In his designs, Alvar Aalto combines the functional ideas of the Bauhaus with the Scandinavian crafts tradition and a strong sense of unity with Nature. This led to an exchange of ideas with Marcel Breuer and later influenced the work of both men. <br/><br/>Aalto designed Armchair No. 41 for the Sanatorium of the City of Paimio in Finland, a building for which he also created the plans and interior design. The armchair is of a simple, highly effective construction, because the rolled-up ends of the seat and back also function as springs – affording the sitter a degree of comfort hitherto unknown in wooden furniture. The armchair was also exceptionally well suited for series production, as it involves very few components and thus little assembly work.
Kendo impresses with its elegant and almost graphic appearance. Distinctively shaped side table of slim rectangular profiles in 2 finishes combined with different wood finishes are the basis of this versatile series. The plate is available in dark oak stained and dark gray stained and a base of steel in black or dark bronze laminated.
The CURTAIN table resembles a fleeting snapshot of a moment in time: static in contrast to an organically flowing movement. Seemingly gravity-defiant drapery, thin-walled, supple and soft, yet precision-crafted from solid high-end wood that simultaneously supports a large-sized solid wood table top – inspiring a breathtaking moment.
The leaves of the banana plant depict the tropics. This print stands out figuratively in its naturalness and literally in the luxurious finish in metallic lustre.
Configurable asymmetrical horizontal and vertical partitions make a grand statement without compromising function. The Pan-Asian styling consists of two main sections. The upper section consists of six stationary shelves and two removable shelves and posts. The lower section has three stationary shelves and grommets for electrical cords. A TV compartment can be created measuring 57.25 inches wide and 37.87 inches high.
From the art of fabric, to enveloping spaces From lampas and jacquard, all the way to the simplest silk fabrics, from rich, baroque motifs to more optical, geometric patterns, all of these fabrics share an extremely natural look. The collection's nine surfaces are inspired by Rubelli's signature precious fabrics that, in turn, are born from the contemporary reworking of several decorative motifs coming from the noble Venetian heritage of weaving.<br />
A lexicon of colour shades for mixing. A large size and its submultiples. «This work represents a reflection on colour, and above all a proposal on how to transfer the multiplicity of shades typical of a hand-crafted piece into a project produced on a large scale.» Andrea Trimarchi & Simone Farresin Studio Formafantasma base their work in the design world on a strong vocation for research. Simone Farresin and Andrea Trimarchi view every project as an opportunity for study and the acquisition of new knowledge, and their love of speculation establishes a dialectic rapport with the situations offered by each new client. Whether it involves a material, a type or a production method, the first phase of their design process is the mapping of what the specific case places at their disposal. With Cedit, an analysis of the company's past and present was central to the inputs. Inevitably, since "Looking back to look forward" has been the design duo's mission statement for years. In this case, in particular, the company's history was a real treasure trove, a fine blend of memory and technology: on the one hand, the excellence of production technologies now extended with the added potential arising from the engineering of large-sized ceramic tiles, and on the other a wealth of experience build up with great designers of the past, from Zanuso to Noorda, through to <strong>Ettore Sottsass</strong>. Andrea and Simone decided to focus on Sottsass - who started designing for Cedit back in the late Seventies - and made an in-depth study of one of the colour charts he developed towards the end of the Nineties. A spread of colours which gave its name to the "41 Colors" collection, included in the catalogue of the period as a real alphabet for what has proved to be a lasting design language. Colour was much more than just a compulsory step in the dialogue between designer and producer, since Sottsass had already discovered the power of the mystery intrinsic to this universe of invention.<br /><br />With Cedit the master-designer, a long-established lover of ceramics and their crafted unpredictability, found a way of transferring his personal feeling for colour to a wide audience, through industrial mass production. And this assumption is another factor Formafantasma have inherited, interpreting it today with new, even more efficient technical resources just as capable of expressing the secrets of colour. «The concept of colour "in isolation" - Sottsass explained in a 1992 text - classified colour, Pantone, as they call it now, "scientific" colour, is something I still refuse to accept. (...) Colours, the idea of colour, are always intangible, they slip slowly away like words, that run through your fingers, like poetry, which you can never keep hold of, like a good story.» And Formafantasma seem to have chosen that distinction between colour "in isolation" and "intangible" yet ever-present colour as the basis of their work. However, their approach draws on their unique vocation for research and the technical resources of the third millennium. «This work - they explain to us - is a reflection on colour, and above all on <strong>how to bring the multiplicity of shades typical of a hand-crafted piece into a large-scale project</strong>.» The designers look at large, monochrome slabs and turn to the engineers for details of their secrets, their processing stages, the phases in their production. They appreciate that the colour of ceramic material, its ineffable secret, can still be present in the series and large tile sizes in which Cedit leads the way. They understand that this is, in itself, an expressive power which does not need channelling into forms, motifs and signs. But above all, they treat the surface as a large canvas on which they spread pure colour, which tends to be uniform but in fact is never really a "scientific", totally monochrome hue: it is not a Pantone. And this is the source of the fundamental insight, which only children of the transition from the analogue to the digital era could achieve, the reward for those who draw on the past to look to the future.<br /><br />The designers cut the slab into lots of regular pieces, not necessarily of the same size. They restore its identity as a "tile", a familiar name with something ancient about it, but which stands for a module, a unit of measurement, a building block. There is nothing nostalgic about this - on the contrary, the vision is completely new, and the portions of slab created can be reassembled with no restrictions, breaking down the unity of the whole and reviving its essence starting from its structure. As the cards in the pack are shuffled, what emerges is not a figure or motif but the representation of colour itself and its physical nature. It is live matter, born from the meeting of vibrating forces, the mixing of ever-varying percentages of the basic ingredients. And Formafantasma present us with the corpuscular, fragmented essence of these small frames of space and crystallised time, which reveal the code and formula of their composition. So Cromatica is a collection made up of six colours which actually have an infinite number of declinations and compositional possibilities. It is a "discrete" combination in the mathematical sense of the term, capable of generating multiple, variable subsets. At the same time, each slab can be used in its entirety, leaving the impression of analogue continuity unchanged. But what really amazes is the comparison and dialogue between the two approaches: a stroke of genius, laying clear the mysterious appeal the artificial reproduction of colour has always held for mankind. Because, as Sottsass said, «colours are language, a powerful, magical, intangible, flexible, continuous material, in which existence is made manifest, the existence that lives in time and space».
A lexicon of colour shades for mixing. A large size and its submultiples. «This work represents a reflection on colour, and above all a proposal on how to transfer the multiplicity of shades typical of a hand-crafted piece into a project produced on a large scale.» Andrea Trimarchi & Simone Farresin Studio Formafantasma base their work in the design world on a strong vocation for research. Simone Farresin and Andrea Trimarchi view every project as an opportunity for study and the acquisition of new knowledge, and their love of speculation establishes a dialectic rapport with the situations offered by each new client. Whether it involves a material, a type or a production method, the first phase of their design process is the mapping of what the specific case places at their disposal. With Cedit, an analysis of the company's past and present was central to the inputs. Inevitably, since "Looking back to look forward" has been the design duo's mission statement for years. In this case, in particular, the company's history was a real treasure trove, a fine blend of memory and technology: on the one hand, the excellence of production technologies now extended with the added potential arising from the engineering of large-sized ceramic tiles, and on the other a wealth of experience build up with great designers of the past, from Zanuso to Noorda, through to <strong>Ettore Sottsass</strong>. Andrea and Simone decided to focus on Sottsass - who started designing for Cedit back in the late Seventies - and made an in-depth study of one of the colour charts he developed towards the end of the Nineties. A spread of colours which gave its name to the "41 Colors" collection, included in the catalogue of the period as a real alphabet for what has proved to be a lasting design language. Colour was much more than just a compulsory step in the dialogue between designer and producer, since Sottsass had already discovered the power of the mystery intrinsic to this universe of invention.<br /><br />With Cedit the master-designer, a long-established lover of ceramics and their crafted unpredictability, found a way of transferring his personal feeling for colour to a wide audience, through industrial mass production. And this assumption is another factor Formafantasma have inherited, interpreting it today with new, even more efficient technical resources just as capable of expressing the secrets of colour. «The concept of colour "in isolation" - Sottsass explained in a 1992 text - classified colour, Pantone, as they call it now, "scientific" colour, is something I still refuse to accept. (...) Colours, the idea of colour, are always intangible, they slip slowly away like words, that run through your fingers, like poetry, which you can never keep hold of, like a good story.» And Formafantasma seem to have chosen that distinction between colour "in isolation" and "intangible" yet ever-present colour as the basis of their work. However, their approach draws on their unique vocation for research and the technical resources of the third millennium. «This work - they explain to us - is a reflection on colour, and above all on <strong>how to bring the multiplicity of shades typical of a hand-crafted piece into a large-scale project</strong>.» The designers look at large, monochrome slabs and turn to the engineers for details of their secrets, their processing stages, the phases in their production. They appreciate that the colour of ceramic material, its ineffable secret, can still be present in the series and large tile sizes in which Cedit leads the way. They understand that this is, in itself, an expressive power which does not need channelling into forms, motifs and signs. But above all, they treat the surface as a large canvas on which they spread pure colour, which tends to be uniform but in fact is never really a "scientific", totally monochrome hue: it is not a Pantone. And this is the source of the fundamental insight, which only children of the transition from the analogue to the digital era could achieve, the reward for those who draw on the past to look to the future.<br /><br />The designers cut the slab into lots of regular pieces, not necessarily of the same size. They restore its identity as a "tile", a familiar name with something ancient about it, but which stands for a module, a unit of measurement, a building block. There is nothing nostalgic about this - on the contrary, the vision is completely new, and the portions of slab created can be reassembled with no restrictions, breaking down the unity of the whole and reviving its essence starting from its structure. As the cards in the pack are shuffled, what emerges is not a figure or motif but the representation of colour itself and its physical nature. It is live matter, born from the meeting of vibrating forces, the mixing of ever-varying percentages of the basic ingredients. And Formafantasma present us with the corpuscular, fragmented essence of these small frames of space and crystallised time, which reveal the code and formula of their composition. So Cromatica is a collection made up of six colours which actually have an infinite number of declinations and compositional possibilities. It is a "discrete" combination in the mathematical sense of the term, capable of generating multiple, variable subsets. At the same time, each slab can be used in its entirety, leaving the impression of analogue continuity unchanged. But what really amazes is the comparison and dialogue between the two approaches: a stroke of genius, laying clear the mysterious appeal the artificial reproduction of colour has always held for mankind. Because, as Sottsass said, «colours are language, a powerful, magical, intangible, flexible, continuous material, in which existence is made manifest, the existence that lives in time and space».
The REN collection by Poltrona Frau has expanded with the addition of a bookcase, magazine rack, and table mirror, each embodying the iconic "ren" symbol that defines the series. Crafted with solid Canaletto walnut and adorned with brass accents, these accessories exude intimate elegance through their light, architectural designs inspired by oriental aesthetics. The magazine rack features Cuoio Saddle Extra leather suspended by brushed steel bars, while the bookcase showcases birch plywood shelves upholstered in leather and supported by slightly inclined uprights, available in both low and tall versions with optional brass-finished steel bookends. The table mirror, with its leather-upholstered frame and brass detailing, completes the collection. A 3D file of the product is available for download, allowing for a closer look at its intricate design. Poltrona Frau, an Italian luxury furniture brand founded in 1912, is renowned for its timeless craftsmanship, premium materials, and global presence, offering a range of high-end furniture and accessories that blend modern sophistication with artisanal tradition.
The 505 UP is a modern sectional wooden bookcase featuring built-in lighting, designed to meet the evolving needs of contemporary living spaces. This versatile piece combines functionality and style, offering innovative features such as a corner bar, bronzed mirror trays, and Ecoskin-covered shelves, blending aesthetic elegance with cutting-edge design. The 505 UP SYSTEM redefines traditional bookcase functions with its modular Display cabinet, allowing for customizable horizontal and vertical shelving configurations to suit diverse preferences. Crafted by Molteni & C., a prestigious Italian design company founded in 1934 and celebrated for its timeless, high-quality furniture and versatile solutions, the 505 UP is a testament to their commitment to innovation and craftsmanship. A downloadable 3D file of the product is available for further exploration and planning.
This double-sided bookcase features a sleek, modern design with a structure made from laser-cut L-shaped lacquered steel sheets in a black matte finish, complemented by a top available in Alpi® veneer (offered in five colors) or a lacquered finish. The 3D file of this product is available for download, allowing for detailed visualization and planning. Roche Bobois, the supplier, is a prestigious French furniture and home decor brand established in 1960, renowned for its luxurious, contemporary designs and collaborations with top designers, making it a favorite among modern homeowners and interior designers worldwide.
The Cassetta MCO5 is a beautifully crafted jewel box with an ash wood frame, available in four elegant finishes: natural, walnut stain, natural with a red top, and natural with a green top. Designed for both practicality and aesthetic appeal, this box draws inspiration from everyday shapes, making it instantly recognizable and versatile enough to be left on a table like a book, blending seamlessly into any space. Its design reflects simplicity and honesty, deriving its beauty from its surroundings, much like the ethos of Mattiazzi, the renowned Italian furniture manufacturer behind it. Founded in 1979 and headquartered in Udine, Italy, Mattiazzi is celebrated for its innovative, high-quality wooden furniture that combines modern, minimalist designs with exceptional craftsmanship. For those interested in customization or further exploration, a downloadable 3D file of the Cassetta MCO5 is available, allowing for a closer look at its intricate details and design.
The **Crossing** modular shelving system is a versatile and highly functional solution for both floor-based and wall-mounted storage, featuring matte lacquered Gesso finishes, sliding doors with satin-tinted glass, and varnished Gesso detailing. This innovative system allows for complete adjustability along three-dimensional axes, supporting up to 400 kg, and includes a variety of modules such as hanging cabinets with flap, leaf, or sliding doors, as well as drawers in multiple sizes. Available in two versions—**Fusion** (with lacquered or faced wood particleboard) and **Listellare** (veneered or laminated poplar blockboard)—the system is enhanced by a special LED lighting system within the compartments. Finishes range from matte lacquer and glossy colors to natural wood and veneer/facing options. The construction utilizes high-stability materials, including three crossed layers of solid poplar wood sandwiched between MDF layers, ensuring durability and lightness. Additional features include tempered glass panels, eco-leather accents, and optional mirror or partition inserts. A 3D file of the product is available for download, allowing for precise planning and customization.
Supplied by **MisuraEmme**, a renowned Italian interior design brand established in 1939, the Crossing system reflects the company’s commitment to luxury, innovation, and meticulous craftsmanship, offering premium furniture solutions for both residential and commercial spaces.
Here’s your refined product description with an expanded yet concise supplier overview and mention of the 3D file availability:
*"A standout in LAGO’s iconic collection, this sideboard reimagines the brand’s revolutionary 36e8 aesthetic with a dynamic interplay of smoked glass compartments—featuring sleek 45° joins—and bold, closed storage units. Blending modular versatility with contemporary elegance, the design offers endless configurations, enhanced by glass or metal supports for clean, adaptable styling. The 36e8 Glass modules seamlessly integrate with painted or Wildwood finishes, functioning as freestanding pieces that elevate spaces with lightness and reflective depth. A 3D file of the product is available for download, enabling precise visualization. Crafted by LAGO, a pioneering Italian design brand since 1976 renowned for its innovative, modular furniture, this sideboard embodies the brand’s commitment to timeless sophistication and functional artistry. Explore more at www.lago.it."*
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Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file:
*The Karuselli Ottoman, designed by Yrjö Kukkapuro, serves as the perfect companion to the iconic Karuselli Lounge Chair, embodying the designer’s pursuit of ultimate comfort through a harmonious blend of ergonomics, functionality, and organic form. Featuring a plush leather-upholstered top with PU foam padding, it rests atop a sleek white fiberglass pedestal base, complemented by a steel brace, smooth swivel mechanism, and protective felt glides. Celebrating its 50th anniversary in 2014, this modern classic was born from Kukkapuro’s meticulous four-year experimentation, using his own body as a model to achieve its distinctive, human-centric shape. A 3D file of the product is available for download, offering designers and enthusiasts a closer look at its innovative construction. Artek, the Finnish design powerhouse founded in 1935 by Alvar and Aino Aalto, reintroduced this legendary piece, staying true to its legacy of merging timeless aesthetics with cutting-edge craftsmanship.*
**Product Description:**
*Plan*, a sleek Corian® basin, features a minimalist design with slim, refined edges and seamless construction for a joint-free appearance. Available in multiple configurations, it includes a practical organizer with dedicated compartments to keep essentials neatly arranged. The two-basin version incorporates a central Corian® tray, which can be upgraded with an integrated dispenser for added functionality. Part of the *Unico Collection*, this basin is part of a fully customizable Corian® system that extends to vanity units and other bathroom furnishings, showcasing expert craftsmanship and seamless material integration. A downloadable 3D file of the product is available for design planning. For more details, visit the manufacturer’s page on *PLAN by Rexa*.
**Supplier Description:**
*Rexa*, an Italian design leader since 2009, specializes in innovative, sustainable bathroom solutions, blending functionality with modern and timeless aesthetics.
The **Musa armchairs** are available in two elegant designs: the **lower and deeper SM65P version** and the **higher, less deep SM65T version**, both crafted with a solid wood frame and offered in brushed light or black oak, as well as grey or brown oak finishes. This versatile collection also includes a **classic chair, a petite armchair, and a tall stool**, making it ideal for modern kitchens or stylish dining spaces. For added convenience, the **3D file of the product is available for download**, allowing for seamless integration into design projects.
**Maxalto**, the esteemed Italian supplier behind these pieces, is celebrated for its high-end, contemporary furniture and meticulous craftsmanship since its founding in 1975.
Here’s your rephrased and expanded product description, including a concise supplier overview and mention of the 3D file:
*The Togo pouf is a versatile and stylish piece, featuring a softly upholstered round design that effortlessly blends functionality with modern elegance. Perfect as a footrest, extra seating, or even a small table when paired with a tray, it adds a touch of sophistication to any space—be it a home, office, or lounge. Available in a curated selection of colors and premium fabrics, each piece is crafted with meticulous attention to detail. For those seeking customization or technical details, a downloadable 3D file of the product is available. Manufactured by DOM Edizioni, a renowned Italian brand celebrated for its luxury furniture and timeless designs, the Togo pouf reflects their commitment to quality and craftsmanship. Explore more at www.domedizioni.com.*
Here’s a refined and expanded version of your product description, along with a concise supplier overview and mention of the 3D file availability:
**Product Description:**
The *Emea Bench* is crafted from solid oak, embodying the timeless elegance and durability of natural wood. Part of the *Emea Collection*, this bench highlights ALKI’s mastery of craftsmanship, precision assembly, and technical expertise in woodworking. Designed with a minimalist yet striking aesthetic, its components appear seamlessly carved from a single block, showcasing the beauty of solid wood in its purest form. Ideal for both residential and commercial spaces, the bench blends functionality with understated sophistication. A downloadable 3D file of the product is available for further visualization and planning. For additional details, visit the manufacturer’s page: [EMEA | Bench ALKI](https://www.alki.fr).
**Supplier Overview:**
ALKI, a renowned French interior design brand founded in 1982, specializes in high-quality furniture and decor, combining modern minimalism with natural materials.
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**Arca Mini** is a sleek and versatile chair featuring wooden legs and a sturdy steel internal frame, upholstered with durable, hard-injection-molded polyurethane foam and available in a variety of fabric or leather finishes (see color chart). Inspired by Studio Orlandini’s innovative vision, the Arca collection redefines seating for lounges and waiting areas, offering three adaptable declinations—lounge, small, and mini—that can be paired with multiple base styles to suit diverse environments, from quick-service waiting rooms to relaxed meeting spaces or conference settings. The collection’s signature two-tone upholstery and customizable bases allow for endless design possibilities, ensuring both aesthetic harmony and functional flexibility. A downloadable 3D file of the product is available for design planning.
**True Design**, the Italian manufacturer behind Arca Mini, is a renowned name in contemporary furniture, crafting high-quality, modern pieces for residential and commercial interiors since 2002. For further details, explore **ARCA MINI by True Design**.
**Preziosi and Riace** are exquisite indoor glass wall and floor tiles, available in a variety of stunning color options. These unique tiles feature metallic finishes that create captivating glows and reflections, adding an emotional and luxurious touch to any space. The carefully crafted glass thickness enhances the brilliance of gold, silver, and copper accents, making them perfect for elegant glass floors, wall claddings, slabs, basins, and heaters. Part of the **PREZIOSI, HI-TECH, APOLLO, and RIACE** collections, these tiles deliver a sophisticated and timeless aesthetic for any design project. A 3D file of the product is also available for download, allowing for seamless integration into your planning process. For more details, refer to **RIACE RI 110 Vetrocolor**.
**Vetrocolor**, a renowned Italian supplier specializing in high-quality glass mosaic and glass tiles, offers a diverse range of elegant and durable solutions for interior design projects worldwide. Explore their collections at [https://vetrocolor.it/](https://vetrocolor.it/).
Here’s your rephrased and expanded product description, including a concise supplier overview and a note about the 3D file:
*"The Selfy side tables embody refined elegance through a harmonious blend of premium materials, featuring a metal base available in two sophisticated finishes—painted dark bronze anodized or gold satin—paired with an upper top crafted from luxurious options like Calacatta marble, Emperador marble, Portoro marble, Sahara noir marble, or painted Ash veneer. A downloadable 3D file of the product is available for detailed visualization. Supplied by CTS SALOTTI, a renowned Italian furniture manufacturer with over 30 years of expertise in high-end residential and commercial design, the tables reflect their commitment to quality and timeless aesthetics."*
(Note: I condensed the supplier details to one sentence while retaining key credibility points—origin, experience, and specialty.)
Here’s the rephrased and expanded product description, including a concise supplier overview and mention of the 3D file:
*The Tulip is a sleek, minimalist metallic console with a 10 mm thickness, featuring a discreet, no-visible-fixing design for a seamless aesthetic. It is finished with a durable epoxy powder coating in a rich anthracite (manganese) tone and is available in multiple sizes to suit diverse spaces. A downloadable 3D file of the product is available for visualization and planning. For further details, contact the manufacturer, Adriani e Rossi edizioni—a renowned Italian interior design supplier celebrated for its fusion of traditional craftsmanship and contemporary elegance.*
Relief is a polypropylene monocoque chair collection, characterized by soft and comfortable lines. The shell has two high reliefs in different finishes, that recall virtual cushions on the seat and on the backrest, emphasizing the minimal but not trivial form. From this technical detail derives the name Relief. The chair has a polypropylene shell, which is assembled on different bases.Three versions are available: plastic, with upholstered seat or fully upholstered. The ergonomics of the shell make Relief perfect as a work, meeting or conference chair.
Formal neatness, several basis available and great lightness: this is Sicla, a chair made of a lightweight and comfortable monocoque. A rib inserted on the back of the chair provides extreme stability to the backrest. The seat can be entirely upholstered or only provided with a seat panel. The colours of the polypropylene shell create a subtle play of light and shadow with the rib and armrests, showing all its stability in its lightness.
Products From the Same Collection
A wide range of product from furniture to finishes to meet the desire of all designers.
The Around Coffee Table brings a new perspective to its typology through the characterful wooden veneer frame that runs along the edge of the table, echoing the ideas of Scandinavian design. With its round shape and multiple sizes, the Around Coffee Table can be used in a multitude of settings, on its own or in groups, in any living room, lounge setting, lobby area or hotel room.
The Dice coffee table is truly a design object. No compromise has been made in its design. Every detail is exactly as designers Studio Truly Truly intended. This creates a fascinating table that continues to surprise from every perspective.
Toveri marries curves and hard materials to create a table series with soft shapes and striking features. The link between the top and the base has been moved to the centre of the tables, so the table top appears to float. The symmetry of the two elements makes the base seem like a shadow of the top.
Natural shapes and materials bring tranquillity to your living space because they exude softness and quality. It's the first thing you notice about Iduna coffee tables. The tapered wooden legs support a marble or solid oak top - large or small, in a high or low version for the most beautiful pairings.
With Liliom, design studio Beck Design has crafted a series of organically shaped tables in varying shapes and heights. They're as beautiful as they are practical – you can nest them for a tidier look. The ceramic or solid wood top gives the piece a natural accent, while a lacquered finish creates a colourful look.
Mogens Lassen designed the ML10097 Egyptian Table after being inspired by folding stands found in Tutankhamun's tomb in 1922. The table was first shown at the Copenhagen Cabinetmakers' Guild Exhibition in 1940.
The CH008 coffee table was designed by Hans J. Wegner in 1954. The understated and elegant three-legged design has since become one of his most popular pieces.
Mogens Lassen designed the ML10097 Egyptian Table after being inspired by folding stands found in Tutankhamun's tomb in 1922. The table was first shown at the Copenhagen Cabinetmakers' Guild Exhibition in 1940.