GUBI Plywood Lounge Chairs by Boris Berlin and Poul Christiansen for KOMPLOT | #S1889
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Pair of moulded plywood lounge chairs, model ‘GUBI’ by Komplot Design.
Designer: Boris Berlin / Poul Christiansen
Manufacturer: Komplot Design
Country: Denmark / Russia
Model: 3-D Gubi lounge chair
Material: Oak plywood seat / Walnut base
Design period: 1980’s
Date of manufacturing: 1980-90’s
seat height 41
Inches 27.5″W x 25″D x 27.5″H
Seat Height: 16″cm.
Condition: Seat good, Legs fair | Signs of use and age / The seats have some wear and surface scratches / The legs have damages. The structure is very good.
Please note: all vintage items have signs of age and use in more or minor ways.
About the GUBI lounge chair:
One of GUBI’s most innovative products, the GUBI Lounge Chair, is designed by Boris Berlin and Poul Christiansen of Komplot Design. The GUBI Lounge Chair is an evolution of the GUBI Chair which was the first furniture design to be based on the innovative technique of moulding three-dimensional veneer. The 3D design gives the chair a comfortable seat and sense of lightness – with all edges pointing away from the user. Due to this ground breaking technology, the thickness of the veneer is allowed to be reduced to half than normally used. Today, the GUBI Chair design is exhibited at Museum of Modern Art (MoMA) in New York and has won several prestigious design awards.
About KOMPLOT DESIGN:
Founded in 1987, Komplot Design, a partnership of the Danish architect Poul Christiansen (born 1947) and the Russian industrial and graphic designer Boris Berlin (born 1953), has designed furniture and created multidisciplinary design solutions for both Danish and international companies, including Le Klint and Lightyears.
Komplot Design’s multidisciplinary activities within product, furniture and graphic design, from tractor to office furniture systems and to brochures and corporate identity programmes, are not only giving the complexity of design approach, but also positioning their design into the electric field of intense exchange of experience and attitudes of different branches.
“We believe that through design history, many traditions within the field have been preoccupied with the idea of total control over function, form, material and so on. This striving for control of our surroundings is probably a typical urge of Western culture, being both its principal strength and its greatest failing. Instead of fighting against mistakes by forcing the material to behave perfectly (often against its nature), we choose to accept the way the material wants to behave, the way its nature tells it to move…”