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OK“Some ceremonial objects possess the incontrovertible countenance of a call to the absolute. Everything is reduced to the minimum; everything is sobriety and necessity. A frugality that nevertheless alludes to the utmost opulence: one line contains all lines, one curve all curves, one thickness all thicknesses. It is the great mystery of human manufacturing, which takes the material and makes from it something unknown, an unchartered place from which it may also originate. Well, this armchair in cast aluminum – together with the accompanying chaise longue and low table, a sort of UFO from distant galaxies – talks of this, so give it space and let it speak.”
Piero Lissoni, Living Divani.
The armchair in its four colors—aluminum, blue, red and black.
The armchair in its glossy black version. It measures 69 x 63 cm and 68 cm in total height.
The chaise longue of the same family in its glossy black version.
The chaise longue in its glossy black and aluminum versions.
A closeup of the backrest’s curvature.
The low table that accompanies the chairs in its glossy red version.
The low tables in their glossy black and aluminum versions.
“Here is a family of objects that we might claim are incomplete: on the street one would say that they have lost everything, making a virtue out of necessity. So now they are accustomed to showing themselves naked, undressed, as if from one moment to the next they wish to evaporate into thin air, to disappear and to leave behind a beautiful emptiness in their place. They have lost everything, but not the essentials, their identity. This has remained, just as with certain spindly spiders with their long and elegant legs; creatures that need nothing more than an air of lightness to carry out the daily tasks. A family of chairs and tables for people who are happy with nothing without having to give up anything.”
Piero Lissoni, Living Divani.
A closeup of the table with thicknesses reduced to a minimum.
The chair and two armchairs of the spindly family.
“Careful: this table moves, but it isn’t a workbench. But neither is it simply a table. It is both, and indeed it possesses an amphibious nature. It is born from a fascination with mechanics and to reveal what is normally hidden, but also from the audacity of thinking that an instrument for work can be dressed in glass and not fall from grace, as happens to certain fairytale characters. Consequently, you can use it as you see fit: raising it and lowering it according to need. children, just like the architect who designed it, will have great fun watching it rise and fall, imagining that they are in possession of an object that has slipped out of a workshop to become the most faithful pet of the household”
Piero Lissoni, Living Divani.