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Poltrone e Divani

Butacas & Sofas

Sogno

2014 | DIDA DIPARTIMENTO DI ARCHITETTURA, UNIVERSITà DEGLI STUDI DI FIRENZE

Butaca, sofa de dos - tres puestos, tamburete y chaise longue: estructura en acero recubierta con espuma espandida. Cojines de espuma de densidad variable. Tapicería desenfundable en tejido.

Detalles

Arabesk

1955 | FOLKE JANSSON

Butaca con estructura de metal recubierta con espuma expandida. Tapicería no desenfundable en tejido disponible en mono-bi color.

Detalles

SA21

1950 CA. | EERO SAARINEN

Butaca y sofás de dos, tres puestos con estructura en barra de acero cromaad de sección cuadrada. Marco de madera recubierto con espuma expandida. Cojines de espuma de densidad diferenciada. Tapicería no desenfundable en piel o tejido.

Detalles

SA22

1950 CA. | EERO SAARINEN

Butaca y sofás de dos, tres puestos con estructura en barra de acero cromaad de sección cuadrada. Marco de madera recubierto con espuma expandida. Cojines de espuma de densidad diferenciada. Tapicería no desenfundable en piel o tejido.

Detalles

SA23

1950 CA. | EERO SAARINEN

Butaca y sofás de dos, tres puestos con estructura en barra de acero cromaad de sección cuadrada. Marco de madera recubierto con espuma expandida. Cojines de espuma de densidad diferenciada. Tapicería no desenfundable en piel o tejido.

Detalles

SA31

1959 | EERO SAARINEN

Butaca y sofá de dos, tres, cuatro puestos con estructura de madera recubierta con espuma expandida. Cojínes en espuma con densidad diferenciada. Tapicería no desenfundable en piel o tejido.

Detalles

SA32

1959 | EERO SAARINEN

Butaca y sofá de dos, tres, cuatro puestos con estructura de madera recubierta con espuma expandida. Cojínes en espuma con densidad diferenciada. Tapicería no desenfundable en piel o tejido.

Detalles

SA34

1959 | EERO SAARINEN

Butaca y sofá de dos, tres, cuatro puestos con estructura de madera recubierta con espuma expandida. Cojínes en espuma con densidad diferenciada. Tapicería no desenfundable en piel o tejido.

Detalles

SA36

1958 | EERO SAARINEN

Pouf de espuma expandida con base de madera. Tapicería no desenfundable en piel o tejido.

Detalles

SA46

1958 | EERO SAARINEN

Pouf de espuma expandida con base de madera. Tapicería no desenfundable en piel o tejido.

Detalles

Change

2010 | MASSIMO IMPARATO

Change, ofrece la posibilidad de componer según los gustos el número de elementos deseado. Asume formas diferentes según las necesidades: con un simple movimiento se puede disponer en curva o en línea recta con el fin de favorecer diferentes exigencias de conversación.

Detalles

CH62

1923-27 | PIERRE CHAREAU

A modern version of the 19th century "canapé à confident", it invites the two sitting persons to talk looking at each other. With its structure covered in velvet, and stuffing in leather or tapestries, it became one of the most characterizing furniture of the “Maison de Verre” interiors. The armchair was used for the small blue room.

Detalles

CH71

1923-27 | PIERRE CHAREAU

A modern version of the 19th century "canapé à confident", it invites the two sitting persons to talk looking at each other. With its structure covered in velvet, and stuffing in leather or tapestries, it became one of the most characterizing furniture of the “Maison de Verre” interiors. The armchair was used for the small blue room.

Detalles

AN81

1920 CA. | ANONIMO

This armchair, and the related two and three seater couches, known as "Tuxedo", owe their name to Tuxedo Park, an elegant and exclusive holiday resort near Tuxedo Lake, New York, which represented a reference point for the elegance of that time.

Detalles

AN82

1920 CA. | ANONIMO

This armchair, and the related two and three seater couches, known as "Tuxedo", owe their name to Tuxedo Park, an elegant and exclusive holiday resort near Tuxedo Lake, New York, which represented a reference point for the elegance of that time.

Detalles

AN83

1920 CA. | ANONIMO

This armchair, and the related two and three seater couches, known as "Tuxedo", owe their name to Tuxedo Park, an elegant and exclusive holiday resort near Tuxedo Lake, New York, which represented a reference point for the elegance of that time.

Detalles

FR01

1935 | JEAN MICHEL FRANK

This armchair is the derivation of a model designed by Frank for Madame Cerf’s apartment. Although armchairs with arched back were widespread in the 1930s, Frank’s version stands out for the arch laid in the centre of the armrest and not embracing the whole rear of the chair, and for the shape of the armrests, neither inclined nor tapered. The sofa is a two-seat derivation of the armchair.

Detalles

FR02

1932 | JEAN MICHEL FRANK

This armchair is the derivation of a model designed by Frank for Madame Cerf’s apartment. Although armchairs with arched back were widespread in the 1930s, Frank’s version stands out for the arch laid in the centre of the armrest and not embracing the whole rear of the chair, and for the shape of the armrests, neither inclined nor tapered. The sofa is a two-seat derivation of the armchair.

Detalles

FR52

1932 | JEAN MICHEL FRANK

This couch is portrayed in the living-room of Georges Born’s apartment in Buenos Aires, one of Frank’s most important interior decoration designs.

Detalles

FR91

1930 CA. | JEAN MICHEL FRANK

This couch is a re-interpretation of the model that Frank used in the interior decoration of Jean Pierre Guerlain’s home. Although a stylization of that model, Frank’s characterization is strong and recognizable also in the geometry of the pyramidal feet. Two and three seaters sofas are the derivation of the armchair.

Detalles

FR93

1930 CA. | JEAN MICHEL FRANK

This couch is a re-interpretation of the model that Frank used in the interior decoration of Jean Pierre Guerlain’s home. Although a stylization of that model, Frank’s characterization is strong and recognizable also in the geometry of the pyramidal feet. Two and three seaters sofas are the derivation of the armchair.

Detalles

LE81

1929-30 | JULES LELEU

Although considered by some critics as second to the famous Ruhlmann, Leleu developed an elegant style that distinguished him among his contemporaries. The armchair was one of the most original works by Jules Leleu, who used it on the set of "Le parfum de la dame en noir" in 1931 and in the "Trouville" apartment on the liner “Normandie" in 1935. The sofas are the two and three seater derivation of the armchair.

Detalles

LE82

1929-30 | JULES LELEU

Although considered by some critics as second to the famous Ruhlmann, Leleu developed an elegant style that distinguished him among his contemporaries. The armchair was one of the most original works by Jules Leleu, who used it on the set of "Le parfum de la dame en noir" in 1931 and in the "Trouville" apartment on the liner “Normandie" in 1935. The sofas are the two and three seater derivation of the armchair.

Detalles

LE83

1929-30 | JULES LELEU

Although considered by some critics as second to the famous Ruhlmann, Leleu developed an elegant style that distinguished him among his contemporaries. The armchair was one of the most original works by Jules Leleu, who used it on the set of "Le parfum de la dame en noir" in 1931 and in the "Trouville" apartment on the liner “Normandie" in 1935. The sofas are the two and three seater derivation of the armchair.

Detalles