wiggle chair

Frank O. Gehry is one of today's most important architects. Gehry likes to use unusual materials for his architecture and furniture. With the series "Easy Edges", from 1972, he succeeded in lending such everyday materials as cardboard a new aesthetic dimension. Although they appear unbelievably simple "Easy Edges" are constructed with the architect's care as well as being very robust and stable. Approximately 60 layers of cardboard are held together by hidden screws with a fibreboard edging. Four models from the series - Side Chair, Wiggle Side Chair, Dining Table and Low Table Set - are now being produced by Vitra.

The most celebrated architect working today, Frank Gehry has single-handedly changed conventional ideas about architecture. Recent masterpieces include the Guggenheim Museum in Bilbao and the Disney Concert hall in Los Angeles. Gehry's unique vision and innovative use of materials has brought him numerous honors. Through his emphasis on collaboration in the creative process, Gehry continues to transcend the boundaries of design.

Wiggle chair is available in your choice of natural or white edge color.
34.25" h | 13.75" w |24" d | seat; 17" h

Design Frank Gehry, 1972.
Cardboard layers, fibreboard edging.
Made in Germany by Vitra.

Bouloum Lounge

With its anthropomorphic form, the Bouloum was named after a childhood friend of its designer, Olivier Mourgue, who took the charismatic seat with him when he travelled... even going so far as photographing it in various situations and writing anecdotes. As comfortable as it is provocative, one simply must experience the Bouloum to fully understand it. But be warned... once experienced, you will simply have to have one of your own.... it is that comfortable. Playful and practical, Bouloum is in the permanent collection of the Museum of Modern Art in New York.

24" w | 57" d | 26" w

Heaven

The result of the first meeting between Tokujin Yoshioka's "impalpable signs" and the concrete savoir faire of Cassina is the amazing Heaven armchair.
If the saying "there are always seven signs" is true, Heaven represents the eighth, given that it propels us towards a new dimension of comfort.
A subtle reference to icons that have made the Cassina story, this armchair manages to convey at first glance all the innovation built up step by step through a symbiotic relationship between the Japanese designer and the exceptional manufacturing and design workshop that is the company's Research and Development centre.
With Heaven, Yoshioka's poetics are for the first time concentrated on padding in the classic sense of the term, though endowing it with an allure that is hardly traditional. The irregular contour of the padding and the seemingly accidental folds of the upholstery conceal a manic attention to form that enhances comfort to the maximum. As if the chair had retained the impression of the figure just now curled up in it, registering all the elements that allowed it to be comfortable. An asymmetry that also suggests positions other than the traditional one, such as lying across it or stretching out as on a chaise longue…. A false "shabby" look, calibrated by the elegance of the proportions, the lightness of the overall substance that makes it fly, without gravity, like a cloud in some unearthly dimension, in spite of the steel frame that supports the padding.
The choice of upholstery, linen or leather, is not accidental. The creator was looking for the fibres that would best suit this game of imitation creases, those best able to impress the memory of the armchair in their folds.
Heaven, magnificent proof of manufacturing capability, is destined to become the icon of that happy marriage between advanced industrialisation and the tailor's craft that characterises every Cassina product.
The uneven rhythm of folds and upholstery, a curious invention of Yoshioko's intended to support the act of sitting in the best possible way to give totally relaxing comfort, represents the real challenge for Cassina, who had the task of industrialising the irregularity. An effort that involved both the best craftsmen, who gave detailed form to the wrinkles and undulations imagined by the designer-poet, as well as the most modern technologies which made it possible to produce them in large numbers.

Product: Heaven
Designer: Tokujin Yoshioka
Year: 2008
Architonic ID: 2023634
m2lcollection

Allunaggio | 230

Outdoor stool
Garden/terrace, outdoor chairs garden/terrace.
Steel legs, aluminium alloy seat painted grass-green or aluminium. Natural polyethylene feet.

Product: Allunaggio | 230
Designer: Achille Castiglioni, Pier Giacomo Castiglioni
Year: 1965

Clover

Small monobloc armchair in white polyethylene. For indoor and outdoor use.
W.66 D.54 H.75,5; seat H.42,5.

Product: Clover
Designer: Ron Arad
Year: 2007
Architonic ID: 2017637

Ribbon

A completely upholstered design by Pierre Paulin from 1966 and a professional, innovative vision on the well-known ribbon form. Metal frame with horizontal springs, covered with foam and stretch fabric. A lacquered pressed-wood pedestal. A beautiful example of applied art.

Featured in the collection of the National Gallery of Victoria in Melbourne, Australia.

Product: F 582 Ribbon
Designer: Pierre Paulin
Year: 1966

Gate

GATE, a large multi-purpose program of benches, is suitable for living as well as public areas. The 4 basic elements (bench 134 cm and 76 cm; corner element inwards and outwards) offer a variety of possibilities to find solutions for different kinds of interiors in private or public areas. Bench with steel frame, powder-coated or chrome-plated. Seat and back upholstered and covered. Single armrests as option. Endless chain-linking of single elements possible.

Designer: Formmodul
Year: 2006
Architonic ID: 2015683