Latest news with #Thonet
Tatler Asia
27-05-2025
- Business
- Tatler Asia
7 designer dining chairs that you'll recognise from restaurants and dining rooms
Thonet Bentwood chair No 14: The pioneer of mass-produced restaurant seating Above Thonet Chair No. 214 in matte black with a cane seat—showcasing the chair's signature steam-bent curves and lightweight construction (Photo: Thonet) Above Contemporary interpretations of the Thonet Chair No. 214 in bold red, featuring woven cane seats and backs, demonstrate the design's adaptability to modern colour palettes (Photo: Thonet) Introduced in 1859 by Michael Thonet, the Bentwood Chair No. 14 revolutionised furniture design and manufacturing. It was the first chair to be mass-produced using steam-bent beechwood, a technique that allowed the wood to be shaped into elegant curves without compromising strength. This innovation made the dining chair lightweight, durable, and affordable—perfect for the bustling cafés and bistros of 19th-century Europe. Photo 1 of 4 A serene modern dining room featuring Thonet's classic bentwood chairs in a natural finish, highlighting their timeless elegance and versatility in contemporary home interiors (Photo: Thonet) Photo 2 of 4 Thonet Chair No. 14 in a classic dark finish with a natural cane seat—an enduring icon of café culture and restaurant interiors worldwide (Photo: Thonet) Photo 3 of 4 The timeless silhouette of the Thonet Chair No. 14, pictured against a weathered stone wall, highlights its minimalist elegance and universal appeal (Photo: Thonet) Photo 4 of 4 Thonet chairs in rich dark wood line the tables of a bustling restaurant, demonstrating their enduring popularity and iconic presence in hospitality settings worldwide (Photo: Thonet) By 1930, over 50 million units had been sold worldwide, making it one of the best-selling chairs in history. Its simple yet graceful design, featuring a round seat and curved backrest, became synonymous with café culture, especially in Vienna and Paris. The chair's stackability and ease of repair further contributed to its popularity in commercial settings. Today, it remains a timeless classic, produced by Thonet with minimal changes, and continues to be a staple in restaurants and homes alike. See also: Luxury car brands transforming skylines: How Porsche, Bentley and Bugatti are redefining ultra-luxury living Hans Wegner Wishbone Chair: Scandinavian elegance meets craftsmanship Photo 1 of 6 A black Wishbone Chair by Hans J. Wegner pairs with a minimalist oak dining table—an enduring icon handcrafted by Carl Hansen & Søn since 1950 (Photo: Carl Hansen & Søn) Photo 2 of 6 The Wishbone Chair's sculptural silhouette stands out against natural wood interiors, showcasing its blend of Danish craftsmanship and timeless design (Photo: Carl Hansen & Søn) Photo 3 of 6 A natural-finish Wishbone Chair adds understated elegance to a contemporary dining nook, its hand-woven paper cord seat a hallmark of quality (Photo: Carl Hansen & Søn) Photo 4 of 6 A Scandinavian-inspired dining space featuring natural oak Wishbone chairs around a circular table (Photo: Carl Hansen & Søn) Photo 5 of 6 The handwoven paper cord seats and sculptural oak frames of the Wishbone chairs create an elegant contrast against textured stone walls (Photo: Carl Hansen & Søn) Photo 6 of 6 The architectural beauty of a single Wishbone chair is highlighted against dramatic concrete arches (Photo: Carl Hansen & Søn) Designed in 1949 by Danish master Hans Wegner, the Wishbone Chair (CH24) is celebrated for its distinctive Y-shaped backrest and hand-woven paper cord seat. Inspired by traditional Ming dynasty chairs, Wegner combined Eastern aesthetics with Danish craftsmanship, creating a chair that is both lightweight and sturdy. Above Side view of the Wishbone Chair reveals its signature Y-shaped back and graceful curves—each piece assembled and finished by hand (Photo: Carl Hansen & Søn) Above A striking collection of Wishbone chairs is displayed in various finishes—from classic natural oak to contemporary colored frames in sage green, navy, and burgundy (Photo: Carl Hansen & Søn) The chair's organic curves provide ergonomic support, while the natural materials offer breathability and comfort, key qualities for restaurant seating. Originally commissioned for a Copenhagen restaurant, its elegant simplicity quickly caught on globally. The Wishbone Chair is still handcrafted today by Carl Hansen & Søn, involving over 100 steps, including the meticulous hand-weaving of approximately 120 meters of paper cord for each seat. Don't miss: Home tour: An elegant Mediterranean-inspired residence in Malaysia Marcel Breuer Cesca chair: A Bauhaus revolution in restaurant seating Above A classic Cesca chair showcases Marcel Breuer's revolutionary cantilever design, featuring hand-woven cane seat and backrest paired with polished chrome tubular steel frame (Photo: Knoll) Above Cesca chairs strike the perfect balance between Bauhaus functionality and contemporary comfort with added seat cushions (Photo: Knoll) Designed in 1928 by Hungarian-American architect Marcel Breuer, the Cesca Chair was one of the first to combine tubular steel with a cane seat and backrest. Inspired by bicycle handlebars, Breuer's cantilevered design eliminated rear legs, creating a chair that appeared to float, offering both flexibility and visual lightness. Above A dining room featuring six Cesca chairs around a sleek black Tulip table demonstrates how this iconic 1920s design adapts beautifully to modern interiors (Photo: Knoll) Manufactured initially by Michael Thonet and later by Knoll, the Cesca Chair is considered a Bauhaus icon and is part of the permanent collection at the Museum of Modern Art in New York. Its blend of industrial materials with traditional craftsmanship made it ideal for restaurants seeking modern, durable seating. The chair remains in production today, available in various finishes and configurations. Read more: 7 concrete masterpieces: The world's most striking Brutalist hotels now Arne Jacobsen Series 7 Chair: Minimalism and versatility in dining Above Classic cognac leather Series 7 chairs are one of the most successful furniture designs since their 1955 debut (Photo: Fritz Hansen) Above A detailed view of a black Series 7 chair reveals the sophisticated wood grain texture and seamless curves (Photo: Fritz Hansen) Introduced in 1955, Arne Jacobsen's Series 7 Chair is celebrated for its sleek, curved plywood seat and lightweight, stackable design—qualities that have made it a staple in restaurants and dining rooms worldwide. Manufactured by Fritz Hansen, it remains in production today, offered in a wide range of colours and finishes. Photo 1 of 3 A modern café setting showcases the versatility of Arne Jacobsen's Series 7 chairs in multiple colourways—sage green, cream, and forest green (Photo: Fritz Hansen) Photo 2 of 3 The Series 7 chairs by Arne Jacobsen have a revolutionary moulded plywood construction and elegant silhouette (Photo: Fritz Hansen) Photo 3 of 3 Soft pink Series 7 chairs demonstrate how Jacobsen's iconic design adapts to contemporary colour palettes while maintaining its mid-century modern appeal (Photo: Fritz Hansen) Beyond its practical appeal, the Series 7 Chair has gained cultural significance, frequently appearing in films, television, and photo shoots. Its minimalist form and timeless silhouette make it a favourite among set designers and photographers seeking to evoke modern elegance and mid-century style. See also: 5 female patrons who revolutionised modern architecture Charles and Ray Eames DSW Chair: Mid-century innovation meets everyday comfort Photo 1 of 3 Classic white DSW chairs which resulted from Charles and Ray Eames' extensive research into mass production techniques and human comfort (Photo: Vitra) Photo 2 of 3 The stackable moulded shell and lightweight construction of the Eames DSW chair were originally developed for Herman Miller's low-cost furniture initiative (Photo: Vitra) Photo 3 of 3 Vibrant emerald DSW chairs demonstrate the design's adaptability in contemporary kitchens with the one-piece moulded construction and four-leg wooden base configuration (Photo: Vitra) Launched in the early 1950s, the Eames Dining Side Wood (DSW) Chair is one of the most iconic pieces of mid-century modern design. Created by Charles and Ray Eames, the chair features a moulded plastic seat shell designed to fit the contours of the human body, paired with a distinctive Eiffel-style base made of wooden dowel legs and metal rods. Photo 1 of 3 A dramatic arrangement of DSW chairs in bold red tones showcases the design's enduring versatility, with upholstered and non-upholstered variants (Photo: Vitra) Photo 2 of 3 The Eames DSW chairs feature the signature wire base structure that Charles Eames perfected using welding techniques learned during WWII aircraft production (Photo: Vitra) Photo 3 of 3 An aerial view reveals the comprehensive colour palette of the Eames DSW collection, showcasing both the original fibreglass shells and newer polypropylene versions (Photo: Vitra) Originally designed for mass production and affordability, the DSW Chair was revolutionary in its use of new materials and manufacturing techniques. Its ergonomic shape provides comfort for extended seating, making it a practical choice for both restaurants and homes. The chair's lightweight construction and versatile aesthetic have contributed to its enduring popularity. Produced by Herman Miller and Vitra, the DSW Chair remains widely available today, often seen in restaurants, cafés, and dining rooms worldwide. Don't miss: Inside the world's most extraordinary art homes: 5 residences where architecture serves priceless collections Harry Bertoia Wire Side chair: Sculptural lightness in dining seating Above The classic polished chrome Bertoia side chair with orange cushion exemplifies the manufacturing precision achieved by Knoll since 1952 (Photo: Knoll) Above Bertoia chairs paired with Eero Saarinen's Tulip table demonstrate the mid-century modern aesthetic of transparency and lightness (Photo: Knoll) Designed in 1952 by Harry Bertoia, the Wire Side Chair is a striking example of sculptural furniture design. Made from welded steel rods, the chair's open, lattice-like structure offers surprising comfort and visual lightness. Often paired with a removable seat pad, it combines industrial aesthetics with practicality. Photo 1 of 4 A detailed view reveals Bertoia's precise welding technique and chrome finishing process (Photo: Knoll) Photo 2 of 4 Bertoia's side chairs in vibrant orange demonstrate the weather-resistant powder coating that makes these 1952 designs suitable for outdoor use (Photo: Knoll) Photo 3 of 4 Harry Bertoia's Diamond chairs require over 100 individual welds to create the distinctive diamond-shaped wireframe silhouette (Photo: Knoll) Photo 4 of 4 A contemporary dining setting features Bertoia's side chairs with colourful seat pads (Photo: Knoll) Bertoia's work blurred the lines between art and furniture, and the Wire Side Chair is part of the permanent collection at the Museum of Modern Art. Its airy design makes it a popular choice for modern restaurants seeking a blend of style and functionality, and it continues to be manufactured by Knoll. Read more: Bill Bensley: Eco-luxury hotels' design rebel Tolix A Chair: Industrial icon with a handmade legacy Above Created in 1935 by Xavier Pauchard, the Chaise A has become an icon of French design (Photo: Tolix) Above At Tolix, each Chaise A is handmade: stamping on historical machines, welding by our artisans, and spray painting (Photo: Tolix) Designed in 1934 by French metalworker Xavier Pauchard, the Tolix A Chair was one of the first mass-produced metal chairs. Pauchard's expertise in galvanising steel made the chair lightweight, durable, and rust-resistant—ideal for indoor and outdoor use. Initially popular in Parisian cafés, its stackable design was refined in the 1950s to improve storage efficiency. Above Over 1 million chairs have been manufactured by Tolix since its creation (Photo: Tolix) Above The Chaise A can now be found in fast-food restaurants, Anna Wintour's offices in New-York, and even in the largest design museums across Europe (Photo: Tolix) The chair gained international recognition at the 1937 Paris Exposition and is now part of major museum collections worldwide. While the design is in the public domain and widely copied, Tolix continues to handcraft its chairs in France using traditional methods, preserving its original quality and heritage. NOW READ 7 distinctive mid-century modern hotels in Asia for design lovers How Lego sets are reimagining home decor with nostalgic designs 10 beautiful Michelin-starred restaurants by acclaimed designers worldwide Best of Tatler Asia video highlights Featured videos from around Tatler Asia: Get exclusive behind-the-scenes look at the interviews we do, the events we attend, the shoots we produce, and the incredibly important people who are part of our community
Tatler Asia
02-05-2025
- Business
- Tatler Asia
7 iconic cantilever chairs that shaped modern furniture
Above Minimalist form, maximum impact, Mart Stam's S 33 chairs embody Bauhaus innovation (Photo: Thonet) Above With its minimalist geometry, Mart Stam's S 33 set a new standard for modern furniture design(Photo: Thonet) The rectilinear form—devoid of historical ornament—represented modernism's clean break from tradition. Thonet, which continues producing these iconic cantilever chairs today, recognised their dual significance as both functional objects and design milestones. See also: Home tour: A contemporary Beijing home that melds natural light and unique architecture 2. Marcel Breuer Cesca chair/ S 32 (1928) – the versatile classic Above The S 32 chair by Marcel Breuer proves that good design transcends trends (Photo: Thonet) Above Functional, flexible and forever stylish, the upholstered Cesca chair by Breuer (Photo: Thonet) The S 32 chair, designed by Marcel Breuer and known as the Cesca chair when produced by Knoll, resolved a central tension in modernist cantilever design: how to reconcile industrial materials with tactile comfort. Named after Breuer's daughter Francesca, the design paired cold-bent steel tubing with handwoven cane surfaces, creating a material dialogue that felt both progressive and accessible. Photo 1 of 2 From dining rooms to boardrooms: Marcel Breuer's S 32 chair is a modernist masterpiece (Photo: Thonet) Photo 2 of 2 The S 32 chair showcases Breuer's genius in balancing industrial design with organic materials (Photo: Thonet) Today, Thonet continues to manufacture the S 32 model, while Knoll produces the Cesca chair, ensuring Breuer's landmark design remains accessible across continents. This careful balance explains the chair's adaptability across contexts, from residential dining rooms to corporate boardrooms, and underscores its enduring status as a modern design classic. Don't miss: Inside the world's most extraordinary art homes: 5 residences where architecture serves priceless collections 3. Ludwig Mies van der Rohe MR10 chair (1927) – the refined expression Photo 1 of 2 From the Weissenhof Estate to Knoll's modern collection, the MR10 chair by Mies continues to shape design history (Photo: Knoll) Photo 2 of 2 With its graceful steel curves, the MR10 chair redefined cantilever furniture for the Bauhaus era and beyond (Photo: Knoll) Less is more was Mies van der Rohe's guiding principle, and his MR10 cantilever chair, often referred to as the Weissenhof chair after its debut at the landmark Weissenhof Estate exhibition in 1927, demonstrates how rigorously he applied this thinking to furniture design. Above Mies van der Rohe's MR10 chair, also known as the Weissenhof chair, exemplifies Bauhaus elegance in curved steel (Photo: Knoll) Above The MR10 chair blends functional minimalism with flowing form—Mies van der Rohe at his finest (Photo: Knoll) By introducing fluid curves to the cantilever form, Mies enhanced both structural performance and visual sophistication. These subtle refinements—nearly imperceptible to casual observers but immediately felt by users—exemplify his conviction that 'God is in the details.' Today, Knoll continues to produce the MR10 chair as part of its Mies van der Rohe Collection, preserving its refined Bauhaus legacy. Read more: 5 female patrons who revolutionised modern architecture 4. Thonet S 411 (1930s) – the comfortable compromise Photo 1 of 3 Crafted in the 1930s, Thonet's S 411 chair remains an enduring example of modernist ergonomics (Photo: Thonet) Photo 2 of 3 Elegant, enduring, and ergonomically designed—the Thonet S 411 is a cantilever chair for modern living (Photo: Thonet) Photo 3 of 3 Upholstered for relaxation, the S 411 proves that Bauhaus design can be both sleek and soft (Photo: Thonet) While many early cantilever chair designs prioritised formal purity over cushioned comfort, Thonet's S 411 demonstrated how the structural principle could accommodate more generous proportions and upholstery. Above With its padded seat and steel frame, the Thonet S 411 is a masterclass in comfort-forward modern design (Photo: Thonet) Above The Thonet S 411 chair pairs Bauhaus principles with upholstered comfort for timeless appeal (Photo: Thonet) Featuring a slightly more robust tubular steel frame that supports amply padded leather or fabric surfaces, the S 411 bridges modernist innovation with traditional expectations of seating comfort, which Thonet continues to manufacture to this day. See also: Home tour: Malaysian indoor-outdoor home blends concrete design with African influences 5. Alvar Aalto 42 armchair (1932) – the Scandinavian interpretation Photo 1 of 2 The 42 chair by Alvar Aalto shows how cantilever construction can be natural, elegant and enduring (Photo: Artek) Photo 2 of 2 Alvar Aalto's 42 armchair brings Nordic warmth to modernist cantilever design (Photp: Artek) Finnish architect Alvar Aalto translated the principles of cantilever chairs through bent birch laminate, establishing a distinctly Nordic interpretation of modernism. Unlike his Bauhaus counterparts, Aalto prioritised natural materials and organic forms, exemplifying how regional design cultures adapted international movements. Above Made of birch laminate, Aalto's 42 chair redefined what modern comfort could look and feel like (Photo: Artek) His 42 armchair demonstrated that cantilever construction could extend beyond metal, creating a warmer aesthetic that influenced generations of Scandinavian designers. The 42 armchair remains in production today through Artek, preserving Aalto's vision of natural modernism. Don't miss: Upcoming Not A Hotel Setouchi fuses Scandinavian and Japanese design values 6. Gerrit Rietveld Zig-Zag chair (1934) – the conceptual reduction Above Gerrit Rietveld's Zig-Zag chair fuses radical geometry with functional form—an icon of De Stijl design (Photo: Cassina) Dutch designer Gerrit Rietveld approached the cantilever chair principle with characteristic conceptual rigour, reducing seating to four essential planes arranged in a Z configuration. This radical simplification, influenced by his De Stijl affiliations, demonstrated how structural clarity could achieve both visual impact and surprising functionality. The Zig-Zag chair reads simultaneously as furniture and abstract sculpture, challenging conventional distinctions between applied and fine arts. Cassina currently produces the Zig-Zag chair under license from the Rietveld Foundation. Read more: 7 distinctive mid-century modern hotels in Asia for design lovers 7. Verner Panton Panton chair (1967) – the material innovation Photo 1 of 3 Verner Panton's iconic chair was the first single-piece, injection-moulded cantilever design in modern furniture history (Photo: Vitra) Photo 2 of 3 Bold, playful, and endlessly modern—the Panton chair remains a design icon of the 20th century (Photo: Vitra) Photo 3 of 3 The world's first stackable, single-form plastic chair—Verner Panton's legacy lives on through Vitra (Photo: Vitra) Danish designer Verner Panton's namesake chair represents a watershed moment in cantilever chair history, as it was the first to be produced from a single piece of injection-moulded plastic. This technological breakthrough, achieved after nearly a decade of experimentation, enabled Panton to create a truly continuous form uninterrupted by joints or connections. Manufactured by Vitra, its sinuous S-curve captured the optimistic futurism of the 1960s while opening new possibilities for mass production. NOW READ Biophilic luxury: 7 stunning nature-integrated resorts Private islands and wealth: How 6 tech and business leaders built their secluded domains Le Creuset at 100: How enamelled cast iron cookware conquered culinary culture
Otago Daily Times
28-04-2025
- Business
- Otago Daily Times
Wellington's Golden Mile upgrade poised to begin
By Nick James of RNZ Nearly six years on from when work first started on the capital's Golden Mile upgrade, ground has been broken, even though construction contracts are still not signed for the whole project. Earlier this year Wellington City Council said construction would start in April on the $116 million plan to change Courtenay Place. It has now confirmed that will start on 4 May, with changes to the intersection of Cambridge and Kent Terraces where work was expected to take eight months before moving to Courtenay Place. The project will see cars banned from 7am to 7pm on Courtenay Place, along with widened footpaths and a cycle lane. It was first started under the now disestablished Let's Get Wellington Moving transport plan but has been moved under the control of the city council. The public's thoughts were first taken on the plan in 2019, but it has since seen delays which have led up to today's sod turning ceremony. Wellington Mayor Tory Whanau was the first to put a shovel in the ground on the intersection of Cambridge and Kent Terrace. Whanau said in a speech this morning that the project was nearly 10 years in the making. "For me this is the first day of true transformation on Courtenay Place." Construction contracts had not been signed for the whole project, and the council could not say when it expected to sign the rest. However, Whanau said she was "pretty confident" they would be signed before the upcoming local body election. When pushed for more details on why she believed that she said she'd "made an assumption" that was the case. RNZ spoke to nearby business owners to get their thoughts. The owner and director of designer furniture story Thonet, Ainsley Kimber, said changes to the area were needed, but he believed it was the wrong time to do it. Kimber said that was due to tough economic times and public sector job cuts. "Spending has dropped and everyone is suffering." He said the project needed to look at what type of businesses it wanted to attract to Courtenay Place and raised concern about the amount of people sleeping rough on the street. It would be hard to run a business with construction work underway, he said. Tasting Room co-owner Duncan Gillespie told RNZ it was a bitter pill to swallow with the current economic climate. "I can tell you that [for] a lot of businesses down here it will be the straw that breaks the camel's back." Gillespie said he wanted more clarity on when the work outside his business would take place. He was indifferent on whether the Golden Mile changes were needed but said that eventually the road would have to be dug up to fix pipes underneath it, which was also being done has part of the upgrade. Greater Wellington Regional Councillor Yadana Saw said the Golden Mile would make Courtenay Place a better place to play in, shop in, and recreate in. "We have to start thinking about the future, and that's not remaining in the status quo."
RNZ News
28-04-2025
- Business
- RNZ News
Golden Mile upgrade poised to begin, but not all contracts signed
Wellington mayor Tory Whanau turns the first sod marking the start of the city's Golden Mile upgrade. Photo: RNZ / Samuel Rillstone Nearly six years on from when work first started on the capital's Golden Mile upgrade ground has broken, even though construction contracts are still not signed for the whole project. Earlier this year Wellington City Council said construction would start in April on the $116 million plan to change Courtenay Place. It has now confirmed that will start on 4 May, with changes to the intersection of Cambridge and Kent Terraces where work was expected to take eight months before moving to Courtenay Place. The project will see cars banned from 7am to 7pm on Courtenay Place, along with widened footpaths and a cycle lane. It was first started under the now disestablished Let's Get Wellington Moving transport plan but has been moved under the control of the city council. The public's thoughts were first taken on the plan in 2019, but it has since seen delays which have led up to today's sod turning ceremony. Wellington Mayor Tory Whanau was the first to put a shovel in the ground on the intersection of Cambridge and Kent Terrace. Whanau said in a speech this morning that the project was nearly 10 years in the making. "For me this is the first day of true transformation on Courtenay Place." Construction contracts had not been signed for the whole project, and the council could not say when it expected to sign the rest. However, Whanau said she was "pretty confident" they would be signed before the upcoming local body election. When pushed for more details on why she believed that she said she'd "made an assumption" that was the case. RNZ spoke to nearby business owners to get their thoughts. Owner and director of Wellington designer furniture store Thonet, Ainsley Kimber, at the Cambridge Terrace shop. Photo: Nick James The owner and director of designer furniture story Thonet, Ainsley Kimber, said changes to the area were needed, but he believed it was the wrong time to do it. Kimber said that was due to tough economic times and public sector job cuts. "Spending has dropped and everyone is suffering." He said the project needed to look at what type of businesses it wanted to attract to Courtenay Place and raised concern about the amount of people sleeping rough on the street. It would be hard to run a business with construction work underway, he said. Tasting Room co-owner Duncan Gillespie told RNZ it was a bitter pill to swallow with the current economic climate. "I can tell you that [for] a lot of businesses down here it will be the straw that breaks the camel's back." Gillespie said he wanted more clarity on when the work outside his business would take place. He was indifferent on whether the Golden Mile changes were needed but said that eventually the road would have to be dug up to fix pipes underneath it, which was also being done has part of the upgrade. Greater Wellington Regional Councillor Yadana Saw said the Golden Mile would make Courtenay Place a better place to play in, shop in, and recreate in. "We have to start thinking about the future, and that's not remaining in the status quo." Sign up for Ngā Pitopito Kōrero, a daily newsletter curated by our editors and delivered straight to your inbox every weekday.
