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Lazada
Designed by Philippe Starck
Finishes:
Base in ebonized mahogony base with cast aluminium cap and castors, top in white marble
Dimensions:
W2100 x D550 x H730 mm
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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 […]
lou eat is not a chair, it is an animal-like sculpture that could eat you.’ Philippe Starck Lou eat and lou think, along with lou read, form the lou read family, a seating collection that features plastic sculptural shapes. lou eat is the easiest and most versatile item in the collection, a small armchair upholstered […]
A chair that incorporates the rounded 50’s style, however, ergonomically correct and more suitable for outdoor use. This is accomplished through the side slots, so fundamental to the flow of rainwater and to its stackability. Soft egg offers an organic image that can melt, so amazingly, with the organic unity of nature.
Anapo’s collection of tables, in the rectangular and circular version and in different sizes including a side table. Its inspiration lies in the Sixties and in a specific idea of middle-class home torn between rigour and softness, luxury and functionality, indifferent to passing fads.
in the eclectic identity of Driade, i have always perceived a hint of french culture, just as i have always been fascinated by the interiors of parisian homes for their expert combination of furnishings and classical items, along with vintage pieces and contemporary objects.’ Alberto Lievore La Francesa issues from this imaginative background, a refined […]
Sila is a chair project from which a lot of different versions take form, starting from simple shapes and natural materials.
Even a coffee table can become a piece of art if it can stand regardless of the typological limitations. Fredrikson Stallard address the issue with the strength of the material to be bent and shaped. The result is a completely new form, marked by an important, and expressionistic, depression in the center of the top.