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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.
¿Dónde y cómo encaja la silla Aluminium?
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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