The Hudson, designed for the Hudson hotel in NYC, is Emeco and Starck’s first collaboration. Starck described the chair as “washing the details from the Navy Chair”. It takes an additional 8 hours to polish each Hudson chair. Hudson is in MoMa’s permanent collection.
- Recycled Aluminum - Hand Brushed or Hand Polished
- Height: 83 - 89 cm / 32.5 - 35 inch
- Seat Height: 44 - 51 cm / 17.5 - 20 inch
- Width: 61 cm / 24 inch
- Depth: 61 cm / 24 inch
- 7 Year Warranty
- Strength & Stability Test
- Fire Retardant
Make chairs lightweight and make them strong, build them for a lifetime. That is Emeco’s mission. Aluminum is the obvious choice, engineered for practical purposes, designed by real people. Forming, welding, grinding, heat-treating, finishing, anodizing are just a few of the 77 steps it takes to build an Emeco chair. No one else makes chairs this way. No one can. It takes a human eye to know when the process is done right, and it takes human hands to get it that way. Their goal: Make recycling obsolete and keep making things that last. In 2006 Coca-Cola and Emeco collaborated to solve an environmental problem: Up-cycling consumer waste into a sustainable, timeless, classic chair. Made of 111 recycled PET bottles, the 111 Navy Chair is a story of innovation.
Emeco Hudson Swivel Arm Chair Designed by:
- Philippe Starck , 2000
“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.