Viaduct Salone Del Mobile Review 2017

Milan 2017 | The Viaduct Review

So, what is Milan about now? Of course it’s part old fashioned trade show where all the companies from all over the world come to try to peddle their wares and do their part in world trade.

But it’s also a design festival and increasingly an experiential festival.

There’s as much talk about the palazzos as what is in them, not to mention the Prada Foundation and the Pirelli Hangar Bicocca. This is all far removed from the original idea of a trade fair. Perhaps it started in the mid-eighties when Ron Arad used a group of young students to control lights using electric car aerials and vacuum cleaners to suck air out of bean bag chairs at his stand within Salone. The fair visitors had never seen anything like it before.

Now, social media generates the queues to Studio Swine and Nendo, while Audi generates a sound experience.

Let us go back to the core of the Fair. The furniture design world is one of the few creative industries that brings together essential function, design, craft, manufacture, architecture and art. All those elements help to create an international, broad and creative world where we are in dialogue, and not just in Bar Basso.

Since the world is currently an unpredictable and messy place, it is now more important than ever for the creative industries to band together internationally and come up with solutions in all fields. We too, look forward to playing our part in this dialogue.

This review is subjective, and we make no apologies for that. The sheer scale of the fair makes an overarching survey impossible.

This is a highly selective curation of new releases that we feel are worth sharing, loosely grouped into ten points of note. No more, no less, and we hope you enjoy it.

James Mair, Managing Director, Viaduct.

1. New Adornment “I have always been fascinated with the parallel that exists between lighting and jewellery… It is no coincidence that the word ‘pendant’ has a double meaning.” - Michael Anastassiades Milan is home to countless palazzos filled with dramatic, ornate chandeliers. This year a new crop of pendants championing the idea of adornment came to the fore. Designed to awe and inspire like their historical counterparts, but harnessing both technology and craft to make a statement without excess.

Influences ranged far and wide across the fair - Giopato & Coombes openly questioned Adolf Loos’ statement of ‘ornament as crime’, in contrast Malouin simply refined the concept of chandelier, using brass but in blackened form, twisting material convention whilst also simultaneously reducing ornamentation to a minimum in his Arca Chandelier for Matter Made.

Anastassiades explored lighting’s parallels with jewellery in his Arrangements series for Flos. For Resident and Giopato & Coombes, the simple rings of the circus trapeze are a starting point for their respective Cirque and Circus lights. Behind both are LED technical developments that enable both systems to be scaled up or down as needed.

Elsewhere the Bouroullec’s Verticale formally evokes 70’s science fiction, embracing technology to create a smooth perfectly uniform light. At Roll & Hill, Ladies & Gentlemen Studio nod to Russian Suprematist Malevich, extending their Kazimir range.

Bocci’s new 84 and 87 series exploit niche glass blowing techniques to their full potential. The 87 series is made by stretching and folding back a glass matrix to create bubbles within textured loops that drape over the light source. The 84 series meanwhile captures a fine white glass bubble inside a fine copper mesh basket that is then plunged into hot clear glass. Air is blown into the matrix to gently push the white glass through the mesh, creating a delicate pillowed form that is suspended inside the thick outer layer of clear glass.

- 03

Cirque by Giopato & Coombes

Arca by Philippe Malouin for Matter Made

- 04

Kazimir Malevich. Suprematist Painting. 1916-17

87 series by Omer Arbel for Bocci

- 05

Arrangements by Michael Anastassiades for Flos

Bocci 84 series by Omer Arbel for Bocci

- 06

Verticale by Ronan & Erwan Bouroullec for Flos

- 07

Clockwise from top left : 1. Kazimir by Ladies & Gentlemen Studio for Roll & Hill. 2. 84.11 by Omer Arbel for Bocci 3. 87.3 by Omer Arbel for Bocci 4. Circus 750 by Resident Studio for Resident 5. Arca Chandelier by Philippe Malouin for Matter Made 6. Verticale Suspension by Ronan & Erwan Bouroullec for Flos 7. Arrangements by Michael Anastassiades for Flos 8. Cirque by Giopato & Coombes

- 08

2. Rethinking Light One of this year’s highlights was undoubtedly Formafantasma’s solo show, billed as a “meticulous investigation into the components of light — reflection, shadow, colour, space — and the use of optics, mirrors and glass to shape it.” Stunningly beautiful and well executed; the show also reflected a wider trend of rethinking the basics to arrive at different typologies.

Euroluce provided the commercial debut of Formafantasma and Os & Oos this year. Both consider the human relationship with light to be not just functional, but emotional, tied to our relationship with the earth. Formafantasma’s Blush Lamp uses LED strip and dichroic glass to cast brightly tinted reflections to “answer to the lack of colour saturation during winter”. Heliacal by Os & Oos is a metaphor for celestial bodies. Its glass discs can rotate, either blocking the light or allowing it to pass. The resulting change of light is therefore gradual, never abrupt.

Sabine Marcelis’ Voie Lamp and Konstantin Grcic’s modular Noctambule Series both tackle the carrier itself. Marcelis uses the light support as an opportunity to subvert, subdue and redirect light paths, whereas Grcic reduces casing to a transparent minimum, making it almost invisible by day, revealing itself only at night, LED rings within it’s junctions glow within the borosilicate glass nodes.

Nox by Astep was our favourite example of a growing trend for portable lighting. It boasts a wireless charging system that offers 15 hours of cable free light. One for true minimalists, this dimmable light could be the only one you need, as you carry it from desk, to bedside, to balcony. Another display of minimalism was Flash by Davide Groppi, a simple, flexible LED strip that extends across a space, illuminating as it goes.

David Derksen impressed with his Aero Lamps, made from metal foam, an conductor of heat that cools the light as well as encasing it. At Marset, Ramírez i Carrillo investigated properties of weightlessness with their Copernica Series. Building on the work of designers such as Richard Sapper and Daniel Rybakken, and channeling the sculptural elegance of Calder. Copernica uses a series of counterbalances to enable a series of modifications with a slight push of a finger.

- 09

Aero by David Derksen

Voie Stone by Sabine Marcelis and Bloc Studios

- 010

Heliacal by Os & Oos for Fontana Arte

Slight Agitation 2/4 by Pamela Rosenkranz, Prada Foundation

- 011

Foundation by Formafantasma

Foundation by Formafantasma

- 012

Noctambule by Konstantin Grcic for Flos

Foundation by Formafantasma

- 013

Clockwise from top left : 1. Voie by Sabine Marcelis with Bloc Studios 2. Heliacal by Os & Oos for Fontana Arte 3. Blush by Formafantasma for Flos 4. Nox by Afredo HaberlĂŻ for Astep 5. Aero by David Derksen 6. Noctambule Table by Konstantin Grcic for Flos 7. Copernica by RamĂ­rez i Carrillo for Marset 8. Flash by Davide Groppi

- 014

3. Small Interventions At the Salone this year, there were several new releases designed to punctuate, disrupt or accentuate the space around them. Fireworks by Muller Van Severen was perched within a panoramic space where they displayed five ‘Paravents’ made from folded enamelled steel that used their trademark use of colour as well as scultpural form to divide and portion the space. e15 added a perfectly rounded pouf to the hitherto angular Kerman Sofa family. It works singularly or in groups to punctuate space with its simple graphic form. Also from e15, the Elbe bench by Studio Besau-Marguerre for e15 is now part of the main collection. It was used to great effect by the studio when they furnished the Herzog & De Meuron designed Elbphilharmonie building in Hamburg. See the project here.

There were several interesting small tables released this year, each with a distinct identity that again help to define a space. Offset by Philippe Malouin for Resident can be used as a stool or coffee table and features a slightly offset top adding interest to its conventional wooden construction. For Muuto, Canadian studio MSDS devised ‘Halves’ made from an acrylic stone composite that enables both strength and seamless joints. In contrast to both, Scribble by Francesca Lanzavecchia for De Castelli used expressive compositions and the dramatic colours of oxidised metals to disrupt and provide interest.

Two table lights also impressed. Michael Anastassiades again, with his competitively priced Table Composition light that marks his movement into colour. Sawaru by Nendo for Flos was another favourite for its simplicity. Sawaru consists of two perpendicular cylinders that can project light at 3 stages: 25 degrees, 40 degrees and 60 degrees, held together by inserting the pin attached to the base. We also loved photographer Carl Kleiner’s move into product design with Bloc Studio, the ‘Posture’ vase emerged from “experiments with methods to control the positions of the flowers in order to photograph them in poses and arrangements that made them look alive”.

- 015

Kerman by Philipp Mainzer & Farah Ebrahimi for e15

Posture by Carl Kleiner and Bloc Studios

- 016

Elbe bench and side table by Studio Besau-Marguerre for e15

Halves by MSDS for Muuto

- 017

Table Composition by Michael Anastassiades

Fireworks by Muller Van Severen

- 018

Clockwise from top left : 1. Table Composition by Michael Anastassiades 2. Elbe III Bench by Studio Besau-Marguerre for e15 3. Offset by Philippe Malouin for Resident 4. Scribble by Francesca Lanzavecchia for De Castelli 5. Sawaru by Nendo for Flos 6. Halves by MSDS for Muuto

- 019

4. Design inspired design Whilst you can find products to suit almost any set of influences at Salone, we definitely felt amongst the companies we champion there was an increasing prevalence of design being inspired by itself. Whether a subtle nod or open homage, several pieces caught our attention for beautifully reinterpreting design history.

Michael Anastassiades nodded to Flos’ history with Last Quarter. The ‘cocoon’ technique of spraying a special resin across a steel frame was first used as packaging material by the US Military and is perhaps best known for its use by Achille & Piercomo Castiglioni and Flos in the 1960s.

Konstantin Grcic developed the Soft Props sofa series that reinforces Cassina’s association with tubular steel furniture, but is also inspired by the design of the handrails on the Milanese subway system devised by Dutch designer Bob Noorda and Italian architect Franco Albini.

Quindici by Ronan & Erwan Bouroullec sits as well formally with Medici and Clerici by Grcic for Mattiazzi as it does with their own output for the brand. The designers have described the lounge chair as elegant but not decadent. At Rossana Orlandi, designer Germans Ermičs presented his Ombre Glass Chair in homage to Shiro Kuramata’s classic translucent glass original.

At Zanotta, the Judy Armchair by Frank Rettenbacher references not only his own dining chair June released last year, but also owes more than a nod to the work of mid-century designers such as Charles & Ray Eames. We liked its small footprint and the cosiness of its tub chair form.

At Carl Hansen, young designer Anker Bak used materials associated with the brand such as canvas, leather and solid wood to rethink the Rocking Chair. His small folding version also uses a design language that references other pieces in the collection such as Morgan Koch’s Directors Chair, and the Safari Chair by Kaare Klint both designed in the 1930s.

- 020

Ombre Glass Chair by Germans ErmĂŽcs

Sequoia by Anderssen & Voll for Magis

- 021

Quindici by Ronan & Erwan Bouroullec for Mattiazzi

Judy by Frank Rettenbacher for Zanotta

- 022

Rocking Chair by Anker Bak for Carl Hansen

Soft Props by Konstantin Grcic for Cassina

- 023

Clockwise from top left : 1. Arcos by Lievore Altherr for Arper 2. Last Quarter by Michael Anastassiades for Flos 3. Judy Armchair by Frank Rettenbacher for Zanotta 4. Quindici by Ronan & Erwan Bouroullec for Mattiazzi 5 Nest Rocking Chair by Anker Bak for Carl Hansen 6 Soft Props by Konstantin Grcic for Cassina 7. Ombre Glass Chair by Germans ErmiÄ?s

- 024

5. Soften Up Pillowy, soft, enveloping, sheltering, billowing - all words plundered from this year’s press releases when it comes to discussing upholstery. What is perhaps interesting is that this shift from cleaner, linear shapes, whilst obviously being suitable for domestic spaces is also targeted at the workspace or public environments.

Cila by Arper, which can be used as a restaurant or task chair in varying permutations is described by the company as retaining “a graphic character from its distinctive curve - the most essential symbol of shelter. Like being protected, like being held.” Whilst undoubtedly hyperbole, this quote does speak of a softness and cosiness being embraced by the larger companies at the fair.

Vitra softened their Mariposa Club and made it more compact to target smaller spaces. This alongside providing new upholstered options for several of their key pieces. Muuto’s big upholstery release of last year was Outline, a slim sofa with a distinct profile. Their Compose sofa released this year contrasts starkly, its deeply cushioned body is counterbalanced by its lighter frame to keep the feel contemporary. At e15 too, famed for its angular graphic forms, the emphasis with their Kerman Sofa additions was a softening via soft furnishings in plush velvets and brocades.

Using velvet, rich fabrics, warm earthy colours and rounded forms was to be found everywhere in the city. Be it Matter Made, Studiopepe, Campbell Rey at Martina Gamboni or Marta Sala. At many spaces this sat well with a recurring 1930s meets 1970s crossover feel.

Jaime Hayon’s Fri Chair for Fritz Hansen, a contemporary club chair, was a great success for the company and they have followed it up with the Lune Sofa, which takes its curvaceous form from the Fri. Designed with almost infinite modularity this is a sofa targeted as much for breakout spaces as it is for the home.

This softening and rounding applies not just to upholstery; at Zeitraum the Kosi bedroom range features rounded headboards, upholstered or wooden, that gently hug the bed frame. The frame itself is also rounded creating an overall softness.

- 025

Jellyfish Vases by Nendo

- 026

Kerman pouf and cushions by e15

Mariposa Club by Barber & Osgerby for Vitra

- 027

The Apartment by Studiopepe

Cila by Lievore Altherr for Arper

- 028

Lune by Jaime Hayon for Fritz Hansen

- 029

Clockwise from top left : 1. Cila by Lievore Altherr for Arper 2. Officina Armchair & Ottoman by Ronan & Erwan Bouroullec for Magis 3.

Compose by Anderssen & Voll for Muuto 4. Kosi Board by Moritz von Schmeling for Zeitraum 5. Mariposa Club by Barber & Osgerby for Vitra

- 030

6. Raw Luxe / Niche Craft Recent years have seen an abundance of products that celebrate the raw; untreated leathers and woods, natural stones, fabrics and metals. Many of this year’s new releases temper this rawness in subtle ways, be it the intervention of technology, by refining, or by utilising specialist craft techniques.

At e15, Trunk II is constructed using wood from a single Walnut tree. The outside edges are then left raw, brushed slightly to create smoothness. In contrast the base is pure polished brass.

Pedro Paulo Venzon has created two chairs for Matter Made. Both Avoa and Pudica are reductionist pieces. The spareness of form allows for the use of brass without overwhelming the design. Bjorn Van Den Berg employed a similar reductionist technique with his sheet steel shelving. We’ve seen his work develop over the years and we think this guy is definitely one to watch.

Giopato & Coombes are passionate about Italian craft, and their Gioielli lamps celebrate this perfectly. Each Gioielli, which means jewellery in Italian, is a combination of “precious gems” including brass, cast with the lost wax technique, with a “raw” material surface obtained through meticulous handiwork done directly on the model; an emerald green “gem” in blown Murano glass with a particular “battuto” finish.

Also championing Italian craft are Pretziada; an interdisciplinary project combining the worlds of journalism, design, craftsmanship and tourism. They aim to create awareness and keep the specialist skills of Sardinia alive through their product.

Nani Marquina also embraced craftsmanship in their collaboration with Jaime Hayon. In order to faithfully reproduce Hayon’s whimsical sketches each rug is hand tufted using a manually operated pistol to inject the pieces of wool thus creating intuitive and fluid lines.

Mystical Solace, an installation by De Allegri & Fogale, employed stone cutting techniques and was a rebuff to both monochrome minimalism and mysticism - “The reference, is that of the contemporary and widespread need to [create] a mystical detachment from the world and from the daily, buzzing, fast pace of things… If this need is fully justified, increasingly it seems to stumble over exquisitely western practices that are, to say the least, curious, sometimes fake, far from any form of authenticity.”

- 031

Trunk by Philipp Mainzer for e15

Gioielli by Giopato & Coombes

- 032

Mystical Solace by De Allegri & Fogale

Sheet Cabinet by Bjorn Van Den Berg

- 033

Carl Hansen’s stand at Fiera

Pudica Chair by Pedro Paulo Venzon

- 034

Hayon x Nani - Process

The Allusion Capret by Pretziada

- 035

Clockwise from top left : 1. Trunk by Philipp Mainzer for e15 2. Hayon x Nani by Jaime Hayon for Nani Marquina 3. Avoa by Pedro Paulo Venzon for Matter Made 4. Dudina Chair by Marta Sala 5. Pudica by Pedro Paulo Venzon for Matter Made 6. Gioielli by Giopato & Coombes 7.

Sheet Cabinet by Bjorn Van Den Berg

- 036

7. Unmade / Remade The use of recycled materials and innovative approaches to designing products have all too often sat on the periphery of the fair. There are notable exceptions to this, but the industry knows it can and should do more. Whilst we are not going to pretend any seismic shift has happened, in fact the fair was surprisingly devoid of politics of any kind given the current state of the world, there were some encouraging signs that emerged from the fray.

The first was Kvadrat’s acquisition of Really, a company that make composite board made from waste cotton and wool. Max Lamb explored the material via the development of a series of benches to highlight its strength and versatility.

At Rossana Orlandi, Nov Gallery presented ‘The New Ready Mades’, a group show that knowingly referenced predecessors such as artist Duchamp and the Castiglioni brothers, highlighting ‘the undeniable reality today to revive craftsmanship and know-how by adding value to existing, durable and recycled materials or objects and rendering them precious and unique.’ We liked two projects in particular, Panter & Touron’s Tole which repurposes corrugated sheets. Also Foam Me by Manon Portera & Cecile-Diama Samb, exploiting the usually hidden foam that is behind most upholstered items. Also at Rossana Orlandi were We+, with their Drought chair which is cast in bronze using a lost wax/resin technique.

Paul Cocksedge did address politics, specifically the eviction of creatives from London due to ever increasing rents and property speculation. When notified by his landlord that he was being evicted to make room for luxury flats, he took a unique approach to materials using the floor of his studio to create a collection called Excavations. What started as a personal political act, then became much more as he and his team realised they were uncovering layers of London’s history within the stone and concrete.

Lastly, we loved the collaboration between Galeria Salvatore Lanteri and London based See.DS who presented Meta, a rumination on materials and usage. Feauring a stunning neon installation by Jochen Holz as well as ‘Meta’ by Odd Matter, their marble sculptures on closer inspection were infact made from scagliola, rabbit glue and pigments, and equally beautiful for it.

- 037

Excavations by Paul Cocksedge

Foam Me by Manon Portera & Cecile-Diama Samb

- 038

Drought by We+

Tole by Panter & Tourron

- 039

Benches by Max Lamb for Really/Kvadrat

- 040

Meta by Odd Matter

- 041

Clockwise from top left : 1. Benches by Max Lamb for Kvadrat/Really 2. Meta by Odd Matter presented by Galleria Salvatore Lanteri 3. Tole

by Panter & Touron 4. Foam Me by Manon Portera & Cecile Diama Samb presented by NOV Gallery 5. Drought Chair by We+ 6. Excavations by Paul Cocksedge

- 042

8. Negative Space With space at a premium, especially in London, designs that maximise space are always welcome. This selection of furniture does this, not through multifunction or a million folding parts, they instead make clever use of negative space.

The pedestal table isn’t exactly new we know, but there has been a bit of a dearth of decent contemporary ones. This year, we were happy to see several pedestal based tables on the stands, of which one of our favourites was Kazimir by Philipp Mainzer for e15. Inspired by the clean lines of Malevich’s paintings, the powder coated steel base can be bold in red, or muted in a putty grey or black depending on preference. Its pedestal form maximises leg room making it perfect for meals with friends or even meeting room spaces. The table top edge can also be supplied straight or with a ‘raw’ edge, exposing the brushed natural edges of the tree.

Jasper Morrison’s T&O table series is another such table, available in small ‘cafe table’ sizes or as a large rectangular dining table. The simplicity of the frame reduces bulk by using material only where needed.

Zanotta’s Tweed Table, whilst not a pedestal base, prioritised sharing space again, this time by using an asymmetric top and inset four legged base. Tweed is available in sizes ranging from cafe to conference table.

Stools are another area where we felt several companies had made an effort to provide beautiful yet unobtrusive solutions. The Linea Perch stool for Nikari is a great example of this, sturdy yet lightweight, its slim profile and small footprint allowing it to blend in rather than stand out. The Sequoia Stool by Anderssen and Voll for Magis took inspiration from bicycle construction to create their seamless minimal stool with distinctive footrest.

- 043

Kazimir by Philipp Mainzer for e15

- 044

Kazimir by Philipp Mainzer for e15

Sequoia by Anderssen & Voll for Magis

- 045

Tweed by GarcĂ­a Cumini for Zanotta

T&O Table by Jasper Morrison

- 046

Clockwise from top left : 1. Linea Perch Stool by Wesley Walters and Salla Luhtasela for Nikari. 2. Kazimir by Philipp Mainzer for e15 3.

Sequoia Stool by Anderssen & Voll for Magis 4. T&O Table by Jasper Morrison for Maruni 5. Tweed by GarcĂ­a Cumini for Zanotta.

- 047

9. Black Lines (again) Not much to say here other than the trend for thin black lines continues unabated. Nendo being perhaps its arch proponent. Their show this year, which generated hour long queues, was called ‘Invisible Outlines’ and included ‘Trace’ a storage series that traces the movements of various openings. Also on display was “un-printed material”, a piece that portrays various forms and expressions of paper through outline.

Another master of the thin black line is Michael Anastassiades, who has continued his explorations into balance and proportion with the newest additions to his mobile collection. Studio BesauMarguerre’s Elbe collection for e15 is monochrome at it’s best. Relying on simple shapes, and the use of black and white steel combined with matching marble to provide textural contrast. The high table is an unique but functional piece, perfect for public spaces and bars. Its second shelf providing extra storage, but without losing precious floor space. We also loved Please Wait To Be Seated’s Kanso Tray Table by Laura Bilde, spotted at Rossana Orlandi.

But it wasn’t just the thin black silhouette that caught our eye, black wood finishes, blackened metals, black marble were everywhere. Whilst available in natural wood and gold finishes, for us the simplicity of Primo by Konstantin Grcic for Mattiazzi shone best in black. His Brut sofa with its dark cast iron frame was also popular with us for its geometric simplicity. Similarly Fredericia’s Barbry Stool and Side Table have a pleasing industrial feel to them, TAF Architect’s Ambit Rail also evokes the same feel.

Another firm favourite was the Ebisu Chair and Stool by Industry+, with its perforated seat making it great for the rainy British summer and its high back rest offers comfort without bulk.

- 048

MC13 Mobile Chandelier by Michael Anastassiades

- 049

Primo by Konstantin Grcic for Mattiazzi

Kanso Tray Table by Laura Bilde for PWTBS

- 050

Invisible Outlines Installation by Nendo

- 051

Clockwise from top left : 1. Primo by Konstantin Grcic for Mattiazzi 2. Ambit Rail by Taf Architects for Muuto 3. Barbry by Aurelien Barbry for Fredericia 4. Ebisu Stool by Jun Yasumoto for Industry+ 5. Kanso Tray Table by Laura Bilde for Please Wait to be Seated 6.

Elbe I High Table by Studio Besau-Marguerre for e15 7. Brut Sofa by Konstantin Grcic for Magis

- 052

10. Extensions There were some great extensions to existing collections to be found at the Fair. Vitra had a comparatively quiet year this year, the company restricted the ‘newness’ to a select few pieces and instead focused in on some clever updates. Far from being a criticism, we applaud this stance. New after all, doesn’t always correlate to good. Their stand highlighted the use of natural materials such as linen, natural stone and solid wood. Muted tones for upholstery gave a new earthier feel to their collection. Softening was a theme throughout their updates. The Mariposa Club is an altogether chunkier, cosier and importantly compact version of the original. The Softshell chair by the Bouroullecs softened still further by creating a side chair version that emphasised the chair’s gentle contours. Also softening up was the iconic Standard Chair by Jean Prouvé with a new upholstered version.

E15 added new brass finishes for both the Anton Table and the Seam Three Wall Light. Elsewhere Astep added the striking VV Cinquanta Twin to their collection. Maruni, much like Vitra focused this year on refining the existing collection adding a series of tables to their T&O series by Jasper Morrison, and a new black finish for both the T&O and Hiroshima Steel collections that really elevates both.

Magis also focused on consolidating the success of last year’s releases, Alongside the Brut Sofa by Grcic, the company previewed a vast expansion of the Bouroullec’s Officina collection including a sofa, upholstered version of the chair and much more. Whilst we don’t recommend doing an entire home in the Officina range, this welcome softness makes it far more suitable for hotels and residential projects than perhaps previously.

Over at Carl Hansen the talking point was the stand styled by Despina Curtis, an entire home was created, decorated in rich colours with artwork by the likes of Emily Forgot. Within was another chance to see the CH23 chair, officially launched in Stockholm, but so lovely its made our Milan Selection. The cruciform cap joints and double woven seat make it truly special.

- 053

Hiroshima Steel by Naoto Fukasawa for Maruni

The Wegner Chair Collection by Carl Hansen

- 054

Staircase - Fondazione Boschi Di Stefano

Anton Table by Philipp Mainzer for e15

- 055

Clockwise from top left : 1. VV Cinquanta Twin by Vittoriano Viganó for Astep 2. CH23 by Hans Wegner for Carl Hansen 3. Seam Three by Mark Holmes 4. Officina Chair Soft by Ronan & Erwan Bouroullec 5. Hiroshima Steel by Naoto Fukasawa for Maruni 6. Softshell Side Chair by Ronan & Erwan Bouroullec for Vitra 7. Standard SR by Jean Prouvé for Vitra 8. T Chair by Jasper Morrison for Maruni

- 056

See our Milan Video Journal here ... and find out more about the new releases over on our website image credits

Viaduct Furniture, 1-10 Summers St, London, EC1R 5BD @viaductlondon info@viaduct.co.uk