Lunule chair is a combination of strength, beauty and practicality. It is made of wooden frame and soft foam cushion for the seat and backrest. The cushions are covered with leather lining and all the screws are designed to be hidden. The chair pushes the boundaries and introduces a new use of chair by converting to a stool by removing the backrest. Ergonomics has been considered in the design of chair. It is suitable for people who are sitting cross legged.
This seating is meant to be a statement as well as a design solution. It embraces community involvements and conveys a much-needed message of happiness to encourage positivity in a city that repeatedly fell short on the global ranking of happiness level. Infused with cultural references (origami, paper-cutting) drawn from the designer’s mixed (Japanese-Chinese) heritage, the seating has also adopted Sun Chan's Chinese character art motifs as the designer’s tribute to her beloved late father who departed the same year she was commissioned this project.
In the design of this library, Persian architecture and its identity which is based on symmetry and geometric elements has been used. The design is also inspired of Orsi windows form and function, and hence made the feelings of order and endurance in the space of house by mixing tradition and modernity.
Arc Armchair was inspired by the modern architectures and the ponderation of space design on how to composite structures that are not over-decorated and form a new pattern that is elegant and enchanted. This is an outstanding armchair made out of hardwood with overcome various of structural challenges and woodcrafting techniques. The armchair is comfortable with its own personality, lay back, light in weight and with a pretty structure and appearance.
Whether ancient or contemporary, the column is a shape always present in the architectonic imagery. Inspired by it, the Cilindro produced by Levira, due to the fact that it articulates in two semi-cylinders, allows one of the halves to be constituted as a container, while the other half, by lifting to a horizontal position the plane that closes it can become a working surface. This surface has on its bottom face a telescopic tubular leg which folds through a small mechanism, allowing the horizontal positioning of the plane that constitutes the work surface.
This design is a new Chinese-style writing desk, according to the principle of Ergonomics, which integrates the Chinese Han Dynasty QiaoAn form into the writing desk design, in order to have its novel shape, reasonable function, smooth lines. The connection between the tabletop with chair face and table or chair legs is cast iron and the rest is made of the Red Oaks. Combining the new Chinese style and the metal elements with the minimalistic wind reflect the functional comfort and the rationality of the material use.
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