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Lazada
Designed by Christophe Delcourt
Finishes:
Legs in metal painted silk grey, structure in wood lacquered in a selection of colours, top in marble, one drawer, wireless charger
Dimensions:
W1080 x D600 x H340 mm
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Beyond their clean design, the round and rectangular SUI tables celebrate the beauty and magnificence of a large piece of wood. The beautifully polished finish along with the strong and innovative design of the legs remain harmonious in both shapes, allowing SUI to be a key-piece in any living space.
Kat dining chair is a well-crafted and utilitarian design. The round edges and corners on the solid wood leg contribute a soft and quiet feel. The visible dark grey epoxy metal screws and rails add a touch of elegance. It’s a chair that does not call for attention but attracts you anyway.
Design and craftsmanship defines the Noa armchair. The crisp tailored leather back bends over to the side embracing the plush back and roomy seat, comfortable yet compact.
Kabu, curve in Japanese. With this name, I stress the conceptual process of the collection design. The light structure is dressed up with a technical fabric that becomes skin and wrap. The curvature generated as a result of the fabric tension on the structure highlights the desire for a lightweight, upholstered frame.
Simple and contemporary lines defines the Lana collection characterized by its versatility. With an upholstered seat and back for comfort and a structure in wood or metal, Lana becomes a perfect piece for any space. The shape of its backrest plays with volumes and intersects with the structure giving it a particularly interesting aspect.
Matteo Thun and Antonio Rodriguez are known for their aplomb in treating furniture as a global decorative topic. Their pieces evoke a sedimented ?living culture rooted in borgeois comfort and hospitality. S.MARCO chair, MERAN armchair and VIGILIUS collection mirror the charming image of those spaces, once called fumoir.
The sectional sofa is the theme characterizing typological design since the 90s of last century. Ludovica and Roberto Palomba confront it, emphasizing the sense of suspension from the ground, thanks to a thin metal structure and developing, in the version with terminals, a great peninsula from the gracefully asymmetric shape.