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Display Sale
Sella
by
Zanotta
From
1006
1006
Inc VAT
Inc VAT
Frame:
No items found.
Upholstery:
Finish/Colour:
No items found.
Dimensions:
See Spec Sheet
Seat Height:
Variations:
See Spec Sheet
Lead Time:
6 - 8 Weeks
Color Temp:
Dimming:
IP Rating:
Certification:
Irony and attention to the functions are the assumptions on which ‘jugglers’ Achille and Pier Giacomo Castiglioni based their participation in the exhibition Colori e forme nella casa d’oggi, at Villa Olmo, Como, in 1957. This was one of the founding experiences of the Italian design culture, where, as if by magic, a real racing bicycle saddle (Sella) appeared, mounted on a stainless steel column supported by a heavy hemispherical base, capable of a ‘dynamic balance’.
The object was designed as a ‘telephone stool’ for unusual postures and occasional sitting, but besides its clear reference to the world of bicycle races (its colour reminds of the pink jersey worn by the winner of the Giro d’Italia), it recalls the milker’s stool, to be ‘fastened’ to the body with a waist belt, which is made of a very basic top and only one leg, forming the third element required for correct stability, in addition to the two legs of the person sitting on it.
BRAND HIGHLIGHT
When Aurelio Zanotta opened the doors to his eponymous label in 1954, its initial focus was on the production of sofas and armchairs which, at the time, were overwhelmingly the domain of upholstery workshops. But Zanotta’s vision far exceeded the largely utilitarian scope of local upholsterers. Beyond its surface functionality, he recognizedin furniture design a new form of cultural expression—a venerable creative outlet worthy of the same respect afforded to traditional artistic exploits like painting and sculpture.
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DESIGNED BY
Achille Castiglioni
Born in Milan in 1918. As early as 1940 he devoted himself to experimenting with mass-produced artifacts, with his architect brothers Livio and Pier Giacomo. After receiving his degree in architecture in 1944, he and Pier Giacomo initiated their designing career; the poetic was entirely based on “new” forms, techniques and materials. The aim was to attain an "integral" design process.
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