Out/In, sofa, high easychair, low easychair, Philippe Starck with Eugeni Quitllet, Driade, 2009

Philippe Starck,

Store, Ville,

A collection interpreting the desire for great continuity between the home and the world, between inside and outside. Featuring advanced industrial production and top quality aesthetics.

Out/In, sofa, high easychair, low easychair, Philippe Starck with Eugeni Quitllet, Driade, 2009 "Today a piece of design must be capable of surviving in the foggy park of a Normandy castle or on the sun-drenched beaches of the south, fitting into the winter garden of a neoclassical villa or under the bright lights of an Ibiza nightclub".
This is the ambitious requirement met by Philippe Starck’s new design for driadestore, working with Eugeni Quitllet to respond to the demand for continuity between the home and the rest of the world, between inside and outside, reinterpreting one of the basic concepts of the Driade philosophy, according to which "objects with personality" – such as the Out/In chair – must be balanced by minimal objects – such as the Out/In sofa and easychair - in a skilled alternation of "high notes" and "silences" to avoid both "boredom" and "noise".
Leaving behind the "all coordinated" concept once again to work with contrasts, Starck and Quitllet have come up with an easychair with a stretched-out height that makes it look like a shell in which to hide, but also, with its particular glossy lacquer, like something out of a science fiction film. On the other hand, when combined with the sofa and low easychair, it intentionally draws on an “interior furnishings” design language with a more minimal look, even if embellished with plain aluminium surfaces.
The Out/In collection includes a high easychair, an easychair and a sofa with extruded anodised aluminium elements in silver.
The items in the collection are made out of a single block of polyethylene using the rotational moulding technique. The product description has this to say about the technique: "We might say that the technique, and with it the aesthetic of rotational moulding for plastic materials, is entering a 'second' stage in its existence. No-one but Philippe Starck could lead the rotational technique to take such a step: once the excitement of the early applications was over, he needed to release the technology from its cheap image and give it new dignity".


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