101 Chair by Maarten Baas for Lensvelt

Carpenters Workshop Gallery in London is hosting 'Run & Hide,' the first solo exhibition for Dutch designer Maarten Baas at their new London space. This exhibition offers a preview of the upcoming major retrospective of Baas's work, titled 'Hide and Seek,' at the Groninger Museum in the Netherlands. The London show highlights four significant collections from the designer's career, showcasing his unique approach to furniture design. One of the featured collections is 'Close Parity,' first unveiled during Dutch Design Week 2016. This collection comprises five furniture pieces that originate from what Baas describes as 'naive sketches.' These initial, childlike drawings are then extruded into three-dimensional forms. The design philosophy behind 'Close Parity' intentionally disregards conventional constraints such as gravity and logistical concerns, allowing the whimsical and irregular lines of the original sketches to be faithfully translated into physical objects. The resulting brass pieces retain the eccentricities and intricate details of the sketches, often appearing as almost impossible, off-balanced, and top-heavy sculptures. To achieve structural stability, heavy counterweights are discreetly incorporated within the pieces. The collection exemplifies a blend of childlike form and logic with meticulous craftsmanship and a sophisticated understanding of materials and physics, as the imperfections of the linework are rendered in pure brass. The exhibition also marks the UK debut of Maarten Baas's 'Carapace' collection. This series draws inspiration from the protective, decorative, or camouflaging shells found on animals like beetles and turtles. First presented at Carpenters Workshop Gallery New York in 2016, the 'Carapace' collection includes a desk, a cabinet, an armchair, and a cupboard, each reflecting the thematic influence of organic shells. Additionally, the show features two of Baas's renowned 'Clay Chairs.' While typically available as an open edition, a special bronze version has been created to commemorate the design's 10th anniversary, adding a unique element to the display. A piece from the designer’s celebrated 'Real Time' collection is also on view. This includes a bronze 'Grandfather Clock,' an early example of Baas’s innovative timekeeping designs. These clocks feature a 12-hour video of a man drawing and erasing the minute and hour hands directly onto the clock face. The 'Real Time' series has garnered significant recognition and is now part of numerous museum collections worldwide. Amsterdam's Schiphol Airport recently commissioned a large-scale version of this clock for its main hall, underscoring its iconic status. Finally, a prominent piece from the 'Smoke' series is included in the exhibition. In this series, furniture pieces are entirely carbonized using a blow-torch, a process that intentionally highlights human intervention and transforms perceived flaws into aesthetic qualities. These designs, which were part of Baas’s graduating show at Design Academy Eindhoven in 2002, have since been acquired by prestigious institutions such as the Victoria & Albert Museum and the Groninger Museum. The 'Run & Hide' exhibition thus offers a comprehensive overview of Maarten Baas's distinctive and critically acclaimed design philosophy. #MaartenBaas #FurnitureDesign #CarpentersWorkshopGallery #Exhibition #CloseParity #CarapaceCollection #RealTime #SmokeSeries #DutchDesign

The Eames Lounge Chair, an iconic wood-and-leather seat often paired with a coordinating ottoman, stands as a prominent symbol of midcentury furniture. Despite the Eameses' reputation for experimenting with materials like plastic and plywood, they produced this luxurious item, making it a ubiquitous statement in various home aesthetics, from modern to traditional. The article delves into the history, design, and manufacturing process of this renowned piece. The genesis of the Eames Lounge Chair dates back to the 1940s at the Cranbrook Academy of Art, where Charles and Ray Eames first met. After graduating, they established the Eames Office in Los Angeles, initially focusing on mass-producible furniture made from inexpensive materials. However, the Lounge Chair marked a departure, representing their foray into luxury design. Amy Auscherman, Head of Archive and Brand Heritage at Herman Miller, emphasizes the Eameses' human-centered approach to design, noting that the Lounge Chair was their first attempt at creating a luxury heirloom item, born from their continuous experiments in molded plywood. The design, first produced in 1956, incorporates a bent-wood frame, a technique refined by the Eameses using their "Kazam! machine" to press thin layers of wood veneer. This innovative construction ensures optimal ergonomics and comfort. The chair is upholstered in high-quality, supple leather, chosen to evoke "the warm receptive look of a well-used first baseman’s mitt," creating a "special refuge from the strains of modern living." Auscherman further highlights that the chair draws inspiration from the classic English Club Chair, making it both familiar and a technological innovation that redefined beauty, allowing it to seamlessly integrate into any environment. Authentic Eames Chairs are still manufactured by Herman Miller in the U.S. and by Vitra in Europe and the Middle East. The manufacturing process remains largely consistent with the original, emphasizing meticulous attention to detail from plywood molding to leather cutting and individual cushion sewing. Herman Miller employs advanced scanning technology to identify defects in leather hides, ensuring only the best cuts are used for upholstery. Consumers looking for authentic pieces should purchase directly from these manufacturers or authorized retailers like Design Within Reach and the MoMA Design Store. While the original chair featured black leather, current offerings include a variety of upholstery and wood options. For vintage pieces, resale sites like 1stDibs and Chairish are options, but buyers must verify authenticity through Eames studio, Vitra, or Herman Miller labels. The Eames Lounge Chair, with its 65 years of continuous production, represents a significant and enduring investment in design. #EamesLoungeChair #MidcenturyModern #FurnitureDesign #HermanMiller #RayAndCharlesEames #LuxuryFurniture #DesignHistory #InteriorDesign #IconicFurniture

Davis Furniture, a prominent contract manufacturer known for its expertise in workplace solutions, has collaborated with German design duo jehs+laub to introduce innovative updates to their popular Sachet Chair collection. Originally launched in 2017, the Sachet Chair has been widely recognized for its versatility and aesthetic appeal among designers. The latest expansion to the collection includes an armless chair version and a coordinating barstool, both designed to extend the Sachet's application into broader hospitality and corporate environments. The development of these new Sachet forms involved extensive research conducted by jehs+laub in conjunction with Davis Furniture. The goal was to ensure that the new additions maintain the original Sachet Chair's core attributes of modern detailing, engineered comfort, and sleek design. The barstool, in particular, addresses the need for comfortable and ergonomically sound seating options in bar settings, a space where comfort is often overlooked despite prolonged use. By integrating the design principles of the classic Sachet, the barstool offers a sophisticated and comfortable solution for counter and bar height applications. The Sachet Collection's distinctive features include angular forms and finely tailored details. These elements allow for significant customization through a diverse array of upholstery and base options, enabling the chairs and barstools to seamlessly integrate into various settings, from casual open-plan offices to upscale fine dining establishments. A key technological advancement in the collection is an innovative seat suspension system. This system is crucial for delivering optimal comfort and facilitating flawless upholstery details, such as the precise welting that outlines each piece. Furthermore, a classic stitch detail centered on the backrest adds a touch of bespoke craftsmanship and enhances the visual appeal of the tailored upholstery. Markus Jehs and Jürgen Laub, the designers behind jehs+laub, emphasize the Sachet's 'stunning simplicity with a modern edge,' noting its ability to blend effortlessly into any space. They highlight that the new armless and barstool additions further enhance the collection's versatility and flexibility. While the new offerings introduce a low-back armless chair, the original Sachet Arm Chair remains available in low, mid, and high-back configurations, providing a comprehensive range of choices for designers. The updated Sachet Collection serves as a testament to how a strong foundational design can be evolved and adapted to meet new demands and broaden its application, empowering designers with greater aesthetic diversity for both workplace and hospitality projects. Davis Furniture's ongoing commitment to innovation, both in developing new concepts and refining existing ones, encourages designers to continually explore creative possibilities and consider each piece of furniture as an opportunity to elevate interior spaces. #DavisFurniture #SachetCollection #jehsnLaub #ChairDesign #BarstoolDesign #HospitalityDesign #WorkplaceSolutions #FurnitureInnovation #InteriorDesign

The Cesca chair, originally designed by Marcel Breuer in 1928 and named after his daughter Francesca, has experienced a notable resurgence in popularity, appearing frequently on social media and in contemporary homes. Despite its current trend status, the chair has maintained a beloved design aesthetic for over nine decades, suggesting it is more of a timeless classic than a fleeting trend. Its enduring appeal lies in its unique blend of natural and industrial elements, featuring a cane rattan seat and back supported by a distinctive tubular steel frame, a design innovation inspired by bicycle construction. This duality contributes significantly to its classic and versatile nature. A key factor in the Cesca chair's widespread availability and accessibility is that Marcel Breuer never patented its design. While he collaborated with specific manufacturers, such as Knoll, which has produced the chair since 1968 and remains the sole licensed retailer, the absence of a patent allowed other brands to adapt and produce their versions. This has made the chair attainable across various price points, from under $50 at thrift stores and eBay to around $500 from antique vendors. A brand-new, licensed version from Knoll can cost approximately $1,700, offering options for different budgets and preferences regarding authenticity. Historically, Breuer's original design was one of the first mass-produced chairs, ensuring continuous production since its inception. Today, the Cesca chair seamlessly integrates into diverse interior design styles, ranging from minimalist and bohemian to mid-century and industrial. Its versatility is further enhanced by the current rising trend of cane rattan, a natural material that provides comfort in an increasingly technological world. This trend has also contributed to the revival of other cane furniture, like the Jeanneret chair. The Cesca chair stands out as one of the most widely available and consistently sought-after furniture pieces by design enthusiasts globally. Its remarkable ability to combine hand craftsmanship with machine-made structures in a perfectly poetic manner continues to captivate furniture lovers even after 92 years. The article provides purchasing options for those interested in acquiring a Cesca chair, categorizing them by investment (Knoll for authenticity), affordability (Breuer-inspired versions), vintage options (restored '80s models), and antique selections (durable '70s creations with added comfort features). #CescaChair #MarcelBreuer #FurnitureDesign #InteriorDesign #CaneRattan #MidCenturyModern #DesignTrends #ClassicFurniture #HomeDecor

Arper has re-engaged designer Jean-Marie Massaud to introduce the Aston Club, a new lounge chair for 2020, building upon the success of the original 2006 Aston collection. This new addition features a distinctive silhouette and classic design elements, engineered to provide optimal comfort within its enveloping form. A primary focus in the development of the Aston Club was not only ergonomic comfort but also environmental sustainability. The internal components of the chair are manufactured entirely from post-industrial recycled plastic. These components are designed to be easily disassembled, allowing for their recycling or upcycling into other products, thereby minimizing waste. To mark the launch of the Aston Club, Arper selected four specific fabrics from the Kvadrat/Raf Simons collection, which debuted at Salone del Mobile 2019. These fabrics, co-designed by Kvadrat and Belgian fashion designer Raf Simons (who also serves as co-creative director of Prada), were chosen to upholster the new lounge chair. The Aston Club, accompanied by a matching footrest, is designed for versatility, suitable for office, hospitality, or residential environments, offering both visual appeal and a comfortable seating solution for relaxation. Jean-Marie Massaud, the designer of the Aston Club, highlighted that the new fabric range significantly enhances the product's personality and identity. He noted that these exclusive fabrics and finishes expand the Aston Club's aesthetic, making it adaptable to a wide range of settings, from traditional to modern. The manufacturing process of the Aston Club chair intentionally avoids the use of glue, a decision made to reduce emissions and facilitate responsible disposal of all components. Furthermore, the chair's base is finished with a powder-based coat that is free of VOC (Volatile Organic Compound) emissions, underscoring its eco-friendly design. While the chair is prominently featured in the Kvadrat/Raf Simons fabrics, it is also available with various other upholstery options, encompassing both classic fibers and contemporary patterns. The base can be customized with either a polished or painted aluminum finish, offering further aesthetic flexibility. More information about the Aston Club chair and other furniture options is available through Arper's official website and the Design Milk Shop. #Arper #AstonClub #JeanMarieMassaud #KvadratRafSimons #SustainableDesign #LoungeChair #InteriorDesign #FurnitureDesign #EcoFriendly

Copenhagen-based designer Thomas Bentzen has introduced the Soft Chair, a piece of furniture created for the Danish brand Takt. This chair is a testament to the elegant and fluid curves achievable through moulded wood veneer, which is designed to appear as if it gently drapes over a solid wood frame. Bentzen's design approach for the Soft Chair was to celebrate each component and material used in its construction. The chair incorporates manufacturing methods and materials that have a long-standing popularity among Scandinavian designers. It is primarily constructed from moulded plywood, a material created by meticulously glueing thin layers of veneer together and then pressing them into a desired shape within a mould. This process allows for the creation of the distinctive curved elements that form the seat and backrest of the chair. The design features these curved plywood sections fitting onto a straightforward frame made from solid ash. The frame is secured using exposed metal bolts, emphasizing the chair's construction and material honesty. The way the seat and backrest are shaped gives the impression of fabric draped over the solid ash frame, highlighting the intelligent application of moulded veneer. A key aspect of the Soft Chair's design is its inherent strength, achieved through the double curves created during the moulding process. These curves contribute significantly to the overall structural integrity of the chair. Bentzen notes that this design demonstrates an intelligent use of moulded veneer, making it resemble a cloth that envelops the chair's underlying structure. Sustainability was a core objective throughout the development of the Soft Chair. To achieve this, only solid wood sourced from FSC-certified suppliers is used. Furthermore, the chair is engineered for flat-pack shipping, a method chosen to minimize its volume during transport, thereby reducing CO2 emissions. The design also allows for individual parts to be replaced if they become worn, extending the product's lifespan. At the end of its functional life, the entire chair can be easily disassembled for recycling, further contributing to its environmental sustainability. The ash wood selected for the chair features a unique grain pattern, which serves to showcase the natural variations and seasonal growth of the tree. The Soft Chair is offered with a choice of finishes: a clear matt lacquer or a black lacquer, allowing for aesthetic versatility. The chair's innovative design and sustainable considerations have earned it a shortlist nomination in the Seating design category of the Dezeen Awards 2019. It is among other notable entries, including another flat-pack chair designed for Takt by PearsonLloyd and a 3D-printed concrete bench aimed at enhancing public safety. Bentzen has a history of creating furniture with a strong design philosophy. His previous works include a wooden lounge chair inspired by traditional Scandinavian aesthetics and a sideboard that incorporated industrial details, influenced by his visits to manufacturing facilities. The Soft Chair continues this tradition by blending functional design with an appreciation for materials and sustainable practices. #ThomasBentzen #SoftChair #FurnitureDesign #MouldedPlywood #SustainableDesign #ScandinavianDesign #TaktFurniture #DezeenAwards #Chairs

The Eames Lounge and Ottoman, designed by Charles and Ray Eames, made its public debut in 1956 on NBC’s ‘Home’ show, where actress Arlene Francis described it as "quite a departure" from the designers' previous works. Prior to this, the Eameses were already recognized for their successful chair designs utilizing molded plywood, plastic, and upholstered wire. Their extensive experience with plywood originated from their work during World War II, where they developed pioneering wood-molding techniques to create splints for the U.S. Army. Post-war, they continued to innovate with plywood, focusing on designs suitable for mass production and offering good value. In contrast to their earlier, more accessible designs, the original Eames Lounge and Ottoman, crafted from molded rosewood and upholstered leather with an aluminum base, was positioned as a luxury item. Its initial price of $310 (equivalent to approximately $3,100 today) reflected this premium status. Currently, the set, also known as models 670 and 671, ranges in price from $4,000 to $10,000. Charles Eames famously aimed to create a chair with "the warm, receptive look of a well-used first baseman’s mitt," intended to provide relief from the stresses of modern life. Ray Eames characterized it as "comfortable and un-designy." From its inception, the chair was primarily marketed as high-end furniture, often depicted in advertisements as suitable for a gentleman’s penthouse or bachelor pad. Over the nearly seven decades since its introduction, the Eames Lounge and Ottoman, produced by Herman Miller, has maintained a significant cult following. Its enduring popularity is evident through its inclusion in a 1960s ‘Playboy’ feature on modernist furniture, its status as the subject of documentaries, books, and museum exhibitions, and its appearances in popular culture, including James Bond films and TV series like ‘Frasier.’ Even prominent figures such as Steve Jobs and Bill Gates have been photographed with the iconic chair. Social media platforms today feature numerous devotional posts and dedicated online communities for "Eames Enthusiasts." Despite its acclaim, the design has also become one of the most frequently counterfeited and copied furniture pieces in modern history. This widespread imitation underscores its iconic status and desirability. The Eames Lounge and Ottoman also continues to be a symbol of material innovation. On July 23, Herman Miller introduced a new plant-based upholstery option for the chair, developed by von Holzhausen. This vegan leather fabric, made predominantly from bamboo, is claimed by the company to reduce the chair’s carbon footprint by up to 35 percent. However, this environmentally conscious option still comes with a substantial price tag of $6,395, reflecting its continued position as a luxury item. #EamesLoungeChair #MidcenturyModern #FurnitureDesign #HermanMiller #CharlesAndRayEames #DesignHistory #ModernFurniture #LuxuryDesign #SustainableMaterials

The Eames Molded Plastic Dining Chair, also known as the EC-127, has been reintroduced by Herman Miller with a significant update, incorporating sustainable materials while retaining its iconic design. Originally introduced in 1970 by Charles and Ray Eames, the chair is now crafted from 99% post-industrial recycled plastic. This move reflects a commitment to environmental responsibility, aligning the classic design with contemporary sustainability demands. The Eameses, who began their collaboration at Cranbrook Academy of Art in 1940, were known for their innovative approach to design, focusing on quality, functionality, and a timeless aesthetic that eschewed excess. The updated EC-127 chair is available in new contemporary colors and, for the first time, in a non-upholstered version. This non-upholstered option makes the chair particularly suitable for high-traffic environments such as offices, educational institutions, and restaurants, where durability and ease of maintenance are crucial. Upholstered versions remain available, offering enhanced comfort and customization options for users who prefer a softer, more personalized touch. The reintroduction of this chair underscores the enduring relevance of the Eameses' design philosophy, which emphasizes continuous improvement and adaptability. Herman Miller has curated the available finishes and colors for the EC-127 to allow for personal expression without overwhelming choices. The chair comes with four shell finishes, six leg colors, and a selection of upholstery fabrics. Leg options include classic chrome, black, and white, alongside bold powder-coated shades such as Blaze, Marigold, and Berry Blue. These vibrant colors encourage a playful and individualistic aesthetic, providing a contrast to the often monochromatic trends in modern interior design. Combining a Brick Red shell with Blaze legs or Berry Blue legs with a Light Blue finish allows for dynamic and expressive combinations, reflecting a departure from minimalist palettes. The upholstery choices are a nod to the Eameses' original vision, with Herman Miller collaborating with Maharam to offer fabrics that resonate with patterns and palettes favored by Charles and Ray Eames. Notably, Alexander Girard’s Hopsak, a fabric option from the chair's initial debut, has been brought back. This reintroduces a historical element of mid-century textile experimentation into the contemporary design. The overall aesthetic, influenced by "The Toy" architectural play set designed by the Eameses in 1951, blends a modern Bauhaus sensibility with practical considerations for comfort and everyday use. Eames Demetrios, Director of the Eames office and grandson of the designers, highlights that the EC-127 embodies the Eameses' belief in constant design improvement. He explains that as pioneers in using plastic for durable and affordable furniture, they continuously refined their designs, eliminating the need for separate shock mounts by integrating them into the seat and back. This innovation also made the chair lighter and allowed for a greater variety of colors. The new color palette is deliberately minimal yet bold, featuring a matte finish that emphasizes visual honesty, aligning with the Eameses’ principle that design should be both useful and beautiful, balancing form with function. Through this sustainable update, Herman Miller and the Eames Office ensure that the EC-127 remains a relevant and evolving piece of design, extending its legacy into the 21st century. #HermanMiller #EamesChair #SustainableDesign #MidCenturyModern #FurnitureDesign #InteriorDesign #ProductRedesign #EcoFriendlyMaterials #ClassicRevival

Herman Miller has collaborated with German industrial designer Stefan Diez to introduce their inaugural nesting chair, named the Fuld Nesting Chair. This seating solution is engineered to optimize space utilization, featuring a design that allows for efficient storage when not in use. A key aspect of its functionality includes flip-up seats and specialized wall-saving legs, meticulously designed to prevent the seat-back from making contact with and potentially damaging walls. The Fuld Nesting Chair incorporates innovative design and manufacturing principles aimed at reducing environmental impact. Its construction utilizes a pioneering one-piece frame and tubular arms, a method chosen to minimize material waste during the production process. Further demonstrating its commitment to sustainability, the chair incorporates a unique 3D Knit textile. This fabric is composed of 50 percent post-consumer recycled content and is precisely knitted to the chair's specific dimensions, eliminating excess material and fabric waste. Functionality is also a central theme in the chair's design, particularly concerning user comfort and adaptability. The backrest of the Fuld Nesting Chair is engineered with a degree of flexibility, allowing it to adapt to the user's posture and movements, thereby enhancing comfort. This design feature underscores a focus on ergonomic considerations in addition to space-saving and sustainable manufacturing. Stefan Diez provided insights into the development process by sharing a series of prototyping photographs on his personal website. These images offer a behind-the-scenes look at the various stages of the chair's evolution, from initial concepts to refined models. The prototyping phase likely involved extensive testing and modifications to achieve the desired balance of form, function, and sustainability. The Fuld Nesting Chair represents a notable addition to Herman Miller’s product line, showcasing advancements in furniture design that address both practical user needs and environmental responsibility. #IndustrialDesign #FurnitureDesign #NestingChair #HermanMiller #StefanDiez #SpaceSaving #SustainableDesign #Prototyping #ErgonomicDesign

The Italian design brand Desiree, established in 1968, exemplifies a synthesis of quality, innovation, and collaboration in its furniture creation. This commitment is evident in the Melvil sofa, a new design resulting from a partnership with French designer Marc Sadler. The Melvil sofa offers a modern interpretation of Bauhaus principles, integrating elements of fine art with industrial craftsmanship. The Bauhaus movement, founded in Germany in the early 20th century by architect Walter Gropius, championed geometric simplicity, functional design, and the seamless integration of art, craft, and technology. Influential figures like Mies van der Rohe and Marcel Breuer emphasized clean lines, practicality, and an industrial approach to materials, values that continue to shape contemporary design. Marc Sadler’s Melvil sofa pays homage to this legacy while introducing a contemporary flair to its geometric precision. The sofa is constructed from three primary components: a deep, capitonné-effect seat; adjustable, movable backrests; and a robust black chromed-metal frame. These elements combine to form a modular design that allows for flexible seating arrangements, accommodating various user preferences and spatial requirements. The backrests are not fixed, providing the ability to create different configurations for comfort or aesthetic appeal. Users can choose straight or angled backrests, or a combination of both, offering extensive personalization options. Key to the Melvil sofa's appeal is its adaptability. Its modular components, available in both linear and angular forms, facilitate numerous arrangements, ranging from simple, streamlined setups to more dynamic configurations. This versatility makes the sofa suitable for diverse environments, whether a formal seating area or a casual lounge. This inherent flexibility, coupled with its clean, geometric aesthetics, directly reflects the Bauhaus principle of functionalism, ensuring the piece is not only visually pleasing but also highly practical and user-adaptable. Beyond its utilitarian aspects, the Melvil sofa incorporates refined details. The capitonné upholstery introduces a touch of luxury, contrasting and complementing the industrial character of the black metal frame. Subtle stitching details enhance the sofa’s sleek profile, achieving a balanced interplay between softness and structural integrity. Sadler’s collaboration with Desiree on the Melvil sofa is part of a broader history of their joint projects, all reflecting Desiree’s philosophy of expressing emotion through design, influenced by the tranquil landscapes of Treviso, Italy. Desiree, under the ownership of Gruppo Euromobil since 1995, has also broadened its focus to include sustainability. The company employs eco-friendly and recyclable materials in its production processes, ensuring that environmental impact is minimized without compromising product quality. This dedication to circularity extends to its packaging, which is fully recyclable. The Melvil sofa is offered in a wide array of luxurious fabrics and leathers, providing numerous customization options to seamlessly integrate into various interior styles, from minimalist to eclectic or traditional. Ultimately, the Melvil sofa exemplifies Desiree’s and the Bauhaus tradition’s commitment to purposeful design. It combines aesthetic allure with functional utility. Its modular structure ensures flexibility and comfort, while its ergonomic design offers sustained support. Constructed from robust materials, the sofa is built for durability, making it an ideal choice for modern interiors. #FurnitureDesign #BauhausDesign #ModularSofa #MarcSadler #DesireeFurniture #InteriorDesign #SustainableDesign #ItalianDesign

Dutch designer Sabine Marcelis has transformed the VitraHaus Loft in Weil am Rhein, Germany, with a vibrant and innovative installation that redefines living spaces through a bold color scheme. This project is a continuation of Marcelis's previous collaboration with the Vitra Design Museum, which included the 2022 'Colour Rush!' exhibition. The current installation on the top floor of the VitraHaus mirrors the design philosophy of Marcelis's own home, featuring a large open space divided into distinct zones, each characterized by a unique color palette. Her approach integrates her own designs with artworks from other artists and iconic Vitra furniture pieces. Till Weber, Vitra’s Creative Director of Interiors & Scenography, highlights the VitraHaus Loft as an ideal setting to showcase the versatility of Vitra furniture. He commends Marcelis's use of natural, organic hues that create a harmonious interaction between the various zones without demanding perfect matches. The design prioritizes a warm, home-like ambiance through a thoughtful layering of design elements and diverse materials, moving away from a traditional gallery aesthetic. Upon entering the loft, visitors encounter a spacious living room bathed in a cool mint green. This area features a distinctive lounge setup conceptualized by Marcelis, utilizing Jasper Morrison’s Soft Modular Sofa to form an inviting, enveloping pit, designed for relaxation, film viewing, and appreciating scenic views. Marcelis's installation employs seven primary colors, each purposefully assigned to a specific zone. For instance, a soft pink defines the bathroom, which includes a custom pale pink onyx unit that captivates with its elegance and light-reflecting properties. Marcelis notes that the chosen colors are personal favorites, selected for their timeless quality and her enduring appreciation for them, a philosophy she believes is crucial for creating a personal home. Her exploration of Vitra's extensive catalog led her to Danish designer Verner Panton. Coinciding with the VitraHaus Loft's unveiling, Marcelis has reinterpreted Panton's iconic Panton Chair Classic (1959) and Visiona Stool (1970), incorporating them into the installation and releasing them as limited editions. Each piece aligns with the loft’s color scheme, with the Visiona Stool featuring various upholstery finishes, including faux fur, leather, and other materials, across the seven colors. Christian Grosen, Vitra’s Chief Design Officer, praised Marcelis’s reinterpretations of Panton’s works, emphasizing the timelessness of Panton’s designs. He believes that the Panton Chair Classic, while echoing its 1960s origins and innovative production techniques, remains highly relevant today, especially with Marcelis’s use of color, which offers a fresh perception of the chair. A significant aspect of Marcelis’s vision for a homely environment within the VitraHaus Loft is the inclusion of artworks and design elements from outside the Vitra collection. This collaborative approach features artists such as Maria Pratts, Johnny Mae Hauser, Carlijn Jacobs, and Berlin-based pattern designer Ehsan Morshed, who has also created special edition printed bedsheets for purchase. Grosen underscores Vitra’s philosophy that its products achieve their full potential when integrated into a collage with other objects, reinforcing the idea that Vitra is not the sole answer but a vital component of a broader design narrative. The reimagined Panton Chair Classics and Visiona Stools are available in limited quantities at the VitraHaus and vitra.com, with specific availability details for the United States. #SabineMarcelis #VitraHaus #InteriorDesign #ColorPalette #FurnitureDesign #VernerPanton #LimitedEdition #ModernDesign #DesignInstallation

Copenhagen-based designer Thomas Bentzen has created a wooden lounge chair for the Danish brand Muuto, embodying a traditional Scandinavian aesthetic. This new Cover Lounge Chair is an extension of the brand's existing Cover Chair series, which Bentzen also designed. Unlike many lounging chairs that feature extensive fabric upholstery for a softer feel, the Cover Lounge Chair maintains a minimalist wooden frame, similar to the original all-wood Cover Chair. The chair is constructed with a robust beech wood frame and features a broad, rounded backrest made from form-pressed veneer. This backrest extends downwards to form the armrests, a design choice intended to enhance comfort and create an inviting appearance. Bentzen articulated that the concept of an all-wood lounge chair is an archetypal element within both Danish and broader Scandinavian design traditions. This approach is rooted in the belief that significant comfort can be achieved from a simple wooden chair, along with a light and open aesthetic, a principle that has been central to Scandinavian design since the 1950s. Bentzen's objective was to develop a comfortable wooden lounging design that simultaneously felt modern, timeless, and deeply connected to Scandinavian craftsmanship traditions. While sharing the overarching aesthetic with the regular Cover Chair, the lounge version offers a more relaxed appeal. It incorporates a more solid base and a taller backrest to provide enhanced comfort and a more substantial visual presence. The design process involved careful balancing of contrasting elements, aiming for a piece that is both solid and comfortable, yet also open and airy in its overall expression. The upholstered seat, according to Bentzen, contributes to an understated comfort, allowing users freedom of movement and versatility in seating positions. Despite its broad backrest, the lounge chair is designed to occupy minimal space within a room. Its intended use spans various social environments, including private residences, professional workspaces, lobbies, and co-working areas. The Cover Lounge Chair is available in several finishes: black, light grey, or natural oak, with consumers having the option to select an upholstered seat in either textile or leather. Thomas Bentzen is recognized for his authentic Danish design approach, as demonstrated in previous collaborations with Muuto, such as the fluted steel sideboard. This earlier creation blended traditional Scandinavian aesthetics with industrial influences, warming the cooler steel components with solid oak elements. The Cover Lounge Chair continues this design philosophy, emphasizing natural materials, functional simplicity, and a refined aesthetic. #ThomasBentzen #Muuto #CoverLoungeChair #ScandinavianDesign #WoodenFurniture #ModernFurniture #DanishDesign #InteriorDesign #LoungeChair

The VLA26 Vega Chair, initially designed in 1956 by Danish architect Vilhelm Lauritzen for the Vega concert venue in Copenhagen, is experiencing a resurgence in popularity. Lauritzen was responsible for nearly the entire interior design of the Vega, encompassing furniture, wood panels, chandeliers, door handles, and sockets. While the concert venue itself was a monumental project, the Vega Chair was not widely produced at the time of its initial design. The chair's reintroduction began in 2022 through a collaboration between Vilhelm Lauritzen Architects (VLA) and Carl Hansen & Søn, coinciding with Lauritzen's 100th anniversary. This partnership aimed to bring the historical design to a broader audience. Following its successful re-launch, the Vega Chair is now available in 2024 with a new iteration featuring a chrome-plated steel frame, adding a contemporary touch to its classic design. Knud Erik Hansen, CEO of Carl Hansen & Søn, expressed pride in the collaboration, noting that many of Lauritzen's designs were originally exclusive to the specific buildings they were created for. The reintroduction of the Vega Chair marks a significant moment, making a piece of design history accessible to a wider market. Despite its seemingly delicate appearance, the Vega Chair is designed for durability and stability. Carl Hansen & Søn's artisans craft the chair using FSC-certified oak, with meticulous attention to detail, including hand polishing to ensure a seamless finish. The chair's design is both lightweight and stackable, capable of being grouped in stacks of up to eight chairs, making it practical for various settings. The addition of the chrome-plated steel frame in the new version provides a visual contrast to the natural wood grain and upholstery options. Key design features of the Vega Chair include its gently curved backrest, which is considered a hallmark of the design, and its legs, which are capped with solid oak feet. These elements contribute to both the aesthetic appeal and structural integrity of the chair. The renewed availability of the Vega Chair makes it suitable for diverse applications, from residential homes to hospitality venues and public spaces, extending its legacy and appreciation globally. Carl Hansen, CEO of Carl Hansen & Søn, indicated potential for future collaborations with VLA, suggesting that more unique furniture pieces designed by Lauritzen may be reintroduced to the market. This ongoing partnership highlights a commitment to celebrating and preserving significant contributions to Danish design history, allowing these timeless creations to find new life and purpose in contemporary environments. #VLA26VegaChair #VilhelmLauritzen #CarlHansenSøn #DanishDesign #FurnitureDesign #MidCenturyModern #ChromeSteel #FSCcertifiedOak #DesignHistory

The Eames Lounge Chair and Ottoman, designed by Charles and Ray Eames in 1956, is a significant piece in modern design history, initially conceived as a luxurious interpretation of a 19th-century club chair. This design, intended to evoke a worn first baseman’s mitt, combined high-quality materials such as supple leather, wood veneer, and cast aluminum. Its introduction by Herman Miller marked a pivotal moment in furniture design, challenging traditional perceptions of what a chair could look like with its distinctive molded plywood and innovative shock mount technology. Sixty-five years after its debut, the Eames Lounge Chair continues to be a staple in contemporary homes and a subject of admiration. Despite its widespread acclaim, a critical evaluation of its comfort reveals that the Eames Lounge Chair lives up to its reputation. The chair's design, though appearing low to the ground and permanently tilted, offers an unparalleled level of comfort when fully reclined with the ottoman. Its ergonomic consideration allows for various sitting postures, from upright to fully relaxed, making it versatile for different activities. The reviewer noted a transformative experience, finding new enjoyment in simply sitting, which highlights the chair's exceptional design for user comfort and engagement. In terms of durability and practicality in a modern home, the Eames Lounge Chair is built to last. While concerns about spills and pet damage on a luxury item are natural, the robust leather upholstery is designed to withstand daily use and even develop an appealing patina over time. The interchangeable seat and ottoman cushions facilitate even wear, extending the chair's lifespan. Maintenance involves recommended annual adjustments and cleaning, with specific products for upholstery care and bolt tightening. However, opting for delicate materials like mohair may require more diligent care against stains. The chair's visual presence is commanding; it is a substantial piece of furniture that demands attention and requires ample space. Its size, coupled with a proportionally large ottoman, makes it ideal for spacious, minimalist interiors where it can serve as a focal point. This explains its prevalence in such settings and its status as a desired item for those with larger living areas. The design’s strong aesthetic appeal and sculptural quality make it a piece that enhances a room's decor, rather than merely fitting in. Priced starting at $5,995, the Eames Lounge Chair is positioned as a luxury item, reflecting the meticulous craftsmanship and premium materials used in its construction. Herman Miller, the manufacturer, offers financing options to make this iconic piece more accessible, distinguishing it from numerous knockoffs that may mimic its appearance but lack the authentic quality and comfort. Buyers are advised to purchase from authorized retailers like Design Within Reach or MoMA Design Store, or to exercise caution when buying secondhand, familiarizing themselves with authentic design details to avoid counterfeits. An authentic Eames chair bears a Herman Miller logo and an Eames signature on its underside. Customization options are available, including seven shell wood finishes and 18 upholstery colors, ranging from classic rosewood and black leather to gray mohair or red flamiber. Each chair is handcrafted in West Michigan, with in-stock options delivered within two to three weeks, and customized orders having varying lead times. Delivery options include standard in-home delivery for an additional charge, or a specified timeframe delivery for a higher fee. Its timeless design, characterized by the molded plywood shell and buttery leather cushions, positions it as a classic work of art, recognized by institutions like MoMA, which includes it in its permanent collection. The chair's sophisticated yet Space Age-y aesthetic makes it suitable for various decor styles, particularly mid-century modern and contemporary. For smaller homes, it is recommended to design the seating arrangement around the Eames chair or consider acquiring only the lounge portion to ensure it retains its status as the centerpiece of the room. The Eames Lounge Chair is not just furniture but a trophy, a collectible, and a conversation starter, offering both aesthetic value and comfort. #EamesLoungeChair #MidCenturyModern #IconicDesign #HermanMiller #FurnitureReview #InteriorDesign #LuxuryFurniture #HomeDecor #DesignClassics

Benjamin Hubert, a London-based designer, collaborated with Italian brand Moroso to create the Talma lounge chair, a piece of furniture designed to be both compact and innovative. The chair's name, 'Talma,' references a type of cloak, which reflects its design aesthetic: it appears to be wrapped in a padded textile, much like a body would be enveloped by a cloak. This aesthetic choice is integral to the chair's construction and its environmental considerations. Beneath the distinctive padded exterior lies a lightweight metal frame. This construction method aligns with the design studio's objective of reducing the material usage, weight, and overall cost typically associated with the traditional manufacturing of upholstered chairs. The frame is crafted using CNC-shaped steel, and integrated upholstery straps provide essential support. This approach allows for a significant reduction in the amount of polyurethane foam required for cushioning, thereby contributing to a lower carbon footprint for the product. The custom-made textile used for the chair's padded cover was developed through a collaboration with Innofa. This textile is specifically designed to incorporate padding directly, eliminating the need for extensive additional foam. The cover is meticulously secured to the chair's frame using strategically placed zippers and two fastenings located at the front of the chair. This fastening system not only ensures the cover remains in place but also contributes to the chair's neat and tailored appearance. The Talma lounge chair represents a design that prioritizes both aesthetic appeal and environmental responsibility. By utilizing a minimal metal frame and an integrated padded textile cover, Benjamin Hubert and Moroso have developed a lounge chair that is not only visually striking but also mindful of its material impact. The design showcases an innovative approach to furniture construction, where the outer layer is not merely decorative but functionally essential in providing comfort and structural integrity while reducing the overall environmental footprint. #LoungeChair #BenjaminHubert #Moroso #FurnitureDesign #SustainableDesign #ProductDesign #InteriorDesign #ModernFurniture

This week's Dezeen Showroom highlights six new products, ranging from innovative seating solutions to versatile office furniture and timeless reissues. The collection features designs that prioritize both aesthetic appeal and functional adaptability for modern living and working spaces. Leading the selection is the Shrinx lounge chair by Boris Berlin for Danish furniture brand +Halle. This chair redefines the traditional armchair by using a skeletal steel frame and taut, heat-shrunk textile upholstery, creating a translucent, visually light seat that avoids the bulk of conventional foam padding. This innovative approach offers a distinct aesthetic while maintaining comfort. Another notable seating design is the Sundae modular lounge by Jason Ju for DesignByThem. This system is built from plump, upholstered components, allowing for extensive customization. Users can choose from four preset layouts or combine five different modules to create unique configurations, making it adaptable to various room sizes and design preferences. The Sundae modular lounge can also be upholstered in a range of materials, further enhancing its personalization options. For office environments, Kettal introduces the Kall booth, a compact office pod designed to balance privacy with an open feel. Available in four sizes, each booth incorporates two glass sides and two solid panels. This combination provides a sense of seclusion for focused work while preventing the enclosed feeling often associated with traditional office pods. Its slender profile makes it suitable for diverse office layouts. Designs of the Time presents the Ausarta collection fabrics, a line of linen-based textiles featuring earthy, neutral colorways and tactile, raw textures. These fabrics are versatile, suitable for a wide variety of upholstery applications, and come in various patterns, textures, and colors, allowing designers and homeowners to integrate natural elements and a sense of calm into their interiors. Keiji Takeuchi's Mimo modular seating for NaughtOne offers another flexible seating solution. Characterized by rectilinear frames encasing plush pillows, the collection includes a modular system, two- and three-seater sofas, a club chair, and coffee tables. All pieces share a low, lounge-like silhouette, designed to create a relaxed and inviting atmosphere in both residential and commercial settings. Finally, vintage furniture manufacturer Dagmar reissues the Model 36 desk, originally designed by Severin Hansen in 1958. This desk, crafted from solid walnut or oak, features daintily tapered legs and a contemporary aesthetic that remains relevant almost 70 years after its initial creation. Its timeless design and high-quality materials make it a classic piece suitable for various interior styles, demonstrating the enduring appeal of well-crafted furniture. #DezeenShowroom #FurnitureDesign #LoungeChairs #ModularSeating #OfficeFurniture #TextileDesign #MidCenturyDesign #ContemporaryDesign

The chair, a universal design element, has evolved significantly over time, reflecting changes in tastes, materials, technologies, and ideologies. It serves not only as a functional necessity but also as an emblem of status, style, and artistry. Design historian Peter Fiell notes that the chair is one of the most studied artifacts of the modern era, offering deep insights into human behavior and societal progress. Stine Liv Buur, manager of Vitra’s classics collection, emphasizes that chairs, whether contemporary or ancient, provide valuable lessons on comfort, ergonomics, quality, materials, functionality, connections, dimensions, and sustainability. Defining a “good” chair is a subject of ongoing debate among experts. While there is no definitive answer, common criteria include comfort, fulfillment of function, and sustainability in terms of materials, construction, and longevity. Fiell further suggests that a truly great chair establishes a special connection with its user, which can be physical, psychological, structural, intellectual, contextual, ideological, emotional, aesthetic, cultural, or even spiritual. Iconic chairs, in particular, transcend mere utility to become testaments to enduring design and remarkable ingenuity, distinguishing themselves from countless failed attempts. One of the most widely recognized chairs globally is the Monobloc, identified by the Vitra Design Museum as a firm contender for the most used piece of furniture worldwide. This mass-consumer product is ubiquitous, found in diverse settings from European gardens to African cafes and Asian restaurants. The plastic chair, epitomized by Henry Massonnet’s Fauteuil 300, the Panton chair, and the Bofinger, showcases designers’ shared vision to create a single-piece chair. These designs, though appreciated as museum pieces, were also intended for everyday use, inviting individuals to incorporate them into their homes. The article highlights 23 iconic chair designs, each with its own unique story and significance in design history. Examples include Gaetano Pesce’s Up Chair, known for its sculptural form and the controversy it sparked, and Robert Venturi and Denise Scott Brown’s Queen Anne Side Chair, a postmodernist statement blending historical and modern styles. The Emeco Navy Chair, developed for U.S. Navy warships, exemplifies extreme durability and innovation in material use, while Michael Thonet’s Bentwood Thonet 209 Armchair revolutionized furniture through steam-bent wood technology. Marcel Breuer's Wassily B3 and Cesca Chairs introduced tubular steel and cantilevered design, and Eileen Gray's Transat Chair became an icon of comfort and class. Le Corbusier’s Grand Confort LC2 revealed its structural elements, and Ludwig Mies van der Rohe’s Barcelona MR90 Chair combined luxury with modernism. Charles and Ray Eames contributed the LCW Plywood Chair, a testament to material innovation, and the luxurious Eames Lounge Chair and Ottoman. Their DAR Chair demonstrated the versatility of plastic shell design. Eero Saarinen's Womb Chair offered a cozy, stylish seating solution, and his Tulip Armchair aimed to eliminate the clutter of traditional chair legs. Hans Wegner’s Wishbone Chair and Papa Bear Chair showcased Scandinavian craftsmanship and comfort. Arne Jacobsen's Ant Chair pioneered single-piece plywood design, followed by his enveloping Egg Chair and the innovative, line-less Swan Chair. Verner Panton's Panton Chair harnessed the potential of plastic for a comfortable, stackable design. Warren Platner’s Platner Arm Chair featured intricate steel rod construction, and Frank Gehry’s Wiggle Side Chair explored corrugated cardboard as a sturdy material. Philippe Starck's Louis Ghost Chair brought transparent polycarbonate to regal elegance, and Faye Toogood's Roly-Poly Chair offered a sculptural, comforting form for modern needs. #IconicChairDesigns #FurnitureHistory #ModernDesign #MidCenturyModern #DesignInnovation #ScandinavianDesign #Postmodernism #ChairCraftsmanship #SustainableDesign