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Lazada
Designed by Studio Expormim
Reposo (rest), in physics, refers to an object being stationary. Everything around is subject to mutation except for it. With its undulant silhouette evoking sand dunes and its butterfly-like backrest, Reposo stares at the changing world without ever getting troubled. This unique self-awareness is part of its grandeur and yet its embrace feels as warm as a gentle tropical breeze. A pure metaphor for everlasting summer.
Finishes:
Structure in rattan in natural or stained in a selection of colours, optional seat cushion in a selection of fabrics or leather
Dimensions:
W1660 x D850 x H810 mm SH300 mm
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Basic collection designs are built on two fundamental concepts: one is functionality and the other, the richness of its materials. Defined by simplicity and pure lines, the sideboards, cabinets and TV stands included in this collection can be extended in terms of usability by simply adding drawers and shelf units; texture can be also multiplied […]
Of all our classics, Copa was perhaps the one that did not need to be remembered because it was never forgotten. Despite its majestic pose, the truth is its high backrest provides a warm, enveloping hug. Its organic design evokes the blossoming bud of a flower welcoming the person who sits on it.
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Coqueta holds a considerable part of Expormim?s DNA. Renewed to make it more 21st century-like, its classic features preserve, nonetheless, all the purity and personality of the original design.
The Doodle concept lies in a unique stitching design. A family of organically shaped seating furniture dressed with a padded removable cover. The irregular pattern follows the silhouette of the seat and meanders inwards towards the centre.
A diamond changes into a seat: faceted from a thousand veins that reflect light, Meridiana transforms the lines of construction and power in lines of poetry. Suspended in its thin metal structure, it shines in its transparency or its sophisticated nuances.
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.