Alias 500 Segesta Chair in White Lacquered Steel Frame by Alfredo Häberli

Alias 500 Segesta Chair in White Seat and Chromed Steel Frame by Alfredo Häberli Stacking chair with arms with structure in lacquered or chromed steel; seat and back in solid plas...

Alias 508 Segesta Studio Chair in White Lacquered Steel Frame by Alfredo Häberli Height adjustable chair with arms on soft (or hard ***) castors, with 5-star swivel base in lacque...

Alias 501 Segesta Sledge Chair in White Lacquered Steel Frame by Alfredo Häberli Stacking chair with arms with structure in lacqueredor chromed steel; ...

Alias 501 Segesta Sledge Chair in White and Chromed Steel Frame by Alfredo Häberli Stacking chair with arms with structure in lacqueredor chromed steel...

Alias 558 Segesta Chair in White Seat and Oak Frame by Alfredo Häberli Chair with arms with solid oak wood structure. Seat and back in solid plastic material. FSC® certified produ...

Alias 558 Segesta Chair in White Seat and Dark Oak Frame by Alfredo Häberli Chair with arms with solid oak wood structure. Seat and back in solid plastic material. FSC® certified ...

In this listing you will find Postmodern Garden Dining Chairs, model Segesta 501 designed by Alfredo Häberli for Alias. Segesta is a sledge chair with armrests, shell done in structu...

Armchair "Alambre" made of bended steel wire created by Swiss designer Alfredo Häberli. Chair is still in its original condition. The metal elements have never been overpainted. We a...

DS-110/101 armchair by De Sede. Technical details: Standard configuration: Thread color according to the color of the body. For further versions, please inquire. If not specified...

DS-373/01 armchair by De Sede. Technical Details: Standard Configuration: Legs steel, matt nickel bronze-coated. Chair without rotation function. If not specified otherwise, t...

DS-373/12 wide armchair by De Sede. Technical details: Standard Configuration: Legs steel, matte nickel bronze-coated. Chair without rotation func...

Set of six 605 Quinta chairs with a black steel rod frame seat and back in bent perforated sheet metal. Designed by Mario Botta for Alias in 1985 (This chair is no longer in production). The Quinta chair it's an architecture you can sit on, this design clearly shows the inspiration of iconic designer as Le Corbusier, Louis Kahn, and Carlo Scarpa, an exemplary of this iconic chair is also exhibited at the Museum of Modern Art. Mario Botta was born in 1943 in Mendrisio. After working as an apprentice draughtsman for the Lugano-based architect Tita Carloni, he moved first to Milan and then to Venice, where he enrolled at the department of Architecture at the IUAV. He completed his degree in 1969 with a thesis tutored by Carlo Scarpa – after having met Le Corbusier and Louis Kahn, who were later to be sources of inspiration – and returned to Switzerland to open his own professional firm, which at the time dealt mainly with detached family private homes. These included the villas in Riva San Vitale (1971-1973), Ligornetto (1975-1976) and Morbio Superiore (1982-1983), in which Botta treated the theme of the home as a refuge, which protects and reassures its inhabitants. These were buildings with a character that was ironic and, in a certain sense, monumental, obtained for example (in the case of Morbio) through rigorous symmetrical compositions and a particular use of raw concrete blocks set in a linear pattern and alternated with strips of silvered brick which, on the contrary, were set at 45 degrees. Partially dug into the hillside, the villa was also characterised by a theme which was particularly dear to Botta and which had already been explored in Riva San Vitale; the net distinction between solids and voids, the latter appearing to have been dug out of the building. Between 1980 and 1990, Botta associated with artists and intellectuals from all walks of life and took numerous long trips abroad. Together with Gabriele Basilico and Edoardo Sanguinetti, he published “La Casa Rotonda”, and he became friends with Max Huber, Nicki de Saint Phalle, Dante Isella, Harld Szeemann, Robert Frank and Alberto Flammer. In 1986, the MoMA in New York dedicated a solo exhibition to his work, and the Swiss architect received his first contracts for public buildings and from abroad, debuting with the Cultural Centre in Chambéry (1984-1987). In Japan, on a challenging triangular lot of only one hundred and sixty square metres, a space which remained from the opening of a new highway, Botta built a small building which, with its clarity and strength of image, attempted to stand out in the midst of the chaos that surrounded it, thanks to a thick masonry curtain raised on the main façade, in which slabs of grey marble are crossed with horizontal fissures which erode the angles and cancel the perception of the number of floors which make up the museum. The church of Mongo, on the other hand, was the first step in a long series of places of worship, including designs for the churches of Pordenone (1987-1992) and Sartiana (1987-1995), for the cathedral of Evry (1988-1995), for the basilica of Santa Maria degli Angeli on Mont Tamaro (1990-1996, for the Giovanni XXII church in Seriate (1994-2000) and for the Cymbalista synagogue in Tel Aviv (1996-1998). In each of these, light plays a predominant role as a prime generator of space and a measure for the definition of time that passes with the various phases of the day, the months and the seasons. Light is, however, the main symbolic element, representing through its variations the uneasiness of humankind in the face of divine perfection. In this same period, the scheduling for the construction of a new School of Architecture, the Mendrisio Academy, took place. Inaugurated in 1996, it offered an alternative approach to teaching in contrast to the Swiss University system, in which an important role is played by humanistic subjects and by a copious group of well-known international professors: from Rykwert to Benevolo, Burkhart, Campos Baeza, Dal Co, Frampton, Mendes da Rocha...