Tables and chairs: the new FIAM dining between glass and new materials
On the other hand Agos is characterized by the asymmetric geometry of its base, which creates an elegant contrast with the linearity of the top. Glass, in its simplicity, amazes to the sight, but above all to the touch, that makes appreciate the roughness of the underlying surface, which is in contrast with the linearity of the upper one. The transparent top makes the geometric play of the base visible from above, whereas the back-painted version enhances the depth of glass itself. Even in this case the bronze or smoked layered versions are available as well, characterizing and contextualizing Agos for affinity or contrast within the surrounding environment.
Newton (design by Studio Klass) is the new chair with solid wooden structure, available in oak tobacco or in open pore black lacquered finish and leather or Nubuck upholstery, that stands out for its ability to accommodate the user with surprising comfort. The real distinctive element of Newton is represented by the handle of the armrest characterizes its profile, which is solid and sinuous at the same time. The softness of leather and Nubuk does the rest, offering pleasant tactile sensations that blend with those that, already to the sight, offers the texture of the glass of the tables to the sight with which it can be combined.
Oscar and Newton offer an excellent combination to important tables such as Cristaline and Agos. The lines of Oscar, which has a refined taste, are well combined with Cristaline and its extralight top that reproduces through the fusion the ornamental tradition of the vase of flowers, while innovating and stylizing it in perfect geometries, but still natural. A reinterpretation of the decorative tradition that results in texture and embellishes the environment with reflections, as well as the soft surfaces of the chairs.
The pure lines of Agos, the rationality of its structure, the contrast between flatness and roughness and between transparency and back-painting create a harmonious whole with the stimulating sinuosity of Newton. The play of curves between the armrest and the back, the alternation of full of voids, reproduces an elegant rhythm in the solidity of the style.
The dialogue between the furnishing objects and the environment, between the environment and the customer and between the full of matter and the empty spaces filled with light make resonate vibrations of style that create feelings of welcome, even with the instinctively colder colors and the seemingly sharper surfaces. The magic of glass, and that of Mood, does the rest.