350 results for "frank lloyd wright"

Sengu Dining Table designed by Patricia Urquiola. Manufactured by Cassina (Italy). LIGHT-HEARTED POETRY A design dining room table inspired by the ritual reconstruction of Japanese shrines, a contemporary piece that celebrates light-hearted cheer through dialog between different materials. Sengu Table...

Table model La Rotonda designed by Mario Bellini in 1976. Manufactured by Cassina, Italy. A table with timeless design by Mario Bellini, who morphs the ...

Pierre Chapo, dining room set with eight 'S24' dining chairs and 'T14D' dining table, elm, leather, cord, France, 1960s/1970s This dining room set by Pierre Chapo, comprising a ‘T14...

Table model La Rotonda designed by Mario Bellini in 1976. Manufactured by Cassina, Italy. A table with timeless design by Mario Bellini, who morphs the ...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Table designed by Franco Albini in 1950. Relaunched in 2008. Manufactured by Cassina in Italy. This table, with its minimal lines and an extremely light look, underscores the extens...

Pierre Chapo, dining table model 'T02', solid oak, France, late 1960s This table is an early edition by Pierre Chapo, celebrated for his dedication to clean, functional design prin...

Limited Edition Table designed by Charlotte Perriand in 1970. Relaunched in 2023. Manufactured by Cassina in Italy. An ode to fine artisanal craftsmanship in the form of a table. Ta...

Low table designed by Charlotte Perriand in 1985. Relaunched by Cassina in 2009. Manufactured by Cassina in Italy. This low table, with its audacious sculptural look, was designe...

Forme libre table in night blue color designed by Charlotte Perriand in 1959. Relaunched by Cassina in 2011. Manufactured by Cassina in Italy. Charlotte Perriand started work on ...

LC10 textured ivory outdoors square table designed by Le Corbusier, Pierre Jeanneret, Charlotte Perriand in 1929. Revisited by Perriand in 1984, and relaunched by Cassina one year la...

Soriana armchair by Afra & Tobia Scarpa for Cassina. Manufactured in Italy. The idea of comfort itself becomes a sofa. Soriana came into being in 1969, thanks to an intuitive vision...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Table designed by Pierre Jeanneret circa 1950, relaunched in 2019. Manufactured by Cassina in Italy. The inclusion of the UNESCO World Heritage List in 2016 has aroused great intere...

Table designed by Charlotte Perriand in 1952-1956. Relaunched in 2014. Manufactured by Cassina in Italy. Included as one of the tables en forme libre created between 1938 and 1939, the final design was developed in 1952 for the students’ rooms of the Maison du Mexique...

Table model La Rotonda designed by Mario Bellini in 1976. Manufactured by Cassina, Italy. A table with timeless design by Mario Bellini, who morphs the ...

Side table designed by Franco Albini in 1953. Relaunched in 2008. Manufactured by Cassina in Italy. Dubbed Cicognino, or “little stork”, this iconic design, is clean-cut and refi...

Forme libre table in night blue color designed by Charlotte Perriand in 1959. Relaunched by Cassina in 2011. Manufactured by Cassina in Italy. Ch...

Sengu Coffee Table designed by Patricia Urquiola. Manufactured by Cassina (Italy). AN ASIAN INVITATION Asian-inspired, this design coffee table by Patricia Urquiola is a domestic architecture enhanced by the layering of different materials. The system of primary and secondary oval beams that supports the top of this table, ideal for a modern living room, draws upon the ritual reconstruction of Japanese shrines to define an elegant piece of furniture with Far-Eastern fascination. Supported by a solid wood base, the rectangular or round top is available in extra-clear glass, smoked glass or marble. BASE In solid wood: Canaletto walnut, natural oak or oak stained black. TOP Transparent extra-clear or smoked glass, or marble: white Carrara, Grigio Carnico, Verde Alpi, Rosso Levanto, Calacatta Gold, or Nero Marquina, with matt finish. Inspired by Asian influences ‒ a theme that often recurs in the Cassina collections ‒ and especially by the ritual reconstruction of Japanese shrines through the use of different materials, like the other pieces in the Sengu family, the Sengu Coffee Table, designed by Patricia Urquiola, is envisioned as an exquisitely layered and sophisticated home architecture. The base, crafted with a grid of primary and secondary oval solid wood beams, echoes the shapes found in the Sengu Sofa...

Credenza by Gentner Design. Dimensions: D 216 x W 38 x H 91 cm. Materials: stainless steel, walnut wood. The polished stainless steel side panels a...

Forme libre table in Glacé Brown lacquered designed by Charlotte Perriand in 1959. Relaunched by Cassina in 2011. Manufactured by Cassina in Italy. Wood is a natural material, subje...

Angelo Mangiarotti was a very important italian architect and designer, born in 1921 in Milan. He studied architecture at the Politecnico of Milan and gratuated in 1948. He then went...

Table designed by Charlotte Perriand in 1937. Relaunched in 2020. Manufactured by Cassina in Italy. The historic Rio design low table combines uncommon beauty and utmost functionality in an asymmetrical structure that, over time, has proven itself to be a true interior decor work of art. Thanks to Cassina’s outstanding artisan skills, the model from 1962 has been reissued in its original form, alternating the use of oak with inserts in Viennese cane, with versions in stained or natural wood with elements in white or black marble. The low table by Charlotte Perriand is composed of six segments of different radius, arranged in a circle but offset from one another to create an uneven outer border in solid wood with a hole in the center, envisioned as a spatial center of gravity. Materials: Marble /Wood Wood is a natural material, subject to changes caused by external factors such as sunlight, temperature, humidity, daily use. These changes are not to be considered as faults but peculiarities of the material, emphasizing its natural beauty. Measurements: Ø 140 cm H 33 cm Important information regarding images of products: Please note that some of the images show other colors and variations of the model, these images are only to present interior design proposals. The item that is selling is on the first image. Important information regarding color(s) of products: Actual colors may vary. This is due to the fact that every computer monitor, laptop, tablet and phone screen has a different capability to display colors and that everyone sees these colors differently. We try to edit our photos to show all of our products as life-like as possible, but please understand the actual color may vary slightly from your monitor About the designer: Charlotte Perriand full membership of that avant-garde cultural movement which, from the first decades of the twentieth century, brought about a profound change in aesthetic values and gave birth to a truly modern sensitivity towards everyday life. In this context, her specific contribution focuses on interior composition, conceived as creating a new way of living, still today at the heart of contemporary lifestyle. In the sphere of 20th century furnishing history, the advent of modernity made possible the entrepreneurial audacity of this true reformer of interior design. At the beginning of her professional career she was acclaimed by critics for her Bar under the roof, exhibited at the Salon d’Automne in 1927 and constructed entirely in nickel-plated copper and anodized aluminium. In the same year, when she was just twenty-four years old, she began a decade-long collaboration with Le Corbusier and Pierre Jeanneret, at the famous design studios at 35, rue de Sèvres in Paris. Her presence in the Le Corbusier studio is visible in all the furnishings designed with him and with Pierre Jeanneret: and so Charlotte Perriand becomes a cornerstone in the reformation...

Mid-Century Modern Table designed by Charlotte Perriand in 1952-1956. Relaunched in 2014. Manufactured by Cassina in Italy. Included as one of the tables en forme libre created betw...

Mid-Century Modern Table designed by Charlotte Perriand in 1952-1956. Relaunched in 2014. Manufactured by Cassina in Italy. Included as one of the tables en forme libre created between 1938 and 1939, the final design was developed in 1952 for the students’ rooms of the Maison du Mexique...

Dischi coffee table by Gentner Design Dimensions: D 90 x W 45.7 x H 35.5 cm Materials: brass, darkened stainless steel With a nod to Harry Bertoia, the Dischi table is both sculptur...

Devoid of sharp angles, the rounded asymmetrical shape of the Petit Bureau En Forme Libre designer desk adapts perfectly to executive offi...

Dischi side table by Gentner Design. Dimensions: D 30.5 x W 30.5 x H 48 cm. Materials: brass, darkened stainless steel. With a nod to Harry Bertoia, the Dischi table is both scu...

Table designed by Charlotte Perriand in 1937. Relaunched in 2020. Manufactured by Cassina in Italy. The historic Rio design low table combines uncommon beauty and utmost functionali...

Set of 5 mod. 783 “Kentucky” dining chairs, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Structure made from oak and walnut timber. Seats and backrest made from cognac leather. Excellent vintage condition. Carlo Scarpa designed this chair for the “Scuderia” series., the last project he made for Bernini. The architect took inspiration from the “shaker” movement. He designed the chair slightly inclined at the front. This feature allows you to swing backward (until you lean on a wall) and remain in balance. Born in Venice on June 2nd, 1906, Carlo Scarpa began working at a very early age. A year after he had first qualified as an architect in 1926, he began working for the Murano glassmakers Cappellin & Co. in a consultative capacity. From 1927, Carlo Scarpa began to experiment with the Murano glass, and this research not only gave him excellent results here but would also inform his progress for many years to come. Between 1935 and 1937, as he entered his thirties, Carlo Scarpa accepted his first important commission, the renovation of Venice’s Cà Foscari. He adapted the spaces of this stately University building that stands on the Grand Canal banks, creating rooms for the Dean’s offices and a new hall for academic ceremonies; Mario Sironi and Mario De Luigi were charged with doing the restoration work on the frescos. After 1945, Carlo Scarpa found himself constantly busy with new commissions, including various furnishings and designs for the renovation of Venice’s Hotel Bauer and designing a tall building in Padua and a residential area in Feltre, all worth mentioning. One of his key works, despite its relatively modest diminished proportions, was the [bookshop known as the] Padiglione del Libro, which stands in Venice’s Giardini di Castello and clearly shows Scarpa’s passion for the works of Frank Lloyd Wright. In the years which were to follow, after he had met the American architect, Scarpa repeated similar experiments on other occasions, as can be seen, in particular, in the sketches he drew up in 1953 for villa Zoppas in Conegliano, which show some of his most promising work. However, this work unfortunately never came to fruition. Carlo Scarpa later created three museum layouts to prove pivotal in terms of how twentieth-century museums were set up from then on. Between 1955 and 1957, he completed extension work on Treviso’s Gipsoteca Canoviana [the museum that houses Canova’s sculptures] in Possagno, taking a similar experimental approach to the one he used for the Venezuelan Pavilion at [Venice’s] Giardini di Castello which he was building at the same time (1954-56). In Possagno Carlo Scarpa was to create one of his most significant ever works, which inevitably bears comparison with two other museum layouts that he was working on over the same period, those of: – Galleria Nazionale di Sicilia, housed in the Palazzo Abatellis in Palermo (1953-55) – Castelvecchio in Verona (1957- 1974), all of which were highly acclaimed, adding to his growing fame. Two other buildings, which are beautifully arranged in spatial terms, can be added to this long list of key works that were started and, in some cases, even completed during the nineteen fifties. After winning the Olivetti award for architecture in 1956, Scarpa began work in Venice’s Piazza San Marco on an area destined to house products made by the Industrial manufacturers Ivrea. Over the same period (1959-1963), he also worked on the renovation and restoration of the gardens and ground floor of the Fondazione Querini Stampalia in Venice, which many consider one of his greatest works. While he busied himself working on-site at the Fondazione Querini Stampalia, Carlo Scarpa also began work building a villa in Udine for the Veritti family. To shed some light on the extent to which his work evolved over the years, it may perhaps be useful to compare this work with that of his very last building, villa Ottolenghi Bardolino, which was near to completion at the time of his sudden death in 1978. Upon completion of villa Veritti over the next ten years, without ever letting up on his work on renovation and layouts, Scarpa accepted some highly challenging commissions, working on the Carlo Felice Theatre in Genoa and another theatre in Vicenza. Towards the end of this decade, in 1969, Rina Brion commissioned Carlo Scarpa to build the Brion Mausoleum in San Vito d’Altivole (Treviso), a piece he continued to work on right up until the moment of his death. Nevertheless, even though he was totally absorbed by work on this mausoleum, there are plenty of other episodes which can offer some insight into the final years of his career. As work on the San Vito d’Altivole Mausoleum began to lessen from 1973, Carlo Scarpa started building the new headquarters for the Banca Popolare di Verona. He drew up plans that were surprisingly different from the work he was carrying out at the same time on the villa Ottolenghi. However, the plans Carlo Scarpa drew up, at different times, for a monument in Brescia’s Piazza della Loggia commemorating victims of the terrorist attack on May 28th, 1974, make a sharp contrast to the work he carried out in Verona, almost as if there is a certain hesitation after so many mannered excesses. The same Pietas that informs his designs for the Piazza Della Loggia can also be seen in the presence of the water that flows through the Brion Mausoleum, almost as if to give a concrete manifestation of pity in this twentieth-century work of art. Carlo Scarpa has put together a highly sophisticated collection of structures, occupying the mausoleum’s L-shaped space stretching across both sides of the old San Vito d’Altivole cemetery. A myriad of different forms and an equally large number of different pieces, all of which are separate and yet inextricably linked to form a chain that seems to offer no promise of continuity, rising up out of these are those whose only justification for being there is to bear the warning “si vis vitam, para mortem,” [if you wish to experience life prepare for death] as if to tell a tale that suggests the circle of time, joining together the commemoration of the dead with a celebration of life. At the entrance of the Brion Mausoleum stand the “propylaea” followed by a cloister which ends by a small chapel, with an arcosolium bearing the family sarcophagi, the main pavilion, held in place on broken cast iron supports, stands over a mirror-shaped stretch of water and occupies one end of the family’s burial space. The musical sound of the walkways teamed with the luminosity of these harmoniously blended spaces shows how, in keeping with his strong sense of vision, Carlo Scarpa could make the most of all of his many skills to come up with this truly magnificent space. As well as a great commitment to architectural work, with the many projects which we have already seen punctuating his career, Carlo Scarpa also made many equally important forays into the world of applied arts. Between 1926 and 1931, he worked for the Murano glassmakers Cappellin, later taking what he had learned with him when he went to work for the glassmakers Venini from 1933 until the 1950s. The story of how he came to work on furniture design is different, however, and began with the furniture he designed to replace lost furnishings during his renovation of Cà Foscari. The later mass-produced furniture started differently, given that many pieces were originally one-off designs “made to measure.” Industrial manufacturing using these designs as prototypes came into being thanks to the continuity afforded him by Dino Gavina, who, as well as this, also invited Carlo Scarpa to become president of the company Gavina SpA, later to become SIMON, a company Gavina founded eight years on, in partnership with Maria Simoncini (whose own name accounts for the choice of company name). Carlo Scarpa and Gavina forged a strong bond in 1968 as they began to put various models of his into production for Simon, such as the “Doge” table, which also formed the basis for the “Sarpi” and “Florian” tables. In the early seventies, other tables that followed included “Valmarana,” “Quatour,” and “Orseolo.” While in 1974, they added couch and armchair “Cornaro” to the collection and the “Toledo” bed...

Table designed by Le Corbusier in 1958. Relaunched in 2010. Manufactured by Cassina in Italy. Organic and yet rational, this table was designed by Le Corbusier in 1958. Its disti...

- Very rare set of tables, 1970s - Designer. Ladislav Vrátník for Gallery Mánes - Prof. Acad. architect Ladislav Vratnik, 1927-2010 - Bauhaus funct...

An exceptional set in Arts and Crafts style from the Floating World Collection produced by Kevin Kopil. According to the maker, the inspiration for the Line is the furniture and arch...

Branco e Preto (Carlos Milan). Coffee table. Manufactured by Mahlmeister & Cia, Brazil, 1950s. Solid jacaranda, ebonized wooden structure. Measurement...

Sengu Dining Table designed by Patricia Urquiola. Manufactured by Cassina (Italy). LIGHT-HEARTED POETRY A design dining room table inspired by the ritual reconstruction of Japanese shrines, a contemporary piece that celebrates light-hearted cheer through dialog between different materials. Sengu Table...

For nearly twenty years, the Giobagnara brand has combined traditional know-how and leading-edge technology to produce elegance of the highest standard. With luxurious creations avai...

For nearly twenty years, the Giobagnara brand has combined traditional know-how and leading-edge technology to produce elegance of the highest standard. With luxurious creations avai...

Vintage aluminum coffee table designed by Paul Mayén for Habitat. Table base is comprised of four aluminum plates that lock into each oth...

A striking and substantial Dutch Art Deco table from the Haagse School (The Hague School), dating from the late 1920s to early 1930s. Crafted in solid oak with a beautifully figured ...

For nearly twenty years, the Giobagnara brand has combined traditional know-how and leading-edge technology to produce elegance of the highest standard. With luxurious creations avai...

Pierre Chapo, dining table, model 'T14D', solid elm, France, circa 1978 This table is an early edition by Pierre Chapo, celebrated for his dedication to clean, functional design pri...

Meret Oppenheim Traccia sculptural table Manufactured by Cassina in Italy In 1971, Dino Gavino launched what he called “l’opera d’arte funzionale”, or functional artworks, in so doing inaugurating a new approach of furnishing where surreal objects were adapted for everyday use. This led to the creation of the Ultramobile collection. These pieces, that went beyond (ultra) furniture (mobile) engaged the imagination, complementing rational intelligence with a sense of wonder, where geometry interacted with fantasy. One of these pieces was the low table that the Swiss artist Meret Oppenheim designed in 1929 for Leo Castelli’s avant-garde gallery, dubbing it the “Bird Leg Table...

Pierre Chapo, 'L'oeil' coffee table, model 'T22C', solid elm, France, design ca. 1972 This coffee table is an early edition designed by the French designer and master woodworker Pi...

Ronan Bourroullec Treflo Sculptural Blue Dining Table by Cassina THE POETRY OF A TABLE With his poetic universe of shapes and influences, Ronan Bouroullec designs a collection of r...

Writing desk designed by Le Corbusier in 1957. Relaunched in 2010. Manufactured by Cassina in Italy. Defying the laws of physics, going beyond what we normally understand by the conditions of equilibrium, this bookcase is nothing short of a manifesto for Cassina’s design and construction capabilities. After a lengthy period of research and development, ably assisted by state-of-the-art technology, the company’s designers created a production prototype of the original 1940 piece that architect Franco Albini made as a one-off for his Milan home. Respecting the authentic underlying concept of the design, with its compelling experimental feel, as well as its surprisingly spare, linear looks, today’s model preserves the minimal ideal of the original: a feeling of air and light so that the books and objects seem to float free. Thus does Cassina restore to the contemporary world of design one of its most emblematic artefacts, a piece that has acquired the status of a work of art, as magical now as it was when it was first seen. Important information regarding images of products: Please note that some of the images show other colors and variations of the model, these images are only to present interior design proposals. The item that is selling is on the first image. Important information regarding color(s) of products: Actual colors may vary. This is due to the fact that every computer monitor, laptop, tablet and phone screen has a different capability to display colors and that everyone sees these colors differently. We try to edit our photos to show all of our products as life-like as possible, but please understand the actual color may vary slightly from your monitor About the designer: Charles-Edouard Jeanneret, known as Le Corbusier, was born in La Chauxde-Fonds, in the Swiss Canton of Jura, in 1887; and died in France, in Roquebrune-CAP-Martin, on the French Côte d'Azur, in 1965. At the beginning of his career, his work was greeted with some reluctance due to its supposed "revolutionary" character and the radical aspect it acquired through his "purist" experiments; In any case, already at that time, he received the recognition he deserved and the admiration of the majority. His message is still being assimilated by an increasing number of people in the profession, but his eccentric avant-garde attitude should be properly taken into account for the use of rational systems in his planning method, as reflected in extremely simple modules and forms based on functional logic. "A functionalism that does not tend to exalt the mechanical function to the detriment of the symbolic but rather to the rejection of the symbol, which he now considers obsolete and insignificant, and the recovery of the practical function as a symbol of new values" (¹) In his activities as an urban planner, architect and designer, his method of study continued to develop, sometimes going from one extreme to another in a complex plastic language. Some examples of this are: Unité d'Habitation, Marseille (1946-52); the Chapel in Ronchamp (1950-55); the Dominican Monastery «La Tourette» (1951-56); the Zurich Center (1964-65) the Hospital in Venice (1965). The same dedication will be found in the design of diverse furniture, such as: the furniture of "Equipement intérieur de la maison" (tables, chairs, sofas and armchairs) designed for the Salon d'Automne in 1928 with Pierre Jeanneret and Charlotte Perriand and “Casiers Standard...

Carlo Scarpa Dining table model “Quatour” Manufactured by Simon Gavina Italy, 1974 Walnut wood Measurements: 141 cm x 141 cm x 72 H cm 55.9 in x 55.9 in x 28 H in. Litera...

Sculptural solid coffee table by Cassina , from the 1970s, in precious teak wood beveled with central smoked glass top with rounded corners of beautiful architectural immmage Histo...

Sengu Low Table designed by Patricia Urquiola. Manufactured by Cassina (Italy). DESIGN LOW TABLES A collection of three designer low tables by Patricia Urquiola in combination with ...

Scuderia dining room set, designed by Carlo Scarpa for the Italian manufacturer Bernini in 1977. Composed of 5 mod. 783 “Kentucky” dining chairs...

Barba Corsini 'Pedrera' Coffee Table in Brass for Gubi The 'Pedrera' coffee table was designed in 1955 by Barba Corsini for the loft space at La Pedrera, the famous landmark in Barcelona. Executed in glass with a brass-plated metal base, the table fits well into any contemporary home. In 1955 Barba Corsini renovated the loft space within Antoni Gaudi's famous building “La Pedrera” in Barcelona, transforming it from a simple laundry room and storage area into 13 modern duplex apartments. To reinforce the modernist style of the rooms, Corsini decorated the apartment with furniture that he designed himself, including Pedrera lamps and tables. The slender base of the Pedrera Coffee Table...

Iconic elegant Mid-Century Modern coffee table attributed to Gio Ponti possibly made by Casa e Giardino in walnut and veneer walnut with glass top: Period 1940s. Feet in gilt brass This piece will add lightness to the living room with its shapes and materials. The wood, the four legs with golden brass feet and the crystal will amaze with their purity. Measure cm: H 49, W 70, D 70. History The “Amedeo Cassina” of the brothers Cesare and Umberto Cassina was born in 1927 in Meda, Brianza. The main activity is woodworking, within the company, for the production of coffee tables. Over the years the company expanded, especially in the post-war period, also thanks to collaborations with external architects who brought their expertise and research. In the 1950s Cassina moved from artisanal to serial production, adopting the logic of industrial design. A change also induced by the commission of furnishings for the interiors of large cruise ships. Furthermore, in this period some of the company's best-known products took shape: the 646 chair and the 699 chair...

This is a gently used spiral table with inset glass top by Hawaiian artists and furniture maker, Rock Cross. Rock is a Roscoe Award winner for contemporary furniture design. He use...

Ronan Bourroullec Treflo Sculptural Blue Dining Table by Cassina THE POETRY OF A TABLE With his poetic universe of shapes and influences, Ronan Bouroullec designs a collection of r...

Dining table, model Ventaglio, designed by Charlotte Perriand in 1972. Relaunched by Cassina in 2014. Manufactured by Cassina in Italy. Revolutionary as much as it is quite diffe...

Table designed by Franco Albini in 1950. Relaunched in 2008. Manufactured by Cassina in Italy. This table, with its minimal lines and an extremely light look, underscores the ext...

Barba Corsini 'Pedrera' Coffee Table in Chrome for Gubi The 'Pedrera' coffee table was designed in 1955 by Barba Corsini for the loft space at La Pedrera, the famous landmark in Barcelona. Executed in glass with a chrome base, the table fits well into any contemporary home. In 1955 Barba Corsini renovated the loft space within Antoni Gaudi's famous building “La Pedrera” in Barcelona, transforming it from a simple laundry room and storage area into 13 modern duplex apartments. To reinforce the modernist style of the rooms, Corsini decorated the apartment with furniture that he designed himself, including Pedrera lamps and tables. The slender base of the Pedrera Coffee Table...

Doge Large Dining Table designed by Carlo Scarpa. Manufactured by Cassina (Italy) ULTRARATIONAL EMBLEM A sculptural structure that has become an emblem of Italian design, a trademar...

Dining table in two sizes included among the freeform tables designed by Charlotte Perriand between 1938 and 1939. A sinuous, elegant piece whose organic, asymmetrical shape lends ...

Meret Oppenheim Traccia sculptural table Manufactured by Cassina in Italy In 1971, Dino Gavino launched what he called “l’...

Sengu Coffee Table designed by Patricia Urquiola. Manufactured by Cassina (Italy). AN ASIAN INVITATION Asian-inspired, this design coffee table by Patricia Urquiola is a domestic architecture enhanced by the layering of different materials. The system of primary and secondary oval beams that supports the top of this table, ideal for a modern living room, draws upon the ritual reconstruction of Japanese shrines to define an elegant piece of furniture with Far-Eastern fascination. Supported by a solid wood base, the rectangular or round top is available in extra-clear glass, smoked glass or marble. BASE In solid wood: Canaletto walnut, natural oak or oak stained black. TOP Transparent extra-clear or smoked glass, or marble: white Carrara, Grigio Carnico, Verde Alpi, Rosso Levanto, Calacatta Gold, or Nero Marquina, with matt finish. Inspired by Asian influences ‒ a theme that often recurs in the Cassina collections ‒ and especially by the ritual reconstruction of Japanese shrines through the use of different materials, like the other pieces in the Sengu family, the Sengu Coffee Table, designed by Patricia Urquiola, is envisioned as an exquisitely layered and sophisticated home architecture. The base, crafted with a grid of primary and secondary oval solid wood beams, echoes the shapes found in the Sengu Sofa...