headrest.
An innovative capitonné tufting technique to attach the buttons is featured on the upholstery of all the different pieces, including the extra-large island sofa, equipped with two backrests and table top armrest.
The top is made up of 19 strips of wood and supported on graceful legs; a simple anchoring system allows the sofa seat cushions and those for the backrest to be positioned at any point along the structure.
A vast, complete range of elements facilitates the creation of personalised arrangements, with ergonomic seating and high-quality, eco-friendly materials. The soft cushions of the floor sofa, placed against the backrest, are padded with blown recycled PET fibre, developed thanks to the work of Cassina LAB.
Designed by Patricia Urquiola and inspired by the Japanese custom of the cyclical reconstruction of temples, it is crafted to imbue modern living rooms with a ritual of welcome, physical and mental wellbeing and cordial informality.
In contrast to the soft, padded shapes of the design ottomans, the collection is completed by an industrial style stainless-steel coffee table composed of three pieces welded together.
The idea for this armchair that changed the face of upholstered furniture belongs to Afra and Tobia Scarpa, who designed it in 1969, starting with the new possibilities offered by the forming of polyurethane foam to create an unconventional look of leisure.
The Tramonto a New York design sofa is reproduced larger than the archive model, in a limited series of 50 pieces, and made with sustainable materials developed by Cassina LAB.
The curved three-seat sofa, two-seat sofa and armchair are available in various sizes. On all of them, the weight-bearing structure is made of steel and the upholstery features a zig-zag or blanket-stitch detail.
Thanks to its elegant, timeless aesthetic, emphasized by the blind tufting on the backrest and single seat cushion, it is a versatile addition to any modern living room.
The space-saving size, of both the two-seat (150cm) and the large two-seat (180cm) model, make this contemporary, compact and versatile sofa perfect for the bedroom.
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Splendid geometries and graphic patterns are revealed in decorative cushions that make use of nuances and juxtapositions to lend dynamism to the furnishings.
Designed by Patrick Norguet for Natuzzi Italia, the Ema bed is the centerpiece of the collection, blending archetypal forms with contemporary living needs to create a visually comforting and perfectly proportioned design. Available in four sizes to suit various spaces, Ema features a linear, modern aesthetic with thoughtful details that enhance relaxation, such as a padded leather or fabric headboard adorned with stitching that extends to the bed frame, emphasizing its softness. Fully upholstered, including the back, it can be placed in the center of a room, while its metal bridge foot, matching the headboard frame, adds a sleek, modern touch. Technical specifications include space-efficient sizing, a choice of leather, fabric, or BYBORRE fabric for the headboard, and a metal structure for both the foot and headboard. A 3D file of the Ema bed is available for download, allowing for detailed visualization and planning.
Natuzzi Italia, a globally recognized Italian luxury furniture brand founded in 1959 by Pasquale Natuzzi, is celebrated for its exquisite craftsmanship, timeless designs, and premium-quality materials, offering a wide range of high-end furniture and accessories for both residential and commercial spaces.
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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.
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.
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.
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.
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.
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.
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.
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.