Its elegant lines, sober colors and practical usage make Maui an extremely versatile chair, capable of satisfying the widest demands of the business and residential market. Maui chairs form a family rich in chromatic and formal variations, able to meet specific needs in communal areas, such as offices, workshops, waiting rooms, bars and restaurants, lecture and meeting halls, or in home environments, such as the dining room, the children' bedrooms and the study. The unitised polypropylene seat/back is attached to a chromed steel structure. Thanks to its design, the Maui chair can be stacked up to seven or five high. It can also be coupled with other chairs of the same type in endless rows by means of a simple rear hook. Available versions include: supplied with and without armrests in a matching color with the seat and as a chair with folding tablet arm in black. The family of Maui chairs is complete with the addition of the self-extinguishing version. Frequently requested for businesses, this item is finally able to satisfy the highest demands of even the most specialized contract.
- Frame: Chrome-plated steel
- Shell/arms: Smooth batch-dyed polypropylene
- Width: 58 cm / 22.8 inch
- Height: 77 cm / 30.3 inch
- Depth: 52 cm / 20.5 inch
- Seat Height: 45 cm / 17.7 inch
- Seat Width: 44 cm / 17.3 inch
- Arm Height: 66 cm / 26 inch
Kartell's company story shines through in each and every one of its products. A commitment to the ever changing and advancing technology and versatility of plastic, Kartell's primary material, is at the heart of this Italian design house. Design integrity and innovation is another core element of Kartell's operations, highlighted by its partnerships with internationally acclaimed designers. Kartell's design roster includes Philippe Starck, Partricia Urquiola, Enzo Mari, Piero Lissoni, Vico Magistretti, Alberto Meda, Ferruccio Laviani and Ron Arad, among other top talent.read more...
Over a 63 year history, Kartell has positioned itself in the forefront of contemporary interior design, building an impressive resume of prestigious awards including several Compasso d'Oro awards - the oldest industrial design award in Europe. New York's Museum of Modern Art is also a collector of Kartell for its permanent collection, including the iconic modular Componibili storage unit by Anna Castelli Ferrieri.
Kartell's comprehensive catalogue includes a vast selection of products ranging from wall hooks to sofas - all available in bold beautiful colours and, of course, in Kartell's signature material: plastic. Proving that plastic can be beautiful has been a challenging goal exquisitely achieved by this design company. Kartell's products can be found and celebrated in private homes and public spaces all over the world.
Kartell Maui Armchair (Priced Each, Sold in Sets of 2) Designed by:
- Vico Magistretti
Italy, 1920 – 2006
For over 50 years, Vico Magistretti represented the rational face of post-war design, seeking timeless solutions to technical and formal problems. Based in Milan, Italy, Vico consistently produced designs that are as startling, spontaneous and original as they are logical and elegant. After studying at the Milan Polytechnic, Magistretti worked as an architect in his father’s company and began his career as a designer creating low-cost furniture for the inexpensive apartments built to house the homeless during World War II.
From the early 1960s on, Magistretti devoted his talents to furniture and lighting design for companies such as Cassina, and Artemide. His furniture was comfortable and informal, colorful and playful. Magistretti's experiments with plastic changed consumers perceptions of plastic. Once dismissed as a cheap, flimsy material, it became stylish and sophisticated. The 1969 Selene Chair was a simple design in sturdy ABS plastic with an S shaped curve in the leg that strengthened its structure. It was produced by Artemide in bold, bright colors and rapidly enjoyed international success.
Magistretti was, above all, a designer of great integrity and humanity. His elegant design solutions were always realized in the light of technological, economic and other practical concerns. Throughout his career he was an ambassador for design that does not perpetuate the “throw away” consumer culture.