Nuvola armchair, fluid project

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Presented at the 2013 Now! Design à vivre in Paris, the Nuvola armchair by Noé Duchaufour Lawrance is an outdoor seat which derives from the comfortable features offered by its predecessor Calla (which the French designer created in 2010). Both are inspired by organic shapes. “Nothing moves me as much as the contemplation of nature and the emotion that it creates in me,” says the designer. “It’s a sort of compensation for the magnitude and richness of information which floods my setting. I orientate myself, through reaction, towards that which comes closest to structures in the natural world, to its forms, to its power, to the colors and the light which fluctuates to a spontaneous rhythm. I’ve always been bound to the concept of transcribing, in all my projects, the emotions and the organic ties that connect us to the environment. From this awareness the Derby armchair for Zanotta was born, and along the same lines, and in a completely natural way, the Calla armchair. It is with the same confidence (and naturalness) that with Zanotta we decided to reduce the confines between the interior and the exterior of a house, extending the fluid movement of these two successful chair projects to our latest outdoor project, Nuvola. The stylistic reappraisal of the curved body shell made way for an outdoor chair shape that is very comfortable, despite not having padding or springing.” It’s precisely from the challenge of attaining high level of comfort without padding that Nuvola’s strong point was created. “Rotational molding is a consolidated technique in outdoor furniture which makes it resistant, lightweight and easy to produce on a large scale. It’s a way of creating pieces that can be used inside the house as well as outside. What really took a lot of time and effort in the designing of Nuvola was the perception of the chair in relation to its ergonomic structure. Let me explain: how do you make a chair as desirable and elegant as Calla in a material that is rigid or resistant? Calla implicated a whole series of stitching and assembly of different materials, some of which were soft and sprung (which was the same for Derby). With Nuvola, there wasn’t any of this. The solution was to replicate Calla but with a rigid shell, which meant that at Zanotta we were creating a completely innovative and different type of seat. The organic and natural inspiration remained, but the systemic study and production process are completely changed. Nuvola is more agile, deeper and lower; the shape is more ergonomic: it’s as if comfort comes from the form itself and not the material. Also from an esthetic point of view I wanted, along with the Zanotta technical office, to devise a greater sensuality of line: the armchair had to be comfortable and seductive. And since this material doesn’t tolerate errors, concentration on shape and proportion was maximum.”