MINI SOFA BY VLADIMIR KAGAN

Vladimir Kagan creates his designs with upholstery, wrought iron, cast aluminum and especially organically sculpted wood in works that became hallmarks of his career. Kagan introduces his first signature furniture collection called ‘Tri-symmetric’ in 1949. In 1958 Kagan designs “capricorn”, an indoor-outdoor iron collection through W&J Sloan. After the partnership with Dreyfus dissolves in 1960, Kagan continued exploring fresh forms and materials. In 1964, Kagan redesigns the Monsanto House of the Future at Disneyland, in California. In 1970 the first Omnibus collection is introduced. His company continued to function under the new name Vladimir Kagan Designs. On May 19, 1972 a fire destroyed Kagan’s entire factory in New York. In 1974 Kagan designs the executive suite for Prudential Insurance Co. in Newark, New Jersey. In 1975 Kagan designs the office of Warner Communications’ senior vice president In 1987 he closes the factory and showroom and starts his new consulting firm: The Vladimir Kagan Design Group. In 1997 Gucci uses his Omnibus collection for all its 360 stores around the world. In 2001 Kagan designs a Bombay Sapphire martini glass. In 2002 he designs the lobby for the Standard Hotel Downtown in Los Angeles.

 

 

Details

Model : MINI SOFA – MODEL 9441

Designer : VLADIMIR KAGAN

Period : 2014

Dimension : W 245 cm x D 120 cm x H 75 cm

 

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D.153.1 ARMCHAIR BY GIO PONTI

Designed in 1953, the D.153.1 armchair is part of the furniture of Gio Ponti’s private home, via Dezza in Milan. The structure is made of satin-finish brass, the covering, leather, fabric, two-tone leather or Rubelli’s “Punteggiato” spotted fabric. The fabric, designed by Ponti in 1934, reinterprets the secular technique of velvet by updating it with contemporary motifs, such as the tight sequences of stamps offset in colour gradation.

 

 

Details

Model : D.153.1 ARMCHAIR

Designer : GIO PONTI

Period : 1953

Origin : ITALY

Dimension : H 80 cm x L 103 cm x l 77 cm

 

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LC20 CASIERS STANDART BY LE CORBUSIER

LC20 Casiers Standard designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand for Cassina, in the collection since 1978, are relaunched with a new look emphasising the features that make this unique furniture with its timeless design versatile, functional and perfect for the organisation of space. The units come in 18 fixed compositions, in two- and three-module versions and in three different types: with open compartments, with two hinged doors or with lover folding door.

The range of compositions allows for the different kinds of modules to be used together according to specific patterns, designed to offer goodlooking filing and storage space, while the wide array of colours – for the bases, external and internal parts of the modules and the doors – makes for interesting, elegant solutions.

The modules contain adjustable shelves with 5 different possible positions (two shelves for modules with open compartments and hinged doors; one shelf for modules with flap doors). Two kinds of legs: four chrome-plated supports legs or two painted corolla-shaped pedestal bases.

The following finishes are available:

— (A) grey lacquered metal frame with four chrome-plated legs or with two grey lacquered pedestal bases; outside in mud-stained oak, inside of open compartments in grey-stained oak; doors painted in slatecolour finish;

— (B) mud lacquered metal frame with four chrome-plated legs or with two mud lacquered pedestal bases; outside in natural oak, inside of open compartments in mudstained oak; doors painted with slate-colour finish;

— (C) grey lacquered metal frame with four chrome-plated legs; outside of unit in ochrestained oak; inside of open compartments in grey-stained oak (for two-module compositions) or one grey and one completely ochre for the threemodule compositions; doors painted in natural mahogany.

 

 

Details

Model : LC20

Designer : LE CORBUSIER, CHARLOTTE PERRIAND AND PIERRE JEANNERET

Editor : CASSINA

Period : 1925

Origin : FRANCE

Dimension : P 37.5 cm x L 75 cm x H 75cm

 

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ALICE CHANDELIER BY ATELIER DE TROUPE

Located in Los Angeles, Atelier de Troupe is a creative studio founded by former film set designer Gabriel Abraham. Since 2011, the brand’s artistic director has been synthesizing the decorative imagination of the 20th century to produce lighting and furniture with immediate evocative power. Atelier de Troupe designs modern antiques with timeless charm by drawing on the Bauhaus, Italian cinema of the 1960s or the French decorative spirit. A refreshing and resolutely contemporary brand.

The Alice collection is inspired by brutalist modular architecture. The textured hand blown glass cubes are sandblasted to create a soft glow and stacked together to diffuse light in different intensities. The frame is made of solid brass or blackened brass.

 

 

Details

Model : ALICE CHANDELIER

Designer : ATELIER DE TROUPE

Origin : LOS ANGELES

Dimension : 75.5cm x D 75.5cm x H 122cm

 

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HALFWAY ROUND BY MICHAEL ANASTASSIADES

Michael Anastassiades launched his studio in 1994 to explore contemporary notions of culture and aesthetics through a combination of product, furniture and environmental design. Positioned between fine art and design, his work aims to provoke dialogue, participation and interaction. He creates objects that are minimal, utilitarian and almost mundane, yet full of vitality one might not expect. Anastassiades’ work is featured in the permanent collections at MOMA in New York, Victoria and Albert Museum in London, the Craft Council in London, FRAC Centre in Orléans, and MAK in Vienna.

The design – Halfway Round

Exclusively for Dansk Møbelkunst, Michael Anastassiades has designed a group of furniture, consisting of a table, a stool and a screen, collectively titled Halfway Round. The three elements are all made in Oregon Pine and share an idiom, characterized by refined simplicity and beautiful contrasting interplays between soft, rounded curves and sharp, disciplined lines. “I have tried to avoid a nostalgic approach in bringing a contemporary quality to the project”, he says.

“Each piece is an independent work and they are sold individually, yet there is an obvious conversation going on between the three elements. They are very much related, not only in material quality but also in their formal language”, Anastassiades explains.

“The screen consists of three generous curves, connected by two canvas hinges. I see it as a translation of the modular screen with reference to Alvar Aalto, Poul Kjærholm and Charles and Ray Eames. I wanted to abstract their modular approach into a more generous curve, which I then multiplied that curve into three elements, looking almost like a column detail, which you can then position in whatever geometry you would like. You can position them in parallel and use the screen as a room divider – that is why, it is a relatively low screen – or you can fold the curves towards themselves and then and use it as a changing cubicle in your bedroom. I like that it has a broad function,” he says.

The stool mimes the curvature of the screen, but also has a cut-through look, evoking the natural character of the material. “I think of it as a log of wood cut in half”, Anastassiades explains and points out the interdependency of the pieces: “The geometry of the stool relates directly to the screen and makes it possible to place it within one of the half curves of the screen.”

The interplay between soft and straight cut lines reoccurs in the table. “It is a very monolithic piece, made of one material, yet composed of contrary elements. The large, rectangular table top contrasts the two simple, structural bases that are softer and rounded to increase comfort where a person’s legs are. Once again you see, that the curvature of the stool relates to the geometry of the base, just as you could imagine the stool as a seat for the table. I like to think of the stool as the key element acting like a link between the pieces and bringing it all together.”

Materials and craftsmanship

The London-based Cypriot designer describes the choice of material as an essential starting point. He is a strong advocate for honest materials; materials that show themselves for what they are and age beautifully over the course of time: “I believe in the inherent quality of materials and the selection of one solid timber to be used in the construction of these pieces was a very conscious choice. It was important to me to choose one wood type and then try to bring out the quality of that wood in the construction.”

Anastassiades chose Oregon Pine. “I like the quality of pine, its honesty,” he says. “We used it in a kind of solid state and aimed for a very linear result in the texture of the wood. Pine is obviously not as art-associated as wood types like mahogany, or even elm and oak, but that is what I like about it – to take a material and transform it into something else. I also very much like the beautiful pieces which Axel Einar Hjorth did in pine, these are very monumental, solid furniture pieces. There is an interesting reference there.”

Working on this project, Anastassiades also resumed one of the most distinctive features of Danish furniture making; the close collaboration between designers and cabinetmakers:

“I wanted to bring the qualities and knowledge of the cabinetmaker into the process of designing the pieces – this profound sense of the material and its possibilities. So our conversation happened quite early on. It was not so, that I designed the pieces and then passed the drawings on to the cabinetmaker, asking him to do it. It was very much a conversation that happened throughout the process”, he says.

“Timelessness is also about materials and how you use them – you need to use them with honesty and care”, he says. “It is the continuous interaction with time that makes a design timeless.”

 

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Details

Model : HALFWAY ROUND

Designer : MICHAEL ANASTASSIADES

Period : 2018

 

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S 285/2 OFFICE TABLE BY MARCEL BREUER

The stylish and functional Thonet S 285/2 Office Table was designed for leading furniture producer Thonet by the renowned veteran architect and designer Marcel Breuer.

Famed as one of the masters of modernism, Breuer attended Bauhaus, Weimar and was swiftly recognised as an emerging talent. After completing his studies, the young architect became a lecturer at the institution. During the latter part of the 1930’s, Breuer relocated to London and later designed a number of building projects. Shortly after, the architect was appointed chairman of Harvard’s Graduate School of Design and his work received broad recognition.

The striking contrast of chrome and walnut epitomises the Thonet S 285/2 Office Table. Three spacious drawers are housed to the left of the desk for convenient storage. The tubular chrome frame not only lends a contemporary feel but also ensures stability and durability. Due to the materials used to construct the product, the Thonet S 285/2 Office Table is easily cleaned and maintained, ensuring a long life. Suitable for any room in the home or office, this beautiful item of furniture will complement its surroundings, wherever it is placed.

 

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Details

Model : S 285/2 OFFICE TABLE

Designer : MARCEL BREUER

Editor : THONET

Period : 1930

Dimension : W 122cm x H 73cm x 76cm

 

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WG25 LAMP BY WILHELM WAGENFELD

The Wagenfeld lamp is one of the most famous lamps of the Bauhaus era. The WG25 variant of the world famous lamp was designed in 1925 by Wilhelm Wagenfeld (1900-1990). Unlike the original WG24 model, the WG25 lamp has a nickel-plated metal frame instead of a glass frame. The glass foot is identical in both models.

Wilhelm Wagenfeld apprenticed in a silversmith’s factory and attended art school before being admitted to the world-famous Bauhaus workshop, where he created this great classic, also known as the Wagenfeld lamp or Bauhaus lamp. With his metal and glass creations, Wagenfeld was one of the leading industrial designers of his time.

The W lamp by Wilhelm Wagenfeld is available in different models. The WG25 lamp has this very characteristic opal glass dome. The lamp base is made of glass, the frame is made of nickel-plated metal.

The Wagenfeld lamp is manufactured according to Wilhelm Wagenfeld’s original dimensions and materials by Tecnolumen. Tecnolumen is the only manufacturer authorized to produce the reissue of the Wagenfeld lamp, protected by copyright. Of course, all the lamps carry the Bauhaus and Tecnolumen logos.

 

BAUHAUS LAMP2

Details

Model : WG25

Designer : WILHELM WAGENFELD

Period : 1924

Dimension : H 36 cm x D 18cm

 

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THE CANTILEVER CHAIR S 533 BY MIES VAN DER ROHE

Technology becomes furniture; a striking invention becomes an elegant interior design object. Ludwig Mies van der Rohe was the first to provide the cantilever chair with aesthetic lightness and to relate it to its environment with curved lines. In the run-up to the Weissenhof Estate exhibition, which he organised, Mies van der Rohe became familiar with the principle of the cantilever chair thanks to Mart Stam. As new as this approach may have been, Mies van der Rohe was not impressed with its first implementation by Stam. He immediately answered the technological innovation with his own aesthetic solution, which he was able to present in 1927. The S 533 is one of the first cantilever chairs, and it defines the surrounding environment with its large, elegantly curved circular tubular steel form. Targeted restriction with regard to the use of materials, elegance of lines, and transparency in its effect are the characteristics of S 533. It owes its exceptional comfort to its ability to constantly adjust to positions through flexing. While most designs from the early 1920s underscore functional aspects with an emphasis on simplicity, the architect’s signature can be sensed in this armchair: Mies van der Rohe’s intentionally luxurious design combines functionality, comfort and timeless aesthetics. The S 533 represents a changed perception of quality.
Frame chrome-plated tubular steel, seat and backrest with wickerwork or in bend leather, available in black, natural and with laced back. With “ThonetProtect®” surface for the frame and UV-resistant mesh (version “Thonet All Seasons”) also variably usable indoors and outdoors.

 

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Details

Model : S 533

Designer : MIES VAN DER ROHE

Editor : THONET

Period : 1927

Dimension : H 82cm x 77cm x 44cm

 

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THONET’S LIMITED-EDITION CHAIR BY STUDIO BESAU MARGUERRE

For the 100th anniversary of Bauhaus, Thonet and Hamburg-based design studio, Besau Marguerre have teamed up to bring an element of contemporary luxury to the S 533 F chair designed by Mies van der Rohe in 1927. The limited-edition of the renowned steel framed cantilever chair has been given a new look with a grey and rose colour scheme, bringing a sensual sheen to the brusque Bauhaus chair.

Studio Besau Marguerre, founded by Marcel Besau and Eva Marguerre in 2011, has created two new versions of the S 533 F with added armrests lending a softer appearence and feel. Looking to find a contrast between ‘objectivity and softness’, one chair has a pearl gloss chrome frame and anthracite-coloured nubuck-effect bend leather, with the other in matt champagne chrome with nubuck leather in soft rose.

‘I think they’re very good at putting together materials and colours, creating something out of very little, and giving enhancement that doesn’t betray the design, but keeps validity,’ says Norbert Ruf, creative director at Thonet. ‘It’s a very fresh look on the Bauhaus classic. It pushes a little bit of luxury, but doesn’t go over the edge,’ he says.

The designers referenced the original design through the warm, yet neutral colours that reference the lighter nickel-plated patina of the first cantilever chairs from the 1920s and 1930s. ‘While most designs from the 1920s were rather simple and function, this chair clearly reveals the architect’s signature: here, Mies combines functionality and comfort with timeless aesthetics – and that’s precisely what we wanted to bring into the present,’ says Marcel Besau.

Softness and flexibility were integral to Mies van der Rohe’s design that was specifically shaped to adapt and cushion the movement of the user with its large arch of hardened tubular spring steel. The designers have enhanced the user experience of this Bauhaus classic, by applying their knowledge and signanature sensual approach to design that can be felt across their other projects such as the furniture series for the Elbphilharmonie in Hamburg.

Studio Besau Marguerre were recommended to Thonet through German designer Stefan Diez, whom Eva Marguerre studied under. (‘I usually ask people who I believe have a good feeling for other people,’ says Ruf of his selection process for collaborators). Ruf remembers being impressed by ‘a small colourful stool that was dipped into resin’ designed by Marguerre early on in her career.

With backgrounds in product design as well as exhibition and graphic design, Besau and Marguerre are based in the district of Eimsbüttel in Hamburg, a place where – like the Bauhaus – there is a community of designers working together and collaborating.

Thonet’s history is based upon collaboration and craftsmanship too – the manufacturer opened its workshop in Boppard on the River Rhine in 1819, first mastering the art of the chair no.14, the Vienna Coffee House chair, and pioneering the technique of bending solid beech wood. The next challenge would be the tubular steel furniture, designed by the Bauhaus architects Mart Stam, Ludwig Mies van der Rohe and Marcel Breuer in the 1930s. By this time, always in chase of innovation, Thonet had grown from workshop into its vast headquarters and production site in  Frankenburg, Germany. Today, working on collaborations with designers to bring limited-editions to the market is an expression of this continued experimentation and innovation, mixing contemporary expression with years of expertise and skill.

‘It’s been a very positive and constructive collaboration,’ says Ruf of the Studio Besau Marguerre edition. ‘The first collaborations with designers and interior architects are always the most difficult because there’s a lot of trial and error, trying to find a similar language, and to communicate what Thonet is and needs, what’s credible for our market, and also to understand how to find a compromise – after all that, it’s then a lot easier to build on the know-how for another collaboration.’

 

 

Details

Model : THONET’S  S 533 F CHAIR

Designer : MIES VAN DER ROHE

Editor : STUDIO BESAU MARGUERRE

Period : 2019

Dimension :  H 82 cm x 50 cm x 77 cm

 

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THE SPANISH CHAIR BY BORGE MOGENSEN

The Spanish Chair is Borge Mogensen’s masterly interpretation of a traditional type of chair often found in areas influenced by ancient Islamic culture – from Andalusia to northern India. Mogensen drew inspiration from a trip to Spain in 1958. He modernised the shape, eliminating the elaborate carvings while retaining the important feature: the broad armrests that give the chair character and provide a practical place to put a glass or cup. The combination of oak and butt leather gives a strong, rustic appearance.

 

 

Details

Model : THE SPANISH CHAIR

Designer : BORGE MOGENSEN

Period : 1959

Origin : DENMARK

Dimension : W: 82,5 cm – D: 60 cm – H: 67 cm

 

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