After many years of use, aesthetics of rotational molding should necessarily enter into the second phase of its existence. It couldn’t be but Starck to get rotational make such a step. in the outdoor collection out/in Starck with Eugeni Quitllet, proceeds along two paths: the high chair expands sizes, particularly height, transforming the object into a shell as a bulwark. With the sofa he doesn’t look for the “iconic object”, but he rather adopts sophisticated stratagems, usually intended for “home interiors”, for example the inclusion of essential aluminum armrests. Are this high chair and this sofa, almost functionalist, creating a “collection”? certainly, but outside of the ordinary bourgeois aesthetics of the “all coordinated.
- Width: 77.9 cm / 30.7 inch
- Depth: 76.9 cm / 30.3 inch
- Height: 146.8 cm / 57.8 inch
- Seat Height: 43.9 cm / 17.3 inch
- Indoor/outdoor use
driade was born in 1968 thanks to the joint efforts of a founding group formed by Enrico Astori, the art director who from the beginning defines the product and communication policies; Antonia Astori, a designer who is also the author of the company’s architectural image; Adelaide Acerbi in charge of the brand’s image and communication. since the beginning driade asserts itself for the quality of its creative offer and for an industrial policy heavily geared towards innovation, a synergy of three core designer elements: project planning, execution and advertising. producing furniture and furnishings as individual art objects following the rules of collecting. this is how driade was developed as a factory of art. whilst most other companies today are remembered for one success, one pinnacle moment, for the past 47 years driade has focused on becoming a continuously evolving aesthetic workshop.
Driade Out/In High Chair Designed by:
- Eugeni Quitllet
- Philippe Starck
“I like to open the doors of the human brain” - Philippe Starck
School dropout Philippe Starck jump-started his career by designing two nightclub interiors in Paris in the 1970s. The success of the clubs won the attention of President Francois Mitterand, who asked Starck to refurbish one of the private apartments in the Elysee Palace. Two years later, Starck designed the interior of the Café Costes, in Paris and was on his way to becoming a design celebrity. In quick succession, he created elegant interiors for the Royalton and Paramount hotels in New York, the Delano in Miami and the Mondrian in Los Angeles. He also began to produce chairs, lamps, motorbikes, boats and a line of house wares and kitchen utensils, like his Juicy Salif for Alessi.
During the 1980s and 90s Starck continued his prolific creativity. His products have sensual, appealing forms suggestive of character or personal identity and Starck often conferred upon them clever, poetic or whimsical names (for example, his La Marie chair and playful Prince Aha stool). Starck’s furniture also often reworks earlier decorative styles. For example, the elegant Dr. No chair is a traditional club chair made unexpectedly of injection-molded plastic. While the material and form would seem to be contradictions, it is just such paradoxes that make Starck's work so compelling. Starck’s approach to design is subversive, intelligent and always interesting.
His objects surprise and delight even as they transgress boundaries and subvert expectations. During the 90s Starck has also begun to promote product longevity and to stipulate that morality, honesty and objectivity become part of the design process. He has said that the designer's role is to create more “happiness” with less. For all his fame Starck’s work remains a serious and important expression of 20th century creativity.