2013, für Sawaya & Moroni, Italien, mehrschichtiges Holz, schwarze Lackierung, Höhe 81 cm, Breite 83 cm, Tiefe 76 cm, Sitzhöhe 38 cm. (DRAX) Prototyp der limitierten Auflage von 10 Exemplaren und das einzige Exemplar, das in geschichtetem Holz mit schwarzem Lackfinish gemacht wurde. Erstmals 2013 im Salone del Mobile in Mailand präsentiert. "4 Olga" armchair, something of dynamic acrobatics of volume, successful, effervescent somersault, that designs and models how its surface develops, extending downwards from the backrest to decine the supports, then curving back up to form the seat and the armrests, before lastly plunging down again to end in the last points of stability. The description makes "4 Olga"sound like a swirling movement that might leave you breathless, altough it is the ultimately static development of the finished chair that highlights its development. The dynamism that underlines this process of composition is transformed into a unitary, basic sign whose plastic and sculptural value are notable, although they are not the end in themselves.
2013, für Sawaya & Moroni, Italien, mehrschichtiges Holz, schwarze Lackierung, Höhe 81 cm, Breite 83 cm, Tiefe 76 cm, Sitzhöhe 38 cm. (DRAX) Prototyp der limitierten Auflage von 10 Exemplaren und das einzige Exemplar, das in geschichtetem Holz mit schwarzem Lackfinish gemacht wurde. Erstmals 2013 im Salone del Mobile in Mailand präsentiert. "4 Olga" armchair, something of dynamic acrobatics of volume, successful, effervescent somersault, that designs and models how its surface develops, extending downwards from the backrest to decine the supports, then curving back up to form the seat and the armrests, before lastly plunging down again to end in the last points of stability. The description makes "4 Olga"sound like a swirling movement that might leave you breathless, altough it is the ultimately static development of the finished chair that highlights its development. The dynamism that underlines this process of composition is transformed into a unitary, basic sign whose plastic and sculptural value are notable, although they are not the end in themselves.
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