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Designed by Arik Levy
The Split armchair links our more than 150-year-old technology with contemporary design. It is based on manually bent split lengths of massive wood; which, at the same time, are both a design and functional element of seating furniture – it supports the seat and also the backrest. It is elegantly slid in, behind the seat made also from massive wood.
Finishes:
Structure in solid beech or ash wood in natural, stained or lacquered, upholstery in fabric or leather
Dimensions:
W620 x D710 x H725 mm SH420 mm
Note:
Minimum order of 6 pcs
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The Split high stool links our more than 150-year-old technology with contemporary design. It is based on manually bent split lengths of massive wood; which, at the same time, are both a design and functional element of seating furniture – it supports the seat and also the backrest. It is elegantly slid in, behind the […]
The Split chair with arms links our more than 150-year-old technology with contemporary design. It is based on manually bent split lengths of massive wood; which, at the same time, are both a design and functional element of seating furniture – it supports the seat and also the backrest. It is elegantly slid in, behind […]
The Split chair links our more than 150-year-old technology with contemporary design. It is based on manually bent split lengths of massive wood; which, at the same time, are both a design and functional element of seating furniture – it supports the seat and also the backrest. It is elegantly slid in, behind the seat […]
Unnia is a versatile and extensive collection of chairs with a unique mix and match concept of colours and finishes. The chair design allows the combination of different finishes and colours for the seats, backrests and frames. This means that endless combinations can be made. In addition, the collection offers chairs with a range of […]
$1,040.00
A symbol in the history of design, spaghetti is the first Alias chair to appear in the MoMA collection of New York. The Spaghetti chair is an excellent example of material and formal simplicity that multiplies, in its many variants, the opportunities for use.
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There are objects that are universally recognized as icons. The Costes armchair, which in 1984 marked the beginning of the collaboration between Philippe Starck and Driade, and the consecration of the then-unknown designer in Italy, is certainly one such object. Designed for the now-defunct Parisian caf? of the same name, it owes its enduring success […]