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Passage is a multi-purpose word. It can be found in many spheres, from travel to literature and music. It suggests movement, fluidity and transition from one place to another. The Passage collection is no less versatile. Seamlessly moving from one place to another, it can be installed indoors or outdoors, displayed in a public space such as a café terrace, or discreetly placed at home, in an urban or natural setting. At first sight, the collection seems simple enough. But when we look at the details, we realize the technical sophistication of this collection, the high quality of the welds, the precision of the joints and the finesse of the backrest.
Designed by Konstantin Grcic, the Kari collection features a pair of highly versatile side tables that can be combined in countless ways. While both tables share a circular top, their bases explore two distinct geometries: cylinders and pyramids.
Currently available in teak wood, their clever construction allows for a wide variety of materials to be used. The geometric shapes lend the pieces an elegant, African-inspired character and a natural aesthetic.
Kari tables serve as practical side tables or occasional seating next to a sofa or armchair. Their lightweight design makes them easy to move around as needed.
Kettal revives the Loden collection. Originally designed for Gavina in 1961, Loden is a series featuring an armchair and a sofa with a lacquered wood frame made with four cylinder-section legs and a tilted seat, also made of wood, with curved armrests whose design is similar to the profile of the armrests of the Carimate chairs.
The seat and backrest are upholstered in fabric. Dino Gavina, a Bolognese businessman, started producing new furniture in the mid-50s by collaborating with well-known designers and put back into producing furniture by Breuer, a renowned designer in NY, like the Cesca and Wassilly chairs.
The Loden series by Magistretti is part of the collections produced by Gavina in the 60S”
The Milos Collection includes armchairs, two-seater sofas, modular sofas, and dining chairs designed for outdoor living and dining spaces. The collection draws inspiration from the archetypal outdoor seating of the 1950s and 1960s, traditionally crafted in bamboo and rattan. However, it reinterprets these forms through today’s advanced technologies and industrial manufacturing processes.
Andreas Murkudis is the founder and curator of the eponymous space in Berlin, which recently unveiled a new exhibition dedicated to Michael Anastassiades, titled “Other Than Lights,” on October 12. This exhibition also highlights the collections designed by Anastassiades for Kettal, including the Superfan and Ringer chair.
At the Louis Vuitton 37th America’s Cup, every detail of the Louis Vuitton Lounge embodies elegance. From the clean, sophisticated lines of Vincent Van Duysen’s Giro collection to the perfect harmony between materials and sea surroundings, this space is designed to offer a truly unique experience. Each piece, from the plush sofas to the decorative accents, has been carefully selected to create an atmosphere of unparalleled luxury and comfort—perfect for enjoying the races in style.
Through a combination of our many senses working together, we percieve not only our sight, but also our ears, our sense of smell, our perception of form, color, texture and the relationship with nature of the architecture.
The V Pavilion project is based on the idea of creating a dialogue between different environments: the interior and exterior of architecture.The gentle connection between people and the environment through constructive elements, a free floor and the importance of light.
The pavilion is designed to be subtly linked to the main building and the outdoor area at the same time.
V Pavilion is inspired by 1950s American modernism, which summariseda more industrial trend of thought based on new and innovative building technologies and on Functionalism, emphasising open-plan, multifunctional spaces that are flexible and easily adapted and modified for any lifestyle or environment.
We imagined that ideally a “Phonebooth” should simply be the door to a meeting room, nothing more. For this reason, we made the glass door the protagonist and the space of the “Phonebooth” corresponds to the projection in space of this door. The result is that, if you look at it from the front, the volume is not perceived and it could be understood to be embedded against the wall. We sought the minimum expression to fulfil the function, with no other pretension than that.