Mattiazzi

Cugino is an expertly constructed wooden object that is 'not a stool' and 'not a low table', but could in fact be both – Cugino will find its use over time. Konstantin Grcic, who has a history in woodwork, used the opportunity to experiment with the interplay of solidity and void to find a form that is open for interpretation, not given a function from the outset. It is not about structure, it is not about the economy; it is a deliberate departure. It relies on skill with complex joinery, construction, and fine finishing.

Like the wooden branches of a tree, Branca is a design that is familiar to the eye. Designed by Sam Hecht, Branca is made from a single piece of wood, its back legs support the critical joints of the seat and back. The joints are seen as but a part of the seamless nature of the chair and its simple outlines belie the complexity of production. Branca is inspired by wooden branches that turn, twist, meet, and branch off. The result is a comfort to the eye, the body, and to the hand.

Mattiazzi makes furniture in wood. They master the material not only in its traditional form but also using the newest digital production technologies. Medici was born there, on the factory floor where things are physically made. The chair is inspired by the material, by the machinery, and, of course, by the skill and craftsmanship of the people, we worked with. Right from the beginning, I was looking for a distinct grammar for my design, a language that is very true to the material. I like the idea of wood cut into planks which is how it is processed in the first place: the tree is sliced into planks. I like the way a carpenter joins wood, very immediate and direct. The construction remains bare open, plain, and legible. Structure turns into form. Medici is conceived as a low chair with a comfortably reclined posture. Its generous dimension gives the chair embracing confidence. The chair can be imagined as solitary furniture or in small groups. It can be used in private or public, indoors and outdoors.

Mattiazzi makes furniture of wood. They master the material not only in its traditional form but also using the newest digital production technologies. Medici was born there, on the factory floor where things are physically made. The chair is inspired by the material, by the machinery, and, of course, by the skill and craftsmanship of the people, we worked with. Right from the beginning, I was looking for a distinct grammar for my design, a language that is very true to the material. I like the idea of wood cutting into planks which is how it is processed in the first place: the tree is sliced into planks. I like the way a carpenter joins wood, very immediate and direct. The construction remains bare open, plain, and legible. Structure turns into form. Medici is conceived as a low chair with a comfortably reclined posture. Its generous dimension gives the chair an embracing confidence. The chair can be imagined as solitary furniture or in small groups. It can be used in private or public, indoors and outdoors.

Tronco appears to be a very basic chair, its seat formed from planks of wood joined together and mounted on round dowels. It is unlike any of Mattiazzi’s previous designs that have displayed a sculptural softness achieved by mechanically removing material. Instead, Tronco’s character is formed from solid strips of wood in what appears a very elementary construction, yet its simplicity is the result of iterative experimentation and high regard for material honesty. Tronco has surprisingly natural comfort and works well in multiples, not just alone. Its form is modest enough so that it takes on the appearance of "texture" when shown in numbers. Tronco, in effect, creates a terrain of its own in any architecture.

Like the wooden branches of a tree, Branca is a design that is familiar to the eye. Designed by Sam Hecht, Branca is made from a single piece of wood, its back legs support the critical joints of the armrests, the seat, and the back. The joints are seen as but a part of the seamless nature of the chair and its simple outlines belie the complexity of production. Branca is inspired by wooden branches that turn, twist, meet, and branch off. The result is comfort to the eye, the body, and the hand.

Designed by Nitzan Cohen, She Said is an interesting project. Distinguishing chairs with a masculine-feminine variation re-imagines their role, introduces a new dynamic between chairs, and a new form of product development for them.

Primo epitomizes the archetypal chair. Its design comprises only the most basic elements: four legs, a seat, and a backrest. The strictly vertical orientation of its legs gives the chair a strong architectural presence. However, the formal strictness is disrupted by the curved backrest which seems to levitate on the ends of the chair’s hind legs. Standing on its own, primo is distinctively sculptural. Primo’s basic model is made of solid beech. The black lacquered version brings out the chair’s strong and elegant silhouette. All models of the primo chair are stackable.

This was born from mastery. The chair is inspired by the material, by the machinery, and, of course, by the skill and craftsmanship of the people that mattiazzi works with. The construction remains bare open, plain, and legible. Structure turns into form. Medici is conceived as a low chair with a comfortably reclined posture. Its generous dimension gives the chair embracing confidence. The chair can be imagined as solitary furniture or in small groups. It can be used in private or public, indoors and outdoors.

Designed by Nitzan Cohen, She Said is an interesting project. Distinguishing chairs with a masculine-feminine variation re-imagines its role, introduces a new dynamic between chairs, and a new form of product development for them. The top half of She Said reveals the sophistication of Mattiazzi’s manufacturing technologies. The mixture of high and low-tech processes gives the collection a strong identity. She Said is ambitious and restructures the concept of how a family of chairs is composed.

Tronco appears to be a very basic chair, its seat formed from planks of wood joined together and mounted on round dowels. It is unlike any of our previous designs for mattiazzi that have displayed a sculptural softness achieved by robotically removing material. Instead, tronco’s character is formed from solid strips of wood in what appears as very elementary construction, yet its simplicity is the result of iterative experimentation and a high regard for material honesty; it is made with the same extraordinary level of attention to detail that mattiazzi is now known for. With tronco, we remain interested in the frisson between solid panel construction and the truly skilled craft of its making. Mattiazzi could now be considered to be like a well-versed wine maker – each year production matures as their skills develop. And so now it seems the right time to tackle a new level of function for a solid wood chair: stacking 10-high and connecting in long rows. Tronco has surprisingly natural comfort and works well in multiples, not just alone. Its form is modest enough so that it takes on the appearance of ‘texture’ when shown in numbers. It lifts the atmosphere of interior spaces that require many chairs, whether it is a dining hall or a chapel. Tronco, in effect, creates a terrain of its own in any architecture. A range of coloured stains help to bring out the ash grain and add further dimension. We accompany the tronco chair with a table, similarly made and chamfered at the edges so that it can join easily with others. With one or many, tronco evokes solidity rather than frame.

As with many words, Chiaro has several definitions: clear, bright, and straightforward. Chairs by nature are straightforward — the proportions of a seat and back suggest a place to sit, and regardless of their formal language, most of the time we know what to do with them. Chiaro is a straightforward, elegant, timeless chair by Mattiazzi.

As with many words, Chiaro has several definitions: clear, bright, and straightforward.