Translated from Italian to English, “mesa due” literally means “table two.” Mesa Due is Poltrona Frau’s second interpretation of its iconic Mesa table. Combining two shapes—a circle and a cone—Mesa Due brings simplicity and elegance together. Tops upholstered in colorful leather or veneered in rich wood tones are supported by a beautiful leather base.
- The structure is made of steel, and a series of counterweights provides stability.
- The top is made of MDF with double panelling and rounded edges.
- The bottom panel is coated with a textured black paint. The top panel is available in wood or leather.
- The base is wrapped in leather.
- Depth: 47.25 Inch / 120 cm
- Height: 29.5 Inch / 75 cm
- Width: 47.25 Inch / 120 cm
- Depth: 59 Inch / 150 cm
- Height: 29.5 Inch / 75 cm
- Width: 59 Inch / 150 cm
- Imported from Italy
An international design brand of ‘Made in Italy’ perfection and excellence. Since 1912, the general public has always and immediately associated the name Frau with the idea of quality and design furnishing and seating in particular. A name that is so characteristic and instantly linked to German sounds, but which is, in actual fact, simply that of the company’s founder, Sardinian-born Renzo Frau, who, over time, has successfully taken the 'Made in Italy’ style and quality beyond national confines. There have been a great many important moments in the history of Poltrona Frau, and they have all contributed in some way to creating the legend of this company that was founded in Turin and is today a citizen of the world.
Poltrona Frau Mesa Due Round Collaborative Table Designed by:
- Lella Vignelli , 2016
- Massimo Vignelli , 2016
Lella Vignelli is the founder of Vignelli Associates and the wife of Massimo Vignelli. She has had "a lifelong collaborative working relationship" with her husband. She is known to be the business arm of Vignelli Associates, and played a key role in the success of the design firm. She received a degree from the University of Venice's School of Architecture and a tuition fellowship as a special student at MIT's School of Architecture. In 1962, she became a registered architect in Milan.
Vignelli believes that all design should stem from a core discipline that could be translated to any project. She also believes that design should be integrated into the production process instead of added superficially at the end.
Vignelli's design is centered on communication through simplicity and careful planning. She used subtractive design, rather than additive design, to restrain her own influence and allow the essence of the design to come through. Emphasis was placed on existing and ancient motifs and elements, as well as materials' natural characteristics. She viewed words as a way to communicate actual ideas rather than serving as visual decoration, and this is evidenced by her heavy use of black text on a white background. In general, color was used for its emotional and sensual power.
Italy, 1931 - 2014
"I like design to be semantically correct, syntactically consistent, and pragmatically understandable. I like it to be visually powerful, intellectually elecgant, and above all, timeless." - Massimo Vignelli
Massimo Vignelli was an Italian designer who worked in a number of areas ranging from package design through houseware design and furniture design to public signage and showroom design. He was the co-founder of Vignelli Associates, with his wife, Lella Vignelli. His ethos was, "If you can design one thing, you can design everything," and this was reflected in the broad range of his work.
Vignelli worked firmly within the Modernist tradition, and focused on simplicity through the use of basic geometric forms in all his work. Vignelli worked in a wide variety of areas, including interior design, environmental design, package design, graphic design, furniture design, and product design. Hi clients at Vignelli Associates included high-profile companies such as IBM, Knoll, Bloomingdale's andAmerican Airlines. His former employee Michael Bierut wrote that "it seemed to me that the whole city of New York was a permanent Vignelli exhibition [around 1981]. To get to the office, I rode in a subway with Vignelli-designed signage, shared the sidewalk with people holding Vignelli-designed Bloomingdale’s shopping bags, walked by St. Peter’s Church with its Vignelli-designed pipe organ visible through the window. At Vignelli Associates, at 23 years old, I felt I was at the center of the universe."
Vignelli equipped his own home with tables, chairs, lamps, and other items that he designed himself.