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Tag: italy

Vibieffe - Ferrero1947

Vibieffe

  • Vibieffe Ferrero1947 Torino Porino
  • Vibieffe Ferrero1947 Torino Porino
  • Vibieffe Ferrero1947 Torino Porino
  • Vibieffe Ferrero1947 Torino Porino
  • Vibieffe Ferrero1947 Torino Porino
  • Vibieffe Ferrero1947 Torino Porino
  • Vibieffe Ferrero1947 Torino Porino
  • Vibieffe Ferrero1947 Torino Porino

Vibieffe was born in Lissone in Brianza in 1968 for the creation of high quality upholstered furniture, sofas and beds with a tailored approach, where each process is characterized by a solid tradition and craftsmanship. The iconic product par excellence of the company is the sofa that converts into a bed, available in all possible aesthetic variations, such as the most famous, the Squadroletto, where it is possible to obtain complete customization through the choice of armrests, sizes and fabrics. The same goes for the more recent models such as Happy, Tangram, Bel Air, Gulp, Prince.
All models are made with a composite and multilayer wood structure, and designed with the utmost attention to style, refinement, quality and attention to detail typical of Made in Italy interior design. All sofas can be covered by choosing from an infinite range of types of fabrics and leathers, particularly refined, in all the main colors: leather, leather, cotton, linen, wool, velvet, made with tailoring and craftsmanship. The padding and seat cushions are in polyurethane foam covered with a thermal layer. The back cushions are in washed and sterilized down mixed with siliconized polyester fiber.
The opening and closing mechanisms of Vibieffe sofa beds use different types of solutions, highly safe and reliable, they are designed and tested to last over time and are the result of years of research and innovation, development and use of advanced technologies ; the mechanisms differ according to the technology used: with elastic belts, with electro-welded mesh or with wooden slats for the ecowood version according to the different models. The bed can be equipped with a spring mattress, or in polyurethane foam, with a Memory foam, Waterlily or latex mattress. The cushions are in polyurethane foam and washed and sterilized down mixed with siliconized polyester fibers. Vibieffe mattresses are of high quality, certified and covered with antibacterial, anti-mite and antifungal fabrics, which ensure hygiene, elasticity, ergonomics and breathability. This attention to mechanisms and mattresses has made the world leader in the sector not easy for the convertible sofa.
Another important section of the Vibieffe catalog is represented by the padded beds, traditional or more contemporary, which can be personalized and made unique by choosing from an infinite range of fabric or leather coverings, also with tailoring and handcrafted finishes of the highest quality, which often resume ancient Italian traditions. The covers are removable and washable. The supporting structure of all the beds is made of steel, while the orthopedic bed bases are made of evaporated beech slats. In some models, on request, a basic structure with a box underneath can be opened, which can be opened with a tilting lift or with a horizontal lift. All mechanisms are made with materials that comply with environmental protection regulations, non-toxic and non-harmful. The mattresses are certified and available in Aqupur and Memory Form cans, in natural latex foam, with springs or with pocket springs, covered with antibacterial, anti-mite and antifungal fabrics to ensure hygiene, ergonomics, elasticity and breathability. Many models have the exclusive Up & Down system on request, or an adjustable mechanism that allows you to place the mattress at the height you are used to. Among the most famous models: Bel air, Soap, Open, Tangram.

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Moormann, complementi arredo moderni, interni, design

Moormann

  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann
  • Moormann

Nils Holger Moormann nel 1982, dopo gli studi in giurisprudenza, si appassiona al mondo del design e decide, da autodidatta e lontano dalle logiche di produzione delle aziende di arredi, di sviluppare mobili che mostrassero un linguaggio formale ridotto e soluzioni molto precise nei dettagli, sinonimo di quella corrente chiamata “Neues Deutsches Design”.

I pensieri principali di Moormann sono la semplicità, l’intelligenza e l’innovazione, che devono essere applicati contemporaneamente per il benessere della società. Il primo traguardo è quello di analizzare le esigenze alla luce dei nuovi modi di vivere e di lavorare, che spesso e sempre di più coincidono all’interno degli stessi spazi; il secondo passaggio è quello di individuare delle soluzioni progettuali concrete, semplici, ma non banali, per risolvere tutte le esigenze. Si arriva, attraverso questo semplice processo, alla realizzazione di soluzioni, in un primo tempo dedicate all’idea di contenere e di fare ordine, individuando un modello di libreria universale, facile nel concetto e nel montaggio, ma di estrema raffinatezza ed eleganza; un pezzo, come quelli successivi, fuori dalle mode e dalle tendenze, intriso di atemporalità per diventare un capisaldoi del design.

Per realizzare tutto questo è stato necessario individuare il luogo giusto, ove poter lavorare, progettare e produrre i pezzi ideali; e quale posto migliore per trovare le radici di questi mobili se non tra il clima di montagna crudo e le vive tradizioni nordiche, tra le bestie dei campi e una sentita attenzione per l’equilibrio ecologico? Il luogo montano e naturale, lontano dai consueti distretti industriali e dalle città, è stato fondamentale per la creazione e l’evoluzione di questa filosofia. Naturalmente tutto il progetto non può più essere ottenuto da una persona sola come all’inizio, ma da un team affiatato e convinto, composto ora da circa 40 menti brillanti.

Moormann non è del tutto facile da classificare. Non è solo design nordico, che risuonerebbe in modo limitativo, avendo all’interno del team molti progettisti internazionali. La sua estetica, seppur vicina agli esempi finlandesi, svedesi e danesi, è più articolata, frutto dell’unione di una tecnologia impeccabile e di uno sguardo attento alle forme accattivanti e sobrie allo stesso tempo. Il legno utilizzato per tutta la collezione è sempre il medesimo, ovvero betulla chiara di alvariana memoria, ma anche mdf naturale, con effetto molto ecologico, ma non povero, spesso abbinato a linoleum o laminati dai colori assoluti, bianco o nero, talvolta rosso. La libreria, poi interpretata nei decenni in molteplici modi e con innumerevoli varianti, rimane il prodotto principale della collezione, alla quale si sono gradualmente aggiunti letti, tavoli, scrittoi, contenitori e piccoli accessori di grande bellezza e funzionalità.

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Pastoe

  • Pastoe _ Ferrero 1947
  • Pastoe _ Ferrero 1947

Pastoe was born in Holland in 1913 in Utrecht for the creation of furnishings, in particular armchairs and sofas, but since 1948 it has focused on wooden containers in a modern and functional key. The sobriety and the technical and aesthetic refinement have always been the main guidelines in all the collections that have alternated, up to the most recent and beloved Vision series: container containers, modular in a huge amount of sizes, possibilities and colors, with the particularity of the pressure opening and the thicknesses at 45 degrees. The result, extremely refined and elegant, is much loved by architects, design lovers and designers for the purity of its aesthetics.

The Pastoe collection is therefore the result of many years of experience in the development and production of the highest quality furniture. Every day we invest again in quality, in the continuous search for further refinement of the technique and greater functionality, without stopping, until we reach the desired result.

When visual and material sustainability is increased, even the smallest details become important; the visibility of a screw or the shape of a hinge are therefore treated with extreme care and attention. The pursuit of perfection is, and will always remain, inherent in the company’s culture. Pastoe furniture is still made in the historic Utrecht factory, taking care to maintain traditional and artisan quality. In order to obtain the best result, production is still largely manual. Thanks to this attention and preparation, an impeccable piece of furniture of great value is born.

Pastoe has always remained faithful to the modular principle. Current furniture systems lend themselves to making sideboards, TV furniture, containers … and they can be defined as figurative works of art. The furniture is not only part of the wall, but also the wall becomes part of the furniture thanks to the play of shadows. Pastoe furniture leaves room for additions according to your taste and thanks to their shape they can be easily combined with other styles and brands.

The connection with art is always very close: in the development of its furniture, the company involves the ability of architects and artists and their sense of form, the keen eye for detail and the play between light and space. It starts with shapes, volumes and colors, elaborating them, to translate everything into furniture. This leads to furniture that is both functional and artistic: a piece of furniture as an object. In addition to the collaboration with architects and artists, the product development section, always at the forefront, translates the signals coming from the market into furniture in line with Pastoe’s design vision.

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PP Mobler

PP Mobler

  • PP mobler _ Ferrero 1947

PP Mobler is a family-run Danish carpentry workshop founded in 1953 and has a strong tradition of crafting high-quality designer furniture. Motivation has always been a love of wood. The company’s philosophy is that technique, ingenuity and craftsmanship can be combined in the search for quality.
The catalog is almost entirely dedicated to the projects of the Danish architect Hans J. Wegner, who had a long and important partnership with this small Danish manufacturing company; Wegner loved to stop in PP Mobler’s laboratory, where his ideas took shape; here he could touch and perceive the professional connection between designer and craftsman and feel the pride and respect for high quality craftsmanship. For its part, the designer has always provided this small laboratory with exciting and difficult tasks, always perceiving the uncompromising request for quality and the commitment to experiment with the material.
Between 1960 and 1968 many of Wegner’s prototypes were developed at PP Mobler before going into production at other companies, while after 1968 the designer began to design the first models for the production of PP Mobler, a very important event for this small laboratory, which began to organize a small catalog on its own. Wegner continued his exploration of the possibilities of wood in terms of form and construction even more freely.
Today PP Mobler produces a wide selection of Wegner furniture, most chairs, especially those with the most complex construction, that no one else could make. Among these, “The Round One”, as Wegner liked to call it with its typical provincial modesty, is one of the most famous Danish furniture in the world, summarizing in a simple and modest way the essence of the tradition of woodworking and the philosophy of the Danish design. It is Hans’ most important work. J. Wegner.
When Johm F. Kennedy and Richard Nixon met in the first televised election debate in 1960, they sat on the Round Chair, chosen primarily for its great comfort and its genuine quality; eventually the Americans found a new and more eloquent name for this chair: they called it, and continue to call it, simply “the chair”.
In the PP Mobler catalog there are many other Wegner projects, not only chairs, but also armchairs, tables and desks, such as the Peacock Chair from 1947, the Folding chair from 1949, the Papa Bear Chair from 1951, the Rocking chair from 1984, The Circle Chair from 1986…
A separate discussion should be reserved for the 1950 Flag Halyard Chair relaxation armchair, one of the very rare Wegner projects not in wood, but with a stainless steel structure and 240 meters of rope to form the seat and back, with the addition of a long-haired sheepskin resting on top. Despite having obvious preferences for wood, Wegner shows his bold and courageous appetite for creation in this project. With the Flag Halyard Chair, the designer pays tribute to the first modernist designers such as Le Corbusier, Mies van der Rohe and Marcel Breuer, and proves to be able to master stainless steel with the same elegance as the wood master. The Flag Halyard Chair remains one of the highest examples of Danish design and one of the most desired royal armchairs in the world.

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Serge Mouille

Serge Mouille

Known worldwide for his work as lighting designer, Serge Mouille (1922-1988), after graduating in silver-related decorative arts at the School of Applied Arts in Paris, practices in the study of the sculptor Gilbert La Croix and, after graduating in 1941, opened his own studio.

In 1945 Mouille himself became a teacher at the School of Applied Arts and opened a new studio specialized in metalworking: his orders were mostly handrails for stairs, chandeliers and ornaments for the walls. In 1953 Jacques Adnet hires him to design lighting fixtures, an art to which he will dedicate the rest of his life. During the 1950s Serge Mouille designs large wall, ceiling and floor lamps, with different arms and curved shapes, which morphologically resemble a spider. Some of his best known designs of the period are his “Oeil” lamp from 1953, “Flammes” from 1954, “Saturn” from 1958. Throughout his life he works to obtain a kinetic and sculptural aesthetic that evokes a sense of movement in the space, stating that its appliances are “an alternative to Italian models, which began to invade the market in 1950”. His projects of these years are exhibited and sold at the Steph Simon Gallery on Boulevard Saint Germain in Paris, together with the works of Isamu Noguchi, Jean Prouvé, Charlotte Perriand, Pierre Jeanneret and Le Corbusier.

In 1955 Serge Mouille became a member of the Society of Artists of Decorative Arts and of the French National Art Society; in the same year he was awarded the prestigious Charles Plumet prize for his work and in 1958 he received a diploma of honor at the Brussels Expo. Towards the end of the 1950s Mouille began designing institutional lighting fixtures and became responsible for the lighting design of the Antony University, furnished by Jean Prouvé, for the schools of Strasbourg and Marseille and for the Bizerte cathedral , always continuing to create lamps also for private individuals and for the most famous galleries. Its most popular models, wall and ceiling, are the larger ones, with 5 and 7 arms, called “Araigné” in the colors black or more rarely white.

In the same years the invention of neon tubes inspired the artist to create a series of floor lamps that combine incandescence and fluorescence: these drawings, the “Colonnes” collection, debuted at the 1962 Paris Motor Show for interior design and are some of his best known late works. Very different from the previous collection, they support it without penalizing it, having two completely different aesthetics and two technologies.

In 1961 Serge Mouille founded SCM (Société de Création de Modèles) as a way to encourage young and emerging lighting designers; he continues to work and teach for the rest of his life, showing his lamps and jewels in various exhibitions around the world. For his career as a metal artist and designer, he received a medal of honor from the city of Paris in the late 1960s. His laboratory never stops creating these masterpieces, created by the skilled hands of a few selected collaborators; upon his death the atelier was carried on by the widow and then by the heirs, who continue to manufacture the original collection, by hand, without modification, numbering and certifying each specimen.

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Vitra

Vitra

Vitra is a Swiss company dedicated to improving the quality of homes, offices and public spaces through the power of design, founded in Weil am Rhein in 1950 by Willi Fehlbaum, owner of a furniture store in nearby Basel. Its products are developed in an impeccable, intensive design process, which brings together engineering excellence with the creative genius of internationally renowned designers. The goal, since the early 1950s, is to create functional and stimulating interiors, furniture and accessories through some guiding principles such as longevity of materials, impeccable construction, high quality and the importance of aesthetics, as demonstrated from the great classics, many still in production since 1950.

The great American design classics were in fact the starting point of the Vitra catalog, thanks to the agreement already in 1946 with the American Herman Miller for the purchase of the rights to produce the vast collection of Charles and Ray Eames in Europe. Willi Fehlbaum was struck by the plans of the spouses Eames during a trip to America and wanted at all costs to produce them and propose them to the European market. Masterpieces such as the Eames Chair, the Aluminum Group, the Upholstered Lounge Chair, the Elephant Stool, the Fiberglass chairs … therefore began to be known and appreciated also in Europe thanks to Vitra. Subsequently to this production were added the works of other historical masters of international design such as George Nelson, Verner Panton, Jean Prouvé and to follow, in more recent years, the works of contemporary designers and architects such as Antonio Citterio, the Bouroullec brothers, Mario Bellini, Ron Aram, Jasper Morrison, Alberto Meda, Philippe Starck …

After a terrible fire, which devastated the entire factory in 1981, the English architect Nicholas Grimshaw was called to design the new factory, ready in just 6 months, which was joined in 1986 by another building by the Portuguese architect Alvaro Siza, starting what will become the future Vitra Campus, or the most important grouping in Europe and probably in the world of contemporary architecture in a limited space. Among the many buildings we can mention the Vitra Design Museum by Frank O. Gehry from 1989, the Tadao Conference pavilion from 1993, the Zaha Hadid Fire Station from 1993, the installation in 2003 of a petrol designed in 1953 by Jean Prouvé until the most recent VitraHaus by the architects of Basel Herzog & de Meuron in 2010, the Diogene structure of Renzo Piano in 2013 or the factory of the Japanese studio SAANA in 2013. The Vitra Campus has become in a few years destination much frequented by design enthusiasts and not only, thanks to the guided visits to the various factories, the numerous exhibitions and displays on design in its museum and to many initiatives related to the world of design and art.

Currently the Vitra catalog is divided into 2 parts. one dedicated to the home, the Home Collection, and one dedicated to contract and office, with a lot of sensitivity towards smart working. In these 2 parts the proposals of the Masters of design such as the Eames, Jean Prouvé, Verner Panton are always balanced … and the contemporary projects of designers such as the Bouroullec brothers, Hella Jongerius, Konstanto Grcic, Jasper Morrison and many others.

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Wewood

Wewood

  • Wewood
  • Wewood
  • Wewood
  • Wewood
  • Wewood

Wewood is a Portuguese brand founded in 2010 in Granda, the result of the research and development of Móveis Carlos Alfredo, historic company specialized in the production and export of traditional solid wood furniture since 1964: a new division aimed at contemporary design and more experimental forms, without forgetting the solid roots linked to the tradition of woodworking.

The catalog consists of a part dedicated to the home and another for the office and the world of work; each piece comes from the inspiration and creativity of talented young designers and architects, transforming the wisdom and experience of local craftsmen into tangible reality. A small and young family, which takes care of all phases, from design to construction, from distribution to sale. In Portugal, in fact, especially in the areas surrounding the town of Granda, there is a great tradition of small manufacturing companies dedicated to the export of solid wood, in particular walnut and oak, and of some workshops for the creation of wood furnishings.

Wewood believes in the importance of high-end carpentry with the production of solid furniture in order to promote Portuguese culture and design, still little known in the rest of Europe, but with great potential and a long history behind it; The team, made up of very young kids, works every day to create products that represent values ??such as passion, function, aesthetics and know-how, which testify to the brand’s DNA.
The dedication present in all stages of production, and the combination of craftsmanship and high technology certify a natural product made with passion and competence.

The collection includes various types of furniture: containers, tables, chairs, sofas, all with a wooden structure, the result of careful craftsmanship combined with a design, which evokes the shapes and proportions of the 50s, openly citing some historical protagonists of the world of design, such as Professor Carlo Scarpa, among the best known and most refined personalities of Italian design. In fact, a sideboard of the same name is dedicated to him in walnut and oak, with inlaid sliding doors and legs from the typical 1950s line; the same belief is also available in other clearer and less elaborate variants.

A separate discussion must be dedicated to the Smart Shelf by designer Laurindo Marta, which represents one of the most iconic pieces of the entire collection: a bookcase that, thanks to the patented locking pins, can take on different configurations, having fun changing the shape and the size. The same is made of light oak or dark walnut.

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