Design as a passion, as beauty, that speaks and involves and, year after
year, writes an extraordinary history. Moroso narrates the Italian side
of design since more than fifty years, without renouncing in any new
collection to add a piece to the great mosaic of its history. Thinking
of Moroso, but of design in general, the chair is the first to jump to
mind, the product in which can be identified the discipline of design.
With chairs Moroso has actually created this discipline, hiring the most
talented designers. That is why we had a look at the evolution in the
field, which the company unveiled at the Salone del Mobile 2014. So a
return to absolute essentiality: in Shell, by Benjamin Hubert,
the structure is an abstract volume defined only by a thin wooden frame,
simple and elementary, while the Venetian inspiration for Il Doge,
by Giorgia Zanellato and Daniele Bortotto, translates into a kind of
slightly art nouveau triclinium, adorned only by textiles and cushions.
The 1960s Futurism instead seems to revive in Ross Lovegrove’s projects,
who studies the geometric shapes and molds them: Diatom is an aluminum half-sphere, half of a diatoms skeleton, which with the help of three legs becomes a sitting; Monolith
elevates cube as the archetypal image of stillness and fullness, and
separates it from its origin with net vertical cuts, generating the
empty without denying the full. Absolute comfort in Patricia Urquiola’s
proposal, that with (love me)Tender reaches for softness,
pursuing this way the surprise of the senses, heightened by the
impossible frame which, apparently suspended on the floor, seems to defy