7 May 2014
Arne Jacobsen was one of those masters of design who saw the piece of furniture as a complementary part of a more comprensive spatial and architectural project. This holistic vision was the basis of one of his most important interventions, the design of the Royal Hotel in Copenaghen at the end of the fifties: the interiors of the hotel were created in their entirety by the great Danish designer. It was on that occasion that he produced his most celebrated icons: the Egg Chair and the Swan Chair. The Drop chair, revived today by Fritz Hansen, was also part of the extraordinary furnishings of this hotel and reflects the characteristics of its better known “colleagues.” The idea behind all these seats is that of an organic sinuosity which on the one hand makes their use more ergonomic and effective, and on the other bestows on each piece the unprecedented capacity to wrap the sitter in a comfortable embrace. In a hotel, in fact, the function of support provided by furniture is coupled with the need for relaxation, satisfied here by the form, the material and the color. The degrees of intimacy and privacy guaranteed by the morphology of this family of chairs are different: from the close-fitting isolation of the Egg to the soft support of the Drop. A drop of technology for a design attentive to the need for protection that at bottom each of us asks from a piece of furniture that is at once truly efficient and relaxing.