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Belleville is the name of a lively Parisian neighborhood where designers Ronan and Erwan Bouroullec have their studio. The Belleville Chair's visual references can be found in the classic furnishings of French restaurants and the cheerful atmosphere of this Parisian corner. The chair's familiar shape—even in a contemporary context—might initially seem obvious, but it also evokes a sense of mystery and intrigue, as the chair's material, structure, and craftsmanship are only revealed upon closer inspection.
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Sori Yanagi was born in 1915 in Tokyo. She studied at the local art school and worked between 1940 and 1942 in the office of designer Charlotte Perriand. In 1952, he founded the Yanagi Industrial Design Institute, which over time would design an extraordinary number of furniture pieces and everyday objects. Sori Yanagi's organically shaped designs combined Western industrial design with traditional Japanese craftsmanship. Thus, Sori Yanagi became one of the most significant Japanese designers of the postwar era. In addition to furniture, he designed lamps, glassware, cutlery, children's toys, subway stations, cars, and motorcycles.
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George Nelson is considered one of the most important figures in American design. An architect, product and exhibition designer, and writer, he was a leading voice in the discourse on design and architecture for several decades. Vitra is the only authorized manufacturer of products specified by Nelson for the European and Middle Eastern markets.
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Isamu Noguchi was born in Los Angeles in 1904, the son of Japanese poet Yone Noguchi and American writer Leonie Gilmour. He studied at Columbia University and the Leonardo da Vinci Art School. He is considered a universal talent whose creative work transcended the boundaries of sculpture to encompass stage sets, furniture, lighting, interiors, and also outdoor plazas and gardens. His sculptural style, indebted to a vocabulary of organic forms, exerted a marked influence on design in the 1950s.
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Brothers Ronan and Erwan Bouroullec live and work in Paris. Their work ranges from small everyday objects to architectural projects. Their collaboration with Vitra began in 2000, and since then they have enriched the company's office and home furniture collections with numerous designs.
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En 1949, Charles y Ray Eames diseñaron una mesa de café pensada exclusivamente para su propia residencia, la legendaria Eames House de Pacific Palisades, cerca de Los Ángeles. Desde entonces, esta mesa ha pasado a formar parte de la singular decoración de este lugar histórico. Su tablero rectangular, que le da al mismo tiempo una imagen de sencillez y sofisticación, estaba originalmente cubierto de pan de oro. La base con patas cónicas es una variación de la base de madera de las Eames Plastic Chairs. En los años siguientes, Charles y Ray Eames fabricaron otras dos de estas mesas con tableros distintos, uno de mármol y otro de madera.
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“Getting the most of the best to the greatest number of people for the least”: with these words, Charles and Ray Eames described one of their main goals as furniture designers. None of their works came closer to this ideal than the Plastic Chair. For years, they worked on the idea of a one-piece seat shell molded to fit the contours of the human body. In the 1940s, when their experiments with plywood and aluminum sheeting didn't yield the expected results, their search for alternative materials led them to fiberglass-reinforced polyester resin.
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“Getting the most of the best to the greatest number of people for the least”: with these words, Charles and Ray Eames described one of their main goals as furniture designers. None of their works came closer to this ideal than the Plastic Chair. For years, they worked on the idea of a one-piece seat shell molded to fit the contours of the human body. In the 1940s, when their experiments with plywood and aluminum sheeting didn't yield the expected results, their search for alternative materials led them to fiberglass-reinforced polyester resin.
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“Getting the most of the best to the greatest number of people for the least”: with these words, Charles and Ray Eames described one of their main goals as furniture designers. None of their works came closer to this ideal than the Plastic Chair. For years, they worked on the idea of a one-piece seat shell molded to fit the contours of the human body. In the 1940s, when their experiments with plywood and aluminum sheeting didn't yield the expected results, their search for alternative materials led them to fiberglass-reinforced polyester resin.
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In 1949, Charles and Ray Eames designed an innovative system of freestanding, multifunctional shelving and desks. Like the Eames House, built around the same time, these designs adhered to the principles of industrial production: we're talking about the Eames Storage Unit (ESU) and the Eames Desk Unit (EDU). In collaboration with the Eames Office and Dutch designer Hella Jongerius, the new colors were carefully defined to give ESU a renewed and contemporary look, but at the same time, pay homage to the spirit of the forties and fifties.
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Charles and Ray Eames are among the most important figures in 20th-century design. Their work encompasses fields such as furniture design, film, photography, and exhibition design. Vitra is the only company authorized to manufacture their products in Europe and the Middle East. If you own an Eames product manufactured by Vitra, you can be sure it is an authentic Eames.
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Designer and engineer Jean Prouvé developed the EM Table in the 1950s for his "Maison Tropicale" project. Following the principles of the "aesthetics of necessity," even the smallest details of this table are determined by its structure. The angled legs are connected by a crossbar that makes the structural forces and stress flow evident, something usually only seen in engineering works.
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The Fauteuil de Salon combines the simple lines of a cohesive architectural object with an exceptionally comfortable seat and backrest. Rediscovered in the archives of the French engineer Jean Prouvé, the armchair has been updated with a range of contemporary colors. With its solid oil-treated wood armrests and the structural aesthetic characteristic of its designer, the Fauteuil de Salon blends seamlessly with other pieces in the Prouvé Collection.
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Charles and Ray Eames transformed their home, the Eames House, into a kind of collage, a collection of diverse objects they brought back from their travels. For over fifty years, a wooden bird stood in the center of the living room, an American craft piece undoubtedly much appreciated by Charles and Ray, as it often appeared as a prop in their photographs.
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The Organic Chair—a small, comfortable reading chair—was presented in 1940, in several versions, at the "Organic Design in Home Furnishings" competition organized by the Museum of Modern Art in New York. The sculptural forms of this design were ahead of their time, although at that time it could not be mass-produced because the appropriate production techniques did not yet exist. It wasn't until 1950 that it became possible to manufacture and market in large quantities curved seat shells with organic shapes, such as the well-known Plastic Armchair by Charles and Ray Eames or the Tulip Chair by Saarinen. There is a version of the Organic Chair with a wider and longer backrest and broader armrests, the Organic Highback chair. The Organic Conference version is also suitable for dining tables. The Organic Conference chair has a higher seat and a more upright back than the Organic Chair and Organic Highback, models designed for reading. This exceptionally comfortable chair is ideal as a dining chair or for use in meeting rooms.
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The original Aluminium chair is one of the great masterpieces of 20th-century design. Created by Charles & Ray Eames in 1958 and produced by Vitra, it has become an icon of modern furniture thanks to its timeless elegance, precise construction, and remarkable comfort. Originally designed for high-end corporate interiors, it remains synonymous with sophistication and prestige in both offices and discerning homes.
Its polished or chromed aluminum frame, combined with a taut, unpadded upholstery that conforms to the body, creates an exceptionally comfortable and durable seating experience. Available in multiple versions (swivel, with or without casters, high or medium back), the Aluminium chair offers a light and refined aesthetic that fits seamlessly into environments with high formal and functional demands.
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The Vitra Aluminium collection is ideal for executive offices, high-level meeting rooms, designer home offices, or management spaces where aesthetics and ergonomics must be equally important. Its presence conveys authority, good taste, and attention to detail without being ostentatious.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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En 1947, el diseñador americano George Nelson recibió el encargo de crear una colección de relojes. Después de estudiar la forma en que la gente utilizaba los relojes, Nelson llegó a la conclusión de que la hora se podía leer según la posición relativa de las agujas, lo que permitía prescindir de los números. Además, como la mayoría utilizaba relojes de pulsera, supuso que los relojes de pared habían pasado a ser elementos decorativos de los interiores. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In the Netherlands, "polder" refers to land reclaimed from the sea through the construction of dikes and drainage ditches. The Polder sofa's body is equally low and flat, emphasizing the horizontal lines. Hella Jongerius selected five color combinations and matching upholstery fabrics for this sofa, accentuated with high-tech yarn and large buttons made of natural materials.
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La Aluminium Chair es uno de los diseños de mobiliario más significativos del siglo XX. La característica más destacada de la Aluminium Chair es la inteligente combinación de sus materiales. El acolchado se fija en los perfiles laterales de aluminio. Así, deja de ser una mera cubierta para convertirse en un elemento que sustenta la construcción. Se adapta al cuerpo, ofreciendo un gran confort incluso sin un costoso acolchado. Vitra has been producing the Aluminium Chair range for decades, consistently maintaining high quality. This experience allows us to offer a 30-year guarantee on all chairs in the Aluminium group.
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The Aluminium Chair is one of the most significant furniture designs of the 20th century. Its most striking feature is the clever combination of materials. The upholstery is attached to the aluminum side profiles, transforming it from a mere cover into a structural element. It conforms to the body, offering exceptional comfort even without expensive padding. Vitra has been producing the Aluminium Chair range for decades, consistently maintaining high quality. This experience allows us to offer a 30-year guarantee on all chairs in the Aluminium group.
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The Aluminium Chair is one of the great furniture designs of the 20th century. Charles and Ray Eames originally designed it in 1958 for the private residence of an art collector in Columbus, Indiana (USA). For its construction, the design duo departed from the traditional shell-style seat, opting instead to stretch a fabric or leather panel between two aluminum frames to create a firm yet flexible seat. The Aluminium Chair, with its fine padding, conforms to the user's body and is exceptionally comfortable. The Aluminium Group includes several distinct models for use in homes, offices, and public spaces. Thanks to the wide variety of models, aluminum bases with polished, chromed, or powder-coated black finishes, and the extensive selection of fabric or leather upholstery colors, the perfect Aluminium Chair can be found for any setting. Vitra has produced Aluminium Group chairs with the same superior quality for decades. This experience allows us to offer a 30-year warranty* on all Aluminium Group chair models.
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Vitra expands its product range by reintroducing the Plastic Armchair with full padding. The organically shaped, upholstered shells offer a high level of comfort and create a welcoming atmosphere. The 13 Hopsak upholstery fabric colors can be freely combined with the eight available seat shell colors. In addition, several bases are available, resulting in a wide variety of individual combination possibilities. The padding is attached to the shell with black or white webbing.
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Vitra expands its product range by reintroducing the Plastic Armchair with full padding. The organically shaped, upholstered shells offer a high level of comfort and create a welcoming atmosphere. The 13 Hopsak upholstery fabric colors can be freely combined with the eight available seat shell colors. In addition, several bases are available, resulting in a wide variety of individual combination possibilities. The padding is attached to the shell with black or white webbing.
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The Cricket outdoor armchair is ideal for furnishing a garden or veranda. Made of painted aluminum and hand-woven synthetic cord, it's available in natural beige or dark brown. This refined design piece has been chosen by international architects and designers to furnish the outdoor spaces of the world's finest hotels and restaurants. The Cricket outdoor armchair is perfect for both contract and private use. The hand-woven cord gives this outdoor armchair an original and elegant design, while the aluminum frame ensures a practical and lightweight seat.
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Armchair with an aluminum frame, seat and backrest available in various textilene colors or VAR#TEX fabric. A version with a corded backrest is also available. This smart armchair perfectly meets the demands of the contract market: it is lightweight yet extremely durable, highly maneuverable, and easy to stack for transport or storage. Suitable for a wide range of casual and restaurant settings, it is particularly resistant to the elements. Highly practical and ergonomically designed, CLEVER balances comfort and convenience.
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Sillón de exterior personalizable que ofrece numerosas combinaciones de asientos, piernas y respaldos y es adecuado para cualquier tipo de situación y estado de ánimo. La carcasa inferior moldeada por inyección caracteriza a este sillón de exterior, diseñado específicamente para resolver diferentes funciones: inserción de las piernas, acoplamiento de correas elásticas, enganche de diferentes tipos de respaldo. Es posible elegir entre patas de aluminio de varios colores o en madera maciza de iroko. El asiento del sillón de exterior Emma está acolchado y puede forrarse con tela o Textilene, mientras que los respaldos tienen una estructura de aluminio con recubrimiento de polvo cubierto con cordón tejido a mano o Textilene. El sillón para exteriores Emma nació para uso en exteriores en entornos privados o contract. Este objeto de diseño moderno también es altamente funcional y tiene un estilo femenino y elegante.
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