Working with - FederlegnoArredo

In , brothers
Nevio & Fabiano
Mattiazzi founded
a wood workshop barring their family
name and specialising in the production
of top quality
wooden chairs.
Experts in the field
of high-quality wood
processing they base the
family business
on clear concepts
and exceptional ideas.
Friulano is a Language by itself and Friuli grows some of Italy’s finest
... wine as well as furniture. It’s a mountainous country with rich mineral
resources serving as natural fertilizer for it’s outstanding Sauvignon
grapes. The landscape is a little harsher and steeper than the gentle
looking sceneries of central Italy one might be used to. This special
geographic area enjoys both the mountains as well as the sea, forming
a nourishing backdrop for a vivid culture of making.
The eastern part of Friuli, towards the hilly border of Slovenia,
nurtures a long and rich tradition of handicraft and woodworking. It
was a natural process in which industry grew from the craft, leading
many specialists from all scopes of wood processing to established
themselves in the area.
In 1979, brothers Nevio and Fabiano Mattiazzi founded
a wood workshop barring their family name and specialising in the
production of top quality wooden chairs.
The roofs of the productions halls an advanced solar farm, supplying
all machines and production needs with in-house solar energy. Adding to the environmental efficiency and healthy logic, all wood rests
are used in the winter to heat up the factory. All Mattiazzi products
are produced with great environmental sensibility and enjoy a minimal environmental footprint.
Mattiazzi is passionate about wood and delivers exceptional craftsmanship bringing in mind other times and standards. Giving a rare
quality promise and trusting high-quality products the company forms
carefully it’s growing collection.
Since 2009, Mattiazzi is presenting its own collection in the premium
furniture market. Art directors Nitzan Cohen and Florian Lambl are the
curators of the collection and through their collaborative work with
world acclaimed designers stands a unique and thoughtful collec­tion
of characters. A combination of uncompromising design with high­quality processing which caught people’s attention from the very first
moment.
Being true to uncompromising quality Mattiazzi collaborates with
the design elite. Designers Nitzan Cohen, Sam Hecht, Ronan and Erwan
Bouroullec, Konstantin Grcic and Jasper Morrison used and expressed
their inspiring encounter with Mattiazzi’s philosophy and the special
circumstances within wood working in their designs. Each collection is
unmistakeably characterised and represents a strong idea. However,
the ideas are rooted in the passione of the Mattiazzi family and their
exceptional team, always taking on new challenges with great curiosity
and passion.
Passion, competence,
and their years long handicraft
familiarity with
the particularities of wood
have always served as a basis
of their work.
Traditional skill is complemented by state-of-the-art machinery
and an environmental friendly
energy efficient
infrastructure.
The wood which primarily
comes from the surrounding
forests, does not undergo any
chemical treatment.
It is then processed
with CUTTING EDGE
TECHNOLOGY.
The Collection
produc t sheet s
r adice chair
60
47
40
39
available iN
oaK
ash
black
red
Green
orange
Natural
leather upholstery
Fabric upholstery
dark brown
569
steelcut
trio 2
515
black
511
steelcut
trio 2
144
Natural
steelcut
trio 2
383
steelcut
trio 2
915
r adice couNter stool
80
65
43
42
available iN
oaK
ash
black
red
Green
orange
Natural
leather upholstery
Fabric upholstery
dark brown
569
steelcut
trio 2
515
black
511
steelcut
trio 2
144
Natural
steelcut
trio 2
383
steelcut
trio 2
915
r a d i c e , d e s i G N e d b y s a M h e c h t / i N d u s t r i a l Fa c i l i t y
sam hecht was born in london in 1969. his training began at the Central Saint Martins
School of art. his interest in industrial design and architecture led him to apprenticeships
including david chipperfield. hecht thus began to define the style that characterises his
personality as a designer. a profound search for the essential, acute observation of the
world we live in and a belief that simplicity can be inspirational. in 1993 he completed
his Masters at the Royal College of art, followed by 3 years in california with IDEo, and 3
years in tokyo. this period involved the collaborations with Naoto Fukasawa, producing
some startling product typologies over the course of 6 years. in 2002, he co-founded Industrial Facility with his partner Kim colin. he began to work with manufacturers, and the
number of clients increased in just a few years. For Muji Japan he created the ‘Second Phone’
(2004), which led to him being invited to become retained designer for World Muji. For
taylor’s Eye Witness, a sheffield company, he also became main designer producing notable
sequels to robert welch’s work, selected for the Museum Für Kunsthandwerk, Frankfurt and
awarded the Design Plus and IF Gold prize for 2006. More recently he has been appointed
design advisor to Herman Miller. his career has also included teaching and lecturing activities. between 2006 – 10, he acted as senior tutor at the royal College of art, London, forming Platform 12 and in 2011 was appointed visiting professor of HfG Karlsruhe in Germany.
in 2010 he was awarded the ‘Designs of the year’ for the braNca chair. in 2008, he was
elected as a Royal Designer for Industry (RDI), the highest accolade a designer can receive in
the uK, and was also nominated for the Prince Philip Design Prize.
“Radice finds
its underlying
beauty and
simplicity in its structure.”
Sa m Hec h t
Radice is a three-legged wooden stool, the result of Industrial Facility
and Sam Hecht’s second collaboration with Italian furniture producer
Mattiazzi – the first being the Branca chair that re-invigorated our
imagination of what is possible with wood production. Hecht and the
office of Industrial Facility decided to push Mattiazzi further into the
exploration of robot-craftsmanship, but this time to also challenge
structure as a diagrammatic concept.
Radice finds its underlying beauty and simplicity in its structure.
It is the bringing together of what appears the front-half of a tradi­
tional 4-legged stool, with a single back leg – the ‘root’. It is a visual
improvisation, where two things meet unexpectedly. “Radice has
tension in its form and it is a slight surprise that the third leg works as
well as it does to resolve the overall structure. It could be viewed as
structurally diagrammatic, yet is made comfortable visually and physically because of how its third leg supports the seat,” says Sam Hecht.
The backrest is small and reassuring, allowing a coat or handbag to
rest on it; and the seat is open for large and small people. It is light
both visually and in weight, using no screws or metal fittings, yet also
passing stringent BIFMA standards to ensure it is structurally sound,
stable and reliable. The coloured wood stain options for Radice are
based on the cycle of an autumn leaf turning colour.
Radice will be available in 650mm (stool height) and 470mm
(chair height) with cushion options.
“I am attracted to the
language of camping
and campaign furniture.
It’s something about
the lightness of
structure
and required efficiency
in achieving something
comfortable…”
Ja s per Mor r i s on
Fionda (meaning sling in Italian)
Fionda’s mother is a folding camping chair, which itself comes
from a long line of chairs known variously as BKF, Hardoy, Butterfly
or Tripolina in Italy, all of which suspend a canvas sling from a frame
to create a surprisingly comfortable seat. I bought one of the camping chairs in Japan and liked having it in my living room, but the
aluminium X bars at the front and back were uncomfortable and
prevented it being a real living room chair, so I decided to make a
project out of removing the X’s. I am attracted to the language of
camping and campaign furniture. It’s something about the lightness
of structure and required efficiency in achieving something comfortable which fits well in today’s mood. The frame needed a number of
steps to perfect the joint but the result is light and strong, and can be
stacked horizontally with the covers off. There are two chair models, a
dining chair and a lounge chair, and table which is also stackable. It’s a
chair for using inside or taking outside, for interiors which don’t need
so much upholstery, and for the traveller who just got home and needs
a rest!
Ja s per Mor r i s on
Produc t Sheet s
FioNda side ch a ir
F i o N da ta b l e
76
63
73
55
70
available iN
available iN
ash FraMe
ash FraMe
black
black
Natural
70
Natural
caNvas
Natural
dark Grey
red
Nesting
FioNda di Ni NG ch a ir
F i o N da , desiGN ed by Ja s per Mor r i s oN
83
54
53
available iN
ash FraMe
black
Natural
caNvas
Natural
dark Grey
red
Nesting
Jasper Morrison was born in london in 1959, and graduated in design at Kingston Polytechnic
Design School, London and the Royal College of art for postgraduate studies. in 1984 he studied
at Berlins HdK on a scholarship.
in 1986 he set up an office for Design in london. his work was included in the Documenta 8 exhibition in Kassel in 1987, for which he designed the Reuters News Centre. the
following year he was invited to take part in “Design Werkstadt”, a part of the “Berlin,
Cultural City of Europe” program, where he exhibited “Some new items for the house, part I”
at the DaaD Gallery.
he then began designing products for SCP in london, the German door handle
producer FSB, the office furniture company Vitra, and the italian furniture producer
Cappellini. in 1992 together with James Irvine, he organised Progetto oggetto for Cappellini,
a collection of household objects designed together with a group of young european designers. he also worked with andreas brandolini and axel Kufus on a variety of installations,
exhibition designs and town planning projects under the umbrella of Utilism International.
recent projects include the design of furniture for tate Modern in london, “Luxmaster”
for Flos, Folding air-Chair and Low air-table for Magis; a monograph “Everything but the
Walls” published by Lars Müller Publishers; a bench for the Roppongi Hills development in
tokyo; atM desk system for Vitra, a line of kitchen appliances for Rowenta, Pots&Pans for
alessi and asanitary- and brassware range for Ideal Standard. in 2005, founding of Super
Normal with Naoto Fukasawa. in June 2006, first Super Normal exhibition in tokyo. Jasper
Morrison Ltd. currently based in london and paris.
Produc t Sheet s
s o l o ta b l e s
solo chair
75
74
65
48
49
55
75
75
available iN
50
black
65
oaK
ash
white
Neon blue
dark red
turquoise
Natural
stackable (× 3)
ash
leather upholstery
white
500
red
535
Grey
565
available iN
Grey
566
black
559
soft Grey
562
blue
556
Green
547
black
oaK
white
Neon blue
dark red
turquoise
Natural
s o l o b a r ta b l e
solo bar stool / couNter stool
78 / 65
110
50
35
available iN
available iN
ash
black
white
Neon blue
dark red
turquoise
Grey
565
Grey
566
black
559
black
Grey
oaK
ash
Natural
black
leather upholstery
white
500
red
535
stool riNG
red
white
soft Grey
562
blue
556
Green
547
oaK
white
Neon blue
dark red
turquoise
Natural
S o l o , d e s i gn e d b y N i t z a n C o h e n
Established in 2007, Studio Nitzan Cohen is a multi disciplinary design studio with projects ranging from industrial products, furniture and spaces to art-direction and strategic
consultancy. Nitzan Cohen and his studio are busy combining a research oriented attitude
with conceptual design and the ability to translate it into a new visual language of objects
and spaces. Nitzan Cohen is a professor for Industrial and System Design at the HBK Saar
in Saarbrücken, Germany.
“Solo is more
of a character,
a bit hard but
very round,
very simple
but also
intricate, practical and pragmatic…”
N i t z a n C oh en
My chair series HE SAID / SHE SAID was the first product of the
Mattiazzi collection. By now, the works by Sam Hecht, Ronan and Erwan
Bouroullec, and Konstantin Grcic have entered and form an exciting
discourse and dialogue. Solo continues this discourse but from a slightly different point of view, a more reduced one.
When SOLO was developed, the aim was to incorporate as much
advantages as possible coming from the Mattiazzi production process
and combining it into a cost efficient, versatile unique chair.
We can happily say now that this aim was successfully reached and
SOLO is cost efficient like no other series in the Mattiazzi collection.
Yet, it still upholds the quality level of handicraft and the love of
details its predecessors so successfully marked.
This robust yet simple and refined furniture family was sought to
be used in cafés and restaurants, which is why it offers great flexibility – both in use and in the variations offered. However, though simplicity was the outspoken key feature we were almost forced into, it
was very important to find the right nuance and tune the right detail
as means of accurately forming the right character for each piece.
Though in every project special details plays here a key role, here
they became even more important since we could not have too many
if wanted to maintain our cost efficiency. Such details and a special
feature of both chair and stool is a leather inlay perfectly matched in
the seat surface.
Offering wider colour matching possibilities as well as the great
tactile qualities of natural leather. Playing further with SOLO’s versatility and offering a wider range of possibilities, we continued and
developed together with a local craftsman a finely sawn leather upholstery for the chair’s backrest.
N i t z a n C oh en
“I was looking
for a distinct grammar
for my design,
a language which is very true
to the material.”
Kons ta n t i n Grc ic
Designing for Mattiazzi was a sort of personal time travel which took
me all the way back to my professional roots. At the very beginning
of my career I was trained a cabinet maker. Working with wood is
what I learnt from scratch, it is where it all started for me.
Mattiazzi make furniture in wood. They master the material not
only in its traditional form but also using newest digital production
technologies. MEDICI was born there, on the factory floor where
things are physically made. The chair is inspired by the material, by
the machinery and, of course, by the skill and craftsmanship of the
people we worked with.
Right from the beginning I was looking for a distinct grammar
for my design, a language which is very true to the material. I like
the idea of wood cut into planks which is how it is processed in the
first place: the tree is sliced into planks. I like the way a carpenter
joins wood, very immediate and direct. The construction remains
bare open, plain and legible. Structure turns into form.
MEDICI is conceived as a low chair with a comfortably reclined
posture. Its generous dimension gives the chair an embracing confidence. The chair can be imagined as solitary furniture or in small
groups. It can be used in private or public, indoors and outdoors. It is
produced in three different woods: American wallnut, douglas fir and
thermo-treated ash which can be used outdoors. The douglas fir version is available in natural as well as yellow and grey stain.
Kons ta n t i n Grc ic
Produc t Sheet s
Medici louNGe
M e d i c i ta b l e
79
50
39
75
68
52
available iN
available iN
walNut
ash
walNut
ash
Natural
thermo treated (outside use)
Natural
thermo treated (outside use)
douGlas Fir
Natural
yellow
douGlas Fir
red
Natural
black
Medici stool
48
available iN
walNut
ash
Natural
thermo treated (outside use)
douGlas Fir
yellow
red
yellow
red
black
M e d i c i , d e s i G N e d by Ko N s ta N t i N G r c i c
40
Natural
44
black
59
Konstantin Grcic (*1965) was trained as a cabinet maker at the John Makepeace School
(dorset, england) before studying design at the Royal College of art in london. since
setting up his own practice Konstantin Grcic Industrial Design (KGID) in Munich in 1991,
he has developed furniture, products and lighting for some of the leading companies in
the design field. amongst his renowned clients are authentics, BD Ediciones, ClassiCon,
Flos, Magis, Mattiazzi, Muji, Nespresso, Plank, Serafino Zani, thomas-Rosenthal and Vitra.
Many of his products have received international design awards such as the prestigious
Compasso d’oro for his MayDay lamp (Flos) in 2001 and the Myto chair (Plank) in 2011.
work by Konstantin Grcic forms part of the permanent collections of the world’s most
important design museums (a.o. MoMa / New york, Centre Pompidou / Paris).
Konstantin Grcic defines function in human terms, combining formal strictness with
considerable mental acuity and humour. each of his products is characterized by a careful
research into the history of design and architecture and his passion for technology and
materials. Known for pared-down pieces, Grcic is often called a minimalist but the designer
himself prefers to speak of simplicity.
Osso chair
77
Produc t Sheet s
46
49
44
Available in
ASH
Black
White
Black
Blue
Grey
Pink
Natural
Oak
Natural
Osso Stools
45
35
41
41
Available in
ASH
Black
Oak
Natural
White
Black
Blue
Grey
Pink
Natural
O s s o Ta b l e
Osso Stools
73
75
65
65
65
41
Available in
Available in
ASH
ASH
Black
White
Black
Blue
Grey
Pink
Natural
Black
White
Black
Oak
Oak
Natural
Natural
O s s o Ta b l e
O s s o Ta b l e
65
Pink
130
Available in
ASH
ASH
Black
Grey
Natural
Blue
80
65
Available in
White
Blue
73
73
Black
65
41
Grey
Pink
Natural
Black
Oak
Oak
Natural
Natural
White
Black
Blue
130
Grey
Pink
Natural
OSSO , d e s i gn e d b y R o n a n & E r w a n B o u r o u l l e c
Ronan & Erwan Bouroullec have been working together for over ten years, bonded by
diligence and challenged by their distinct personalities. In 2007, they were spotted by
Cappellini, giving them their first industrial design projects. Since then, they have gone
on to work with Vitra, Magis, Alessi, Established & Sons, Axor Hansgrohe, Flos, Kvadrat,
Kartell, Cappellini, Ligne Roset, Nani Marquina, Mattiazzi and Mutina. From designing
spaces to furniture, taking on architectural projects to designing textile wall systems or
comprehensive collections, the designer brothers maintain experimental activity with
Gallery kreo, which is also essential to the development of their work. Several exhibitions
have been devoted to Ronan & Erwan Bouroullec including the Design Museum, London
and the Museum of Contemporary Art, Los Angeles. In 2012, two exhibitions have been
showing their work: Bivouac, a major monographic exhibition at the Centre Pompidou Metz
and Album at the Vitra Design Museum. A new monographic book was released in 2012,
Works, Phaidon Press.
“Working with
Mattiazzi
is comparable
to work with
an organic
farm.”
Rona n & Erwa n Bou rou llec
Working with Mattiazzi is comparable
to work with an organic farm.
While being a small, family-owned company that has been manufacturing chairs for others since about thirty years, Mattiazzi decided to
do less yet better. By using sophisticated CNC set of tools and at the
same time a greatly refined manual know-how, Mattiazzi has a hybrid
way to consider furniture production. We were particularly interested by the fact that all the equipment is powered by solar energy and
that the wood is coming from the surrounding areas to be carefully
selected without the use of any chemical treatments. They came back
to the basics and this is precisely what piqued our interest and our
fascination for the Mattiazzi family. As designers, we feel involved in
supporting such valiant microstructures that are always on the edge as
they try to adjust to a constantly changing market.
That said, the Osso chair had to be the illustration of what
Mattiazzi is in its roots. We designed an object in plain wood but not
in regular plain wood, the quality of the wood literally makes the
object, like the best piece of meat would make the refinement of a
dish. Our intention was to let the sensuality of the wood material –
from oak to maple to ash – express itself. The Osso chair invites to
be touched, even caressed as it is extremely sculpted and polished
thanks to the use of highly sophisticated digital control equipment.
The high-tech assembling system of geometrical wood panels allows
a quite singular strength while preserving a design balance of the
object. The Osso collections includes a chair, an armchair as well as
high and low stools and a complete range of tables.
Rona n & Erwa n Bou rou llec
“For
Industrial
Facility
this was
undoubtedly
an unusual project”
Sa m Hec h t
In 2009, Mattiazzi approached Sam Hecht and the office of Industrial Facility with an
idea: To imagine a design office not commonly known for wooden furniture immersing themselves into the world of Mattiazzi and producing a furniture family. This
combination of intelligence with all things wood (Mattiazzi) and innocent naivety
(Industrial Facility) was to result in a familiar typology produced in an unexpected
manner. It was to be Mattiazzi’s second collection under their own brand, the first
having been designed by Nitzan Cohen. This new trajectory for Mattiazzi asks important designers of the 21st Century what is a new relevance for wood as applied to
furniture?
“For Industrial Facility this was undoubtedly an unusual project”, says Hecht.
“Our studio normally finds itself tackling items of mass-production, where the origins of production are rarely the same place where the project is commissioned”.
Industrial Facility have never lost sight of reality when it comes to the reason for a
project; its use; its production and even its marketing. This attitude has set them
apart from what design has gradually become, because the studio sees great value in
how something is made, its materiality, and its message, rather than succumbing to
the proliferation of a rendered reality and an ‘at arms length’ vision of production.
After several trips to Mattiazzi’s factory, along with close discussions with their
craftsmen, Industrial Facility wished to push Mattiazzi further into the position of the
robotic craftsman. What is a chair whose ingredients are a combination of highly complex parts (made possible with CNC machinery, most notably their eight Axis Robot
which they had become expert at), alongside simple traditional shaping and finishing by hand?
“I observed that the power of the robot, the repetition of the machine and the
skills of the craftsmen already have synchronised relationships at Mattiazzi – where
each process is as carefully selected as much as the wood blocks that were to be
shaped”, says Hecht.
However, instead of being blinded by limitles possibility Mattiazzi revealed to
Industrial Facility a production formula that dealt with the relationship between
cost, time, and technique. For instance a complete chair made by robots would be
too costly, even though making it would be quicker compared to the hand. Too
simple a part, and the robot’s use is not justified. But if a certain critical part where
made by the robot, in combination with other traditional methods, the formula
would allow the project to meet the right criteria – a kind of equilibrium. Hecht and
his team saw this formula as the gestation of the project.
It was in conversations with his partner Kim Colin, and his colleague Ippei
Matsumoto that the focus was turned to nature, where complexity thrives with reason.
Beauty is simply a result of constant growth. In particular, the branches of a tree were
to provide the critical analogy for the project.
Like wooden branches on a tree, Branca is a chair that is familiar to the eye.
We accept that branches support the joints of twigs and leaves at different points
that may seem random but are all intentional. With Branca, its back leg supports
the critical joints of the armrest, the seat and the back, and is made from a single
piece of wood produced robotically. The joints are seen as but a part of the seamless
nature of the chair and its simple outline belies the complexity of production. With
no question, Branca had to hold all of the functional attributes we expect a chair
to have in a modern condition - to be comfortable; to have armrests; to fit under a
table; to be light enough to carry; and to stack for easy shipping.
Branca is inspired by wooden branches that turn, twist, meet and branch off.
The result is comfort to the eye, to the body and to the hand.
Produc t Sheet s
Br a nca Ch a ir
82
46
54
57
Available in
ASH
Brown / Seat
Natural Wax
White
Black
Green
Natural
Stackable (× 3)
Beech
Black
Removable Wool Upholstery
Dark Grey
Light Grey
Green
Orange
Br a n c a Ta b l e
110
180
110
76
150
150 / 180
Frame Available in
Top available IN
ASH
ASH
lacquered
Natural
Natural
White
Produc t Sheet s
he said chair
s h e s a i d ta b l e
77
74
45
61
80
59
available iN
available iN
ash
ash
black
white
Natural
Neon blue
black
stackable (× 2)
beech
white
beech
table top Glass
black
smoke Grey tempered
Natural
Neon blue
black
removable wool upholstery
she said chair
she sa id low ide
77
71
45
40
61
59
54
available iN
available iN
ash
ash
black
white
Neon blue
Natural
stackable (× 2)
black
white
Neon blue
beech
beech
black
black
removable wool upholstery
removable wool upholstery
Natural
71
stackable (× 2)
He sa id counter stool
77
65
46
Available in
49
ASH
Black
White
Neon Blue
Natural
Beech
Black
Removable Wool Upholstery
She sa id counter stool
87
75
48
Available in
ASH
Black
White
Neon Blue
Beech
Black
Removable Wool Upholstery
Natural
50
“Its all about
the basics,
about carpentry
work, an intuition for wood together with
years of
experience.”
N i t z a n C oh en
NC,
I find several points of interest in your project for Mattiazzi. The masculine-feminine variation between HE SAID and SHE SAID reminds
me of Mickey and Minnie Mouse. Aside from their clothing, the differences between them are subtle – Mickey’s nose is slightly bigger
and Minnie has eyelashes, HE SAID has protruding, aggressive armrests, while SHE SAID’s curve down gently. It’s strange that chairs
haven’t always had masculine and feminine variations, when so many
products do. In Freudian analysis, knifes are male and spoons are
female. The best sets of cutlery have great tension between the knife
and spoon and I can see a similar tension between HE SAID and SHE
SAID. Distinguishing chairs in this way re-imagines their role, intro­duces a new dynamic between chairs, and a new form of product development for them. Expanding a product’s range by varying its size and
function is an approach common in the tableware industry. Your collection has the continuity of a family of plates and bowls. The proportional adjustments between SHE SAID and SHE SAID lowIDE are
nicely done, there is a clear and natural relationship between them.
Titling furniture with a phrase is refreshing! It reminds me of something Eames said regarding Saarinen; that he was a concept man and
that the name “womb”, was outside the vocabulary of a decorator.
I’m sure that in the 1940s calling his chair “womb” was a radical thing
to do. I think it’s important that we renew the kinds of names we give
to furniture and HE SAID / SHE SAID is doing just that. The top half
of HE SAID / SHE SAID reveals the sophistication of Mattiazzi’s
manufacturing technologies. The smooth geometry that joins the
backrest, armrests and legs is the formal language of injection-molded
plastic, and it’s surprising to see in wood. I gather that using a 6-axis
CNC machine to carve wood is essentially the reverse process of excavating an aluminum mould for a plastic chair. So industrial wood is
not an oxymoron. The level of handcraft in the joints that run along
these contoured surfaces is also impressive. when it came to the legs
and seat you kept the manufac-turing simple, using straight stock
and bent planes. This mixture of high and low – tech processes gives
the collection a strong identity. These pieces are ambitious, push
their production technology, update nomenclature, and restructure
our concept of how a family of chairs is composed. You’ve brought
some liberated and radical notions to furniture, and managed to make
some solid products.
Cheers,
Jo
Jonathan Olivares Design Research
15 Channel Center Street, Suite 504
Boston, MA 02210 USA
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