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Clarissa Armchair

Designer:
Patricia Urquiola
Brand:
Moroso
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A seat and its double: on one side it encloses and protects, on the other it opens up and welcomes. A clear ambivalence which elaborately separates form and content, image and concept, the name hood hints at this double function. The hood is both an ancient and contemporary urban symbol; it protects and frames the face but it can also hide it, signalling a refusal to communicate or interact. The impact is intense, and everything is a game of contrast: the three dimensional seat seems to imply the two-dimensionality of a drawing, the overlapping colours don’t divide but complement, tension isn’t alleviated but stabilized. Clarissa is a dynamic easy chair, ready for action but open to relaxation, the temporary suspension of activity. A combination of competition and collaboration, provocation and aesthetics.

A seat and its double: on one side it encloses and protects, on the other it opens up and welcomes. A clear ambivalence which elaborately separates form and content, image and concept, the name hood hints at this double function. The hood is both an ancient and contemporary urban symbol; it protects and frames the face but it can also hide it, signalling a refusal to communicate or interact. The impact is intense, and everything is a game of contrast: the three dimensional seat seems to imply the two-dimensionality of a drawing, the overlapping colours don’t divide but complement, tension isn’t alleviated but stabilized. Clarissa is a dynamic easy chair, ready for action but open to relaxation, the temporary suspension of activity. A combination of competition and collaboration, provocation and aesthetics.

Designer

Patricia Urquiola

Urquiola is known internationally, her stunning designs are youthful, creative and colourful. Her style of playful forms and equally functional practically is a magic...

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Brand

Moroso

Moroso has been working in close collaboration with some of the world’s most talented designers to produce luxury sofas and seating since 1952.

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