noguch freeform ottoman
Design Isamu Noguchi,
1946
flannelette, Solid wood
Everything is sculpture. Any material, any idea without hindrance born into space, I consider sculpture."" -Isamu Noguchi
Noguchi 's sculptural style exerted a lasting influence on the whole organic design language of the 1950s. In co-operation with the Isamu Noguchi Foundation, the Vitra Design Museum presents the rare Freeform Sofa which up until now has been impossible to find. This exquisite example of mid-century biomorphic form was designed by Isamu Noguchi in 1946 for Herman Miller. Only a few were made at the time and the rare originals achieve record prices at auction. Made to the exact specifications of the original by the Vitra Design Museum under license from the Noguchi Foundation, the sofa is perfect for living rooms and also ideal for commercial applications in hotels, boutiques and reception areas.
1220 w | 670 d | 370 h
Isamu Noguchi (1904 –1988) was a prominent Japanese American artist and landscape architect whose career spanned six decades, from the 1920s onward. Known for his sculpture and public works, Noguchi also designed stage sets for various Martha Graham productions, and several mass-produced lamps and furniture pieces, some of which are still manufactured and sold. In 1947, Noguchi began a collaboration with the Herman Miller company, when he joined with George Nelson, Paul László, and Charles Eames to produce a catalog containing what is often considered to be the most influential body of modern furniture ever produced, including the iconic Noguchi table which remains in production today. His work lives on around the world and at the Noguchi Museum in New York City.
Vitra is a Swiss company dedicated to improving the quality of homes, offices and public spaces through the power of design. Following in the tradition of Charles & Ray Eames, who have influenced Vitra’s approach to sustainability in many ways, product longevity is central to the company’s contribution to sustainable development; short-lived styling is avoided at all costs. This can be seen most clearly in the classical pieces of furniture that have been used for decades, had several owners and have then even ended up as a part of a collection.
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