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Tag: design

Boda Horak

Boda Horak

  • Bora horak _ Ferrero 1947
  • Bora horak _ Ferrero 1947
  • Bora horak _ Ferrero 1947
  • Bora horak _ Ferrero 1947
Boda Horak

Boda Horak completed her architecture and interior design studies at the College of Art, Architecture and Design in Prague, where she graduated in 1980 and a few years later, in 1987, was one of the co-founders of the legendary group of designers “ATIKA”, much acclaimed by critics and audiences; very soon he became one of the main European exponents of that recognized as the post-modernist movement of the 1980s. According to many critics, while in Italy the Memphis movement with Ettore Sottsass and his other collaborators manifested itself in Prague, following an ideological and aesthetic path very similar, the figure of this designer was highlighted.
His works, characterized by impeccable craftsmanship and a very thick plastic sense, are of very different types and sizes: from the glass to the candlestick, from the chairs to the sofa. All these pieces are characterized by a very strong aesthetic, at times monumental and dramatic, always of great impact and out of the usual design paths,
From 1993 the artist began to collaborate with the German company Anthologie Quartett, who first sensed his great talent, creating a successful line of design products that helped define the same distinctive style of the company. Horak’s designs are all unique, never the same, sculptural, but attentive to use, ergonomics and practicality: what seem to be precious sculptures, turn out to be very comfortable chairs or perfectly usable sofas.
In 2012 the designer started a new project, working together with the designer glass sculptor Vladimíra Klumpar and creating a collection of highly refined objects, including vases, candelabra and glasses. This is followed by a new line of lighting objects, which includes monumental chandeliers, but also small lamps with a great atmosphere.
In the same year Boda Horak began collaborating with Rückl crystal glass companies A.S, Bomma, PRAGER Kunstsalon and from 2013 with some art galleries: the KREHKY gallery, PRAGA KABINET and TIME ART AVANTGARDESIGN in Germany.
Boda Horak participates in prestigious exhibitions in some famous international galleries such as Binnen in Amsterdam, Jannone in Milan, Ferrero1947 in Turin, dadriade in Rome, the Moss Gallery in New York, the Limn gallery in San Francisco, UNICA Las Vegas, etc … works are regularly published at home and abroad, in many art magazines and books and are also exhibited in the most famous design and applied art museums in the world and in some private collections.

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Christien Meindertsma

Christien Meindertsma

  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma

Christien Meindertsma

Christien Meindertsma was born in Utrecht in 1980 and graduated from the prestigious Eindhoven Design Academy in 2003; his work explores the life of products and raw materials in depth. In some cases, the result of his projects could be the recording of a process itself, in others, his investigations lead to commercial products; careful investigations and documentation, issues of local production and underexposed resources characterize his work.

The designer tries to reveal the processes that have become distant in industrialization and encourage a deeper understanding of the materials and products that surround us. His first work was a 2004 book called Checked Baggage, where Meindertsma purchased a container filled with a week of items confiscated at Schiphol airport security checks, meticulously classified and photographed, reaching 3267 items. Later, his 2007 PIG 05049 book documented all products made with a single pig, exploring the connection between raw materials and everyday products that surround us, revealing a network between source and consumer that has become increasingly invisible.

Another documentary project called Bottom Ash Observatory in 2015 involved Meindertsma in sifting a bucket of Bottom Ash incinerator, an abundant and until recently devalued by-product of the large-scale incineration of household waste, to reveal and present the precious materials to the ‘internal; this project came together in a precious book and a limited edition series of images.

Works such as the 2012 Flax Project, and its many offspring, are also typical of his approach: Meindertsma purchased an entire crop of a Dutch flax grower with the ambition to explore how flax products could remain locally produced ; the result is an extraordinary collection of objects such as lamps, rugs, poufs, chairs, fabrics … made solely with this batch of Dutch linen, the same used for the tops in the port of Rotterdam.

Many Dutch scholars and politicians therefore invited Christien Meindertsma to transform his particularly investigative method of design and documentation on a specific topic, exploring far-reaching topics such as Forestry in the Flevopolder region of the Netherlands, the relationship between Japanese porcelain and Dutch linen and the landscape of northern Canada. The designer’s work is in the collection of the MOMA in New York, the Victoria & Albert Museum in London and the Vitra Design Museum in Weil am Rein. Among the numerous prizes and awards: three Dutch Design Awards in 2008 and an Index Index in 2009 for the PIG 05049 project; the Flax chair won the Dutch Design Award and Future Award in 2016.

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bcxsy

BCXSY

BCXSY

BCXSY is an interdisciplinary studio based in Amsterdam between the designers Boaz Cohen, born in Israel in 1978) and Sayaka Yamamoto, born in Japan, in 1984. The studio, founded in early 2007, continues to carry out a wide range of projects , both in the Netherlands and abroad, offering a balanced combination of two unique talents and providing a narrative that is characterized by the emphasis on personal experience, human interaction and emotional awareness. The clever interweaving of the particular and craftsmanship with the universal and commercial is the hallmark of the BCXSY design experience.
In recent years, BCXSY has gained international notoriety and recognition for their dedication to socially sensitive projects. Their award-winning work has been featured in some of the world’s most prestigious design events and continues to capture the attention of international galleries and museums, including the Victoria & Albert Museum in London, the Shanghai Glass Museum, the Textielmuseum in Tilburg, the Netherlands.
With an approach that is deliberately playful, BCXSY never fails to surprise and inspire. Thanks to the collaboration with a series of craft workshops and commercial initiatives, BCXSY creates products that are a fusion of context and beauty. All the projects are limited edition of a few specimens, to preserve that uniqueness obtained thanks to a rigorous creative process combined with a very high level of craftsmanship.
Through their constant participation in international workshops and conferences, the studio has become a leader in the most recent design and debate forum. The two partners bring spirit, purity and uniqueness to the modern design community and continue to carve out their place among the today’s most influential designs.

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Atelier Van Lieshout

Atelier Van Lieshout

  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
Atelier Van Lieshout

Atelier Van Lieshout is the studio founded by the sculptor, painter and visionary Joep van Lieshout, who, after graduating from the Rotterdam Art Academy, quickly became famous with projects that oscillate between the world of design and that of art: sculpture and installations, buildings and furniture, utopias and dystopias. In 1995, Van Lieshout founded his studio and since then he has worked exclusively with the name of the studio, which includes more than twenty collaborators of different origins and backgrounds. They all work together in a large shed on the port of Rotterdam, divided into several departments: fiberglass, wood sculpture, metal. The designers are closely involved in the manufacturing process of each product; for this reason, the design and production of all the works signed by AVL must necessarily take place in this single place.
Over the past three decades, Van Lieshout has established a multidisciplinary practice that produces works on the borders between art, design and architecture, studying the fine line between manufacturing art and functional mass production objects and trying to find the borders between fantasy and function, between fertility and destruction.
Van Lieshout analyzes systems, be it society as a whole or the human body; he experiments, looks for alternatives, holds exhibitions such as experiments for recycling and even declared an independent state in the port of Rotterdam AVL-Ville in 2001: a free state in the port of Rotterdam, with a minimum of rules, a maximum of freedom and the higher degree of autarky.
All these activities are carried out in the typical provocative style of Van Lieshout, be it political or material, combining imaginative aesthetics and ethics with a great entrepreneurial spirit; his work motivated the movements in the field of architecture and ecology and was celebrated, exhibited and published internationally. His works share a series of recurring themes, motives and obsessions: systems, power, autarchy, life, sex and death – each of these traces the human individual in front of a larger whole like his well-known work Domestikator (2015) . This sculpture aroused controversy before it was even placed in the Louvre in the Jardin de Tuilleries, but was later adopted by the Center Pompidou where it was exhibited during the 2017 FiAC.

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Aldo Bakker

Aldo Bakker

  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
Aldo Bakker

Aldo Bakker (1971) is a designer who fights the spirit of the time: almost all his designs, whether it is glass-line (1998), Saliera (2007), side table (2008), or Jug + Cup ( 2011), are notable for their refusal to challenge the fashion or spirit of the time. Not to mention being able to classify it from the surrounding world – those who see Bakker’s drawings for the first time, often wonder what their purpose is. This challenge is important for Bakker, a self-taught person who loves to follow his own path.

It is immediately clear that Bakker loves essentiality; the only son of the legendary Emmy van Leersum and Gijs Bakker, who revolutionized Dutch design with their futurist-shaped jewelry collection in the 1970s, Aldo never had any doubts about his destiny as a designer, but his work immediately took a different direction, very distant from the exuberance of the new conceptual school, to which his father has so strongly contributed, with the foundation of the collective Droog design and training at the Design Academy of Eindhoven more than one generation of designers of international renown today.

The objects that Aldo designs are at the same time very simple and extremely complicated: objects with essential but not elementary shapes, with smooth and convex surfaces that can hide unexpected cavities. Difficult to locate objects: for the plastic qualities they evoke sculpture, for the technical qualities the tool and for the preciousness of the materials and workmanship the jewel. Aldo Bakker’s objects play on the frontier between figurative and abstract: if on the one hand they indicate a search for absolute form and aesthetic perfection, on the other they arouse unexpected organic resonances, evoking vaguely vegetable or animal profiles. Many critics have approached these forms smooth and rounded, sinuous and at the same time pure, to Brancusi’s sculptures; With a smile, Bakker does not rule out this closeness, but pauses to explain the importance of the original convergence between form, material and use that he developed after years of trying and studying.

Independence is a fundamental value for Aldo Bakker who, while regularly collaborating with prestigious publishers, claims the freedom of research that escapes market imperatives. Independence is not only linked to a demanding ethical positioning, but it is also the goal that the designer tries to achieve with the creation of his objects. Upon careful observation, the enigmatic forms of Bakker’s objects hide surprises: to those who take them in hand and explore their ergonomics, they reveal unexpected functions, cause unprecedented gestures, yet always deeply “natural”, such as prodigious Salt Cellar (2007) in black porcelain, which is at the same time spoon and salt shaker.

All these objects require an experience, a contact, a knowledge that is made over time, with the aim, rather than to exercise a use, to discover the essence of an original gesture. “Sitting, pouring, containing, are all gestures that define the human”, says Bakker: “with my objects I want to create a state of awareness”. Through a multiplicity of vases, containers, jugs, tureens, he has for example explored the thousand facets of an essential gesture such as pouring a liquid – arriving at paradoxical solutions, such as the slender watering can or copper jug ​​of 2014, in which the liquid flows into the handle before exiting the beak. In the same way, the conception and production of each object is the result of a long journey, which can last for years, and which is accomplished as a slow process of knowledge, or, as Bakker explains, of “frequenting and understanding a form”.

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Cassina

Cassina

  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino

La Cassina was founded in 1927 in Meda, in the heart of Brianza, by the brothers Cesare and Umberto Cassina, initially for the construction of supplies for large cruise ships, including the famous Andrea Doria, the interiors of which were designed by architect Gio Ponti. Then begins a historic partnership between Cassina and Gio Ponti, consolidated in the 50s, which will lead to the creation of many masterpieces of Italian design, among them the chair called “Superleggera”, weighing 1.66 kg, an intelligent and cultured rereading of the famous Chiavarina chair, built on the Ligurian hills.
After and at the same time as Gio Ponti, promising young Italian designers, such as Mario Bellini, Achille Castiglioni, Vico Magistretti, will begin to collaborate with Cassina, belonging to what is now universally recognized as the Milanese school; thanks to the courage and flair of Cesare Cassina the company begins to identify itself as a laboratory of the best Italian design, with a careful search for ever new technologies, made available to designers, and with a constant analysis of lifestyle changes and ways of living.
At the same time as this research and collaboration with contemporary designers, thanks to the foresight and perseverance of Filippo Allison, Cassina continues a philological discourse of re-examination, rediscovery and reproduction of historical masters of Italian and international design. Thus an independent catalog was born, called “The Masters” to be added to the contemporary one, where the proposals of Le Corbusier, Charlotte Perriand, Gerrit Rietveld, Frank Lloyd Wright find space, up to the recent acquisitions of the archives and rights of the works of Franco Albini and Marco Zanuso. To carry out this project correctly and philologically, the company relies on the collaboration of the foundations in charge, where they were created as in the case of the Le Corbusier Foundation, or direct heirs.
In more recent years Cassina has experimented with the collaboration with contemporary designers of various origins, such as the French Philippe Starck, the Italian Piero Lissoni or the Spanish Patricia Urquiola, always maintaining that common thread of research, experimentation and innovation in the world of living. The most recent projects, after the Cassina family leaves the scene, are entrusted to artistic directors, such as the current Patricia Urquiola, who try to give an interpretation of the Cassina world, also re-reading some classics with the inclusion of colors and finishes. new.
The catalog dedicated to the Masters, each year enriched with new projects with the approval of the Foundations and heirs, remains the most brilliant and commercially successful example of how historical design can survive many experiments that are sometimes unnecessary. An example of this enrichment is the dialogue carried out by the company with Pernette Perriand, children of Charlotte Perriand, which allowed the rediscovery of the figure of this great designer, mistakenly overshadowed by the master Le Corbusier, and many of his little-known projects from the general public.

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Artek, design moderno, architettura, arte, arredamento

Artek

  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek

Artek was founded in 1935 by four young idealists Alvar Aalto and his wife Aino, with Maire Gullichsen, daughter of an important Finnish wood magnate and her husband Nils-Gustav Haha, a rich businessman and cultured collector; his name founds the 2 essential elements together according to its founders: art and technology.
The company’s business strategy is very clear from the start: “selling furniture and promoting a culture of modern life with the help of exhibitions and other educational means.” The founders hope for a new type of environment for the life of all days, firmly believing in a great synthesis of the arts and wanting to make a difference in architecture and design, as well as in urban planning.
Thanks to this sophisticated company, Alvar Aalto was able to avoid the inflation and the massification of his projects, which he considered precious as lithographs: his works had to be not too numerous, to contain the effects, and not too limited, not to enhance them in a sense too artistic. All Aalto’s works were carried out by Artek, often following actual needs, or the fact of having to furnish his architectural projects, as in the case of the Paimio armchair, created for the Sanatorium of the same name or the Viipuri stool for the library of the same name. For his projects, Aalto always starts from the construction techniques of snow skis, a product widely used in Finland, coming to exploit in addition to the folding of wood with steam, a technique already used by Thonet, also the natural humidity of Finnish birch wood .
Particularly famous are its stools, which have undergone a significant variation with the passage of time: in the 1940s the model consisted of 4 legs and a seat opposite them, joined with screws, in the 1950s instead the supports in plywood were designed to open up like a fan to form the top of the seat (or table), as happens in nature for some organic and vegetable conformations, without the aid of screws.
Alvar Aalto’s wife, Aino Marsio Aalto, has been the company’s artistic director for many years, designing herself some very elegant objects such as glasses, vases and small accessories, but also graphic fabrics and absolute colors black and white.
Today Artek is renowned for being one of the most innovative and avant-garde for modern design, with the creation of new paths between design, architecture and art. The collection includes furniture, lighting and accessories from the Nordic masters Alvar Aalto, Ilmari Tapiovaara, Tapio Wirkkala, Eero Aarnio and Yrjö Kukkapuro, but also contemporary collections such as the projects of the Bouroullec brothers.

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Artek was founded in 1935 by four young idealists: Alvar and Aino Aalto, Maire Gullichsen, and Nils-Gustav Hahl. The business strategy of the company was “to sell furniture and to promote a modern culture of living by exhibitions and other educational means. The founders  advocated a new kind of environment for everyday life. They believed in a grand synthesis of the arts and wanted to make a difference in architecture and design as well as in town planning.

Today Artek is renowned as being one of the most innovative contributors to modern design, creating new paths at the intersection of design, architecture and art. The Artek collection comprises furniture, lighting and accessories by the Nordic masters Alvar Aalto, Ilmari Tapiovaara, Tapio Wirkkala, Eero Aarnio and Yrj Kukkapuro. Artek also works with leading international architects, designers and artists, such as Shigeru Ban, Konstantin Grcic, Hella Jongerius, Harri Koskinen, Enzo Mari and Tobias Rehberger.

Artek’s collection is based on the original idea of standards and systems, initiated by Alvar Aalto’s bent wood experiments that resulted in the L-leg system. The L-leg, a solid wood leg with a laminated part bent at 90°, was patented in 1933 and quickly became a standard component of Aalto’s furniture designs. The standard and system thinking makes the furniture range versatile and allows it to be customised for individual projects. It’s furniture can be found in various types of spaces: public areas, private homes, museums, schools, restaurants, hotels and offices.

Artek’s headquarter is in Helsinki, Finland, where Artek also has a flagship store in middle of the town. International offices are located in New York, Tokyo, Stockholm and Berlin, where the international marketing team is based.

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cappellini

Cappellini

  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947

Cappellini is a historic family of Italian design company, founded in Carugo in 1946 by Enrico Cappellini. a synonym of originality, modernity and experimentation, the brand Cappellini produces quality furniture, never banal and able to furnish any residential space and contract. Born as a small firm, the collections are characterized by refined simplicity and personality, dictated by the big names of international design, findings from its talent scout and corporate designer Giulio Cappellini. There is talk of Jasper Morrison, Marc Newson, Tom Dixon, Marcel Wanders, the Bouroullec brothers and Nendo, designers works as Cloud, Knotted Chair, Embryo Chair, Pylon Chair and many more, now become icons of the brand internationally recognized and exhibited in the most museums in the world such as the Victoria & Albert Museum in London, MoMA in New York and the Centre Pompidou in Paris. The collection consists of three divisions, Collection Systems and Project Subject to translate flexibly all requirements of contemporary furniture, and bridge the gap between design and traditional furniture.

The talent of the architect Giulio Cappellini in sniffing out new trends, understanding in advance the evolution of living and discovering first of all new designers on the international scene, has made the Cappellini collection unique, varied and cosmopolitan. In the Cappellini catalog you can find all the most significant design developments of the past 50 years: from Alessandro Mendini’s apparently irreverent projects of denunciation and reflection, such as the iconic Proust armchair, to the poetry and lightness of the works of the Japanese designer Shiro Kuramata, of which Cappellini holds exclusive rights for the whole world.
The long, constant and important partnership with the British designer Jasper Morrison, which every year creates new projects for the brand with the usual minimal and elegant trait that distinguishes it: the professional and friendship relationship between Jasper Morrison and Giulio Cappellini dates back to many decades ago, when the latter decided to put Jasper Morrison’s thesis project into production and in the catalog: the outdoor and indoor metal armchair with sinuous shapes and poetic name: Thinking man’s Chair.
According to Cappellini, the house can be colorful, whimsical, contemporary, but also minimal, bourgeois and reassuring, translating flexibly every need for contemporary furniture, not being able to have any boundaries or limits.

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carl hansen & son

Carl Hansen

  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino

Carl Hansen, a Danish company founded in 1908, was one of the first industrial companies to believe in the complicity between craftsmanship and mass production . Now, as ever, producing seats, sofas, bookcases and wooden tables inspired by the vintage design.
Craftsmanship can be a lot of things. To us, it is everything and it has been so ever since 1908 when Carl Hansen founded his company in Odense, Denmark.

Carl Hansen founded his company on a strong belief: outstanding craftsmanship and rational serial production could go hand-in-hand to provide customers with high-quality furniture at a reasonable price. Today, we continue to build on this simple but strong idea. We combine traditional woodworking techniques with the latest technology to produce furniture of lasting value. Most of the furniture we produce today was designed by leading Danish architects back in the 1930s and up to the 1960s, but the design, the vision and the craftsmanship behind every piece of furniture is still as relevant today as it was then. If not even more so today. This is why our dedication to working with the best materials and the best designers has and will always be fundamental to Carl Hansen & Son.

At Carl Hansen & Son, we feel a great responsibility to keep bringing this sustainable idea forward of producing furniture with a long life, made of wood harvested from sustainably managed forests and treated in a way that is as gentle as possible for the environment.
Our skilled craftsmen and -women still work with the same pride and dedication and it this passion that helps us maintain the same high quality in every piece of furniture that leaves our factory in Gelsted.

Behind every piece of furniture lies vision, careful thought and skilled craftsmanship. That’s why we say, that every piece comes with a story. And we hope you’ll enjoy making it a part of yours.

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ClassiCon

ClassiCon

  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon

ClassiCon is a German company, based in Munich, that challenges time, presenting a design that has spanned the centuries without losing appeal and modernity; its name itself is a “classic” and “contemporary” case, highlighting its duplicity from the beginning, aspiring to offer pieces of established characters who have made the world of design history since the early 1900s such as Eileen Gray and Eckart Muthesius, but also to promote contemporary design and present examples of new design with advanced quality and shape, giving it the “classic” designation. The brand is synonymous with high quality, strong individuality and timeless aesthetics, out of passing fashions. Classicon objects are timeless pieces, combinable in any domestic or business context, with a strong personality, but outside the most fleeting trends in the world of design.

Many collaborations with young international designers, with whom the company establishes a lasting partnership that continues over the years, creating a design history linked to each individual designer. The most intense and productive partnership is certainly that with the Munich designer Konstantin Grcic, who, since the first projects with the company, has included refined references to the iconic design work of Eileen Gray: the projects of Konstantin Grcic, who later became a star world of contemporary design, I am the result of careful reasoning on ergonomics and the contemporary way of life, with cultured quotes to the masters of design in a never banal or dusty reinterpretation.

Eileen Gray’s projects are all produced and present in the Classicon catalog, which is the worldwide licensee of Aram Design Ltd: in the early 70s Eileen Gray began to collaborate with the manufacturer Zeev Aram to develop her furniture and its lamps for series production. Finally, in 1973 the designer signed a worldwide contract with Aram Design in London to bring all her projects into production for the first time. Classicon is therefore the exclusive licensee of the entire Aram collection by Eileen Gray.

Quality is a fundamental element for the company, so much so that each piece is indelibly and consecutively marked and numbered, as a concrete and visible testimony to the attention paid to the production of each individual specimen. The Classicon signature therefore guarantees the use in the production of high quality materials and methods, with compliance with all ecological requirements; the quality control of the production is very high. The logo and the progressive numbering offer the guarantee that each limited edition is an authentic replica of the original, made with the consent of the rights holders and with absolute respect for the original itself.

High quality and timeless furnishings are therefore the key points of the ClassiCon philosophy, which can boast the presence of its furnishing elements in numerous European and international design museums.

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