After many years of use, aesthetics of rotational molding should necessarily enter into the second phase of its existence. It couldn’t be but Starck to get rotational make such a step. in the outdoor collection out/in Starck with Eugeni Quitllet, proceeds along two paths: the high chair expands sizes, particularly height, transforming the object into a shell as a bulwark. With the sofa he doesn’t look for the “iconic object”, but he rather adopts sophisticated stratagems, usually intended for “home interiors”, for example the inclusion of essential aluminum armrests. Are this high chair and this sofa, almost functionalist, creating a “collection”? certainly, but outside of the ordinary bourgeois aesthetics of the “all coordinated.
- Width: 77.9 cm / 30.7 inch
- Depth: 76.9 cm / 30.3 inch
- Height: 146.8 cm / 57.8 inch
- Seat Height: 43.9 cm / 17.3 inch
- Indoor/outdoor use
Driade is an aesthetic lab in continuous search for beauty in living space. The vast Driade catalogue includes home, garden and public spaces furniture. pieces of art and objects for daily use, souls that blend each other harmoniously. all this makes Driade unique in design world. The aesthetic lab is the result of the desire to introduce experimentation into mass-produced products. The search for creativity in each product constitutes the mission of the enterprise itself. Driade creates products that are unique, eclectic, eccentric but at the same time elegant, timeless and, above all, joyful. Within this alchemy of means of expression and sensations, everyone finds a Driade that it looks like him.
Driade Out/In High Chair Designed by:
- Eugeni Quitllet
- Philippe Starck
“I like to open the doors of the human brain” - Philippe Starck
School dropout Philippe Starck jump-started his career by designing two nightclub interiors in Paris in the 1970s. The success of the clubs won the attention of President Francois Mitterand, who asked Starck to refurbish one of the private apartments in the Elysee Palace. Two years later, Starck designed the interior of the Café Costes, in Paris and was on his way to becoming a design celebrity. In quick succession, he created elegant interiors for the Royalton and Paramount hotels in New York, the Delano in Miami and the Mondrian in Los Angeles. He also began to produce chairs, lamps, motorbikes, boats and a line of house wares and kitchen utensils, like his Juicy Salif for Alessi.
During the 1980s and 90s Starck continued his prolific creativity. His products have sensual, appealing forms suggestive of character or personal identity and Starck often conferred upon them clever, poetic or whimsical names (for example, his La Marie chair and playful Prince Aha stool). Starck’s furniture also often reworks earlier decorative styles. For example, the elegant Dr. No chair is a traditional club chair made unexpectedly of injection-molded plastic. While the material and form would seem to be contradictions, it is just such paradoxes that make Starck's work so compelling. Starck’s approach to design is subversive, intelligent and always interesting.
His objects surprise and delight even as they transgress boundaries and subvert expectations. During the 90s Starck has also begun to promote product longevity and to stipulate that morality, honesty and objectivity become part of the design process. He has said that the designer's role is to create more “happiness” with less. For all his fame Starck’s work remains a serious and important expression of 20th century creativity.