We recently hosted a highly successful event in Iași, Romania, to introduce the renowned Swiss furniture brand, Vitra, to the local market of architects and interior designers. The event took place in the prestigious Henry Coandă Room of the Palace of Culture, a historic venue that perfectly complemented the timeless elegance of Vitra’s iconic pieces.

Our guests had the exclusive opportunity to experience firsthand the exceptional quality, innovation, and aesthetic appeal of Vitra’s furniture. Through a series of curated setups, they were able to explore and interact with the brand’s signature designs, including iconic chairs, sofas, and tables.

A special highlight of the event was the presence of Patrizia Bartolini, Region Manager for Vitra. Ms. Bartolini shared insightful information about the brand’s rich history, design philosophy, and commitment to quality craftsmanship. Her expertise and passion for Vitra further enriched the experience for our attendees.

To ensure a targeted audience of architects and interior designers interested in Vitra, we partnered with Medaru Architects, a prominent local design and achitecture firm. Medaru Architects played a crucial role in organizing the event and inviting a highly relevant audience. Their local knowledge and industry connections were invaluable in making the event a success.

By choosing the historic Palace of Culture as the venue, we aimed to create a unique and inspiring atmosphere that resonated with both the heritage of the building and the forward-thinking spirit of Vitra. The juxtaposition of the old and the new proved to be a powerful combination, captivating our audience and leaving a lasting impression.

The event was a resounding success, generating significant interest and enthusiasm among the local design community. We are committed to introducing world-class brands and innovative design solutions to the Romanian market, and this event is a testament to our dedication to elevating the standards of interior design in the region.

This innovative sofa breaks the mold of traditional office furniture, offering unparalleled flexibility and style to create the perfect environment for collaboration, relaxation, and everything in between.

The Anagram Sofa’s true brilliance lies in its modularity. Vitra has meticulously crafted eleven individual modules and elements that can be seamlessly combined to suit the specific needs of your workspace. Whether you require a sprawling sectional for brainstorming sessions or a collection of cozy armchairs for a more intimate setting, the Anagram Sofa empowers you to design the ideal layout.

Sustainable Design for the Eco-Conscious Office

The Anagram Sofa is constructed using recycled materials, a testament to Vitra’s commitment to environmental responsibility. Additionally, the sofa’s covers are conveniently removable and can be cleaned, ensuring a fresh and inviting look for years to come.

A Spectrum of Style to Complement Your Vision

The Anagram Sofa isn’t just about functionality; it’s a design statement. Vitra offers a curated selection of colors and materials to allow you to personalize the sofa and match your unique aesthetic. From soft and inviting fabrics to sleek and modern leathers, the Anagram Sofa seamlessly integrates into any office environment.

Its versatility, sustainability, and style make it an ideal choice for businesses seeking to create a dynamic and inspiring workspace for their employees.

Project1 hosted a vibrant evening during Romanian Design Week, fostering a space for architects and designers to connect and exchange ideas. The event revolved around the ever-evolving concept of workspaces, with a special focus on enhancing collaboration and empowering individuals.

As a company deeply rooted in Vitra’s design philosophy, we were proud showcase our showroom, where almost all of the furniture and accesories originate from the renowned brand. This shared DNA made the evening even more special as we welcomed Ursula Scheuble, Space Planner & Interior Architect at Vitra’s Consulting & Planning Studio (CPS) as a speaker.

Ms. Scheuble, an expert in shaping inspiring work environments, led a captivating discussion on designing spaces that foster collaboration and empower individuals. Attendees gained valuable insights into Vitra’s approach to contemporary workspaces, exploring solutions that empower the planning of future-proof environments. We delved into innovative concepts like the Club Office and dynamic communal work areas, sparking lively conversations amongst the design community.

The Romanian Design Week event proved to be for Project1 a resounding success. It solidified our commitment to fostering a vibrant design scene in Bucharest. The exchange of ideas and the focus on Vitra’s forward-thinking workspace solutions provided a valuable platform for architects and designers to shape the future of work.

We’re excited to continue these conversations and collaborations!

It is well known that nature has a positive impact on our well-being and mood. For instance, taking a short walk in nature can help us relax and quickly enhance our overall health, making us happier, less stressed, and more creative. However, we can enjoy the same benefits even in our workspaces. Biophilic design focuses on the connection between people and nature, creating more conducive environments that also contribute to a sustainable future.

Over the past years, biophilic design has become a popular trend all around the world. This innovative approach to architecture seeks to incorporate natural elements into the design of buildings. By prioritising the innate human need to be closer to nature, biophilic design aims to improve the quality of life.

In fact, biophilic design can be considered an ideal solution for transforming an indoor space into a natural haven. The idea of bringing the outdoors in can be applied in different types of spaces, such as homes and workplaces. In this simple way, architects and interior designers can enhance both aesthetics and functionality of a space.

Nowadays, many companies are embracing this fascinating concept of biophilia and implementing it into their workspaces to ensure a healthier and more inspiring environments, that promote both physical and mental well-being.

By strategically placing plants throughout the office, especially in open office areas or meeting rooms, employees can experience a more focused atmosphere. Plants contribute to a better air quality, absorbing pollutants and releasing oxygen into the environment; they also play an essential role in reducing noise levels, improving the acoustic properties of the workspaces.

Featuring natural elements such as greenery, colours or textures, materials like wood and stones, and high levels of light, the biophilic offices influence employee productivity and satisfaction. Furthermore, biophilic design can boost people’s cognitive performance. For example, a study conducted in 2017 by Harvard University revealed a significant correlation between working in spaces with greenery and increased cognitive functioning. People who worked in green offices experienced an outstanding 26% increase in their cognitive abilities.

Examples of biophilic design

Natural materials can be successfully used in any office design, bringing the magic of nature to interior environments. For examples, wood and stones floorings are aesthetically appealing, highly durable, and suitable for high-traffic areas.

Plants and greenery can transform ordinary workspaces into comfortable places to be in. Moreover, a natural plant wall can make a clear statement in any environment, helping employees to stay in touch with nature. Placing plant pots on desks is a simple yet effective method to bring a touch of nature into the workspace.

Benefits of biophilic design

One of the most important benefits of biophilic design is its capacity to relieve stress. Nature exposure can have relaxing effects on the mind and body, lowering stress levels and boosting general mental health. A green office provides a breath of fresh air, promoting a positive work atmosphere. Besides, a space where employees are surrounded by plants and natural elements can give them the feeling of working outdoors, in nature.

A biophilic office facilitates collaboration, social interaction, and community engagement. It also encourages creativity. Not only does it create a more aesthetically pleasing space, but it also provides a sense of connection to nature, which can drive innovative thinking and problem-solving. This can be very useful in workplaces or public spaces where interaction and communication are crucial.

Biophilic design also has a lot of environmental benefits. Buildings‘ ecological footprint can be reduced by using sustainable materials and energy-efficient technologies. By maximizing daylight in work environments, it is possible to minimize the need for artificial lightning, leading to energy savings.  

The Panton Chair’s curves have become an iconic sight, even though when Verner Panton first proposed the chair to manufacturers in the 1950s, they all considered it a daring concept and even an impossibility. All but Vitra, who embraced the innovative design and, together with Panton, took up the challenge of bringing it to market. It didn’t take long until this revolutionary chair achieved the status of a classic in the history of furniture design.

Did you know that the Panton Chair was the first product developed for serial production by Vitra in collaboration with a designer? In fact, the history of the Panton Chair begins in the latter half of the 1950s, when Danish designer Verner Panton explored the idea of a cantilever chair made entirely of plastic. Shortly after, he began looking for a manufacturer to produce this masterpiece, but most of them did not want to persue this concept.

“Rolf [Fehlbaum, son of the Vitra founding family] came to visit us one day and spotted a prototype of the Panton chair. It wasn‘t stable enough to sit on. Rolf asked: ‘Why isn‘t this chair being manufactured?’ I answered, ‘Fifteen to twenty manufacturers have tried it but have all rejected the project for different reasons.’ A well-known American designer – not Eames – even declared that something like that shouldn‘t be called a ‘chair’– claiming it was not suitable to sit on. Rolf was immediately on the phone to a Vitra technician, Manfred Diebold. […] Without Rolf there would have been no Panton Chair.” – Verner Panton

So, the year 1963 marked the start of his collaboration with Vitra, and the Panton Chair was launched on the market in 1967. It turned out to be a nearly impossible challenge, as the bold contours imagined by the designer had to be reconciled with the physical limits of plastics technology and manufacturing requirements. It involved several years of research, testing, discarded designs and continuous prototype development. The final shape of the chair was the result of ten prototypes made of manually laminated, glass-fibre reinforced polyester. Verner Panton and Vitra developers worked persistently and steadfastly on the project, sacrificing their evenings and weekends.

Since its introduction to the market, it has advanced through several production phases. In 1967, a small pilot series of just 150 pieces was manufactured, using cold-pressed, glass-fibre reinforced polyester. It was the first all-plastic chair to be made in one single piece, with a cantilever design.

Technological advancements in plastics technology enabled Vitra and Verner Panton to develop a version of the Panton Chair in polypropylene at the end of the 1990s. Available since 1999, this version of the chair matches Panton’s original concept: it is produced from durable, dyed-through plastic with a lustrous matt finish. In fact, from its initial design to the latest iterations, the Panton Chair was a work in progress for more than 40 years.

The Panton Chair has received numerous international design awards and is represented in the collections of many prestigious museums all around the world, including Museum of Modern Art in New York. Due to its expressive form, it has become an icon of the 20th century.   Its extraordinary comfort results from the combination of a cantilever structure with an anthropomorphic shape and a slightly flexible material. It can be used individually or in groups and is suited for both indoor and outdoor environments.

Verner Panton was one of the most influential figures in the development of design during the 1960s and ’70s. The Danish designer became known for his inventive, novel ideas for furnishings, lighting and textiles. The masterful use of colour was a hallmark of his work. Along with his experimental approach to forms and colours, he was captivated by the potential of plastic, a novel material at the time.  

Furthermore, Verner Panton’s passion for bright colours and geometric patterns manifested itself in an extensive range of textile designs. By fusing the elements of a room – floor, walls, ceiling, furnishings, lighting, textiles and wall panels made of enamel or plastic – into a unified gesamtkunstwerk, Panton’s interior installations have attained legendary status. The most famous examples are the ‚Visiona‘ ship installations for the Cologne Furniture Fair (1968 and 1970), the Spiegel publishing headquarters in Hamburg (1969) and the Varna restaurant in Aarhus.

Flexible work environments are becoming increasingly popular in today’s business world, due to their numerous benefits. Designed to bring people and technology together in an efficient manner, these spaces – where traditional offices are replaced with practical open areas, shared desks and comfortable seating options – encourage creativity, innovation, communication and adaptability, and can also improve work performance.

The workspaces should be conducive to a pleasant atmosphere. After all, it has been proven that the environment has a significant impact on the mood, sense of well-being and motivation of employees. In other words, a positive work environment is usually a productive, happy and safe environment that prioritises cooperation, engagement and equity. Also, it can be an efficient solution for building a strong company culture that promotes high values and success.

As the world continues to evolve, the importance of designing dynamic spaces in all sectors can not be underestimated. First of all, an agile environment hosts different work modes and a wide range of possible activities. For example, with little effort or financial investment, an office can be transformed into a workshop space or a meeting room into a waiting area. This allows visitors or clients to wait in a comfortable and welcoming space while maintaining the professional atmosphere at the office. At the same time, dynamic spaces can be created in any context and are relevant for all sectors: offices and public spaces, educational or health facilities.

Increased productivity

By creating a motivating and dynamic work environment, companies manage to improve the overall well-being and satisfaction of their employees. A workspace with a flexible design, comfortable furniture and a layout that promotes collaboration among team members, can enhance mood and increase organizational performance.

In fact, an agile workspace offers a lot of benefits, revolutionising the way people work, interact and collaborate. First of all, employees have the opportunity to work in a manner that suits their individual preferences. So, they can effortlessly find the best setup for their jobs.

Usually, when employees feel motivated, they are more likely to be focused on their tasks and collaborate effectively with their coworkers, resulting in higher efficiency and productivity, and an increased customer satisfaction.

Cost efficiency  

With the ability to easily reconfigure the layout and furniture, companies can maximise their space utilization. In fact, an agile workspace reduces the need for individual offices or cubicles (which can be quite expensive to maintain). In this case, companies can save money by optimising their office spaces and only investing in what is absolutely necessary.  

Furthermore, by incorporating flexible furniture and various layout options, an agile workspace can constantly adapt to a company’s changing needs. As the company grows, the workspace can be quickly transformed to accommodate new employees.

A strategy for a better engagement

An agile workspace provides different areas for both individual work and group collaboration. So, in this dynamic and flexible environment, employees can move around, anytime and anywhere, and work in different areas, choosing the most suitable configurations for their needs.

As a result, the engagement of employees will increase in an efficient manner. At the same time, an agile environment promotes a positive work culture that encourages a sense of ownership and autonomy among employees.

Effective team collaboration

In a flexible environment, teams can work together efficiently to achieve common goals. By providing all the necessary resources, an agile workspace facilitates real-time collaboration, creativity and communication.

With open areas and flexible spaces, employees are encouraged to interact constantly and share their ideas. Furthermore, a dynamic workspace provides resources for a better work-life balance, reducing stress and improving mental well-being. 

Flexibility

As businesses evolve, so do their workspace requirements. Nowadays, companies must adapt quickly to changes and respond to new opportunities. In such situations, an agile workspace is a perfect solution, providing an excellent flexibility. It allows for easy reconfiguration of the workspace to accommodate changing team sizes, new project requirements, and work styles. The workspace will remain aligned with the needs of the business, fostering agility and responsiveness.

Micro-architectures for an agile workspace

Comma

As we have said before, work environments must be easily adaptable to changing situations. The simplest solution is an open space that can be configured to suit changing needs. Vitra’s answer was to develop the Comma office system.

“Unlike conventional furniture, Comma is an investment in a flexible office environment that can be continually redesigned. It is easy to create structures and reconfigure them in countless ways with just a basic kit of parts – from individual workstations to shelving, from telephone booths to team benches and workshop spaces.”  – Christian Grosen, Chief Design Officer, Vitra

The office furniture system Comma is an expression of the dynamic spirit of a new generation of entrepreneurs, who wish to challenge the codes and rules of the 20th century and can not relate to the traditional office layout. Users can apply their full creativity time after time and redesign the office environment best suited to their current requirements, without the need for additional tools.  Comma follows the function – and aesthetic – of scaffolding. 

Alcove

The “room in a room” is a concept that Vitra has intensively pursued over many years in collaboration with the designers Ronan and Erwan Bouroullec. In 2006, the idea of mobile micro-architectural elements led to the development of the Alcove family, which has been continuously expanded with new models ever since.

Nearly one-and-a-half metres high, the side and back panels of the Alcove Highback Sofa are padded and covered with fabric to offer effective sound absorption, a casual appearance and inviting comfort. With these characteristics, Alcove was perfectly timed for contemporary offices concepts.

Alcove’s product features extend beyond the properties of a simple piece of furniture: with side and back panels in various heights, Alcove units form rooms within a room, creating ideal spaces for concentrated work or for small meetings.

Soft Work

The Soft Work office seating system embodies Vitra’s expertise from the home, office and public sectors. Instead of creating a working environment centred around desks with peripheral sofas, Soft Work has developed into a system in which table workstations are focused around a seating landscape.

“The workstation is going the same way as the dining room – it’s disappearing as an archetype. The desk has had its day. With mobile technology you need a place to sit occasionally, or a comfortable place to hang out. That’s our belief.” – Edward Barber and Jay Osgerby, British designers

Soft Work offers a versatile platform for both individuals and teams. Besides ergonomic seating options, users also find practical table surfaces, power outlets and charging stations. Mobile tables and chairs can be pulled up as needed and put away again, and the addition of panels creates spaces for quiet, concentrated work. Thanks to its modular concept, Soft Work can be easily assembled into diverse arrangements, enabling architects to structure the internal spaces of a building, create specific focal points, or define flexible public areas.  

Workbays

With Workbays, Ronan and Erwan Bouroullec have developed a micro-architectural system that redefines the working environment and breaks with the typical rigid planning structure of offices. Yet Workbays not only provide office planners with a simple, multifunctional furniture system. They also offer employees the freedom to seek out the optimal environment for the task at hand.  

Thus Workbays create distinct areas where individuals or groups can retreat from the general office environment to carry out specific activities. The units come equipped with everything users need: work surfaces, seating and optional storage and power connections. Workbays respond to the necessity for noise reduction, helping to absorb disruptive sounds in the surround- ing environment. They can spontaneously serve as telephone booths, video conference rooms, reading corners, quiet spots for a coffee break or meeting rooms – without sending participants behind closed doors.

‚Why don’t we make an updated version of the old English club chair?‘ An innocent question initiated the development of an iconic armchair that combines ultimate comfort with the highest quality materials and craftsmanship: the Eames Lounge Chair, one of the most popular furniture designs of the 20th century.

For Charles and Ray Eames, the main goal was to satisfy the desire for a generously proportioned chair that combined utmost comfort with the finest materials and craftsmanship. Furthermore, Charles and Ray Eames had a clear vision of how the seat should feel: warm and soft, like a ‚well-used baseball glove‘.  

So, this spectacular armchair designed in 1956 managed to set new standards: it’s not only lighter, more stylish and more modern than the traditional ponderous club chair, but it’s also more comfortable. Thanks to these important qualities, the Lounge Chair has attained the status of a great classic of mid­century furniture.

Vitra and Eames started to collaborate in the 1950s. Since then, Vitra has produced the Eames Lounge Chair using the same manufacturing methods and premium-quality materials. Nowadays, just as it did 67 years ago, production of this elegant armchair involves 47 different steps, many of which must be accomplished manually. The accurate execution assures the enduring quality that makes the Vitra Eames Lounge Chair last for generations. 

Ever since it was first launched, the Lounge Chair has been manufactured in various configurations, which are now complemented by a white edition and a black edition, with corresponding details. Also, the classic version offers a wide choice of options: different types of wood for the shells, a selection of fabrics, leather grades and colours, and several surface finishes for the base.  

Over the past 60 years, average human height has increased worldwide by nearly 10 cm. In close coordination with the Eames Office, Vitra developed the new larger version so that taller people, too, can enjoy the same exceptional comfort that Charles and Ray Eames intended with their original 1956 design.

Of course, there is almost no other upholstery material that can compete with high-quality leather, known for its longevity, warmth and comfort. In fact, Vitra is using different types of leather according to the product and area of application. Also, leather is a sustainable material and develops a natural patina over the years, lending a unique appearance to each piece of furniture. Furthermore, the tanning agent used for leather is extracted from the leaves of Mediterranean olive trees.

Charles and Ray Eames spent several years trying to find an innovative technique for producing three-dimensionally moulded plywood seat shells that conformed to the human body’s contours. Nowadays, complex industrial techniques are used to produce sheets of wood veneer, which are further processed manually. In most cases, wood from a single tree is utilised for a piece of furniture to ensure the uniform appearance of all surfaces. With only two exceptions, Vitra exclusively purchases veneers with a certificate of sustainability from European producers.

The Eames Lounge Chair is characterized by its durability, quality, timeless elegance and comfort. It’s like a treasure that you can pass on from generation to generation. The interplay of form, upholstery, colour and materials results in an armchair that is today a recognised icon of design history.  Also, the Lounge Chair is ideally complemented by the matching Ottoman.

In 1958, one of the first Lounge Chairs in Scandinavia – if not the very first –  arrived at Birgitte von Halling-Koch’s childhood home in Copenhagen, when she was 15 years old. Over the decades, the black leather of the chair has developed fine creases and veins, and the palisander shells have taken on a lighter shade – changes that are characteristic of natural materials and lend furnishings a patina that reveals their unique history. “It’s hard to resist falling asleep in it – after 60 years it is still so incredibly comfortable. I can not count how many times my parents, my children, my grandchildren and I have nodded off into the land of dreams in that chair. It is a dear treasure of ours, full of so many memories. The quality over the years has been amazing”, said Birgitte von Halling-Koch, actress.

Charles and Ray Eames are counted among the most important figures of twentieth-century design. Their work spans the fields of furniture design, filmmaking, photography and exhibition design. Also, furniture designed by Charles and Ray Eames has been a cornerstone of the Vitra Design Museum collection since its inception. 

Vitra is the sole authorised manufacturer of Eames products for Europe and the Middle East. When you own an Eames product made by Vitra, you know it is an original.

© Vitra

Romanian Design Week is an annual event that enhances design, architecture, creativity, and innovation as catalysts for cultural, social, and economic development. Romanian Design Week aims to foster a vibrant design community, encourage collaboration and exchange, and stimulate the growth of the design industry in Romania. It provides a space to explore new concepts, engage in discussions, and experience the power of design in shaping culture, society, and the economy. 

For the 2023 edition, Project1 collaborated with Vitra and Intro Design to present an exhibition dedicated to the remarkable work of Jean Prouvé. The „Prouvé Roadshow“ exhibition captivated architects, designers, and aesthetics enthusiasts, creating an engaging experience for all RDW attendees. 

The centerpiece of the exhibition was the „Prouvé Roadshow” installation,“ which presented a curated selection of Jean Prouvé’s designs. Visitors were able to explore his architectural masterpieces and visionary creations, experiencing firsthand the transformative power of Prouvé’s designs.  

Stine Liv Buur, Designer Manager Classics at Vitra, traveled to Romania to share her knowledge and insights during RDW 2023. Her presentation shed light on Jean Prouvé’s life, creative philosophy, and Vitra’s collaboration with Prouvé’s family. By highlighting their shared commitment to preserving his legacy and pushing boundaries in design, Stine enriched the exhibition experience, inspiring architects to embrace Prouvé’s spirit of innovation. 

Jean Prouvé (1901-1984) was a French designer and architect known for his significant contributions to 20th-century industrial design and construction techniques. He was recognized for his innovative use of materials, particularly in creating lightweight and durable furniture, prefabricated houses, and architectural structures. Prouvé’s designs often emphasized functionality, simplicity, and structural integrity. His work encompassed a wide range of disciplines, including furniture design, architecture, metalwork, and urban planning. Prouvé’s designs continue to inspire and influence contemporary designers and architects, reflecting his enduring impact on the field of design. 

Vitra recognized the timeless appeal and innovative qualities of Prouvé’s work and sought to preserve and promote his designs. The collaboration involved reissuing Prouvé’s classic furniture pieces, faithfully reproducing them with high-quality materials and craftsmanship. By partnering with Vitra, Prouvé’s designs gained wider visibility and accessibility, allowing design enthusiasts and collectors to appreciate and incorporate his iconic pieces into their spaces. The collaboration between Jean Prouvé and Vitra has helped to preserve Prouvé’s design legacy and ensure that his influential designs continue to be celebrated and enjoyed by generations to come. 

Throughout their participation in Romanian Design Week 2023 and the memorable „Prouvé Roadshow“ exhibition, we experienced the delightful surprise of discovering the deep admiration and love that the Romanian architect community holds for Jean Prouvé.

When a Vitra furniture piece arrives in a home, an office or a public space, it brings not only functionality or beauty, but a long story of innovation and creativity. A story of the designer who, in collaboration with Vitra, starts a seemingly endless development process, filled with trials and errors. A story of a manufacturing attitude where the details are not only details, but a gamechanger in terms of quality. A story that grows more and more beautiful with every space that hosts a Vitra Original, offering its empty canvas as another page.

The French designer, architect and engineer Jean Prouvé created the Standard Chair in 1934. This design essentially exemplifies a fundamental aspect of Prouvé’s numerous furniture designs and architectural works: his unwavering focus on structural requirements.

Prouve’s main achievement was transferring manufacturing technology to architecure – he was both designer and manufacturer of his product ideas. He was born in Nancy, France, and his parents were both artists – Victor Prouve (painter and sculptor) and Marie Duhamel (pianist). Being raised in an artistic circle, Jean grew up surrounded by art. He graduated from Fine Arts School in Nancy and then he worked in a parisian metal workshop before opening his own workshop in 1924. 

In the following years he created numerous furniture designs, and in 1947 he estabilished his own factory. Unfortunately, as a result of some conflicts with the shareholders, Prouve left the company in 1953. In the next decades, he worked as a consulting engineer on an number of important architectural projects in Paris. His eventful career path is the reason why all his creations embody a wide range of ideas, technologies and means of inspiration.

Prouvé’s work encompasses many unique objects in all areas of life, from a letter opener to door and window fittings, from lighting and furniture to façade elements and prefabricated houses, from modular building systems to large exhibition structures – essentially, almost anything that is suited to industrial production methods.

The Standard chair has evolved into one of the most famous classics of the French ‚constructeur‘. The seat and backrest of this understated, iconic chair are available in various types of wood, and the metal frame comes in different colours. Most models had a metal frame and legs, with a seat and backrest made of wood. Other variations were made completely of metal or – especially during wartime and the related metal shortages – entirely of wood. Some had cushions in various materials, or demountable components for ease of transport; the last models with back legs made of aluminium followed in the 1950s.

The load on the back legs of a chair, where it supports the weight of the sitter’s upper body, is greater than on the front legs. This is hardly a surprising discovery, but no other seating design demonstrates this principle as clearly as the Standard Chair: while tubular steel suffices for the front legs, which bear a relatively light load, the back legs are made of voluminous hollow sections that transfer the primary stress to the floor. The profile of the back legs, formed from thin bent sheet steel, resembles an aircraft wing, with the widest measurement at the point where the leg meets the seat frame – that is, where the stress is greatest. The tapered shape of the hollow section from the seat surface upwards simultaneously defines the angle and position of the backrest.

The 1934 model was introduced as Chair No. 4, since it had been preceded by three prototypes; further versions continued to be developed under the name ‘Standard’. Up until the early 2000s, the work of Jean Prouvé was known outside of France to just a small circle of architects and collectors. Although re-editions of his furniture existed, his designs did not find the attention and distribution they deserve.

The colours Prouvé developed for his furniture drew on various references – from his Blé Vert, which describes the colour of young green wheat, to Gris Vermeer, which alludes to the grey tones in the work of the painter Johannes Vermeer. Yet according to Prouvé, who believed in the ‘nature of a material’, only parts in danger of corroding should be painted, which is why he left wooden and aluminium elements in an untreated state whenever possible. However, beyond the practical benefit of rust protection, Prouvé was aware that he could use colours to instil his furniture designs with a certain aura.

After more than twenty years, Vitra completed the collection with new colors and Standard Chair is now available also in colors like Gris Vermeer, Bleu Dynastie, Ble Vert and Bleu Marcoule. You cand also find the Metal Brut variant, in unpainted steel. 

Why does a company like Vitra, who is committed to contemporary design, also continues to produce furniture that was created decades ago? Because some designs from the past remain unsurpassed and have lost none of their vitality or relevance. Notable examples include the work of Charles and Ray Eames, Alvar Aalto, Ludwig Mies van der Rohe, Marcel Breuer – and likewise Jean Prouvé.

The term “original” has nothing to do with the production date. The status of an original is determined by the relationship between the designer (or rightful heirs) and the manufacturer of the designer’s products. There is not only a legal component to this relationship, but also an immaterial one based on shared ideals and mutual cooperation.

For any product to be designated as an “original“, the originator of the design must have given the manufacturer the legal authorisation to produce it. Anyone who produces a design without legal permission is appropriating property that belongs to someone else. This applies not only to the manufacturer, but also to the consumer who buys an unlicensed product.

Invest in an original, for it will always retain its worth. An imitation will never be anything but a copy, a stolen idea. Appreciate the differences – not just the quality and more obvious variances but also the sensory and emotional appeal of the authentic product. An original is a lifelong companion and may well outlive you to be gratefully received by the next generation.

In celebration of International Women’s Day, we are bringing in the spotlight Hella Jongerius – one of the most appreciated female contemporany designers. As one of the contemporary designers in the Vitra gallery, Hella brings a playful vision to the universe of the brand. Her passion for colors is easy to see in all the products she creates.

Hella was born in 1963 in a small urbanized village in the province of Utrecht, Netherlands. She founded Jongeriuslab – her own studio, in Rotterdam, after graduating the Design Academy Eindhoven. Over the years, Hella created for major clients like Maharam (New York), KLM (Netherlands), Ikea (Sweden), Camper (Spain) and, of course, Vitra (Switzerland). 

For Vitra, the Dutch designer has developed distinctive pieces such as the Polder Sofa and the East River Chair. Jongerius has consistently addressed the significance of colours and surfaces in contemporary design in her work with textiles, ceramics and furniture. She has been the Art Director for colours and materials at Vitra for many years and developed the Vitra Colour & Material Library – a system that enables the versatile combination of different materials and colours throughout the extensive Vitra product collection. Hella Jongerius has also written a book about this complex task entitled «I Don’t Have a Favorite Colour».

Works by Hella Jongerius have been shown at museums and galleries such as Design Museum (London), Galerie kreo (Paris) and the Moss Gallery (New York). ‘Breathing Colour’ is the title of one of the Hella Jongerius latest exhibitions. It is an investigation of the Dutch designer’s theories and concepts about colour, illustrating such phenomena as the relationship between colour and light over the course of a day.

In a recent interview for Vitra Magazine, Hella Jongerius shares some of her thoughts on the project.

„Colour touches so many different aspects of design: words, shapes, materials, physics, space, light. The experience of colour is completely dependent on its physical, visual, artistic and cultural context. What is the relationship between form and colour? When does a colour lift up a shape and give it a new dimension? What is the role of shadow? (…) With this exhibition, I want to make a plea for colours that breathe. I still have the impression of being an absolute novice when it comes to colour. Even though I have already learned a great deal, I still can’t really get my head around the subject. Colour is one of those truly wonderful topics that will always keep you feeling like a beginner. It is this quality that makes colour so worthwhile – just like life itself.”

In the world of Vitra, love is one of the strongest sources of inspiration – Alexander Girard and Verner Panton are two of the Vitra designers who used symbols of love in their creations.

The heart shape is recognized all over the world as the main symbol for romantic love. One theory says that the heart shape comes from the leaves of a plant called siphium, which was considered a key component for a love potion used by the romans. The heart shape is also associated with St. Valentine, the saint who continued to perform marriages for young lovers in secret, despite the Emperor Claudius II order, with the price of his own life. 

Alexander Girard, known for textile design, but also admired for his work in the areas of furniture design, graphics and interior architecture, used the heart shape as a recurring pattern. Being one of the most frequent symbols in his work, the heart is used on textiles, cushion covers, as a decorative wall element and also as a print on mugs and trays. Alexander Girard’s International Love Heart is a quintessential representation of who he was, both as a designer and as a person.

Originally created in 1961 for the Textiles & Objects shop in New York City, this design speaks to Girard’s passion for typography, graphics, language – and above all, the universal sentiment of love. It strikes a balance of being clean, bold and concise, and at the same time soft, romantic and winsome. Girard constantly wove messages of peace, love and understanding into his work without ever succumbing to kitsch or sentimentality, and the International Love Heart is a perfect example. Comprising the word ‘love’ in many languages, including romanian, this unique heart-shaped design also bears witness to Girard’s lifelong fascination with global dialects.

The motif was part of a larger range of designs that Alexander Girard created for printed pillows made of cotton and linen. The International Love Heart was later displayed in the form of a wooden wall decoration in The Compound restaurant, which Girard designed in 1966. Along with the interior of his private home in Santa Fe, New Mexico, The Compound restaurant was one of just a few local works. Unlike most of Girard’s richly ornamented and sumptuously coloured collages of patterns and objects, the detailing and furnishings in The Compound are characterised by a simpler, more rural charm. With its calligraphic lettering painted in black on a plain white background, this decorative wall object contributes to a lovely, warm atmosphere for the guests who dine there.

In 1967, Alexander Girard further developed the idea of the International Love Heart in his design of a textile that used the same distinctive letters, repeating them in a never-ending love pattern. Other examples of heart motifs by Alexander Girard are his famous Love Heart and a vast variety of double hearts, often referred to as ‘Sansusi’ – the combined nicknames of Girard (Sandro) and his wife Susan.

Another designer inspired by love symbol – the heart, is Vernon Panton. Verner created numerous designs for seating furniture and lighting and is known for his passion for bright colours and geometric patterns. Panton’s collaboration with Vitra began in the early 1960s, when they jointly developed what became his best-known design, the Panton Chair, which was introduced in 1967. This was also the first independently developed product by Vitra. But another iconic chair created by Verner Panton in 1958 is the Heart Cone Chair. This one takes its name from the expressive, heart-shape silhouette of its seat shell. The chair combines a comfortably upholstered seat with an understated elegant base made of satin stainless steel. 

Vitra’s re-edition of designs by Panton, as well as the retrospective of his work mounted by the Vitra Design Museum in 2000, bear witness to the special relationship between Vitra and Verner Panton. 

Love is the energy that makes the world spin around. Find love in everything that surrounds you – Happy Valentine’s day!

Christmas and winter holidays have always been inspiring for designers and for artists, in general. The cozy atmosphere, the bright decorations, the joy of giving and the symbolism of Christmas carols are some of the elements that invite creativity. The Vitra universe is, through the unique visions of some of the designers, a gateway to the magic of Christmas.

Alexander Girard, one of the leading figures in American design during the post-war era, created a series of images which fit perfectly into the festive atmosphere. Vitra, in cooperation with Girard’s family, selected those images to create bright decorative pendants manufactured from golden metal, which can be used to decorate the tree and also some areas in the house. The Girard Ornaments with Heart, Dove, Angel, Star or Moon motifs can be great Christmas tree decorations, but you can also offer them as a gift for the loved ones. 

Girard grew up in Florence, Italy, and his childhood was marked by church ceremonies such as the nativity scenes, but he was mostly inspired by the Christmas tradition of bringing people together to celebrate life and creation. The winter holidays held a special place in his heart – a reason why the designer’s creations evoke elements specific to Christmas.

His grandchildren remember the joy and enthusiasm that their grandfather had when it came to Christmas presents. Alexander Girard manufactured the gifts for the loved ones himself, instead of buying them. Wooden cabinets, engraved bangles, paintings and all kind of boxes (made from different materials like stone, wood, brass) – these are just a few examplaes of objects made by Girard for his wife, kids and grandchildren. He would also hand-drawn cards for every member of his family. Wrapping Christmas presents was also important to Alexander. 

„For us as grandchildren, Christmas Eve was the most magical time. Stacks of boxes robed in sheets of white tissue, each one bound with a different, vibrantly coloured ribbon. Tiny paper cards with the familiar round handwriting indicating which package was meant for each of us. Seeing these gifts gathered round the base of the tree and the anticipation of what might be inside almost outweighed the excitement about the actual gift within.” – Aleishall Girard, granddaughter of Alexander Girard

Charles and Ray Eames, the iconic couple that shaped the values and voice of Vitra, moved in the Eames House on Christmas Eve. The Eames House was built in 1949 by the couple in order to serve both as their home and a studio, during a Case Study House program conceived by the magazine Arts & Architecture, which challenged architects to design progressive, but modest houses. The two spent the first hours in what would become their forever home, hanging decorations from the living room ceiling and decorating the Christmas tree.

Over the years, the Eames House was constanly enriched with new decorative elements and also with their own furniture designs. The house became a playground for the couple, who was convinced that it is important to experiment in order to learn and grow. But of all the periods of the year, the house always looked best at Christmas. Charles and Ray Eames imagination had no limits when it came to Christmas. One year, the couple made a Christmas tree from upended plywood chair legs, decorated with lit holiday candles. 

Just like Alexander Girard, Charles Eames also loved to send Christmas cards made by him, with various illustrations and wishes for loved ones. With a few markers and a sheet of paper, Charles would make true works of art to be gifted during the holidays. Churches, animals, houses and landscapes – all these elements inspired him in the process of creating the hand-drawn cards. 

In the Vitra Universe, Christmas is all about family, quality time spent with loved ones, and creating lifelong memories, but it is also about the beauty that surrounds us, the joy brought by art and handmade gifts with a strong personal touch. 

Merry Christmas from our Project1 family, to yours!

Images: 

Charles & Ray Eames, Timothy Street-Porter, © Eames Office, LLC

© Eames Office, LLC, 2017; © Studio Girard, LLC, 2017  

As the entire world moves towards a production and consumption behavior that shows as much respect for resources and the planet as possible, sustainability is a topic that has gained importance and makes us wonder to what extent we can be part of change.

Vitra is one of the European brands that have innovated since their inception, with an undeniable emphasis on the quality of design and its role in making people’s lives better, in all respects. We spoke with Christian Grosen Ramussen, Chief Design Officer at Vitra, about how sustainability is viewed today in the brand’s design and production strategy.

Q: Sustainability is not a new concept in Vitra’s philosophy. But how do you see, from within the company, the attention paid by customers today to sustainability, compared to 5 years ago?

Christian Grosen, Vitra: The attention paid to sustainability is becoming more and more important and we strive to inform our customers in the best possible way about our products so that they can make informed choices.

At Vitra, we are proud to say that 97% of our products are manufactured in Europe and we are putting great care and attention in ensuring that the majority of our materials is sourced as close as possible to our manufacturing facilities. We have developed long-lasting partnerships with our suppliers, many of which have worked with us for decades. Sustainability at Vitra is not a project, but a corporate attitude that finds expression in every aspect of Vitra’s work.

Q: Tip Ton is probably the star product of Vitra from the perspective of sustainability, especially due to the new Tip Ton RE model. What other products should we turn our attention to in light of the sustainable way in which they are designed and produced?

Christian Grosen, Vitra: All our products can be considered sustainable in the sense that they are all conceived with longevity in mind. They are not part of the throwaway culture and are made to last for generations.

Tip Ton RE was the first chair we launched manufactured from upcycled household waste, and it has already been followed by a series of products manufactured from recycled plastics such as: Toolbox RE, Uten.Silo RE and many others will follow in the next years.

Q: All Vitra products are based on the belief that a furniture product must be able to ensure the longest possible use. But how is this inclination towards the quality built to last, combined with the speed in which the market evolves from month to month? Do people still choose products to use for decades or do they prefer to change their furniture frequently as new technologies and materials emerge?

Christian Grosen, Vitra: We have observed a rise in the demand for home products throughout the Corona pandemic, as people had to spend so much more time at home, they started noticing how important the quality of materials and aesthetic was. We believe that the pandemic has made many of our customers more aware of the importance of longevity, quality or materials and craftsmanship.

Q: To what extent does Vitra aim to facilitate the recycling and disposal of used products worldwide? Are concepts like ‘Vitra Circle’ or ‘Yellow bag’ feasible for Vitra customers around the world?

Christian Grosen, Vitra: We are continuously looking for the best options to make our products as durable as possible, so that they only have to be recycled after 30 or even 50 years of use, or can be repaired and passed on from one generation to the next. That said, we are factoring recyclability in all our products by ensuring that they can be easily separated into different parts at the end of their lifecycle.

We also offer take-back programmes for some of our products, which cannot be recycled in the traditional recycling yard such as the Eames Fiberglass Chair. We have three Circle Stores so far, near Frankfurt, Amsterdam and Brussels and plan on opening more in the future. The Circle Stores contribute to the circular economy by selling used items from exhibitions, trade fairs and showroom presentations, thus bringing them back into circulation, giving the products a second life. They also offer repair stations, where used products can be brought back and repaired by specialists.   

Q: We know that at Vitra nothing is rushed, and this also applies to the development of sustainable products. What are the main aspects that the company has in mind when it aims to launch new products? Is sustainability always taken into account?

Christian Grosen, Vitra: Sustainability always plays a central role with the development of our products. Our goal is to develop products, which are durable, and ecologically sound and that embrace the principles of a circular economy.

One recent example of this approach is our new office system Comma. It is a very robust system with a long service life, which is further extended by its reconfigurability. It can be easily dismantled into individual parts that are easy to separate and recycle. The felt panels are made from upcycled single-use plastic, which is cradle-to-cradle certified.

Beyond this example, we are working hard on making our products even-more durable, by replacing certain materials for more sustainable options or by ensuring the product can be easily dismantled and its part recycled at the end of its life. A good example here is the ID Cloud task chair, some configurations of which are 100% recyclable.

At the core of everything we do is our belief that we build homes for the companies we work with. We are proud to create spaces that translate a brand culture into an environment ready to host teams of high-performance professionals.

So when it came to building our own home, we couldn’t come up short.

The Project1 headquarters in Bucharest is designed to intertwine the functionality of an office with the look and feel of a showroom. As Vitra represents one of our main sources of inspiration, we became the largest dealer showroom in Eastern Europe, an embodiment of everything Vitra stands for: tradition, quality, innovation. Iconic and recently-released Vitra designs are combined seamlessly with amazing pieces created by a carefully curated handful of other brands we are proud to call our partners: Occhio for lighting accessories, ShawContract and Dinesen for incredible flooring solutions, Walter Knoll for furniture and accessories, and more.

Different areas tell different stories as they have been created with certain objectives in mind: individual focused work, teamwork and collaboration, networking and leisure time, meeting rooms. This setup helps us showcase many of our solutions in a way that allows visitors to better envision their own space.

There is no room for compromise in our universe.

Placed in one of the iconic office buildings in Bucharest, in very beautiful surroundings, the Project1 headquarters is a hive that bursts with creativity, trustworthy experience and the enthusiasm of a growing team, all in search of excellence. As one of our values states, the Project1 team members are The Best People, a vibe you immediately catch upon entering our space. We selected the best, both in terms of people and products that inspire us. There is no room for compromise in our universe.

Our showroom is an open invitation to the world of excellence. An office-museum, which invites you to sit down, to touch, to admire, to listen to stories.