Design is a kind of "infinite story", made of words and paths that intertwine with one another. Each of us probably always designs a unique, ideal piece of furniture, developing a dream of perfection within, and producing different simulacrums of it in ti
me. CLAY, COLBERT and CONNOR represent a new fixed point in Antonia Astori's narrative about apparatus for the home. Mutatis mutandis, from the initial definition of an infinite system of possibilities, as Oikos was in 1972, we have reached the refined ju
xtaposition of modules that are splendidly finished in themselves (one notes the elegant relationship between solids and voids, horizontals and verticals). Once assembled, however, they acquire another identity. CLAY, COLBERT and CONNOR are precisely this
: polished words that compose sophisticated phrases. And in doing so, they articulate and distinguish their meaning.
In each of the three elements, one can see how apparently simple details, which in reality are highly refined, such as the shoulders a
nd backs that project out from the vertical planes, or the existence of a middle axis of symmetry, make it possible to jump from the unitary element to the composition. This composition is then completed with pieces already present in the Driade collectio
n such as the Virginia writing desk, the Eileen bookcase, the Cotton TV/DVD console, the Florence and Fay cabinets and the Chester set of drawers, giving rise to a true family.