by Anna Moldenhauer | 7/12/2019
Much work has been done in the area of storage furniture, an area which is frequently treated with all seriousness since the very idea of arranging, organizing, rationalizing is often stripped of all poetry. Here, the idea is to work on the archaism of space by bringing in a detail, an indicator, a distinguishing mark which confers on the overall piece a certain softness, a lightness which works in opposition to the rationality of the forms themselves. Sideboards, a chest of drawers, podiums, low and occasional tables: if each element responds thus to problems of a functional nature, a strong imprint of true emotion still remains, as one might expect from the designs of Noé Duchaufour-Lawrance. An emotion created by the interaction of the curved and the straight, by the choice of materials and by the exactness of the proportions. For those who often compare his approach to the ‘niwa’, the little garden which can be found at the heart of the traditional Japanese house, it is quite natural that the name ‘Estampe’ was chosen for these pieces. Like the ‘floating world’ depicted by Hiroshige or Hokusai, Estampe is essentially a representation of daily life, showcased by the softness of the design. The principle of the top itself, on the top of each piece, which seems to float in a solid frame, bring a certain movement, a vibration to the overall piece. Combining elegance, sobriety and finishing details, Estampe is characterized by:
|Cupboard front finish||swinging double door frontage|
|Colors||shades of grey|
shades of brown
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