Mag
is H
OM
E
Col
lect
ion
book
2
Hom
e
3
Ma
gis
Prod
ucts
ov
ervi
ew
Index
Collection book 013 207Magis world 208
Technical information 210
Chairs + Armchairs Folding chairs. Chairs on wheels. Stools
Low chairs + Chaise longue Public seating systems + Benches
Tables + Low tables Shelving systems
Drawer systems + Shoe storage systems Coat stands + Coat hangers
Umbrella stands Step-ladders. Accessories
Fuoritema
Chairs
Pia241
Pipe242
Cyborg225
Easy Chair229
Paso Doble236-237
Chair_One220
Aida213
Pipe243
Cyborg225
First230
Pila235
Chair_One_4Star222
Air-Chair214
Pia238-239
Cyborg226
Steelwood Chair245
First (Dressed)231
Cyborg223
Air-Armchair215
Bombo218
Still246
Cyborg227
Flux232
Cyborg224
Pia240
Chair_One221
Dj-vu228
Mariolina234
Cyborg224
4
Hom
e
Lyra276
Paso Doble 278 - 279
Folding Chairs
360 212
360272
Tuffy - The Wild Bunch266
Tosca 248
Striped 247
Pipe277
Aviva 217
Annett 216
Al Bombo273
Vanity Chair 267
Trattoria 249
Bombo274
Folding Air-Chair 233
Bombo219
Venice268
Troy 250 265
Troy250 265
Soho 244
Vigna 269
Dj-vu275
Troy 252 265
Chairs on Wheels
Stools
Zartan270-271
Troy 255 265
Troy 252 265
5
Ma
gis
Prod
ucts
ov
ervi
ew
Low chairs + Chaiselongue
Voido308
Traffic307
Paso Doble292
Raviolo298
Traffic302 - 303
Troy286 - 287
Paso Doble293
Paso Doble294
Paso Doble294
Flower288-289
Striped283
Stool_One282
Tibu284
Pia295
Pia295
Spun299
Striped300
Striped301
Magis Proust290
Traffic 304
Traffic 305
Traffic306
Tom and Jerry - The Wild Bunch285
Pia296 - 297
Pia296 - 297
Striped301
Nimrod291
S.S.S.S.280
Steelwood Stool281
6
Hom
e
7
Ma
gis
Prod
ucts
ov
ervi
ew
Shelving System Boogie Woogie352
Cosino353
To the Wall359
Tyke - The Wild Bunch360
Coat stands + Coat hangers
Birds on a Wire366
Theca365
Elyse354
My Storage355
Bridge366
Four Leaves367
360361
Garage362
Drawer systems + Shoe storage systems
Plus Unit363
Rack364
Steelwood Shelving System357
Tide358
Spike - The Wild Bunch356
Topsy - The Wild Bunch346
Vanity Table349
Trattoria348
Traffic347
Tambour344
Vigna350
XZ3351
Sussex312
Teatro345
Passe-partout333
Passe-partout332
Piggyback334
Striped340
Sussex341
Table_One342
Lem326
Officina327 331
Butch - The Wild Bunch318
Calippo319
Central320
Tables + Low tables 360313
Air-Table314
Baguette315
Pilo335
Pia336
Dj-vu321
Dj-vu322
Table_One Bistrot343
Big Will316 - 317
First324
Flare325
Easy Table323
Pizza Table338
Steelwood Table339
Pipe337
Folly309
Public seating system+ Benches
Chair_One P.S.S. 1310
Chair_One P.S.S. 2311
8
Hom
e
9
Ma
gis
Prod
ucts
ov
ervi
ew
FuoritemaTubby387
Transit385
Trash386
XX386
ArcheToys388 - 389
Bird Table390
Magis Dog House391
Rock384
Pebbles383
Gibus379
Cu-Clock377
Fl372
Umbrella stands Pipe Dreams383
Pronto384
Amleto374
Dj-vu376
Magis Wagon380
Mag381
Memo382
Bottle374
Box375
Cappuccino375
Eretteo370
Goccia370
Poppins371
Nuovastep372
Accessories 1, 2, 3...373
Meteo382
Step-ladders
A, B, C...373
Hercules379
La Valise380
Dish Doctor377
Dove378
Garon378
Tempo385
Viking369
Globo367
Togo369
Steelwood Coat Stand368
10
Hom
e
11
Ma
gis
Des
igne
rs
Klaus Hackl
Gibus
Zaha Hadid
Tide
Torbjrn Anderssen& Espen Voll
Tibu
Design Group Italia
Amleto Lyra
Francesco Binfar
Annett
Cini Boeri
To the Wall
Robin Day
Sussex Family
Ronan & ErwanBouroullec
Baguette Central La Valise Officina Pila + Pilo
Steelwood FamilyStriped Collection Tambour Theca
Werner Aisslinger
Plus Unit
Edward Barber & JayOsgerby
Birds on a Wire Four Leaves Poppins
Raul Barbieri
Garon
Marc Berthier
Aviva Rack Teatro
Ron Arad
FollyRaviolo Voido
Konstantin Grcic
360 Family Family_One The Wild Bunch Traffic Collection Venice
Martino Gamper
Vigna Family
Galli-Perico
Cappuccino
Naoto Fukasawa
CosinoCu-Clock Dj-vu Family MeteoPizza TableSohoTempo
Stefano Giovannoni
Bombo Family Boogie Woogie Bridge First Family Mag
Paso Doble Family Vanity Family
Jaime Hayn
Pia Family
Thomas Heatherwick
Piggyback Spun
Toshiyuki Kita
Garage Viking
Philippe Starck
Big WillCalippoS.S.S.S. Zartan
Pierre Paulin
Elyse Flower
Jerszy Seymour
Easy Family Pipe Dreams Flux
Richard Sapper
Aida Tosca
Andries & HirokoVan Onck
Dove Lem Nuovastep
Michael Young
Magis Dog House Magis Wagon
Marcel Wanders
CyborgFlare Pebbles Troy
Marcello Ziliani
Fl
Floris Hovers
ArcheToys
Ineke Hans
My Storage
Marc Newson
Dish Doctor Hercules Nimrod Rock Tubby
David Mellor
Transit
Alessandro Mendini
Magis Proust
Jasper Morrison
1, 2, 3 A, B, C Air-Family Bird Table Bottle Box
Pipe Family Trash Trattoria Family XX
Enzo Mari
Eretteo Globo Mariolina Memo Pronto Togo
13
Ma
gis
12
Hom
e
Collection book
15
Ma
gis
14
Hom
e
Avi
va +
Pig
gyb
ack
Piggyback tabledesign Thomas Heatherwick, 2008 more info / p. 334
Aviva folding chairdesign Marc Berthier, 1979 2010 more info / p. 217
16
Hom
e
17
Ma
gis
Firs
t
F irst chair + table design Stefano Giovannoni, 2007 more info / p. 230 + 324
18
Hom
e
19
Ma
gis
Firs
t (D
ress
ed),
cha
ir
mor
e in
fo /
p.
231
Firs
t, t
able
m
ore
info
/ p
. 32
4
20
Hom
e
21
Ma
gis
Rav
iolo
+ V
igna
Raviolo low chairdesign Ron Arad, 2011 more info / p. 298
Vigna tabledesign Martino Gamper, 2011 more info / p. 350
22
Hom
e
23
Ma
gis
Vig
na
V igna chair + tabledesign Martino Gamper, 2011 more info / p. 269 + 350
24
Hom
e
25
Ma
gis
Paso
Dob
le +
Cap
pucc
ino
Paso Doble low chair + foot-stool design Stefano Giovannoni, 2009 more info / p. 294
Paso Doble chaise longuedesign Stefano Giovannoni, 2009 more info / p. 292
Cappuccino tray/low tabledesign Galli-Perico, 1995 - 2010 more info / p. 375
26
Hom
e
27
Ma
gis
Pila
, ch
air
m
ore
info
/ p
. 23
5
28
Hom
e
29
Ma
gis
Pila chair + Pilo tabledesign Ronan & Erwan Bouroullec2013 more info / p. 235 + 335
Bombo stooldesign Stefano Giovannoni, 1997 more info / p. 274
Pila
+ P
ilo
+ B
omb
o
31
Ma
gis
30
Hom
e
Al
Bom
bo,
sto
ol
mor
e in
fo /
p.
273
Bom
bo
(The
Ori
gina
l),
stoo
l
mor
e in
fo /
p.
274
32
Hom
e
33
Ma
gis
Voi
do
Voido rocking chairdesign Ron Arad, 2006 more info / p. 308
34
Hom
e
35
Ma
gis
Tosc
a
Tosca chairdesign Richard Sapper, 2007 more info / p. 248
36
Hom
e
37
Ma
gis
Folding Air-Chairdesign Jasper Morrison, 2003 more info / p. 233
Fold
ing
Air
-Cha
ir
38
Hom
e
Air
-Cha
ir +
Air
-Arm
chai
r +
Stri
ped
39
Ma
gis
Air-Chair + Air-Armchairdesign Jasper Morrison, 2000 - 2006 more info / p. 215 + 214
Striped tabledesign Ronan & Erwan Bouroullec, 2005 more info / p. 340
41
Ma
gis
40
Hom
e
Easy
Cha
ir
mor
e in
fo /
p.
229
43
Ma
gis
42
Hom
e
Stri
ped
Striped low chair + foot-stool + low tabledesign Ronan & Erwan Bouroullec, 2005 more info / p. 300 + 301 + 340
44
H
ome
Stri
ped
Striped chairdesign Ronan & Erwan Bouroullec2005 more info / p. 247
45
Ma
gis
46
Hom
e
Cha
ir_O
ne +
Bag
uett
e
Chair_One chairdesign Konstantin Grcic, 2003 more info / p. 221
Baguette tabledesign Ronan & Erwan Bouroullec, 2011 more info / p. 315
47
Ma
gis
Cha
ir_O
ne_4
Star
+ T
rans
it
Transit trolleydesign David Mellor, 1998 more info / p. 385
Chair_One_4Star chairdesign Konstantin Grcic, 2008 more info / p. 222
49
Ma
gis
48
Hom
e
50
Hom
e
51
Ma
gis
Cha
ir_O
ne
mor
e in
fo /
p.
220
Stoo
l_O
ne
mor
e in
fo /
p.
282
Top
sy +
Tyk
e +
Tubb
y Tu
ffy
+ Je
rry
+ Te
atro
+ 3
60
Tuffy - The Wild Bunch chairdesign Konstantin Grcic, 2014 more info / p. 266
Jerry - The Wild Bunch stooldesign Konstantin Grcic, 2012 more info / p. 285
Teatro tabledesign Marc Berthier, 1979 - 2010 more info / p. 345
Tyke - The Wild Bunch shelving systemdesign Konstantin Grcic, 2013 more info / p. 360
Tubby plant potdesign Marc Newson, 2012 more info / p. 387
Topsy - The Wild Bunch tabledesign Konstantin Grcic, 2012 more info / p. 346
53
Ma
gis
52
Hom
e
360 containerdesign Konstantin Grcic, 2010 more info / p. 361
54
Hom
e
Tops
y +
Butc
h +
Jerr
y
Butch - The Wild Bunch tabledesign Konstantin Grcic, 2013 more info / p. 318
Topsy - The Wild Bunch tabledesign Konstantin Grcic, 2012 more info / p. 346
Jerry - The Wild Bunch stooldesign Konstantin Grcic, 2012 more info / p. 285
55
Ma
gis
57
Ma
gis
56
Hom
e
Tuff
y -
The
Wil
d Bu
nch,
cha
ir
mor
e in
fo /
p.
266
Tom
+ J
erry
- T
he W
ild
Bunc
h, s
tool
m
ore
info
/ p
. 28
5
59
Ma
gis
58
Hom
e
Spik
e
Spike - The Wild Bunch shelving systemdesign Konstantin Grcic, 2014 more info / p. 356
61
Ma
gis
60
Hom
e
Ann
ett
+ Bu
tch
+ C
u-C
lock
+ X
X
Annett chair on wheelsdesign Francesco Binfar, 2008 more info / p. 216
Butch - The Wild Bunch tabledesign Konstantin Grcic, 2013 more info / p. 318
XX stacking file holderdesign Jasper Morrison, 1998 more info / p. 386
Cu-Clock cuckoo clockdesign Naoto Fukasawa, 2011 more info / p. 377
62
Hom
e
63
Ma
gis
1, 2
, 3.
.. +
Cu-
Clo
ck
1, 2, 3... desk tidydesign Jasper Morrison, 1998 more info / p. 373
Cu-Clock cuckoo clockdesign Naoto Fukasawa, 2011 more info / p. 377
64
Hom
e
65
Ma
gis
Ann
ett
+ M
eteo
Meteo weather stationdesign Naoto Fukasawa, 2013 more info / p. 382
Annett chair on wheelsdesign Francesco Binfar, 2008 more info / p. 216
66
Hom
e
360
+ T
emp
o
360 stool + tabledesign Konstantin Grcic, 2009 - 2010 more info / p. 272 + 313
Tempo wall clockdesign Naoto Fukasawa, 2011 more info / p. 385
67
Ma
gis
68
Hom
e
69
Ma
gis
360
, co
ntai
ner
m
ore
info
/ p
. 36
1
70
Hom
e
Dj
-vu
+Pi
a +
The
ca71
M
ag
is
Dj
-vu
ch
air
+ ta
ble
des
ign
Na
oto
Fuka
saw
a, 2
007
m
ore
info
/ p
. 22
8 +
321
Pi
a lo
w c
hai
rd
esig
n Ja
ime
Ha
yn,
201
4
mor
e in
fo /
p.
296
Thec
a si
deb
oard
des
ign
Ron
an &
Erw
an B
ouro
ulle
c,
2014
m
ore
info
/ p
. 36
5
72
Hom
e
73
Ma
gis
Dj
-vu
, ch
air
+ ta
ble
+ m
irro
r
mor
e in
fo /
p.
228
+ 32
2 +
376
74
Hom
e
Pia
+ P
izza
Tab
le +
Spu
n
Pia rocking chairdesign Jaime Hayn, 2014 more info / p. 241
Pizza Table low tabledesign Naoto Fukasawa, 2012 more info / p. 338
Spun rotating chairdesign Thomas Heatherwick, 2010 more info / p. 299
75
Ma
gis
Pia
Pia armchairdesign Jaime Hayn, 2011 more info / p. 238 - 239
77
Ma
gis
76
Hom
e
79
Ma
gis
Pia
+ P
izza
Tab
le
Pia rocking chairdesign Jaime Hayn, 2014 more info / p. 241
Pizza Table low tabledesign Naoto Fukasawa, 2012 more info / p. 338
Pia low chairdesign Jaime Hayn, 2014 more info / p. 296 - 297
78
Hom
e
80
Hom
e
Pia
+ P
izza
Tab
le
Pizza Table low tabledesign Naoto Fukasawa, 2012 more info / p. 338
Pia low chair + foot-stooldesign Jaime Hayn, 2014 more info / p. 295
81
Ma
gis
82
Hom
e
83
Ma
gis
Pipe
+ F
irst
F irst tabledesign Stefano Giovannoni, 2007 more info / p. 324
Pipe chairdesign Jasper Morrison, 2009 more info / p. 242
Pipe chair + tabledesign Jasper Morrison, 2009 more info / p. 243 + 337
84
Hom
e
85
Ma
gis
Pip
e, s
tool
m
ore
info
/ p
. 27
7
Pip
e, c
hair
m
ore
info
/ p
. 24
2
Poppins umbrella standdesign Edward Barber & Jay Osgerby, 2010 more info / p. 371
87
Ma
gis
86
Hom
e
Popp
ins
+ C
ybor
g +
Pass
e-pa
rtou
t
Passe-partout tabledesign Magis, 2014 more info / p. 333
Cyborg armchairdesign Marcel Wanders, 2014 more info / p. 227
89
Ma
gis
88
Hom
e
Tam
bour
+ A
rche
Toys
+ C
ybor
g
Cyborg armchairdesign Marcel Wanders, 2014 more info / p. 226
ArcheToys car modelsdesign Floris Hovers, 2013 more info / p. 388 - 389
Tambour low tabledesign Ronan & Erwan Bouroullec, 2012 more info / p. 344
91
Ma
gis
90
Hom
e
Cyb
org
Cyborg armchairdesign Marcel Wanders, 2014 more info / p. 226
92
Hom
e
93
Ma
gis
Cyb
org,
arm
chai
r
mor
e in
fo /
p.
227
94
Hom
e
Big
Wil
l +
Cyb
org
95
Ma
gis
Big Will tabledesign Philippe Starck, 2015 more info / p. 316 - 317
Cyborg armchairdesign Marcel Wanders, 2012 more info / p. 224
Big
Wil
l +
Cyb
org
97
Ma
gis
96
Hom
e
Big Will tabledesign Philippe Starck, 2015 more info / p. 316 - 317
Cyborg armchairdesign Marcel Wanders, 2012 more info / p. 224
98
Hom
e
99
Ma
gis
Ven
ice
+ St
rip
ed
Venice chairdesign Konstantin Grcic, 2012 more info / p. 268
Striped tabledesign Ronan & Erwan Bouroullec, 2005 more info / p. 340
100
H
ome
101
M
ag
isV
enic
e, c
hair
m
ore
info
/ p
. 26
8
103
M
ag
isM
agis
Pro
ust
Magis Proust armchairdesign Alessandro Mendini, 2011 more info / p. 290
102
H
ome
104
H
ome
105
M
ag
isM
agis
Pro
ust
Magis Proust armchairdesign Alessandro Mendini, 2011 more info / p. 290
107
M
ag
is
106
H
ome Folly bench
design Ron Arad, 2013 more info / p. 309
Foll
y
108
H
ome
109
M
ag
isV
oido
, ro
ckin
g ch
air
m
ore
info
/ p
. 30
8
Foll
y, b
ench
m
ore
info
/ p
. 30
9
110
H
ome
Foll
y +
Van
ity
111
M
ag
is
Van
ity
Ch
air
+ Ta
ble
des
ign
Stef
ano
Gio
van
non
i,
2009
- 2
010
m
ore
info
/ p
. 26
7 +
349
Foll
y b
ench
des
ign
Ron
Ara
d, 2
013
m
ore
info
/ p
. 30
9
112
H
ome
113
M
ag
isV
anit
y C
hair
+ T
able
m
ore
info
/ p
. 26
7 +
349
Van
ity
Tabl
e
mor
e in
fo /
p.
349
114
H
ome
Van
ity
+ C
ybor
g
Vanity Tabledesign Stefano Giovannoni, 2009 more info / p. 349
Cyborg armchairdesign Marcel Wanders, 2013 more info / p. 225
115
M
ag
is
Off
icin
a +
Cyb
org
117
M
ag
is
116
H
ome
Officina tabledesign Ronan & Erwan Bouroullec, 2015 more info / p. 327 331
Cyborg armchairdesign Marcel Wanders, 2013 more info / p. 225
118
H
ome
Off
icin
a +
Cyb
org
119
M
ag
is
Officina tabledesign Ronan & Erwan Bouroullec, 2015 more info / p. 327 331
Cyborg armchairdesign Marcel Wanders, 2013 more info / p. 225
121
M
ag
isO
ffic
ina
+ C
ybor
g
120
H
ome
Officina tabledesign Ronan & Erwan Bouroullec, 2015 more info / p. 327 331
Cyborg armchairdesign Marcel Wanders, 2011 - 2012 more info / p. 223 + 224
123
M
ag
is
122
H
ome
Off
icin
a +
Cyb
org
Officina tabledesign Ronan & Erwan Bouroullec, 2015 more info / p. 327 331
Cyborg armchairdesign Marcel Wanders, 2011 - 2012 more info / p. 223 - 224
124
H
ome
Off
icin
a +
Flux
125
M
ag
is
Officina console + tabledesign Ronan & Erwan Bouroullec, 2015 more info / p. 327 331
Flux chairdesign Jerszy Seymour, 2011 more info / p. 232
Steelwood stooldesign Ronan & Erwan Bouroullec, 2010 more info / p. 281
Theca sideboarddesign Ronan & Erwan Bouroullec, 2014 more info / p. 365
126
H
ome
127
M
ag
isTh
eca
+ St
eelw
ood
128
H
ome
Stee
lwoo
d
Stee
lwoo
d ch
air
+ ta
ble
des
ign
Ron
an &
Erw
an B
ouro
ulle
c,
2008
/200
9
mor
e in
fo /
p.
245
+ 33
9
129
M
ag
is
130
H
ome
131
M
ag
isSt
eelw
ood
Steelwood chair + tabledesign Ronan & Erwan Bouroullec, 2008/2009 more info / p. 245 + 339
Steelwood coat standdesign Ronan & Erwan Bouroullec, 2010 more info / p. 368
133
M
ag
is
132
H
ome
Bird
s on
a W
ire,
wal
l co
at h
ange
r
mor
e in
fo /
p.
366
Four
Lea
ves,
coa
t st
and
m
ore
info
/ p
. 36
7
134
H
ome
Stee
lwoo
d
Steelwood chair + tabledesign Ronan & Erwan Bouroullec, 2008/2009 more info / p. 245 + 339
135
M
ag
is
137
M
ag
isO
ffic
ina
+ St
eelw
ood
136
H
ome
Stee
lwoo
d ch
air
des
ign
Ron
an &
Erw
an B
ouro
ulle
c, 2
008
m
ore
info
/ p
. 24
5
Off
icin
a ta
ble
des
ign
Ron
an &
Erw
an B
ouro
ulle
c, 2
015
m
ore
info
/ p
. 32
7
331
138
H
ome
Nim
rod
Nimrod low chairdesign Marc Newson, 2009 more info / p. 291
139
M
ag
is
141
M
ag
is
140
H
ome
Nim
rod
+ St
eelw
ood
Stee
lwoo
d sh
elvi
ng
syst
emd
esig
n R
onan
& E
rwan
Bou
roul
lec,
200
9
mor
e in
fo /
p.
357
142
H
ome
Tide
+ D
j-
vu
T ide wall shelving systemdesign Zaha Hadid, 2011 more info / p. 358
Dj-vu stooldesign Naoto Fukasawa, 2005 more info / p. 275
143
M
ag
is
145
M
ag
isS.
S.S.
S. S
wee
t St
ainl
ess
Stee
l Sto
ol
S.S.S.S. Sweet Stainless Steel Stooldesign Philippe Starck, 2012with the technical collaboration of Luigi Barei more info / p. 280
144
H
ome
147
M
ag
is
146
H
ome
S.S.
S.S.
Sw
eet
Stai
nles
s St
eel S
tool
m
ore
info
/ p
. 28
0
Lem
, ta
ble
m
ore
info
/ p
. 32
6
148
H
ome
149
M
ag
isO
ffic
ina
+ Fl
ux +
Dis
h D
octo
r
Dish Doctor dish-rackdesign Marc Newson, 1998 more info / p. 377
Officina tabledesign Ronan & Erwan Bouroullec, 2015 more info / p. 327 331
Flux chairdesign Jerszy Seymour, 2011 more info / p. 232
151
M
ag
isTr
affi
c
Traf
fic
sofa
+ l
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Elyse shelving systemdesign Pierre Paulin, 2009 more info / p. 354
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Traffic armchair design Konstantin Grcic, 2013 more info / p. 302 - 303
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Traffic armchair design Konstantin Grcic, 2013 more info / p. 302 - 303
Traffic sofa design Konstantin Grcic, 2013 more info / p. 304
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XZ3 tabledesign Magis, 1990 - 2003 more info / p. 351
Mariolina chairdesign Enzo Mari, 2002 more info / p. 234
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Central tabledesign Ronan & Erwan Bouroullec, 2011 more info / p. 320
Dj-vu chairdesign Naoto Fukasawa, 2007 more info / p. 228
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Boogie Woogie shelving systemdesign Stefano Giovannoni, 2004 more info / p. 352
Passe-partout tabledesign Magis, 2014 more info / p. 333
Cyborg armchairdesign Marcel Wanders, 2014 more info / p. 227
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Calippo tabledesign Philippe Starck, 2014with A. Maggiar more info / p. 319
Troy chairdesign Marcel Wanders, 2014 more info / p. 250 265
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Troy chairdesign Marcel Wanders, 2014 more info / p. 250 265
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Zart
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Dj-vu mirrordesign Naoto Fukasawa, 2011 more info / p. 376
Pilo tabledesign Ronan & Erwan Bouroullec, 2013 more info / p. 335
Zartan chairdesign Philippe Starck, 2012with Eugeni Quitllet more info / p. 271
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Bottle bottle-rackdesign Jasper Morrison, 1994 more info / p. 374
Dish Doctor dish-rackdesign Marc Newson, 1998 more info / p. 377
Dj-vu stooldesign Naoto Fukasawa, 2005 more info / p. 275
Tibu
T ibu stooldesign Anderssen & Voll, 2014 more info / p. 284
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Memo notice boarddesign Enzo Mari, 2003 more info / p. 382
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Val
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My Storage shelving and drawer units systemdesign Ineke Hans, 2011 more info / p. 355
Nuovastep step-ladderdesign Andries & Hiroko Van Onck, 1984 - 2003 more info / p. 372
La Valise document holderdesign Ronan & Erwan Bouroullec, 2003 more info / p. 380
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Designs withoutboundaries
from an Italian company.
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is not so much just about the market, but rather, about a constantly evolving world of lifestyles, behaviours, habits and customs, that intersect and interweave to create new rituals, codes and expressions which, in the case of a furniture company, form new living spaces. Of course, the publishers motivation also lies in conquering a slice of the market, but his deeper-seated aspiration, which goes on to become his true goal, whether or not he declares it openly, is to build a world of his own that will establish itself as a model of reference. Clearly, the designers make a valuable and essential contribution to this cultural project, especially if they interpret their work according to the de nition often given by the great designer Enzo Mari (who also happens to be involved in the Magis world): the designers job is to implement the design brief. The higher the standard of the brief, the more pertinent and signi cant the designers contribution can be. 2 From this perspective, the founder and current CEO of Magis, Eugenio Perazza, has always viewed his role in the spirit of the publisher seeking sharp minds and skilled hands, capable of giving shape to his vision of pleasant, practical objects for home life. The publishers job is to establish an ethos, get the context into focus, and to re ect on these things together with the author, so that the latter can then use his or her own media and codes to express his or her own personal interpretation (which is always shared, discussed and debated). It is interesting to note that, just as a book publisher has the possibility to choose formats, bindings, paper quality and graphic supports (as well of authors, of course) and is therefore in a position to impress a cultural character on its production, and thus a commercial one too, so it is for the publisher of chairs and tables. By prede ning certain typological aspects, identifying the materials to be used, eliciting the technological and production choices to be made, (both before and during the actual design phase, working alongside the designer
in question) he or she takes the position of chief designer, laying the foundations on which to build the all-round excellence of the design. When referring to the furniture world, the theme of producer/publisher also exposes a particular issue regarding the activation and management of production processes, following on from the conception and proposal phase and leading into the subsequent phase of marketing and nal distribution. Having dreamt up the scenario within which to draw and have others draw a strategy made of shapes, expressions, codes and ways of generating her own home design culture, the publisher must also identify and organize the necessary techniques and production processes, but they will not necessarily be found in-house, and indeed, they will preferably be sought, elicited and drawn in as a malleable and exible external resource. This concept of an external production platform was one of the rst points of innovation brought about by Magis way back in its earliest days, now some forty years ago. The Magis way
We could say that the representation of Magis production in its catalogue is like a clear collection of domestic tools. Different families of objects correspond to precise uses. The formal codes, while they may feature given aesthetic themes (be it a texture or an original effect in the material used), are still simple and speci c in terms of their clearly-de ned technical and functional characteristics: each piece also has its own poetic vein which is impressed like a ne thread into the strong weave of industrial design. It is interesting to note that the publishing strategy of the Magis catalogue was rst built around service items with a speci c purpose, which could be used as folding stepladders or ironing boards as well as seating. Next it focused on the fundamental theme of seating, and developed a particular
02 03 Magis world
The Magis wayNotes on the publishing culture
by Giampiero Bosoni
Background to the story
A few years ago the editor of Domus magazine, Alessandro Mendini, approached me to write a regular monthly article for a column that we later decided to call Blok Notes Recensioni della piccola e media industria italiana [Notepad Reviews of small and medium Italian enterprise] . 1The idea, created together with Mendini, was to comment on the design culture of the most interesting rms, in terms of research and innovation, emerging among the new generations of furniture design entrepreneurs in Italy. The distinguishing characteristic that we chose for this column was to write it as if it were a literary review of the rms most recent catalogues of publications (the last three years), meaning, obviously, their company catalogues. The game in this approach was to review the object/product shown in the catalogue like a literary text, comprising a compositional and lexical structure (technique, materials, geometry, proportions) and an overall story (typological research and formal codes) in order to depict a range of qualities in an aesthetic and environmental vision belonging both to the designer/writer and, on another level, to the rms publishing strategy. In a nutshell, we read armchairs and tables like books which, paradoxically or curiously, might be compared to scienti c manuals or adventure stories, or even epic historic novels: all works, great and small, gathered together into categories according to their speci c pro le.
The choice of companies was absolutely free, proposed by me and then reviewed together with Alessandro Mendini. Hats off to Alessandro for managing to push these articles through; they were 4 to 6 full pages long, and the magazines commercial of ces were not at all enthusiastic. As regards the seven companies that we were able to present in Domus, it should be clear that I had no direct contact with them: the catalogues of the chosen rms were requested through the editors of ce, without specifying the reason. Thus, the companies in question only discovered at the last minute that they would nd several pages of the magazine dedicated to their publishing catalogue and the reviews we gave were not always entirely positive. Among the rms that I chose, one of the rst was Magis, and again, their management neither saw me nor spoke to me on the phone for the purposes of my research. The review format invented by Mendini and myself, and the interpretation I proposed as to the vision of Magis and its designers probably aroused some interest in the rms business culture, since its management, and particularly the founder, Eugenio Perazza, together with communications manager, Barbara Minetto, decided to call me to expand on that re ection regarding their latest publishing catalogue.
Introduction
To continue a little further with the theme of the publishing metaphor, it is perhaps useful to remind ourselves of a fairly obvious premise: behind every publishing programme there is always a publisher, who in our case is more than simply an entrepreneur focusing purely on the production and marketing side of things: the publisher is rst and foremost a chief designer, with a personal vision of the world of objects that he or she wishes to produce, who interprets in a unique and personal way the scenario in which they are to be set. This scenario
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attention for stools; later came tables and storage cabinets, and more recently, a number of upholstered pieces have also appeared, including sofas and chaises longues. It is rather as if a book publisher had started out by printing chapters of books to be distributed in instalments, then pocket books, perhaps a budget series that nonetheless includes a number of classics, and so on. The range published gradually became more and more diversi ed, in terms of both format and content, and it all seemed to be taking on an almost encyclopaedic, universal dimension. In the search for the right balance between a coherent production, rational functionality and the pleasure of using the object in question, Magis design culture, with a modest pride typical of the best of modern Italian design, became an example of a path that has, so to speak, reinterpreted the meaning of contemporary living. Starting from the fundamental service areas of the machine habiter (from the storeroom to the kitchen) it has gradually rede ned the functional and representative tools of the entire domestic landscape, where rationality and the search for broad and varied hedonistic pleasures contribute to setting the stage for the life of the modern homo ludens. Alongside the many chairs, stools and tables in the catalogue, it is striking to see original brooms and clothes hangers, dish drainers and bottle racks, kitchen clocks and watering cans, umbrella stands and folding ladders, shopping trolleys and clothes stands, as well as a couple of provocative off topic items: a dog kennel and a bird table. And yet the different functional objects meet with the various families of furniture items in a natural and informal interplay of curious and unpredictable elective af nities. This has always been one of the miracles of Italian design: the ability to put together in the same workshop different authors with different poetics, which (if well-coordinated within a strong, attentive and mindful publishing ethos) are then actually drawn closer together around
a shared publishing project that enables the various objects in the catalogue to interact naturally. The search for this quality of work has led the theme of individual furniture items to become emblematic of Italian design culture for the home. Indeed, as was clearly illustrated at the 1972 MoMa, New York, exhibition Italy: the new domestic landscape, Italian design is above all about creating environments, a response to the evolving lifestyles and behaviours that effectively design our ever-increasing, and increasingly variable, living space.
Magis writing
For a publisher of multiples, the identi cation of the materials with which the author should work is undoubtedly a major factor conditioning the linguistic research in the narrative text, and is introduced through the production process. In this speci c case (designer furniture, especially done the Magis way), the research leads us to discover a formal code, adopted by the designer to express an ideal perceptual/symbolic sense of what he proposes will be the most pleasant and practical way of using the object in question. Here it is interesting to observe that throughout the history of Magis, there have been eras marked by the prevalent use of speci c materials, which we might summarily de ne as follows: the solid and melamine-faced beech era, the glossy ABS era, the lled polypropylene era, the polycarbonate era, the polyurethane era, the die-cast and pro led aluminium era, the rotational moulded polyethylene era, the stamped metal and solid beech era, the iron wire era, and the wrought iron era. Naturally, just as all eras in the history of civilisation have been marked by the use of certain materials (the bronze age, the iron age and so forth), the overlaying and integration of these eras is a constant throughout its historic development. Paradoxically, we note that in the history of
Magis, as time has passed, rather than chasing after hyper-innovation in its materials, as was initially the case, technological research has increasingly taken an interest in harnessing the combination of different materials. This is seen particularly in sophisticated hand-crafted details, recovering the techniques and processes of bygone days, such as wrought iron, a material that offers a particular expressive and empathic charge with a strong poetic reaction. But also in the case of carbon bre hidden between the layers of plywood to ensure greater resistance and elasticity in the smallest possible thickness, we see signi cant evidence of that drive to use materials in an inverse or at least alternative semiotic key. From an industrial slant, the dominant sign becomes the construction detail derived from the lesson of things well made typical of Italian craftsmanship at its best. This dimension of design once again harnesses the physical quality of hand-made pieces, and today it is the expression of a world that seeks to embrace the most coherent and sustainable ways of living mindfully on this planet, with which we need to nd our way back to a harmonious relationship. To this end, the industrial project that is Magis, with the encyclopaedic collection in its catalogue taxonomically divided into families, offers us a range of increasingly interrelated models that can contribute to developing a broad and sustainable culture of contemporary living. Coming back to our opening considerations on the publishing value of a designer furniture collection such as the Magis collection, perhaps it is interesting to re ect further on the relationship between a design object and a literary work, by reading (in whatever interpretative key you choose) the illuminating de nition given by the great semiologist Roland Barthes of the act of writing and of the literary value of a text. Writing, Barthes tells us, is historically an action that involves constant contradiction, based on dual expectations. One aspect of writing is essentially commercial, a
means of control and segregation, steeped in the most materialistic aspect of society. The other is an act of pleasure, connected to the deepest urges of the body and to the subtlest and most successful products of art. This is how the written text is woven. All I have done is to arrange and reveal the threads. Now each can add his own warp to the weft. 3 Magis long and highly advanced experience has given evidence, further con rmed by this latest publishing catalogue, of an ever-growing awareness of this necessary interweaving between warp and weft, between the culture of craftsmanship and that of industry, between design culture and business culture, between form and technique, between symbolic codes and practical functions, between poetry and everyday life.
Giampiero Bosoni
Note
1 Giampiero Bosoni, Blok Notes Recensioni della piccola e media industria italiana, in Domus n. 939-945, September 2010 March 2011
2 More often than not, Mari then continues by specifying that when the client has no idea of what to ask for or propose, other than the predictable expectation of a successful product, stringing together incongruous requests that essentially tell us, I want a product that looks like gold but costs very little, this is the ideal situation for the many Donald Duck designers with their artists hats on sideways, who use their brushes to create super uous, self-important and conceited objects, suitable at best to ride the wave of eeting fashion.
3 Barthes R., Variations sur lcriture (1972), Editions du Seuil, Paris 1994, published in the second volume of the Oeuvres compltes 1966-1975 (freely translated from the Italian translation, Variazioni sulla scrittura seguite da Il piacere del testo, Ossola C. (editor) Einaudi, Turin 1999).
04 05 Magis world
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Ronan & Erwan Bouroullec
06 07 relationship
Konstantin Grcic
Relationship.
Naoto Fukasawa
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08 09 relationship
Stefano Giovannoni
Torbjrn Anderssen
Jaime Hayn
Jasper Morrison
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11 awards
2015
German Design Award 2015Tuffy - The Wild Bunch design Konstantin Grcic
Nomination to German Design Award 2015Spike - The Wild Bunch design Konstantin Grcic
2014
Selection for ADI Design IndexTraffic design Konstantin Grcic
Muuz International Awards 2014Outdoor categoryFolly design Ron Arad Nomination to Compasso dOro 2014S.S.S.S. design Philippe Starck with the technical collaboration of Luigi Barei Nomination to Compasso dOro 2014Venice design Konstantin Grcic Compasso dOro Award 2014Spun design Thomas Heatherwick EDIDA (Elle Deco International Design Awards) 2014Outdoor categoryFolly design Ron Arad Nomination to Designpreis der Bundesrepublik Deutschland 2014Magis Stand Salone del Mobile Milano 2013design Konstantin Grcic
Nomination to Designpreis der Bundesrepublik Deutschland 2014Folly design Ron Arad Nomination to Designpreis der Bundesrepublik Deutschland 2014Tyke - The Wild Bunchdesign Konstantin Grcic
2013
Selection for ADI Design IndexS.S.S.S. design Philippe Starck with the technical collaboration of Luigi Barei Selection for ADI Design IndexVenice design Konstantin Grcic China Home Trends Award 2013Bunky design Marc Newson 100% Design Product Guide 2013 Selected by FrameCyborg design Marcel Wanders
Designpreis der Bundesrepublik Deutschland 2013Flux design Jerszy Seymour Designpreis der Bundesrepublik Deutschland 2013Tom and Jerry- The Wild Bunchdesign Konstantin Grcic
Nomination to Designpreis der Bundesrepublik Deutschland 2013Pia design Jaime Hayon
2012
Selection for ADI Design IndexRaviolo design Ron Arad
2011
Selection for ADI Design IndexSpun design Thomas Heatherwick
Nomination to Compasso dOro 2011Piggyback design Thomas Heatherwick
Compasso dOro Award 2011Steelwood Chairdesign Ronan & Erwan Bouroullec
2010
Selection for ADI Design IndexTrattoria Familydesign Jasper Morrison
Nomination to Designpreis der Bundesrepublik Deutschland 2010Trioli design Eero Aarnio
Nomination to Designpreis der Bundesrepublik Deutschland 2010Steelwood, Chairdesign Ronan & Erwan Bouroullec
2009
Nomination to IDOT Award 2009/2010Steelwood Familydesign Ronan & Erwan Bouroullec360 Family design Konstantin Grcic
ICFF Editors Awards 2009 - Best SeatingPipe, Chair design Jasper Morrison
Designpreis der Bundesrepublik Deutschland 2009First, Chair design Stefano Giovannoni
Nomination to Designpreis der Bundesrepublik Deutschland 2009Steelwood Chairdesign Ronan & Erwan Bouroullec
Selection for ADI Design Codex 06/08Steelwood Chairdesign Ronan & Erwan Bouroullec
2008
Selection for ADI Design IndexSteelwood Chairdesign Ronan & Erwan Bouroullec
Selection for ADI Design IndexPiggyback design Thomas Heatherwick
Nomination to Compasso dOro 2008First, Chair design Stefano Giovannoni
10
Pia, production process
Awards.
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12
ICFF Editors Awards Accessories New York
IF Product Design AwardHannoverMag design Stefano Giovannoni
1998
Nomination to Compasso dOro 1998Aida design Richard SapperOAzar design Jean Marie MassaudMag design Stefano Giovannoni
1997
Premio Top Ten Promosedia, UdineSedi design Arne VehovarFlik design James Irvine
1996
Premio Top Ten and Chair of the YearPromosedia, UdineOAzar design Jean Marie Massaud
Interior Designex 1996 Product AwardsAustralia/New ZealandOboe design Jean Marie Massaud
Selection Prix dExcellance Maison Marie ClaireCanale 33 design Galli & PericoVirgola design Raul Barbieri
Prix dExcellance Maison Marie ClaireBottle design Jasper Morrison
Premio Design PlusInternationale Frankfurter MesseBottle design Jasper Morrison
1995
Premio Top Ten Promosedia, UdineTop Ten Prize Research and DesignAida design Richard SapperCappuccino design Galli & Perico
1994
Selection for ADI Design IndexDunkan I design Jean Marie MassaudPiccolo Giardino design Dorota DobrowskaSchizo design Jean Marie MassaudBottledesign Jasper Morrison
Certificate for Excellence in Design - High Point USARondinedesign Toshiyuki Kita
Premio Top Ten Promosedia, UdineTop Ten Prize Research and DesignLyraDesign Group ItaliaSchizo design Jean Marie MassaudOboe design Jean Marie Massaud
1993
Premio Top Ten Promosedia, UdineTop Ten Prize Research and DesignJolly design Marc BerthierRondine design Toshiyuky KitaSpecial prize of PromosediaGaron design Raul Barbieri
1992
Nuovo Bel Design - Salone del Mobile di MilanoTavolino design Galli & PericoGiostra design Paolo PaganiDomino design Paolo PaganiGirotondo design Paolo PaganiLizard design Dagmar Trinks
1991
Selection for ADI Design IndexRack and Ciak design Marc BerthierScalo design Rodolfo BonettoAmletodesign Group Italia
Premio Top Ten Promosedia, UdineTop Ten Prize Research and DesignRondinedesign Toshiyuki KitaMarabdesign Archap
1989
Design AuswahlStuttgartGiano design Fausto Boscariol
1988
Bio 12 - LjubjanaWing design Andries & Hiroko Van Onck
Selection Sidi - ValenciaRackdesign Marc Berthier
1987
Selection for ADI Design IndexWing design Andries & Hiroko Van Onck
1986
1st Prize PromosediaUdineLem design Andries & Hiroko Van Onck
1984
Bio 10 - LjubjanaRack Trio design Roberto Lucci & Paolo OrlandiniTotemdesign Andries Van Onck
Selection for ADI Design IndexTotem design Andries Van Onck
1981
Selection for ADI Design IndexTrio design Roberto Lucci & Paolo Orlandini
13 awards
Nomination to Compasso dOro 2008Striped Collectiondesign Ronan & Erwan Bouroullec
Compasso dOro Award 2008Trioli design Eero Aarnio
ICFF Editors Awards 2008Seating categorySteelwood Chairdesign Ronan & Erwan Bouroullec
Nomination to Designpreis der Bundesrepublik Deutschland 2008Voido design Ron Arad
Nomination to Designpreis der Bundesrepublik Deutschland 2008Dj-vu, Chair design Naoto Fukasawa
Interior Innovation Award IMM Cologne 2008 (Best Detail)Steelwood Chairdesign Ronan & Erwan Bouroullec
Interior Innovation Award IMM Cologne 2008 (Best Item)First, Chair design Stefano Giovannoni
NeueKlassiker2008Schner WohnenSteelwood Chairdesign Ronan & Erwan Bouroullec
2007
Nomination to Designpreis der Bundesrepublik Deutschland 2007Trioli design Eero Aarnio
Interior Innovation Award IMM Cologne 2007 (Best Item)Voido design Ron Arad
Interior Innovation Award IMM Cologne 2007 (Best Item)Dj-vu, Chair design Naoto Fukasawa
2006
Selection for ADI Design IndexStriped Collection design Ronan & Erwan Bouroullec
Premio Oderzo Azienda e DesignTrioli design Eero Aarnio
Designpreis der Bundesrepublik Deutschland 2006 SilberChair_One design Konstantin Grcic
Interior Innovation Award IMM Cologne 2006 (Best Item)Trioli design Eero Aarnio
NeueKlassiker2006 Schoener WohnenAir-Chair design Jasper Morrison
2005
Selection for the 100% Design/ Blueprint Award LondonTrioli design Eero Aarnio
Selection for ADI Design IndexEasy Chair design Jerszy SeymourTrioli design Eero Aarnio
Premio Oderzo Azienda e Design 2005Striped Collectiondesign Ronan & Erwan BouroullecChair_One design Kostantin Grcic
2004
Selection for the 100% Design/ Blueprint Award LondonSussex design Robin Day
Selection for ADI Design Index Peteca design Fernando & Humberto CampanaChair_One design Kostantin GrcicSussex design Robin DayPlus Unit design Werner Aisslinger
Award for Good DesignChicago AthenaeumChair_One design Konstantin Grcic
ICFF Editors AwardsBody of Work
2003
Selection for the 100% Design/ Blueprint Award LondonChair_One design Konstantin Grcic
2002
Selection for the 100% Design/ Blueprint Award LondonTam Tam design Matteo Thun
Reddot AwardPlus Unit design Werner Aisslinger
ICFF Editors Awards, Multiple ProductionNew York
2001
Selection for ADI Design IndexYpsilon design Enzo MariCentomila design James Irvine
Observeur du DesignAir-Chair design Jasper Morrison
Chicago Athenaeum, Good Design AwardAir-Chair design Jasper Morrison
2000
Premio CATAS 2000 UdineAir-Chair design Jasper Morrison
Blueprint 100% Design Awards London (Manufacturers Award)Air-Chair design Jasper Morrison
Nomination Centre George Pompidou Carrefour de la CrationAir-Chair design Jasper Morrison
Accent of Design New York Gift Show
Bio 2000 17th Biennal of Industrial Design LjubljanaYpsilon design Enzo Mari
1999
Nomination Prix dExcellanceMaison Marie ClaireOAzar design Jean Marie Massaud
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14 15 production process
Production process.
Steelwood Chair
Paso Doble
Spun
Folly
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una sua visione del mondo di oggetti che vuole produrre e interpreta a suo modo lo scenario entro cui collocarli. Uno scenario, non solo e non tanto di mercato, ma piuttosto un mondo in continua trasformazione fatto di stili di vita, comportamenti, usi e costumi che si evolvono, sintrecciano, creando nuovi riti, nuovi linguaggi, nuove espressioni, che, nel caso di unazienda di mobili, diventano nuovi spazi dellabitare. La sua motivazione certamente anche quella di conquistare una fetta di mercato, ma la sua pi profonda aspirazione, che diventa poi il suo vero scopo, pi o meno dichiarato, quella di costruire un proprio mondo in grado di affermarsi come modello di riferimento. Naturalmente a questo progetto culturale danno un prezioso e fondamentale contributo i designer, soprattutto se interpretano il loro lavoro come spesso usa de nirlo un maestro quale Enzo Mari (per altro anchesso coinvolto nel mondo Magis): il lavoro dei designer quello di quali care la domanda progettuale. Tanto pi alto il livello di quella domanda, tanto pi puntuale e signi cativo potr essere il contributo del designer. 2 In tal senso il fondatore e attuale presidente di Magis, Eugenio Perazza, ha sempre concepito il suo ruolo proprio in quello spirito di editore che cerca menti sottili e abili mani capaci di dare forma alla sua idea di oggetti pratici e gradevoli per il vivere domestico. Compito di un editore quello di de nire una linea, mettere a fuoco un contesto, sui quali ri ettere insieme a un autore perch questultimo possa poi esprimere la sua personale (ma pur sempre confrontata e condivisa) interpretazione attraverso i propri mezzi e linguaggi. interessante osservare che come un editore di libri ha nella possibilit di scegliere i formati, il tipo di rilegatura, la qualit della carta e i vari supporti gra ci (oltre a naturalmente gli autori) la condizione meta-progettuale per imprimere un carattere culturale e cos pure commerciale della sua produzione, cos anche per leditore di sedie e tavoli, il fatto di prede nire alcuni aspetti
tipologici, individuare i materiali su cui lavorare, stimolare le scelte tecnologiche-produttive, (prima e durante il percorso progettuale fatto insieme al designer coinvolto) rappresenta una condizione di progettista primo che pone le basi per lelevazione qualitativa del progetto da molti punti di vista. Il tema produttore/editore, riferito al mondo dellarredo, apre poi una particolare questione riguardo allattivazione e alla gestione dei processi di produzione rispetto alla fase ideativa e propositiva iniziale e la fase commerciale e distributiva nale. Leditore, oltre a immaginare uno scenario entro cui disegnare, e far disegnare, una strategia di forme, di espressioni, di linguaggi, e di modi in grado di generare una propria cultura dellabitare, individua e organizza le tecniche e i processi produttivi, ma non necessariamente li detiene in proprio, anzi preferibilmente li cerca, li stimola e li coinvolge come un apparato esterno, duttile e essibile. Questo concetto di piattaforma produttiva esterna, stato uno dei primi punti innovativi veri cati e conseguiti dallazienda Magis gi nei primissimi anni della sua costituzione, ormai quarantanni fa.
Il modo di Magis
Si pu dire che la produzione Magis si rappresenta nel catalogo come un chiaro campionario di utensili domestici. Diverse famiglie di oggetti corrispondono a precisi modelli duso. I linguaggi formali per quanto caratterizzati da alcuni temi estetici (che si tratti di una texture o di un inedito effetto del materiale utilizzato), sono comunque sobri e speci ci rispetto a ben de niti caratteri tecnici e funzionali: ogni pezzo ha anche una propria vena poetica che simprime come una trama ne nellordito forte del progetto industriale. interessante osservare che il catalogo Magis si formato, come programma editoriale, prima intorno a elementi di servizio di speci ca utilit, che oltre alla seduta
16 17 il mondo Magis
Il mondo MagisAppunti sulla cultura editoriale
di Giampiero Bosoni
Antefatto
Qualche anno fa il direttore della rivista Domus, Alessandro Mendini, mi interpell per scrivere con regolarit ogni mese un testo per una sorta di rubrica che abbiamo poi deciso dintitolare Blok Notes Recensioni della piccola e media industria italiana. 1 Lidea, nata insieme a Mendini, era quella di commentare la cultura del design delle aziende pi interessanti emerse, per ricerca e innovazione, fra le ultime generazioni imprenditoriali del design del mobile italiano. Per caratterizzare questa lettura si era scelto lespediente della recensione letteraria dei pi recenti (gli ultimi tre anni) cataloghi editoriali delle aziende, intesi evidentemente come i loro cataloghi istituzionali. Il gioco proposto da questa lettura era quello di recensire loggetto/prodotto comunicato sul catalogo, come un testo letterario, di fatto costituito da una struttura compositivo-lessicale (tecnica, materiali, geometrie, proporzioni) e da un racconto complessivo (ricerca tipologica e linguaggio formale) che vuole evocare diverse qualit in un concetto di visione estetico-ambientale appartenente tanto al designer/scrittore, quanto, su un altro piano, anche al programma editoriale dellazienda. Insomma leggere una poltrona o a un tavolo come un libro, che pu essere, paradossalmente o curiosamente, paragonato a un manuale scienti co o a un libretto di avventure per ragazzi, ma anche a un epico romanzo storico: tutte opere, piccole o grandi, che poi si raccolgono in collane editoriali dal loro speci co pro lo.
La scelta delle aziende era assolutamente libera, proposta da me e veri cata insieme ad Alessandro Mendini. Tanto di cappello ad Alessandro per aver saputo imporre queste scelte, che prevedevano servizi di ben 4/6 piene pagine, anche contro i desiderata degli uf ci commerciali della rivista. Per quella serie di sette aziende, che siamo riusciti a presentare su Domus, va detto che io non avevo alcun contatto diretto con le aziende: i cataloghi delle imprese scelte venivano richiesti attraverso la redazione senza speci care il motivo di questa richiesta. Quindi le aziende coinvolte scoprivano solo allultimo che avrebbero trovato diverse pagine della rivista dedicate al loro catalogo editoriale: commentato, va detto, non sempre del tutto positivamente. Fra le aziende da me individuate compariva fra le prime il caso Magis, e anche i responsabili di questa impresa, come in tutti gli altri casi, per tale ricerca non mi avevano ne visto, ne sentito telefonicamente. Probabilmente quella formula di recensione ideata insieme a Mendini e linterpretazione da me proposta rispetto alla visione di Magis con i suoi designer, ha suscitato un certo interesse per la cultura dimpresa dellazienda Magis, se i suoi responsabili, in primis il fondatore, Eugenio Perazza, insieme alla responsabile alla Comunicazione, Barbara Minetto, hanno pensato di chiamarmi per continuare quella ri essione intorno questultimo loro catalogo editoriale.
Premessa
Volendo proseguire ancora un attimo con il tema della metafora editoriale pu essere utile qui riaffermare un banale assioma, ovvero che dietro un programma editoriale c sempre inevitabilmente un editore, il quale nella fattispecie qualcosa di pi di un semplice imprenditore dedicato solo al lato produttivo e commerciale: leditore innanzitutto un progettista primo, che ha
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potevano essere scalette pieghevoli o assi da stiro, poi si concentrato sul tema basilare della sedia sviluppando anche una grande attenzione per la tipologia dello sgabello; in seguito sono arrivati i tavoli e i contenitori, pi recentemente si sono visti comparire anche alcuni elementi imbottiti, divani e chaise longue: come se un editore di libri avesse iniziato a stampare prima fascicoli divulgativi, poi libri tascabili, magari di una collana che per quanto in edizione economica comprende anche dei classici, e via via, a seguire, anche la veste editoriale si diversi cata sempre pi, sia in termini di formati che di contenuti, e il tutto sembra voler prendere una dimensione quasi enciclopedica e universale. Nella ricerca di un corretto rapporto tra coerenza produttiva, razionalit funzionale e piacere duso delloggetto, la cultura progettuale di Magis ha praticato, con quellorgoglio della modestia tipico della migliore tradizione del progetto moderno in Italia, un percorso che per cos dire ha riletto il senso dellabitare contemporaneo partendo dalle fondamentali aree di servizio della machine habiter (dallo sgabuzzino alla cucina) per arrivare a ride nire gli strumenti tanto funzionali quanto rappresentativi dellintero paesaggio domestico, dove tra razionalit e ricerca di un ampio e vario piacere edonistico si mette in scena la vita dellhomo ludens dei nostri giorni. Colpisce vedere nel catalogo insieme a tante sedie, sgabelli, tavoli anche inedite scope e grucce per abiti, scolapiatti e portabottiglie, orologi da cucina e innaf atoi, portaombrelli e scalette pieghevoli, carrelli per far la spesa e servomuti, per non dire dei provocatori fuori tema: casa per cani e tavolino per uccelli. Eppure i diversi oggetti di servizio sincontrano con le diverse famiglie di elementi di arredo secondo un naturale e informale gioco di curiose e imprevedibili af nit elettive. Questo sempre stato uno dei miracoli del design italiano, ovvero la capacit di far lavorare insieme, o meglio vicino, nella stessa bottega/laboratorio, diversi autori con diverse
poetiche, ma poi di fatto (se ben coordinati dentro un forte spirito editoriale, attento e consapevole), af nati a un comune progetto editoriale che fa naturalmente dialogare i vari oggetti del catalogo fra loro. Una ricerca della qualit del fare che ha fatto diventare il tema del mobile singolo un episodio emblematico della cultura del design italiano dedicato al paesaggio domestico. In effetti, come aveva ben messo a fuoco la mostra al MoMa di New York del 1972, Italy: the new domestic landscape, il design italiano soprattutto unidea di progetto di ambienti, nel senso anglosassone di environments, interessato a dare risposte allevoluzione degli stili di vita e dei comportamenti che di fatto disegnano il nostro sempre pi ampio e variabile spazio dellabitare.
La scrittura Magis
Per un editore di multipli lindividuazione dei materiali con cui deve lavorare lautore senza dubbio un fattore di condizionamento importante portato dal processo produttivo nella ricerca linguistica del testo narrativo. Il risultato di tale ricerca nel nostro caso (forniture design e in particolare nel modo Magis) corrisponde al linguaggio formale adottato dal designer per identi care un ideale senso percettivo/simbolico di quella che si propone dessere la pi piacevole e pratica condizione duso delloggetto progettato. interessante in tal senso osservare come nella storia di Magis si siano proposte, quasi come delle epoche scandite dalluso prevalente di speci ci materiali, che potremmo cos sinteticamente de nire : let del faggio massello e stampato, let dellABS lucido, let del polipropilene caricato, let del policarbonato, let del poliuretano integrale, let dellalluminio pro lato e pressofuso, let del polietilene in rotational moulding, let della lamiera stampata e masselli di faggio, let del lo di ferro, let del ferro battuto. Naturalmente come per le et che nella storia della civilt sono state scandite
18 19 il mondo Magis
dalluso dei materiali (et del bronzo, et del ferro e cos via), la sovrapposizione e lintegrazione di queste epoche sono continue nel suo sviluppo storico. Paradossalmente si pu notare che nella storia Magis col passare del tempo la ricerca tecnologica pi che inseguire liper-innovazione dei materiali, come stato allinizio, si interessata parallelamente e sempre pi alla valorizzazione dellaccostamento dei materiali, soprattutto in termini di so sticata artigianalit del dettaglio, di recupero di tecniche di lavorazione quasi arcaiche, come il ferro battuto, materia dalla particolare carica espressiva ed empatica a forte raction poetique. Ma anche il caso della bra di carbonio nascosta tra delle fasce di compensato per garantire una maggiore resistenza ed elasticit nel minimo spessore possibile del compensato di legno, un indizio signi cativo di quella volont di cercare di usare i materiali magari in un concetto semiologico inverso o per lo meno alternativo, dove in una chiave industriale il dettaglio costruttivo derivato dalla lezione del ben fatto tipico del migliore artigianato italiano diventa il segno dominante. Ma questa dimensione del progetto che torna a valorizzare la matericit qualitativa del fatto a mano, oggi nei caratteri di un mondo che cerca di comprendere le propriet pi coerenti e sostenibili del nostro modo di abitare consapevolmente questo pianeta sul quale dobbiamo ritrovare un rapporto armonico. In tal senso il progetto industriale Magis con la raccolta enciclopedia del suo catalogo, tassonomicamente diviso per famiglie, ci propone una gamma di modelli sempre pi relazionati in grado di sviluppare un valore ampio e sostenibile della cultura dellabitare contemporaneo. Per ritornare al nostro discorso iniziale sul valore editoriale di una collezione di design nel campo dellarredamento, come appunto quella di Magis, pu essere forse interessante ri ettere ancora sul rapporto tra lopera di design e lopera scritta, tra oggetto progettato
e testo letterario, attraverso la lettura (nella chiave interpretativa che si preferisce) dellilluminante de nizione che il grande semiologo Roland Barthes ha dato dellatto di scrivere e del valore letterario del testo. La scrittura afferma Barthes - storicamente unattivit continuamente contraddittoria, articolata su una duplice istanza: per una parte un oggetto strettamente mercantile, uno strumento di potere e segregazione, intinto nel fondo pi crudo della societ; e dallaltra una pratica di godimento, legata alle profondit pulsionali del corpo e alle produzioni pi sottili e pi felicemente riuscite dellarte. Ecco la trama del testo scrittorio. Non ho fatto qui che disporre e dispiegare le la. A ciascuno ora il proprio ordito. 3 La lunga ed evoluta esperienza Magis ha dato prova, confermata ancor pi in questultimo catalogo editoriale, di una sempre maggiore consapevolezza di questo intreccio necessario tra trama e ordito, tra cultura artigianale e cultura industriale, tra cultura del design e cultura dimpresa, tra forma e tecnica, tra linguaggio simbolico e funzione pratica, tra poesia e vita quotidiana.
Giampiero Bosoni
Note
1 Giampiero Bosoni, Blok Notes Recensioni della piccola e media industria italiana, In Domus n. 939-945, Settembre 2010 marzo 2011
2 In genere Mari prosegue speci cando che quando invece il committente non ha alcuna idea di cosa domandare e proporre, ma ha solo la pretesa di pretendere banalmente un prodotto di successo mettendo in la domande progettuali incongruenti che in sostanza dicono voglio un prodotto che sembri oro, ma costi poco, allora questa la situazione ideale per i tanti designer-paperino con il capello dartista di traverso, i quali con il loro pennello danno vita a oggetti ridondanti, autoreferenziali e presuntuosi, adatti, quando va bene, per cavalcare la moda del momento.
3 Barthes R., Variations sur lcriture (1972), Editions du Seuil, Parigi 1994, pubblicato nel tomo II delle Oeuvres compltes 1966-1975 (trad. it. Variazioni sulla scrittura seguite da Il piacere del testo, Ossola C. (a cura di) Einaudi, Torino 1999).
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Designs withoutboundaries
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Hotel El EncantoAcapulco, Mexicoproject: Miguel Angel ragonesph. Nicola Lorusso
Voido + Cyborg
20 21 contract
Rolex Learning CentreLausanne, Switzerlandproject: Studio SANAA
Air-Chair
Design MuseumHolon, Israelproject: Ron Arad
Folly Contract.
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Designs withoutboundaries
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22
Panta Rhei SchoolAmstelveen, The Netherlandsproject: i29 Interior Architects
Chair_One
Muse dOrsay Paris, Franceproject: Wilmotte & Associs
Cyborg
23 contract
The Metropolitan HotelBangkok, Thailand
Bombo
Camper ShopParis, Franceproject: Ronan & Erwan Bouroullec
Steelwood Shelving System
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Magis headquarter
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1, 2, 3360, chair360, container360, stool360, table
A
A, B, CAidaAir-ArmchairAir-ChairAir-TableAl BomboAmletoAnnettArcheToysAviva
B
BaguetteBig WillBird TableBirds on a WireBombo, chairBombo, chair on wheelsBombo, stoolBoogie WoogieBottleBoxBridgeButch - The Wild Bunch
C
CalippoCappuccinoCentralChair_One Chair_One_4StarChair_One PSS 1Chair_One PSS 2Cosino Cu-ClockCyborg
D
Dj-vu, chair Dj-vu, mirrorDj-vu, stoolDj-vu, tableDish Doctor Dove
E
Easy Chair Easy TableElyse Eretteo
F
First, chair First (Dressed)First, tableFlare FlFlowerFlux
Folding Air-ChairFollyFour Leaves
G
GarageGaronGibusGloboGoccia
H
Hercules
L
La ValiseLemLyra
M
Magis Dog HouseMagis ProustMagis WagonMag MariolinaMemoMeteoMy Storage
N
NimrodNuovastep
O
Officina
P
Paso Doble, chairPaso Doble, chaise longuePaso Doble, foot-stoolPaso Doble, low chairPaso Doble, stoolPasse-partoutPebblesPiggybackPilaPiloPia, armchairPia foot-stoolPia, low chair Pia, low tablePia, rocking chair Pipe, chair Pipe DreamsPipe, stoolPipe, tablePizza TablePlus UnitPoppinsPronto
R
RackRavioloRock
S
SohoSpike - The Wild BunchSpunS.S.S.S.Steelwood Chair Steelwood Coat Stand Steelwood Shelving System Steelwood Stool Steelwood Table StillStool_One Striped, chairStriped, foot-stoolStriped, low chairStriped, stoolStriped, table Sussex, bench Sussex, table
T
Table_OneTable_One BistrotTambour TeatroTempoThecaTibuTide To the WallTogo Tom and Jerry - The Wild BunchTopsy - The Wild BunchToscaTraffic, armchairTraffic, benchTraffic, chaise longueTraffic, platformTraffic, sofa Traffic, tableTransit TrashTrattoria, chairTrattoria, table Troy, chairTroy, stoolTubbyTuffy - The Wild BunchTyke - The Wild Bunch
V
Vanity ChairVanity TableVeniceVigna, chairVigna, tableVikingVoido
X
XXXZ3
Z
Zartan
Chairs + Armchairs
Aida Air-Chair Air-Armchair BomboChair_OneChair_One_4StarCyborgDj-vuEasy ChairFirst First (Dressed)Flux MariolinaPaso DoblePilaPiaPipeSteelwood ChairStillStripedToscaTrattoria TroyTuffy - The Wild BunchVanity ChairVeniceVignaZartan
Folding chairs
AvivaFolding Air-Chair
Chairs an wheels
360AnnettBombo SohoTroy
Stools
360 Al Bombo Bombo Dj-vuLyraPaso DoblePipeS.S.S.S.Steelwood StoolStool_One StripedTibu Tom and Jerry - The Wild Bunch Troy
Low chairs + Chaise longue
FlowerMagis ProustNimrodPaso DoblePiaRavioloSpunStripedTrafficVoido
Public seating systems + Benches
Chair_One PSS 1Chair_One PSS 2 FollySussex
Tables + Low tables
360 Air-Table Baguette Big WillButch - The Wild BunchCalippoCentral Dj-vuEasy Table FirstFlareLemOfficinaPasse-partout PiggybackPiloPiaPipePizza TableSteelwood TableStripedSussexTable_OneTable_One BistrotTambourTeatroTopsy - The Wild BunchTrafficTrattoriaVanity TableVignaXZ3
Shelving systems
Boogie WoogieCosinoElyse My StorageSpike - The Wild BunchSteelwood Shelving SystemTideTo the WallTyke - The Wild Bunch
Drawers + Shoe storage system
360GaragePlus UnitRackTheca
Coat stands + Coat hangers
Birds on a WireBridgeFour LeavesGloboSteelwood Coat StandTogoViking
Umbrella stands
Eretteo GocciaPoppins
Step-ladders
FlNuovastep
Accessories
1, 2, 3A, B, CAmletoBottleBoxCappuccinoCu-ClockDj-vu Dish DoctorDoveGaronGibusHerculesLa ValiseMagis WagonMagMemoMeteoPebblesPipe DreamsProntoRock TempoTransitTrashTubbyXX
Fuoritema
ArcheToysBird TableMagis Dog House
Category indexAlphabetical index
213 214215218
220-221222
223227228229230231232234
236-237235
238241242-243
245246247248249
250265266267268269
270-271
217233
212216219244
252265
272273274275276
278-279277280281282283284285
286-287
361362363364365
366366367367368369369
370370371
372372
373373374374375375377376377378378379379380380381382382383383384384385385386387386
388-389390391
288-289290291
292294295297
298299
300-301302307
308
310311
309312
313314315
316-317318319320
321-322323324325326
327331332-333
334335336337338339340341342343344345346347348349350351
352353354355356357358359360
373212361272313
373213215214314273374216
388-389217
315316-317
390366218219274352374375366318
319375320
220-221222310311
353377
223227
228376275
321-322377378
229323354370
230231324325372
288-289232
244356299280245368357281339246282247301
300-301283340312341
342343344345385365284358359369285346248
302-303307306305304347385386249348
250265286-287
387266360
267349268269350369308
386351
270-271
233309367
362378379367370
379
380326276
391290380381234382382355
291372
327331
236-237292294
293-294278-279332-333
383334235335
238240295-296295297
336241
242-243383277337338363371384
364298384
213
M
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212
H
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360 design Konstantin Grcic, 2009
Matt colourOlive Green 1551 C
Matt colourOrange 1658 C
Matt colourLight Grey 1707 C
Matt colourBlack 1764 C
6363
69 / 7847/56
Swivel chair on 5 wheelsAdjustable in heightwith gas piston. Material: frame in steel painted in epoxy resin. Foot-rest in die-cast aluminium. Seat in integral self-bearing polyurethane.
Silla giratoria sobre5 ruedasRegulable en altura con pistn de gas. Material: estructura en acero barnizado epoxi. Reposapis en aluminio fundido a presin. Asiento en poliuretano integral autoportante.
Chaise pivotante sur5 roulettesRglable en hauteur avec piston gaz. Matriaux: structure en acier verni en rsine poxy. Repose-pieds en fonte daluminium. Assise en polyurthane intgral autoportant.
Stuhl, auf 5 Rollen,drehbarPneumatisch hhenverstellbar. Material: Gestell aus Stahl, epoxylackiert. Fusssttze aus Aluminium-Druckguss. Sitz aus Polyurethan-Integralschaum, selbsttraggend.
Sedia girevole su 5 ruoteRegolabile in altezzacon pistone a gas. Materiali: struttura in acciaio verniciato in resina epossidica. Poggiapiedi in pressofusione di alluminio. Sedile in poliuretano integrale autoportante.
Cha
irs
+ A
rmch
airs
Cha
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+ A
rmch
airs
Aida design Richard Sapper, 2000
5761
54
85,567
44
57 54
85,5
44
Stacking chairAlso available with arms.Material: frame in chromed steel rod. Seat in standard injection-moulded polypropylene. Linking device available.Material: nickel plated steel.
Silla apilableVersin con brazos.Material: estructura en barra de acero cromado. Asiento en polipropileno moldeado por inyeccin estndar. Disponibles tambin ganchos de unin. Material: acero niquelado.
Chaise empilableDisponible aussi avec accoudoirs.Matriaux: structureen l dacier chrom. Assise en polypropylene moul par injection standard.Disponible aussi avec couple dailettes dattache. Matriaux: acier nickel.
Stuhl, stapelbarAuch mit Armlehnen lieferbar.Material: Gestell aus verchromtem Stahldraht. Sitz aus Polypropylen. Hergestellt im Standard-Einspritzverfahren. Reihenverbindungspaar separat erhltlich. Material: vernickelter Stahl.
Sedia impilabileVersione anche con braccioli.Materiali: struttura in tondino di acciaio cromato. Sedile in polipropilene stampato ad iniezione standard.Disponibili alette di aggancio. Materiale: acciaio nichelato.
Matt colourYellow 1030 C
Matt colourRed 1100 C
Matt colourWhite 1730 C
Matt colourBlack 1750 C
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Air-Chair design Jasper Morrison, 2000
77,5
49 51
47
Stacking chairMaterial: polypropylene with glass bre added. Air-moulded. Suitable for outdoor use. Linking device available. Material: PVC.
image / p. 39
Silla apilableMaterial: polipropileno reforzado con bra de vidrio en air moulding. Apta para el exterior. Disponibles tambin ganchos de unin. Material: PVC.
Chaise empilableMatriaux: polypropylne charg avec bre de verre en air moulding.Conue pour lextrieur.Disponible aussi avec couple dailettes dattache.Matriaux: PVC.
Stuhl, stapelbarMaterial: Polypropylen mit Glasfaser verstrkt. Hergestellt im Gaseinspritzverfahren. Auch fr den Aussenbereich geeignet. Reihenverbindungspaar separat erhltlich. Material: PVC.
Sedia impilabileMateriali: polipropilene caricato di bra di vetro stampato in air moulding. Adatta anche per esterni. Disponibili alette di aggancio. Materiale: PVC.
Matt colourOrange 1086 C
Matt colourBrick 1135 C
Matt colourFuchsia 1150 C
Matt colourGreen 1320 C
Matt colourBeige 1450 C
Matt colourDark Green 1554 C
Matt colourPure White 1690 C
Matt colourWhite 1730 C
Matt colourBlack 1751 C
Air-Armchair design Jasper Morrison, 2006
53 50,5
45
72,5 68
Stacking chair with armsMaterial: polypropylene with glass bre added. Air-moulded. Suitable for outdoor use.
image / p. 38, 39
Silla con brazos apilableMaterial: polipropileno reforzado con bra de vidrio en air moulding. Apta para el exterior.
Chaise avec accoudoirs,empilableMatriaux: polypropylne charg avec bre de verre en air moulding. Conue pour lextrieur.
Stuhl mit Armlehnen,stapelbarMaterial: Polypropylen mit Glasfaser verstrkt. Hergestellt im Gaseinspritzverfahren.Auch fr den Aussenbereich geeignet.
Sedia impilabile conbraccioliMateriale: polipropilene caricato di bra di vetro stampato in air moulding. Adatta anche per esterni.
Matt colourOrange 1086 C
Matt colourFuchsia 1150 C
Matt colourGreen 1320 C
Matt colourGrey Anthracite 1418 C
Matt colourBeige 1450 C
Matt colourPure White 1690 C
Matt colourWhite 1730 C
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Aviva design Marc Berthier, 1979/2010
FinishBeech
FinishBeech Stained Black
46
80
47
87
42
80 80
4665
4255,5
Folding chairAlso available with arms.Material: solid beech, natural or painted.
image / p. 14-15
Silla plegableVersin con brazos.Material: madera maciza de haya naturalo barnizada.
Chaise plianteDisponible aussi avec accoudoirs.Matriaux: htre massif, naturel ou teint.
KlappstuhlAuch mit Armlehnen lieferbar.Material: massive Buche, naturfarben oder lackiert.
Sedia pieghevoleVersione anche con braccioli.Materiale: massellodi faggio naturaleo verniciato.
Annett desi