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Miniatures Johnson Wax Chair

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The Johnson Wax Chair is characterized by round forms which also reflect the lines of a famous building designed by Frank Lloyd Wright, namely the S.C. Johnson & Son Company Administration Building in Racine, Wisconsin. When it was opened in 1939, the company building caused a veritable sensation. Illumination is exclusively by means of surface lighting and the pictures of the offices featuring a »forest« of the round pillars complete with leaves and buds were seen the world over. Wright believed the furniture, rooms and even the building itself were an abstracted organic continuation of the surrounding landscape or cityscape. Scale 1:6, 8 x 144 x 101 mm Material: Metal, cloth upholstery, cherry wood

Miniatures Knotted Chair

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Knotted Chair is made of knotted netting soaked in artificial resin and simply hung out to dry. This produces a highly expressive seat shell which is as fragile, transparent and light as a hammock but is as solid as a seat should be. The use of simple knotted cords gives Knotted Chair that additional »warm«, personal feeling. Wanders description of Knotted Chair: »The design is based on three innovations. Firstly, the process of hardening a textile in such a way that it can serve as a constructional element, becoming part of the structure of a three-dimensional product. Secondly, the use of knotting techniques to create curved, solid surfaces and structures. Thirdly, the manufacture of an industrial product made of plastic without resorting to a mould, but by simply making use of gravity and artificial resin as a stiffening agent. Of course these factors are decisive in determining the quality of the chair. I personally, however, I am more enthusiastic about the chair's formal appeal and the meaning its external appearance lends it. It is a chair which tells you it was made for you alone, with a great deal of love, creativity and care, a chair which thus has its own personal and individual character, a chair which shows its relationship to you by letting you see different details every time you use it.

Miniatures La Mamma

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La Mamma (Donna) is completely in tune with the spirit of Pop Art and the Gaetano Pasce fondness for anthropomorphic shapes. The chair was actually designed to resemble a prehistoric, female fertility figure, with a ball attached to symbolize captivity. The unconventional nature of the shape also applies to the construction and marketing of the chair which was one of a series of six. Together they succeeded in marking a radical break from traditional upholstery production thanks to the technology developed by C & B Italia for creating oversized foam parts. Donna consists of a molded monoblock of foam withut any supporting structure since the foam rubber is dense and free-standing. First a finished piece of furniture covered with elastic nylon jersey is reduced in a vacuum chamber to about 10% of its normal volume and is then wrapped in airtight foil. The customer can easily transport the otherwise unwieldy piece single-handedly. After removal of the wrapper at the destination, the chair slowly recoveres its original shape without outside help as air seeps back into the capillaries of the polyurethane foam.

Miniatures Laminated Chair

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Designed by Grete Jalk (1920-2006) in 1963, the Laminated Chair is regarded today as the Danish designer's best-known work. The chair, for which Jalk also created a companion side table, was realised in collaboration with the cabinetmaker Poul Jeppesen. Although it won first prize in a competition organised by the British newspaper Daily Mail during the year of its inception, the chair never went into industrial production. Probably only a few pieces from the original series of approximately 300 still exist today. This explains the extremely high prices that have been paid for this model at international auctions in recent years. The expressive sculptural form of the chair, composed of two similarly shaped pieces of moulded plywood, marks a late highlight in the engagement of prominent designers with this material, which had commenced in the 1930s.

Miniatures LCW

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In 1940, Charles Eames and Eero Saarinen developed a chair with a novel plywood seat molded into a three-dimensional form for a competition sponsored by the New York Museum of Modern Art. However, it was not possible to produce the chair commercially, due to inadequate technical methods. It was seldom possible to press the plywood into a three-dimensional form without it breaking or splitting. During the following years, Charles and Ray Eames concentrated their efforts on developing a new method. The plywood chairs DCW (Dining Chair Wood) and LCW (Lounge Chair Wood) are the result of this long-term experimentation. In 1945, Charles and Ray Eames returned to the idea of a seating shell made out of molded plywood; however the results were unsatisfying. They dispensed with the multifunctional shell and divided the seat and back into separate, freely articulated elements connected by a spine (frame). Each element has a clearly defined function, which it fulfills optimally with a minimum amount of material. »Shock mounts« – rubber disks bonded onto the wooden surface – connect the seat and back with the frame, which exists in wood or metal and in two different heights, either as a dining chair or lounge chair.

Miniatures Little Beaver

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Cardboard furniture as an inexpensive and light alternative to traditional furniture already appears as early as the 1960s. Most designs aimed at lending the cardboard the necessary stability through insert and folding techniques. Gehry chose a different method, which gave birth to sturdy cardboard furniture like carboard sculptures: »One day I look in my office at a pile of corrugated cardboard, the material I normally used to make architecture models, and I began to experiment with it, to stick it together and to cut it into shape with a hand saw and a penknife«. Following his »Easy Edges« from 1972, a series of extraordinarily sturdy cardboard furniture with a smooth surface, from the end of the 1970s onwards Gehry once again devoted his attention to the use of corrugated cardboard as a material for making furniture. »Experimental Edges« was the name given to unusually expansive armchairs and easy chairs with a rough, ragged- looking surface. Strips of thick cardboard usually used as the filling for door leafs were sawn or cut vertically to the corrugation lines and fashioned into solid volumes of varying shapes. Using this method, single items or small series of furniture were created, which were both furniture sculptures and surprisingly comfortable chairs and sofas.

Miniatures Lockheed Lounge

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Marc Newson originally produced the Lockheed Lounge as the centerpiece of an exhibition of his pieces at the Roslyn Oxley Gallery in Sydney. It was widely acclaimed and was bought by the National Gallery of Australia. Its concept was based »loosely, very loosely« on the chaise longue in Jacques-Louis David's 1800 portrait of Madame Recamier. »I had this image of a fluid, aluminium form. The shape was sculpted out of a piece of foam, the exact same way you'd create a surfboard. The only way to get the aluminium on was to beat little pieces of metal into shape with a wooden mallet and attach them with rivets. That's where the airplane metaphor came from. So I called it the Lockheed Lounge.

Miniatures Mezzadro

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On the occasion of the XIth Milan Triennial in 1957, Achille and Pier Giacomo Castiglioni presented their first prototype for the Mezzadro. The stool went on show in its current form that same year in an interior setting displayed at the »Colori e forme nella casa d'oggi« exhibition in the Villa Olmo in Como. The designers used a common tractor seat for the springy metal seat, fastening it with a wing nut to the spring-based arched steel strip utilized in tractors to absorb the shock of uneven ground. They enhanced the stability of the cantilever structure by a wooden cross-strut that resembled the rungs of a wooden ladder. Each of these parts clearly embodies its task as a part of a functional whole. And what strikes the eye is the recourse to an artistic method exemplified by Marcel Duchamp's found objects or Pablo Picasso's assemblages. The Castiglionis considered a design successful only once they had managed to eliminate all the unnecessary components and an optimal formal expression had been found for this concentration on the essential.

Miniatures MR 20

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During the mid-twenties, tubular steel won favor among avant-garde designers as a preferred material for furniture design. The most important designs for tubular steel, now regarded as classics of modern furniture design, were created within the course of just a few years. During preparations for the Weissenhof exhibition in Stuttgart, Mart Stam developed a new chair type, the tubular steel chair with no back legs. In order to counter the possible instability of the cantilevered frame, Stam reinforced the steel tubing at critical angles, thereby creating a strong, but rigid structure. It was Mies van der Rohe who first discovered the elasticity of steel tubing and utilized it as a structural principle. Inspired by Stam's idea, he designed the first flexible cantilevered chair in the history of design in 1927. The model was produced both with and without armrests under the names MR 20 and MR 10, respectively. The tubular steel furniture of the 1920s represents a rejection of the conventional, overladen bourgeois interior of the time, filled with massive furniture and decorative trinkets. The transparency and structural clarity of tubular steel furniture embodies a new ideal in architecture and design: interior space flooded with natural light.

Miniatures Organic Armchair

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The »Organic Armchair« was a submission for the Museum of Modern Art‘s 1940 design competition for »Organic Design in Home Furnishings«. Charles Eames and Eero Saarinen, who that year worked together for the first time, won first prize with their »Organic Armchair«. One of the conditions for competition entries was that the object was suitable for industrial production. In 1941, the Eames developed a method for threedimensional molding of manufacture the award-winning chair. The 3-D seat, made possible by means of incisions made in the veneer and cutting pieces out of it, was covered in foam rubber and upholstered in fabric. As a result of the war-time economy and the initially high manufacturing costs, despite the original competition brief the prototypes did not go into series production.

Miniatures Plywood Elephant natur

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The Plywood Elephant holds a prominent place among the plywood pieces designed by the Eameses. In the early 1940s Charles and Ray Eames successfully developed an innovative method for moulding plywood into three-dimensional shapes, which they used to produce a wide range of furniture and sculptural objects. Among the early plywood designs, the Elephant is one of the most difficult to produce. Tight angles and compound curves require a sophisticated mastery of plywood technology. Designed at the same time as their children's furniture, the Plywood Elephant can also be seen as a playful counterpart to the leg splints developed by the Eameses for military applications – which were the very first mass-produced objects made of threedimensionally moulded plywood. Requiring complex fabrication methods, the Plywood Elephant never went into production. Only two prototypes were made, both of which were displayed at the New York Museumof Modern Art in 1945-46. Today only one known model remains in the possession of the Eames Family. In 2007 Vitra produced the first commercial production of the legendary Eames Plywood Elephant as a limited Collector's Edition.

Miniatures Ribbon Chair

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The enthusiastic, progressive atmosphere of the 1960s and Pierre Paulin's sculptural training were influential factors in the design of the Ribbon Chair. The curving loops of its shape, covered in colourful upholstery fabrics or psychedelic patterns by Jack Lenor Larsen, give it a captivating, futuristic appeal. Pierre Paulin himself interpreted the Ribbon Chair as a "coup de pied à la lune". A famous advertisement shows the Ribbon Chair on a runway with a jet taking off above it. The seat, backrest and armrests of the chair have a unified metal frame that is completely covered with foam upholstery and stretch fabric. The seat is mounted on a lacquered pedestal made of pressed wood. The de-velopment of the Ribbon Chair was facilitated by technological innovations during the Sixties, which led to the production of inexpensive synthetic foams. This period also saw the introduction of novel elastic fabrics that could be used to envelop a complex contoured shape without folds or intricate seams. The biomorphic, slightly resilient seat of the Ribbon Chair allows a wide variety of sitting positions and provides a high degree of seating comfort.

Miniatures Rood blauwe stoel

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Gerrit Rietveld conceived of each piece of furniture as an ideal, abstract composition of surfaces and lines in space. The rigor with which he put this into practice makes »Roodblauwe stoel« a key object in modern furniture design. The form of abstraction Rietveld adopts here bears comparison to painter Piet Mondrian. Mondrian, and later Rietveld, were among the artists and architects who grouped around Theo van Doesburg and his journal »De Stijl«, and whose radical concepts had a lasting impact on twentieth-century art. Rietveld reduced given realities to their linear and surface characteristics. Where Mondrian took landscapes as his model, Rietveld focused on the concept of a traditional, massive armchair, which he transformed into a geometric entity.

Miniatures Schaukelsessel No. 9

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In the second half of the 19th century bentwood firms began to manufacture rocking chairs which, as a symbol of leisure and relaxtion, corresponded to the need of the bourgeoisie for an appropriate level of comfort. Around 1882 the firm of Jacob & Josef Kohn put a model onto the market which differentiated distrinctly from earlier rocking chairs. A double loop, which clearly stands out against the framework, unites the supporting functions on either side. As a result of the back-leg-like supports of the prototypes like the Thonet rocking chair being replaced by smaller bentwood loop at the back, the construction of the chair takes on an elegant and weightless appearance. The firm, founded in 1867, had initially mainly copied Thonet furniture. Innovatory drafts, such as the Rocking Chair No. 9, helped the business to develop its own original style.

Miniatures Sitzmaschine

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Around 1900, the Viennese architects discovered a new means of expression in the bentwood technique. To them, the simple forms of classic bentwood furniture - a consequence of industrial production - anticipated the new aesthetic clarity they were promoting. Josef Hoffmann's Armchair No 670 combines the austere elegance of bentwood with the expressive formal vocabulary of the Viennese Secession. Its somewhat voluminous form, strict geometry, and adjustable back are attributes that suggest associations with the machine.

Miniatures Standard Chair

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Designed in 1934 the Standard Chair is one of the quiet classics of history of design. Prompted by the furniture competition for the Cité Universitaire of Nancy, Prouvé worked on designs combining metal and wood during the early thirties. He utilised the strength of steel for the base of Standard Chair. The back and the seat however, which come in direct contact with the sitter's body, are formed out of plywood. The quality of this chair is revealed in its structure and unassuming aesthetics.

Miniatures Stool (Model A)

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Charles and Ray Eames received a commission to design the interiors of three lobbies in the new Time & Life Building at Rockefeller Center in New York City. In addition to outfitting these spaces, this major project encompassed the development of the comfortably upholstered Lobby Chairs and a group of stools made out of solid walnut. The lathe-turned stools, which were also conceived by Ray to be used as small occasional tables, have distinctive individual profiles. The sculptural and decorative character of the stools makes the most striking impression when they are grouped together. These pieces were inspired by an African stool that stood in the living room of the Eames House, as shown in a photographic series by Monique Jacot from the year 1959.

Miniatures Stool (Model B)

vitra > Styling

Charles and Ray Eames received a commission to design the interiors of three lobbies in the new Time & Life Building at Rockefeller Center in New York City. In addition to outfitting these spaces, this major project encompassed the development of the comfortably upholstered Lobby Chairs and a group of stools made out of solid walnut. The lathe-turned stools, which were also conceived by Ray to be used as small occasional tables, have distinctive individual profiles. The sculptural and decorative character of the stools makes the most striking impression when they are grouped together.These pieces were inspired by an African stool that stood in the living room of the Eames House, as shown in a photographic series by Monique Jacot from the year 1959.

Miniatures Stool (Model C)

vitra > Styling

Charles and Ray Eames received a commission to design the interiors of three lobbies in the new Time & Life Building at Rockefeller Center in New York City. In addition to outfitting these spaces, this major project encompassed the development of the comfortably upholstered Lobby Chairs and a group of stools made out of solid walnut. The lathe-turned stools, which were also conceived by Ray to be used as small occasional tables, have distinctive individual profiles. The sculptural and decorative character of the stools makes the most striking impression when they are grouped together.These pieces were inspired by an African stool that stood in the living room of the Eames House, as shown in a photographic series by Monique Jacot from the year 1959.

Miniatures Stuhl No. 14

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The »No. 14« armchair is one of the world's most successful, mass-produced products. It was the standard model in Thonet's collection of bent-wood furniture and is considered the typical Viennese coffee-house chair. By 1930, 50 million of the chairs had already been sold. A modified version of the »No.14« is still being produced today. Using the bent-wood technique developed by Michael Thonet, solid wood is shaped subjected to steam pressure and shaped three-dimensionally in iron moulds, this offers a great deal of scope for creativity in the design. Thonet's new packaging system was also revolutionary for the second half of the 18th century. The individual parts of the chairs were packed in an extremely space saving manner and then sent to their final destination, where they were first screwed together. The Thonet brothers combined industrial production processes and a business-oriented approach with a unique aesthetics, making a substantial contribution to our current concept of industrial design.

Miniatures Stuhl W1

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Dutch designer Mart Stam produced the first prototypes for a cantilevered chair in 1926, using sawed-off gas pipes which he linked with elbow butting. The base frame, legs, seat and back-rest were created by a continuous loop bent at right angles. In 1927 Stam had his design produced by the L. & C. Arnold company, which also featured it in their sales program for a year. Unlike the prototype, the Arnold chair was made from a single piece of tubular steel with a diameter of just 20 mm, and with walls 2 mm thick. The bends in the tube had to be reinforced with solid iron rods, and thus lacked any springiness. The chair was painted black or grey, and, with its covering of rubber or coarse fabric, had a rather unassuming appearance.

Miniatures Taliesin West Armchair

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Among Frank Lloyd Wright's numerous seating designs, the Taliesin West Armchair, which exits in four variations, is one of the most unusual as well as one of the most comfortable. Designed by Frank Lloyd Wright for his own residence at Taliesin West, Scottsdale, Arizona, this unique and ergonomically comfortable upholstered armchair was designed to be fabricated from a single panel of 4 foot x 8 foot laminated plywood. The chair utilizes multiple geometric shapes including trapezoid interior/exterior side panels and 60 degree triangular shapes for the arms and legs.

Miniatures Tom Vac Chair

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The Tom Vac Chair was first realized as one element in a sculpture consisting of 70 stacking chairs named »Totem«. Commissioned by the magazine Domus, it was set up in the centre of Milan during the Salone del Mobile in 1997. The seat shell with the characteristic wave profile is based on earlier versions Ron Arad sketched for the dining room of a house in Tel Aviv. The first small series for »Totem« was created in just four months. Though it is a complicated metal to manufacture, vacuum-formed aluminium proved to be a suitable material. In collaboration with furniture maker Vitra, for whom he had already produced the Well Tempered Chair back in 1986, Ron Arad developed, within a very short time, a version of the Tom Vac Chair suitable for mass production. Seen within the context of Arad's complete work, which is largely characterized by »one offs«, the chair is something of an innovation by virtue of its industrial and by extension inexpensive production. While the design of the Tom Vac Chair only deviates minimally from the first plan, the flexible seat shell of polypropylene offers a high degree of comfort.

Miniatures Vegetal (set of 3)

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The Vegetal is an organically-shaped chair that is meant to look as if it had taken its shape naturally. With that goal in mind and inspired by small trees which American gardeners had fashioned into the shape of seating furniture, the French designers Ronan and Erwan Bouroullec set about designing the Vegetal. Designed for outdoor use, the chair had to be both water-resistant and – for practical purposes – easily stackable. Neither the Bouroullec brothers nor Vitra could have imagined that it would take four years of intense work on both the design and the development of the chair before the ambitious project would finally be realised. The inspiration of natural vegetation is easy to see in the intricate, asymmetrical structure of the branch-like ribs that make up the Vegetal's seat shell as well as the colour scheme. Made from polyamide and manufactured using injection moulding, the chair is an exploration of the limits of its material and the latest production techniques.

Miniatures Well Tempered Chair

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Ron Arad is one of the liveliest and most productive figures in contemporary designs. He contrasts polished, stylish commercial design with highly poetic objects with an archaic feel to them. In the framework of the »Vitra Edition« he created the »Well Tempered Chair«. Its form is not the product of artificially shaping the sheet steel but is instead generated by screwing the tensile sheets into arches. Given its flexibility, the spring steel always bounces back into its original shape. The armchair is therefore not just a brilliant formal idea but also conveys a completely new feel for sitting.

Miniatures Armchair Nr. 42

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In his designs, Alvar Aalto combined Scandinavian craft traditions and his own affinity to nature with the functional ideas of the Bauhaus. This led to an exchange of ideas with Marcel Breuer, which later influenced the work of both men. Armchair No. 42 was presented for the first time at an exhibition held in conjunction with the Nordic Building Forum in 1932. With a simple three-part construction, the design ensures a high degree of comfort: the cantilever base flexes in response to the user’s weight and the plywood seat shell follows the contours of the body. In recognition of its pleasant tactile qualities and favourable insulating properties, Aalto executed the chair in natural birchwood with a black or white lacquer finish for the seat shell.

Miniatures Art. 41 "Paimio"

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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. 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.

Miniatures Ball Chair

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With its simple, striking shape and its bright colors Eero Aarnio's Ball Chair is a typical symbol of the optimistic, consumer-oriented popular culture of the 1960s. Equally apparent is an unconcealed enthusiasm for the technical which also typifies the era: its exposed plastic which allowed even complex shapes to be produced in series relatively easily, at the time something completely new, and its dynamic shape, reminiscent of a space capsule. The idea of this kind of mobile capsule allowing people to sit where they want within the house also anticipates the kind of living concepts discussed in the 1970s for a young, liberal society. On the outside, this gleaming, polished sphere seems cold and futuristic, but its inside reveals a space where users can feel cozy and protected. From the inside outside noise is considerably muffled, allowing users to relax in any number of positions, for example, to sit cross-legged. Mounted on a round metal base just above ground level, the sphere can be completely rotated on its own axis, so that users can vary their view from the »cave«. Ball Chair thus represents a special category of household objects. It is something between a piece of furniture and a piece of architecture and at the same time embodies both the mobile and the established, the fixed.

Miniatures Barrel Chair

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Originally designed by Frank Lloyd Wright in 1904 for the D. D. Martin House in Buffalo, New York, this iconic chair was an embarkation from his earlier linear furniture designs, due to its round shape. Original features included a flared backrest, square spindle supports and a cushioned double-sided circular seat. In 1937, Frank Lloyd Wright re-created the Barrel Chair design in a larger version with other design modifications for the residence of Herbert F. Johnson, known as »Wingspread«, to accommodate the expansive rooms and towering ceiling heights.

AC 5 Work

vitra > Chair

The elegant office swivel chair AC 5 Work is equipped with a range of sophisticated functions that not only guarantee healthy seating comfort, but are also discreetly out of sight. This clean look enhances the graceful lines of AC 5 Work, whose distinctive design and uncompromising functionality make it a perfect seating option for well-appointed offices. The sophisticated structure of the AC 5 Work backrest with three different zones – lumbar zone, sink-in zone and shoulder zone – provides optimum support for the neck and prevents muscle tension. Further ergonomic features of AC 5 Work include the FlowMotion mechanism with synchronised forward tilt and seat depth adjustment, as well as the innovative FreeFloat armrests.

Aluminium Chair EA 124 – Lounge

vitra > Chair

The Aluminium Chair EA 124 is the quintessential lounge model in the Aluminium Group by Charles and Ray Eames. The chair's extraordinary comfort results from the extra-high backrest and head cushion in combination with the tilt mechanism, which can be adjusted to the user's weight. The swivel chair EA 124 can be paired with the stool EA 125, forming the perfect spot to put your feet up and enjoy a long, cosy evening with a good book.

Soft Modular Sofa Three-seater

vitra > Sofa

With carefully balanced proportions, great comfort and a conscious renunciation of decorative details, the Soft Modular Sofa (2016) by Jasper Morrison unites the characteristics of a modular lounge sofa in its purest form.

Soft Modular Sofa Two-seater

vitra > Sofa

With carefully balanced proportions, great comfort and a conscious renunciation of decorative details, the Soft Modular Sofa (2016) by Jasper Morrison unites the characteristics of a modular lounge sofa in its purest form.

Classic Trays - Love Heart

vitra > Styling

The Classic Trays (1945-74) by Alexander Girard and Charles and Ray Eames come in three sizes. Made of laminated plywood, they feature motifs from the rich store of images created by these legendary designers.

Grand Conference

vitra > Chair

Grand Conference is a visitor and conference chair designed by Antonio Citterio that pairs extraordinary comfort with an impressive, dignified appearance. Together with Grand Executive, Grand Repos, Repos and Petit Repos, it forms a group that lends a unified look not only to meeting and conference spaces, but also to offices, lobbies, waiting zones and reception areas.

Soft Modular Sofa Four-seater, corner element, platform

vitra > Sofa

With carefully balanced proportions, great comfort and a conscious renunciation of decorative details, the Soft Modular Sofa (2016) by Jasper Morrison unites the characteristics of a modular lounge sofa in its purest form.

Grand Sofà Chaise Longue

vitra > Sofa

Grand Sofà (2017) is Antonio Citterio's interpretation of luxurious comfort and contemporary design. The designer's Italian flair for lightness and elegance is united with the trademark quality and precision of the Swiss company Vitra.

Suita Chaise Longue, tufted

vitra > Sofa

Characterised by an elegant technological aesthetic, the Suita sofa family (2010/2019) by Antonio Citterio comprises many different components. These can be freely combined or also used as independent elements.

HAL Ply Barstool

vitra > Stool

The swivel-mounted HAL Ply Barstool features gas spring-assisted height adjustment for seating at tables and counters from 90 to 110 cm tall, along with additional shock-absorbing seat suspension to ensure dynamic comfort. The seat shell is made of high-quality, easy-to-clean plywood, while the column sleeve, footrest and base plate with a brushed stainless steel cover are manufactured from steel. HAL Ply Barstool is suited not just to bars and restaurants but also to offices with standing-height meeting tables or desks.

Lobby Chair ES 108

vitra > Chair

Charles and Ray Eames originally designed the Lobby Chairs to furnish lobby areas in New York City's Time & Life Building. Like all models of the Lobby Chair, the conference chair ES 108 has luxuriant leather-covered cushions that offer excellent comfort. The upholstery covers are available in different types of leather and in a wide range of colours.

MedaSlim

vitra > Chair

MedaSlim by Alberto Meda is an exceptionally robust visitor and conference chair with a sleek design and excellent user comfort. The front legs, backrest frame and seat are moulded in one piece thanks to an ingenious production process. The MedaSlim model with chrome-plated legs can be stacked up to 5 chairs high.

Metal Wall Relief Little Heart, red

vitra > Styling

The Metal Wall Reliefs are ornamental examples of wall decorations created by Alexander Girard for various interior design projects, such as The Compound restaurant, exhibitions and his own house in Santa Fe. One of the most frequent symbols in his work, the heart shape is used as a recurring pattern on textiles and cushion covers, as a decorative wall element and for much more. In cooperation with the Girard family, Vitra has selected several of the original motifs for the reliefs, which are made from robust metal materials.

Miniatures Bocca

vitra > Styling

The use of cold-expanded polyurethane makes traditional methods of constructing furniture redundant. One series of sculptural furniture objects stands out amongst the furniture designs of the »Studio 65« group, since it makes radical use of the freedom of design allowed by this new material. And the style of this furniture demonstrates characteristics originating in the pictorial arts of the 1960s: the softening of a Claes Oldenburg, the naive stylization to be found in comics and commercial art, or the giant, intoxicated dimensions assumed by 1960s objects. Alongside an armchair in the shape of a pillared Greek temple and a Babylonian shrine as a playsystem for children, Studio 65's contribution to the »radical design« included a sofa in the shape of a woman's mouth. The subtitle Studio 65 gave to its Sofa Bocca: »alias lips, alias Marylin«, is a reference to the inspiration for this design and its symbolism. Salvador Dalí, to whom the idea for a design of this kind has been attributed, was quoted by Studio 65 in this context as follows: »Objects with a symbolic function leave no room for formal considerations. They are characterized only by each individual's idea of love and are above any notions of shape.«

Nuage (céramique)

vitra > Styling

The Nuage vases in ceramic are elaborately handcrafted, resulting in scarcely discernible differences that make each charming vase a unique object. The undulating surfaces produce an attractive interplay of light and shadow, and individual vases can be assembled into entire 'cloud formations'.

Softshell Chair, four-star base

vitra > Chair

The Softshell Chair offers exceptional comfort, thanks to flexible ribs concealed in the back shell. Designed by Ronan and Erwan Bouroullec, the elegant, understated chair with the four-star base is available in a selection of colours, in leather or fabric.

S-Tidy

vitra > Styling

The serpentine shape of the S-Tidy organiser by Michel Charlot prevents it from tipping over, enabling safe storage of even taller objects such as tablets. S-Tidy is made of robust plastic and comes in a choice of colours.

Unix Chair, five-star base

vitra > Chair

The Unix Chair by Antonio Citterio is available with a sturdy five-star base on castors, ideal for studio offices and informal office areas. The height-adjustable, swivel chair comes with a technical knit or fabric cover.

Wooden Doll No. 20

vitra > Styling

Alexander Girard originally created the Wooden Dolls (1952), a whimsical assortment of figures both joyful and grim, for his own home. Today they add a charming touch to any interior.

Wooden Dolls Mother Fish & Child

vitra > Styling

Two fish - a mother and her little one - add another motif from the animal world to the cheerful family of Alexander Girard's Wooden Dolls. Their horizontal orientation distinguishes them from the standing posture of the other figures in the large collection of dolls.

Suita Chaise Longue Classic

vitra > Sofa

Characterised by an elegant technological aesthetic, the Suita sofa family (2010/2019) by Antonio Citterio comprises many different components. These can be freely combined or also used as independent elements.