Ambientes

Para dormitorios espaciosos tenemos esta combinación de suelo de dos secciones con numerosos accesorios como barras de colgar y estantes para zapatos.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Para dormitorios espaciosos tenemos esta combinación de suelo de dos secciones con numerosos accesorios como barras de colgar y estantes para zapatos.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Para dormitorios espaciosos tenemos esta combinación de suelo de dos secciones con numerosos accesorios como barras de colgar y estantes para zapatos.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Para dormitorios espaciosos tenemos esta combinación de suelo de dos secciones con numerosos accesorios como barras de colgar y estantes para zapatos.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Para dormitorios espaciosos tenemos esta combinación de suelo de dos secciones con numerosos accesorios como barras de colgar y estantes para zapatos.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Para dormitorios espaciosos tenemos esta combinación de suelo de dos secciones con numerosos accesorios como barras de colgar y estantes para zapatos.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Para dormitorios espaciosos tenemos esta combinación de suelo de dos secciones con numerosos accesorios como barras de colgar y estantes para zapatos.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Para dormitorios espaciosos tenemos esta combinación de suelo de dos secciones con numerosos accesorios como barras de colgar y estantes para zapatos.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

Following Mies Van Der Rohe's quote “God is in the details”, the classic structure of the Libera armchair is refined with the use of new technologies, achieving surfaces that are pleasant to the touch. The result is an armchair with a strong silhouette and great ergonomics. Another new classic in the STUA collection.

Technical details:

• Legs and shell: the legs of the Libera armchair are made of solid walnut or black-stained ash. The seat shell is made of molded wood. The foam padding is made with layers of different densities for great comfort. The foam is fire retardant.
• Metal structure: the two wooden legs are joined by a black lacquered steel structure. The upholstered seat is installed on this chassis. This metal structure extends the life of the chair.
• Comfort: the angle between the seat and the backrest adapts to the body perfectly. The seat has a decline that makes us feel comfortable. The seat rests on elastic straps. These straps have a 10-year guarantee.
• Arms: the arms are generous and pleasant to the touch thanks to their ergonomic design. There are two options for the wooden structure: natural walnut or black stained ash. The wood is protected with an acrylic layer for great durability.
• Rubber feet: Libera's legs are finished off at the bottom with a rubber foot, which protects delicate floors.
• Upholstery: Libera's upholstery is not removable.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

La mesita de noche suspendida en la pared perfecta. 50 cm de alto y 30 cm de profundidad le brindarán mucho espacio de almacenamiento sin dejar de lucir elegante.

Un sistema de estanterías de diseño escandinavo que solucionará todos tus problemas de almacenamiento. El sistema le permite construir la estantería con la que siempre ha soñado. Cree una estantería única y personal combinando estantes metálicos y de madera. O diviértase jugando con colores y accesorios. Las posibilidades son infinitas. El sistema de estanterías String® es muy conocido por sus característicos paneles de rejilla metálica, diseñados en 1949 por el arquitecto Nisse Strinning con la colaboración de Kajsa Strinning.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

With an intelligent modular system of shelves with a minimalist and light air, Zet invites us to experiment with its shape and visual expression to create a piece that meets our needs. While its possibilities are many, the philosophy behind the Zet system is one: every aspect of the concept, from its geometry to its materials, has been carefully chosen to offer us freedom and simplicity.

No matter how we use our spaces or what we put on our shelves, we all share a desire for that delicate balance between order, functionality, and style. Modern offices, libraries, lounges, shops, cafeterias: there are few settings that don't benefit from having thoughtfully designed support for those essential objects that define them. Whether it's books, magazines, artwork, a unique vase, or conversation-starting keepsakes, our belongings deserve a personalized platform that puts them in the spotlight.

Produced with materials selected for their beauty and durability, the Zet storage system is based on just two components: U-shaped shelves and a metal structure defined by diagonal Z-shaped uprights, to which this system owes its name.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Arne Jacobsen designed the AJ lamp for the SAS Royal Hotel in Copenhagen (now the Radisson Collection) in 1957. Today, the AJ family is considered the design that has made this Danish architect famous throughout the world. In combination with the AJ Royal suspension lamp, the AJ lamp was part of the overall design concept that Jacobsen devised for the hotel. Arne Jacobsen not only designed the hotel down to the smallest detail for SAS (Scandinavian Airlines), but also designed almost all of the hotel's furniture and other utilitarian objects.

The silhouette of the AJ lamp, with its straight lines and its combination of oblique and right angles, is not only seen as a formal parallel to the silhouette of its Series 3300 seats, but also to the very geometry of its buildings. The AJ lamp, in copper and stainless steel, was used in various areas of the hotel. And, like the AJ suspension lamp, it was initially available in light grey, dark brown and black. Since then, new colors have been introduced over the years in homage to the anniversaries of the series. All versions of the AJ lamp have been reintroduced in their original stainless steel version, which reflects its surroundings in true Arne Jacobsen style and underscores this lamp's distinctive minimalist shape and impeccable light output.

*Currently the versions with Midnight Blue, Oxide Red and Dark Green finishes have a delivery time of more than 12 weeks. The rest of the versions within the term indicated above.

Koku is a new range of side tables, created in collaboration with Danish design agency Norm Architects, and inspired by the American and Japanese craftsman, architect and designer, George Nakashima.
Developed in response to Nakashima's sculptural approach to materials and joinery, Koku features a striking combination of solid wood and metal tubes, balancing lightness and elegance with sturdiness and intentionality. The interesting dimensions and proportions of the tables offer a rugged structure below, while the top provides a calm and serene surface.
A charming addition to the home or workplace, Koku is available in several finished sizes.

Koku is a new range of side tables, created in collaboration with Danish design agency Norm Architects, and inspired by the American and Japanese craftsman, architect and designer, George Nakashima.
Developed in response to Nakashima's sculptural approach to materials and joinery, Koku features a striking combination of solid wood and metal tubes, balancing lightness and elegance with sturdiness and intentionality. The interesting dimensions and proportions of the tables offer a rugged structure below, while the top provides a calm and serene surface.
A charming addition to the home or workplace, Koku is available in several finished sizes.

Koku is a new range of side tables, created in collaboration with Danish design agency Norm Architects, and inspired by the American and Japanese craftsman, architect and designer, George Nakashima.
Developed in response to Nakashima's sculptural approach to materials and joinery, Koku features a striking combination of solid wood and metal tubes, balancing lightness and elegance with sturdiness and intentionality. The interesting dimensions and proportions of the tables offer a rugged structure below, while the top provides a calm and serene surface.
A charming addition to the home or workplace, Koku is available in several finished sizes.

Koku is a new range of side tables, created in collaboration with Danish design agency Norm Architects, and inspired by the American and Japanese craftsman, architect and designer, George Nakashima.
Developed in response to Nakashima's sculptural approach to materials and joinery, Koku features a striking combination of solid wood and metal tubes, balancing lightness and elegance with sturdiness and intentionality. The interesting dimensions and proportions of the tables offer a rugged structure below, while the top provides a calm and serene surface.
A charming addition to the home or workplace, Koku is available in several finished sizes.

Koku is a new range of side tables, created in collaboration with Danish design agency Norm Architects, and inspired by the American and Japanese craftsman, architect and designer, George Nakashima.
Developed in response to Nakashima's sculptural approach to materials and joinery, Koku features a striking combination of solid wood and metal tubes, balancing lightness and elegance with sturdiness and intentionality. The interesting dimensions and proportions of the tables offer a rugged structure below, while the top provides a calm and serene surface.
A charming addition to the home or workplace, Koku is available in several finished sizes.

Koku is a new range of side tables, created in collaboration with Danish design agency Norm Architects, and inspired by the American and Japanese craftsman, architect and designer, George Nakashima.
Developed in response to Nakashima's sculptural approach to materials and joinery, Koku features a striking combination of solid wood and metal tubes, balancing lightness and elegance with sturdiness and intentionality. The interesting dimensions and proportions of the tables offer a rugged structure below, while the top provides a calm and serene surface.
A charming addition to the home or workplace, Koku is available in several finished sizes.

Koku is a new range of side tables, created in collaboration with Danish design agency Norm Architects, and inspired by the American and Japanese craftsman, architect and designer, George Nakashima.
Developed in response to Nakashima's sculptural approach to materials and joinery, Koku features a striking combination of solid wood and metal tubes, balancing lightness and elegance with sturdiness and intentionality. The interesting dimensions and proportions of the tables offer a rugged structure below, while the top provides a calm and serene surface.
A charming addition to the home or workplace, Koku is available in several finished sizes.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

The iconic Bollo armchair combines maximum comfort with clean lines. Inspired by the different tubular structures of the armchairs of the mid-20th century, its generous padding envelops and softens the metal structure.

Bollo is the result of an intelligent combination of comfort and precise use of materials. Its wide proportions make it a seat in which you can explore different ways of feeling comfortable; Prefer to tuck your feet under you for an even more relaxed position? There is enough space to be able to do it.

Rising majestically from the ground, the Hashira floor lamp's cylindrical silhouette blends with elements of Western textile lampshades to give the design a familiar feel. The translucent fabric shade not only acts as a diffuser, casting light in multiple directions while creating an inviting, glare-free environment, it also adds a palpable appeal that enhances the softness of any space, both acoustically and tactilely.

MENU's Hashira Collection is a modern Nordic take on traditional Japanese rice paper lanterns. Fusing East and West, tradition and modernity, the luminaires designed by Norm Architects present a perfect balance between simplicity and character.

Rising majestically from the ground, the Hashira floor lamp's cylindrical silhouette blends with elements of Western textile lampshades to give the design a familiar feel. The translucent fabric shade not only acts as a diffuser, casting light in multiple directions while creating an inviting, glare-free environment, it also adds a palpable appeal that enhances the softness of any space, both acoustically and tactilely.

MENU's Hashira Collection is a modern Nordic take on traditional Japanese rice paper lanterns. Fusing East and West, tradition and modernity, the luminaires designed by Norm Architects present a perfect balance between simplicity and character.

Rising majestically from the ground, the Hashira floor lamp's cylindrical silhouette blends with elements of Western textile lampshades to give the design a familiar feel. The translucent fabric shade not only acts as a diffuser, casting light in multiple directions while creating an inviting, glare-free environment, it also adds a palpable appeal that enhances the softness of any space, both acoustically and tactilely.

MENU's Hashira Collection is a modern Nordic take on traditional Japanese rice paper lanterns. Fusing East and West, tradition and modernity, the luminaires designed by Norm Architects present a perfect balance between simplicity and character.

Rising majestically from the ground, the Hashira floor lamp's cylindrical silhouette blends with elements of Western textile lampshades to give the design a familiar feel. The translucent fabric shade not only acts as a diffuser, casting light in multiple directions while creating an inviting, glare-free environment, it also adds a palpable appeal that enhances the softness of any space, both acoustically and tactilely.

MENU's Hashira Collection is a modern Nordic take on traditional Japanese rice paper lanterns. Fusing East and West, tradition and modernity, the luminaires designed by Norm Architects present a perfect balance between simplicity and character.

Rising majestically from the ground, the Hashira floor lamp's cylindrical silhouette blends with elements of Western textile lampshades to give the design a familiar feel. The translucent fabric shade not only acts as a diffuser, casting light in multiple directions while creating an inviting, glare-free environment, it also adds a palpable appeal that enhances the softness of any space, both acoustically and tactilely.

MENU's Hashira Collection is a modern Nordic take on traditional Japanese rice paper lanterns. Fusing East and West, tradition and modernity, the luminaires designed by Norm Architects present a perfect balance between simplicity and character.

Rising majestically from the ground, the Hashira floor lamp's cylindrical silhouette blends with elements of Western textile lampshades to give the design a familiar feel. The translucent fabric shade not only acts as a diffuser, casting light in multiple directions while creating an inviting, glare-free environment, it also adds a palpable appeal that enhances the softness of any space, both acoustically and tactilely.

MENU's Hashira Collection is a modern Nordic take on traditional Japanese rice paper lanterns. Fusing East and West, tradition and modernity, the luminaires designed by Norm Architects present a perfect balance between simplicity and character.

Rising majestically from the ground, the Hashira floor lamp's cylindrical silhouette blends with elements of Western textile lampshades to give the design a familiar feel. The translucent fabric shade not only acts as a diffuser, casting light in multiple directions while creating an inviting, glare-free environment, it also adds a palpable appeal that enhances the softness of any space, both acoustically and tactilely.

MENU's Hashira Collection is a modern Nordic take on traditional Japanese rice paper lanterns. Fusing East and West, tradition and modernity, the luminaires designed by Norm Architects present a perfect balance between simplicity and character.

Rising majestically from the ground, the Hashira floor lamp's cylindrical silhouette blends with elements of Western textile lampshades to give the design a familiar feel. The translucent fabric shade not only acts as a diffuser, casting light in multiple directions while creating an inviting, glare-free environment, it also adds a palpable appeal that enhances the softness of any space, both acoustically and tactilely.

MENU's Hashira Collection is a modern Nordic take on traditional Japanese rice paper lanterns. Fusing East and West, tradition and modernity, the luminaires designed by Norm Architects present a perfect balance between simplicity and character.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Inspired by brutalism, the Post side table plays with shapes to present us with a round and simple but very attractive coffee table. Made of FSC-certified wood, and finished in high-gloss piano lacquer, this original table is available in several soft colors that contrast with its three robust cylindrical legs.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Designed by Ib Kofod-Larsen in 1951 and relaunched by MENU in 2018, the Knitting Lounge Chair is reinvented with a frame in natural oak, dark stained oak or walnut and new upholstery combinations including soft sheepskin, adding a touch modern to this iconic design. The sense of proportion and the incomparable quality of the chair make it a natural choice to incorporate into contemporary interiors. The playful nature of the Knitting Lounge Chair highlights its impeccable design. Named for the cutouts at the elbows that allow for maximum knitting (or reading) comfort, the chair is clearly the work of a master designer.

Offering optimum seating comfort and handcrafted in Sweden by skilled artisans using a careful blend of traditional and modern craft techniques, the Knitting Lounge Chair's masterful proportion and unexpected, sculptural form add character to any room and a sense of space. timeless design of the highest quality.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

Poul Henningsen designed the three screen system in 1925-1926. Together with Louis Poulsen, PH designed the first lamps to use this system for an exhibition in Paris. The collaboration between the two continued until his death in 1967. Throughout his life, PH sought to create direct, glare-free lighting where it was most needed. Additionally, he used incandescent bulbs as a light source to create soft shadows.

The PH 3/2 Desktop is part of the family of three screens, which currently already has 30 lights, including three for outdoor use. Therefore, PH did not just design a light but a whole system; over the years, about a thousand different models have been created. This wide selection included table, floor and wall lamps, as well as a series of chandeliers that were very popular in the 1930s to illuminate private homes with high ceilings. There were endless possible combinations. The lights came in different colors and sizes. The first lampshades were made of metal, with an inner face painted white, gold or silver, depending on whether a diffused, warm or cold light was desired. Later, glass began to be used for the three-screen system. In addition to casting light downward, the glass lamps illuminated the rest of the room.
PH was the first person to apply a scientific approach to light based on the lituus curve. By using a design based on the lituus curve, he achieved an even distribution of light across the entire curve of the screen. This uniform distribution, together with the diffuse reflection through the glass, allowed glare and shadows to be controlled. Each screen reduces the amount of light equally thanks to its distance from the light source.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

The proportions of the Androgyne collection and the mixed materials provide a sense of harmony. The essence of the tables is their duality; elegant, yet powerful; masculine, but feminine. Useful for everything from small restaurant spaces and private dining rooms to display spaces, its sculptural forms add an artistic silhouette to any room.
The collection has been expanded to include a coffee table and a dining table. A celebration of natural materials and honoring the age-old tradition of furniture craftsmanship, the sheen of polished marble against matte powder-coated steel results in a versatile visual identity that is both modernist and industrial. The use of rich, warm oak in the collection's dining table makes an elegant and intriguing combination in both classic and contemporary interiors, aging gracefully over time. The introduction of the kunis breccia stone, an artistic mix of different stones in warm tones, creates a subtle texture and adds a new dimension to the collection with its refined and solid expression.

Characterized by its formal kits and elegant silhouette, Androgyne was originally designed as a side table for Menu's former Showroom, but quickly went into production to be offered to the public. The brainchild of Copenhagen-based Norwegian architect and designer Danielle Siggerud, its blend of the masculine and feminine – true androgyny – is what gives the collection its name.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.

Patera, a work of mathematical art, presents several cells, each of which is expressly formed by the exact angles to offer its characteristic and extraordinary play between light and shadow. Hand-assembled by the experts at the Vejen production facility, each Patera exemplifies the meticulous craftsmanship that guarantees high quality without exception.

This spherical suspension lamp emits a glare-free effluvium of light that is reflected in the small rhombic cells that make up the luminaire. The structure of the lamp ensures that the light does not glare from an angle greater than 45 degrees, while allowing the luminaire to emit a downward directed light and an upward glow, illuminating the ceiling to add ambiance to the environment. The design of each cell shapes the light by creating smooth transitions between direct and reflected light to highlight the incredibly radiant sphere of this pendant lamp.