Designed by Eugeni Quitllet
In the outdoor collection OUT/IN Starck with Eugeni Quitllet, proceeds along two paths: the high chair expands sizes, particularly height, transforming the object into a shell as a bulwark. With the sofa he doesn’t look for the iconic object, but he rather adopts sophisticated stratagems, usually intended for home interiors, for example the inclusion of essential aluminum armrests. Are this high chair and this sofa, almost functionalist, creating a collection? Certainly, but outside of the ordinary bourgeois aesthetics of the all coordinated.
Finishes:
Suitable for outdoor use, structure in polythylene in white or anthracite grey
Dimensions:
W780 x D770 x H1470 mm SH440 mm
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Neoz sofas, bed and day-bed emphasize the formal charateristics of the collection they belong to, by building a sort of living nest marked by the hem-stitched tissue whiteness, like past laundry, and the cushions’ softness. Large wheels, though, suggest it as an only termporary luxe.
The cultured and omnivorous voracity of Philippe Starck faces, in Neoz collection, the poetry of solid wood and the traditional archetypes form is reviewed. The result is a timeless collection characterized by straight lines as well as by a strong image.
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“The Symbol of a new era focused on plastic”. That’s how Plia chair was presented in 1967 at the Fiera del Mobile in Milan. During the Fair, the Plia got so much acclaim from audiences that many visitors moved away from the stand with some samples without asking for permission… As a result of this […]
It is a timeless chair because it comes in a material – natural hide obtained by respecting all the properties that comprise its identity – and because the project underlying this chair has the strength to challenge time: the hide will inevitably move, its texture will change and its colour will alter but the chair […]
The chair, inspired by a model from 1930 by Josef Hoffmann, blends his interest in Art Nouveau and simple shapes with manufacturing processes applied in Bystrice pod Hostynem since 1861. The armchair is therefore more geometrical, but bears the clear features of the manual bending technique of TON.