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Fauteuils

Associer à un aspect fonctionnel une valeur esthétique capable de satisfaire à la fois le corps et l’esprit : tel est l'objectif des fauteuils Molteni&C. La tâche n’est pas simple, mais les éléments insérés dans cette section, dessinés par des designers parmi les meilleurs au monde, démontrent que c’est un défi qu’il est possible de gagner. Gio Ponti est un maître dans ce domaine et  Molteni&C a réédité cinq de ses fauteuils design : le plus emblématique est probablement le D.154.2, dessiné pour la villa mexicaine des collectionneurs Planchart et proposé aujourd’hui avec une combinaison de polyuréthane souple et rigide, à laquelle s’ajoute un revêtement personnalisable dans les couleurs et les tissus de la gamme (lin, chenille, cuir sellier, velours et autres). Le presque contemporain D.153.1, avec structure en laiton satiné, et le successif D.156.3, en bois massif d'érable ou de noyer, possèdent encore aujourd’hui ce caractère qui laisse percevoir à quel point ils étaient révolutionnaires à leur époque ; il reste à signaler, en ce qui concerne Ponti, le D.151.4, conçu à l'origine pour les paquebots, et le D.270.2, idéal pour la lecture ou la conversation grâce à son extrême polyvalence. Ces pièces iconiques côtoient des fauteuils au design contemporain, tels que ceux de la designer espagnole Patricia Urquiola, qui avec Glove (fluide, minimaliste, non conventionnel) et Glove-Up (amusant, souple, sinueux) parvient à élaborer des éléments capables d’influencer la personnalité d'un salon. Fantasia, de Nicola Gallizia, semble partager la même capacité ; Ferruccio Laviani, designer de Crémone conçoit des systèmes de sièges : Large est un système de canapés déhoussables, caractérisé par l’utilisation d’une mousse thermosensible modelée pour une répartition correcte du poids. La série est complétée par Doda, une bergère contemporaine, originale et confortable et par Mandrague. Si Rodolfo Dordoni se démarque par Chelsea, une collection de fauteuils au design articulé et polyvalent, parfaite pour les salons et les salles à manger, Hannes Wettstein dessine Lido et Reversi pour continuer à surprendre, génération après génération. Skin (Jean Nouvel) et Allure (Matteo Nunziati) nous rappellent que la pureté esthétique ne pense pas aux limites, mais  uniquement aux esprits qui parviennent à la percevoir et aux mains capables de la rendre réelle. Pour terminer, Clipper et Holborn, de formes très différentes mais similaires dans l’essentialité et le confort qu’ils peuvent offrir.

Rodolfo Dordoni created several modern design armchair projects in collaboration with Molteni&C. The Chelsea armchair style strikes the perfect balance between contemporary furniture and more traditional models. The strength of the solid wood frame blends with the fluid line of the backrests, creating the union of ergonomics and elegance from which refined seats are born. Sutton, a small reading armchair with soft lines, was designed by Dordoni to accommodate the body in complete comfort. The back and armrests are created as a continuum that envelops the plush, upholstered seat. The Piccadilly design comes from the union of various intersecting surfaces, creating new and enveloping shapes with and without armrests. Kensington is an ideal living room armchair with enveloping lines and calibrated proportions suitable for relaxing or conversing in tranquility, once again bearing the hallmark of Rodolfo Dordoni.

 

Gio Ponti's signature style recurs in several Molteni&C armchairs. The name “Round D.154.5” comes from the rounded shape of the seat and backrests, called “soapbox.” Round D.154.5 is also referred to as “Eight Pieces” in the Ponti/ Fornaroli/ Rosselli study. In fact, there are eight pieces that compose it: a backrest, a seat, two curved plywood elements, and four legs that hold everything together.  Envisioned by Gio Ponti and produced for the Altamira company, the D.156.3 armchair is displayed in the company's showroom in New York. The design, which Molteni&C exclusively reissues, has a frame in solid canaletto walnut or semi-gloss black lacquer. The D.151.4 contemporary armchair features a wrap-around frame, comfortable armrests, and solid wooden legs with brass ferrules. The D.153.1 armchair, created in 1953, is part of the Molteni&C re-edition of the furnishings from Gio Ponti's private home in Milan. The fabric, designed by Ponti himself in 1934, reinterprets the centuries-old velvet technique, updating it with contemporary patterns. The D.154.2 armchair is like a cozy shell; it has a rigid polyurethane frame, a soft polyurethane counter-frame, and a cushion. It is upholstered in Molteni's range of fabrics, with the possibility of differentiating the components.

 

Vincent Van Duysen, a profound connoisseur of the history of modern design, envisioned Yoell: a contemporary redesign of the 1950s Latin American reading armchair. Featuring a sleek solid wood frame stained Black Ash, Eucalyptus, and Sunrise Oak, Yoell reflects, while profoundly renewing, the distinctive feature of the relaxation armchair. Yoell is offered with fabric, leather, or leather upholstery from the Molteni&C range. Also bearing Van Duysen's signature style is Walter, a small armchair with a frame made entirely of solid ashwood, stained black oak or eucalyptus, curated for a contemporary, welcomingl environment. The main use of the Gilles low armchair is not only in the hospitality field, but also in domestic settings as a complementary living room armchair flanked by sofas with a large presence. It has a classic all-wood frame, where the backrest also serves as an armrest. Elain, with its round and enveloping shapes, is a small armchair designed to fit into any environment thanks to its small size. It is dressed in precious fabrics or soft leathers. It remains a sophisticated small armchair, with a refined aesthetic language, that offers a welcoming feeling due to the padding of the seat and back.

 

Doda, by Ferruccio Laviani, is an interpretation of the classic bergère with a contemporary twist. A designer armchair with enveloping shapes and great comfort is characterized by a calibrated proportion between thicknesses and the combination of straight and curved lines. Mandrague, halfway between the classic bergère and the “pop art” armchairs of the 1960s, is a softly shaped seat envisioned by Laviani, intended to create an intimate space where one can isolate oneself from the outside world. 

 

Matteo Nunziati's Allure modern design armchair was born from an idea of balance and proportion among the elements that compose it. The result is a sinuous, dry, refined line characterized by thin thicknesses and strong lines. Allure's small dimensions and finishes are created both for home use and for furnishing common spaces in hotels, suites, or residences. Patricia Urquiola's Glove-Up represents the evolution of a futuristic theme, characterized by molded lines. A balance of forms flows from the fluid line of the backrest into the lightness of the legs, making Glove-Up a witty yet versatile armchair, suitable for either a classic or contemporary setting.

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