DECEMBER XL CHAIR BY JASPER MORRISON

Nikari’s December XL chair, designed by Jasper Morrison and Wataru Kumano, has a natural and simplistically Scandinavian design. A combination of a wooden frame and leather seat, the sleek lounge chair suits both modern and more traditional interiors either individually or together with the December XL ottoman.

XL December  Nikari.jpg

 

 

Details

Model : DECEMBER XL CHAIR

Designer : JASPER MORRISON

Period : 2012

Dimension : Width: 58,5 cm  Depth: 59,5 cm   Height: 70 cm   Seat height: 38 cm

 

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MARACA LOUNGE CHAIR BY SEBASTIAN HERKNER

Inspired by the beautiful and colorful hammocks you can find all over Colombia, the studio designed a deep lounge chair for our Siesta. A welcoming metal structure provides the stability to fix the small seating hammocks. These garden lounge chairs exist in three colorways and textiles produced at a small manufactory in Colombia.

 

 

Details

Model : MARACA LOUNGE CHAIR

Designer : SEBASTIAN HERKNER

Period : 2019

Origin : Textiles from Colombia

Dimension : H = 88,5 cm  D = 86,7cm

 

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B33 CHAIR BY MARCEL BREUER

 

One of the most important representatives of the University of Bauhaus in Germany, Marcel Breuer designed the B33 chair in 1927, it is based on the cantilever principle (cantilevered), in the same spirit as the famous B3 chair or “Wassily chair” that he designed in 1925. This chair is made of chrome tubes, and pieces of black leather stretched. A design classic with all the spirit of the Bauhaus, a movement that is a century old and yet not wrinkled.

Set of four cantilevered Bauhaus dining chairs. Underneath marked with Gavina.

 

 

Details

Model : B33

Designer : MARCEL BREUER

Editor : DINO GAVINA

Period : 1960

Origin : 1927

Dimension : Height: 80 cm /  Width: 47 cm /  Depth: 60 cm

 

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D.153.1 ARMCHAIR BY GIO PONTI

Designed in 1953, the D.153.1 armchair is part of the furniture of Gio Ponti’s private home, via Dezza in Milan. The structure is made of satin-finish brass, the covering, leather, fabric, two-tone leather or Rubelli’s “Punteggiato” spotted fabric. The fabric, designed by Ponti in 1934, reinterprets the secular technique of velvet by updating it with contemporary motifs, such as the tight sequences of stamps offset in colour gradation.

 

 

Details

Model : D.153.1 ARMCHAIR

Designer : GIO PONTI

Period : 1953

Origin : ITALY

Dimension : H 80 cm x L 103 cm x l 77 cm

 

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THE CANTILEVER CHAIR S 533 BY MIES VAN DER ROHE

Technology becomes furniture; a striking invention becomes an elegant interior design object. Ludwig Mies van der Rohe was the first to provide the cantilever chair with aesthetic lightness and to relate it to its environment with curved lines. In the run-up to the Weissenhof Estate exhibition, which he organised, Mies van der Rohe became familiar with the principle of the cantilever chair thanks to Mart Stam. As new as this approach may have been, Mies van der Rohe was not impressed with its first implementation by Stam. He immediately answered the technological innovation with his own aesthetic solution, which he was able to present in 1927. The S 533 is one of the first cantilever chairs, and it defines the surrounding environment with its large, elegantly curved circular tubular steel form. Targeted restriction with regard to the use of materials, elegance of lines, and transparency in its effect are the characteristics of S 533. It owes its exceptional comfort to its ability to constantly adjust to positions through flexing. While most designs from the early 1920s underscore functional aspects with an emphasis on simplicity, the architect’s signature can be sensed in this armchair: Mies van der Rohe’s intentionally luxurious design combines functionality, comfort and timeless aesthetics. The S 533 represents a changed perception of quality.
Frame chrome-plated tubular steel, seat and backrest with wickerwork or in bend leather, available in black, natural and with laced back. With “ThonetProtect®” surface for the frame and UV-resistant mesh (version “Thonet All Seasons”) also variably usable indoors and outdoors.

 

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Details

Model : S 533

Designer : MIES VAN DER ROHE

Editor : THONET

Period : 1927

Dimension : H 82cm x 77cm x 44cm

 

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THONET’S LIMITED-EDITION CHAIR BY STUDIO BESAU MARGUERRE

For the 100th anniversary of Bauhaus, Thonet and Hamburg-based design studio, Besau Marguerre have teamed up to bring an element of contemporary luxury to the S 533 F chair designed by Mies van der Rohe in 1927. The limited-edition of the renowned steel framed cantilever chair has been given a new look with a grey and rose colour scheme, bringing a sensual sheen to the brusque Bauhaus chair.

Studio Besau Marguerre, founded by Marcel Besau and Eva Marguerre in 2011, has created two new versions of the S 533 F with added armrests lending a softer appearence and feel. Looking to find a contrast between ‘objectivity and softness’, one chair has a pearl gloss chrome frame and anthracite-coloured nubuck-effect bend leather, with the other in matt champagne chrome with nubuck leather in soft rose.

‘I think they’re very good at putting together materials and colours, creating something out of very little, and giving enhancement that doesn’t betray the design, but keeps validity,’ says Norbert Ruf, creative director at Thonet. ‘It’s a very fresh look on the Bauhaus classic. It pushes a little bit of luxury, but doesn’t go over the edge,’ he says.

The designers referenced the original design through the warm, yet neutral colours that reference the lighter nickel-plated patina of the first cantilever chairs from the 1920s and 1930s. ‘While most designs from the 1920s were rather simple and function, this chair clearly reveals the architect’s signature: here, Mies combines functionality and comfort with timeless aesthetics – and that’s precisely what we wanted to bring into the present,’ says Marcel Besau.

Softness and flexibility were integral to Mies van der Rohe’s design that was specifically shaped to adapt and cushion the movement of the user with its large arch of hardened tubular spring steel. The designers have enhanced the user experience of this Bauhaus classic, by applying their knowledge and signanature sensual approach to design that can be felt across their other projects such as the furniture series for the Elbphilharmonie in Hamburg.

Studio Besau Marguerre were recommended to Thonet through German designer Stefan Diez, whom Eva Marguerre studied under. (‘I usually ask people who I believe have a good feeling for other people,’ says Ruf of his selection process for collaborators). Ruf remembers being impressed by ‘a small colourful stool that was dipped into resin’ designed by Marguerre early on in her career.

With backgrounds in product design as well as exhibition and graphic design, Besau and Marguerre are based in the district of Eimsbüttel in Hamburg, a place where – like the Bauhaus – there is a community of designers working together and collaborating.

Thonet’s history is based upon collaboration and craftsmanship too – the manufacturer opened its workshop in Boppard on the River Rhine in 1819, first mastering the art of the chair no.14, the Vienna Coffee House chair, and pioneering the technique of bending solid beech wood. The next challenge would be the tubular steel furniture, designed by the Bauhaus architects Mart Stam, Ludwig Mies van der Rohe and Marcel Breuer in the 1930s. By this time, always in chase of innovation, Thonet had grown from workshop into its vast headquarters and production site in  Frankenburg, Germany. Today, working on collaborations with designers to bring limited-editions to the market is an expression of this continued experimentation and innovation, mixing contemporary expression with years of expertise and skill.

‘It’s been a very positive and constructive collaboration,’ says Ruf of the Studio Besau Marguerre edition. ‘The first collaborations with designers and interior architects are always the most difficult because there’s a lot of trial and error, trying to find a similar language, and to communicate what Thonet is and needs, what’s credible for our market, and also to understand how to find a compromise – after all that, it’s then a lot easier to build on the know-how for another collaboration.’

 

 

Details

Model : THONET’S  S 533 F CHAIR

Designer : MIES VAN DER ROHE

Editor : STUDIO BESAU MARGUERRE

Period : 2019

Dimension :  H 82 cm x 50 cm x 77 cm

 

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THE SPANISH CHAIR BY BORGE MOGENSEN

The Spanish Chair is Borge Mogensen’s masterly interpretation of a traditional type of chair often found in areas influenced by ancient Islamic culture – from Andalusia to northern India. Mogensen drew inspiration from a trip to Spain in 1958. He modernised the shape, eliminating the elaborate carvings while retaining the important feature: the broad armrests that give the chair character and provide a practical place to put a glass or cup. The combination of oak and butt leather gives a strong, rustic appearance.

 

 

Details

Model : THE SPANISH CHAIR

Designer : BORGE MOGENSEN

Period : 1959

Origin : DENMARK

Dimension : W: 82,5 cm – D: 60 cm – H: 67 cm

 

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CITE ARMCHAIR BY JEAN PROUVE

 

Designed for a competition to furnish the student residence halls at the Cité Universitaire in Nancy, the Cité armchair is one of Jean Prouvé’s early masterpieces. Prouvé himself used this dynamic looking armchair – with distinctive runners made of powder-coated sheet steel and broad leather belts for armrests – in the living room of his own home. Generous dimensions and inviting upholstery contribute to the great comfort of Cité.

 

Details

Model : CITE ARMCHAIR

Designer : JEAN PROUVE

Editor : VITRA

Period : 1930

Dimension : 95 x 68 x 84 (h) cm

 

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BOLDER CHAIR BY DESTROYERS/BUILDERS

 

DESTROYERS BUILDERS

Destroyers/Builders is a Brussels based design studio, initially founded by Linde Freya Tangelder. With a focus on materiality the studio strives for sensory relevance and cultural value in detail and bigger scale. Their works have a sculptural and architectural character, but are always on the edge of contemporary material use and traditional crafts. The studio takes on projects that range from commissions to self-initiated projects, and extends across the realms of both product and interior design.

A human approach is reflected in the projects of destroyers/builders. Working with a wide range of materials – both high en low valued materials -, new values arise. Based on a method where an interaction between the architectural, sculptural and material can be seen, both limited editions and objects and projects in commission from the base of the studio.

 

BOLDER CHAIR

Architectural columns are the inspiration in the shapes of Bolder Chair. The layers of the chipboard discs refer to columns of stone. The diversity in white tones, which can often be seen in old columns are translated into the structure of Bolder Chair. The chair – with its playful shapes and nuances of white – balances between sculptural and architectural forms. Bolder Chair is made of chipboard and pressed textile fiber board. The studio embraces the challenge to integrate these industrial and contemporary materials into human and sculptural objects.

 

Details

Model : BOLDER CHAIR

Designer : DESTROYERS/BUILDERS

Editor : DESTROYERS/BUILDERS

Period : 2018

Dimension : 43 x 69 x 62 cm

Material : chipwood, textile composite

 

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FK 87 GRASSHOPPER CHAIR BY PREDEN FABRICIUS & JORGEN KASTHOLM

 

The two Danish designers Preben Juhl Fabricius (1931-1984) and Jørgen Kastholm (1931-2007) met each other at the School of Interior Design where they both studied in the 1950s. But, it wasn’t until they both had gained some experience abroad that they met again in 1960 and agreed upon the design philosophy of; Perfection, Aesthetics and Minimization.

One year later, in 1961 they formed a partnership and founded an architect office. While Fabricius was an educated cabinetmaker, it was with Kastholm’s unique experience as a blacksmith that the obvious and usual choice of material would be steel.  Although the two designers have individually created some interesting pieces, it is in pair that they have achieved their greatest success. During the eight years of partnership they managed to create a wide selection of very high quality designs. The results were often minimalistic and functional designs in steel, glass and leather.

Since 2006, Lange Production has had the exclusive rights to manufacture a variety of Fabricius & Kastholm’s design collection. The furniture is produced at the original factory, and with the original tools as it was in the 1960s. The entire production has been carried out in close collaboration between Lange Production and Jørgen Kastholm, to preserve and respect the authenticity and high quality of these classic designs.

Chaise Longue in canvas with loose cushions and neck support in anilin leather. Frame in chrome-plated steel.

Details

Model : FK 87 GRASSHOPPER CHAIR

Designer : PREDEN FABRICIUS & JORGEN KASTHOLM

Editor : KILL INTERNATIONAL GERMANY

Period : 1965

Origin : DENMARK

Dimension : H82 X W71 X L145 CM

 

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