Franco Albini, a pioneer of Italian rationalism, was known for his modernist approach and meticulous attention to functional design. In collaboration with Arflex, a brand that revolutionized furniture by combining innovative materials with cutting-edge design, Albini introduced the second version of the Fiorenza chair in 1952. This chair followed an earlier version created in 1940, marking an important evolution in Albini’s design thinking. The final model, PL44, was produced in 1967 by Poggi, solidifying its place in Italian furniture history. The 1952 version, however, exemplifies Albini's mastery in merging structure and comfort, standing as a key moment in his career.

Design

Describing the Fiorenza chair, design historian Giampiero Bosoni noted its aim to provide "uniformly distributed support" across the entire body, as if creating the sensation of floating. Seat, backrest, and armrests are enveloped in foam rubber, stretched over a wave of elastic rubber, all supported by a tubular iron frame. Albini’s use of innovative materials ensures even distribution of pressure, creating a weightless experience for the person sitting. Clean lines and a minimalist aesthetic hide the intricate construction. Resting on four metal points, the chair also features brass fittings at the armrests' ends, adding refined elegance. The reupholstered Dedar fabric introduces an irregular jacquard pattern, whose primordial essence evokes ancient mat-weaving traditions. The warm tones of the elm wood frame contrast beautifully with the modern seating materials.

Carrying the Arflex label inside the wooden frame, this version of the Fiorenza chair stands as a timeless piece of Italian design. Albini’s vision, combined with Arflex’s innovative approach, resulted in a chair that marries technology, comfort, and enduring beauty.

Condition

As mentioned earlier, the chair is reupholstered and fully restored in our workshop with abidance for patina and charming results of aging.

Literature

Giampiero Bosoni, “Franco Albini: Minimum Design”, 24 ORE Cultura srl, 2011, pp. 52 - 55.