arflex-Delfino-扶手椅-设计-Erberto-Carboni-布-皮革-靠背-高-坐墩-居住-招待-项目-豪华-意大利制造-可移除-现代-当代
arflex-Delfino-扶手椅-设计-Erberto-Carboni-布-皮革-靠背-高-坐墩-居住-招待-项目-豪华-意大利制造-可移除-现代-当代
arflex-Delfino-扶手椅-设计-Erberto-Carboni-布-皮革-靠背-高-坐墩-居住-招待-项目-豪华-意大利制造-可移除-现代-当代
arflex-Delfino-扶手椅-设计-Erberto-Carboni-布-皮革-靠背-高-坐墩-居住-招待-项目-豪华-意大利制造-可移除-现代-当代
arflex-Delfino-扶手椅-设计-Erberto-Carboni-布-皮革-靠背-高-坐墩-居住-招待-项目-豪华-意大利制造-可移除-现代-当代
arflex-Delfino-扶手椅-设计-Erberto-Carboni-布-皮革-靠背-高-坐墩-居住-招待-项目-豪华-意大利制造-可移除-现代-当代
arflex-Delfino-扶手椅-设计-Erberto-Carboni-布-皮革-靠背-高-坐墩-居住-招待-项目-豪华-意大利制造-可移除-现代-当代
arflex-Delfino-扶手椅-设计-Erberto-Carboni-布-皮革-靠背-高-坐墩-居住-招待-项目-豪华-意大利制造-可移除-现代-当代

扶手椅
坐墩


Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Pouf Delfino

由...设计 Erberto Carboni 1954

Delfino坐墩具有强烈的个性,带有非常明显的图形符号,非常适合居家和接待环境。

Strips system

由...设计 Cini Boeri 1972

在20世纪60年代末,建筑师Cini Boeri用他的作品彻底改变了家具行业,现在它仍然是常青树:可组合沙发。

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Match small table

由...设计 Bernhardt & Vella 2015

Match项目的特征是黄铜接头,该接头将结构与顶部组装在一起,使其成为一种珍贵的装饰元素。可堆叠的系统允许您创建具有相同元素的各种高度的桌子和书柜,桌案和桌子。

Scalea 45

由...设计 Bernhardt & Vella 2022

With a design entirely inspired by its material, its thin round top is contrasted by a sculptural scaled base - an intentional and marked design...

9000

由...设计 Tito Agnoli 1969

A compact, rounded seating system that allows creation of many configurations. Modern design, adapt to both domestic and hospitality spaces.

Tablet 50

由...设计 Claesson Koivisto Rune 2010

其形状的灵感来自新西兰毛利人佩戴的装饰吊坠。

Match bookcase

由...设计 Bernhardt & Vella 2015

Match项目的特征是黄铜接头,该接头将结构与顶部组装在一起,使其成为一种珍贵的装饰元素。可堆叠的系统允许您创建具有相同元素的各种高度的桌子和书柜,桌案和桌子。

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Arcolor 30

由...设计 Jaime Hayon 2017

围绕拱门经典几何形状设计的桌子,从一开始就严格遵守拱门的使用规则,以创造出有机的东西。

9000

由...设计 Tito Agnoli 1969

A compact, rounded seating system that allows creation of many configurations. Modern design, adapt to both domestic and hospitality spaces.

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Pouf Delfino

由...设计 Erberto Carboni 1954

Delfino坐墩具有强烈的个性,带有非常明显的图形符号,非常适合居家和接待环境。

Goya small table - Round version

由...设计 arflex 2020

Goya是一个圆线条的桌子,基本和简单,但视觉冲击力很大。

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Tokio

由...设计 Claesson Koivisto Rune 2018

宽大的比例和友好、柔软的同时非常符合建筑几何:这就是Tokio座椅系统的定义。

Island 98 x 98

由...设计 Bernhardt & Vella 2013

结构的最小设计是通过物质减法的想法产生的。

Island 56 x 56

由...设计 Bernhardt & Vella 2013

结构的最小设计是通过物质减法的想法产生的。

Tokio

由...设计 Claesson Koivisto Rune 2018

宽大的比例和友好、柔软的同时非常符合建筑几何:这就是Tokio座椅系统的定义。

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Sigmund 47 x 36

由...设计 Studio Asaï 2019

为了忠实于对内在诚实的追求,本系列的设计揭示了其建设性的方法。

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

arflex-italian-design-story-livingroom-house-design-living-hospitality-project-luxury-madeinitaly-modern-hollywood-island-penta-defino

Island 56 x 56

由...设计 Bernhardt & Vella 2013

结构的最小设计是通过物质减法的想法产生的。

Penta

由...设计 Claesson Koivisto Rune 2013

五边形是组合某种几何完整性而不必适应周围顺序的最佳方法:换句话说,它具有独特的形状。

Pouf Delfino

由...设计 Erberto Carboni 1954

Delfino坐墩具有强烈的个性,带有非常明显的图形符号,非常适合居家和接待环境。

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Hollywood

由...设计 Claesson Koivisto Rune 2012

带有斯堪的纳维亚风味的可组合,成比例,豪华沙发。

arflex-italian-design-story-livingroom-house-design-living-hospitality-project-luxury-madeinitaly-modern-papillon-delfino-penta

Penta

由...设计 Claesson Koivisto Rune 2013

五边形是组合某种几何完整性而不必适应周围顺序的最佳方法:换句话说,它具有独特的形状。

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Goya small table - Square version

由...设计 arflex 2020

Goya是一个圆线条的桌子,基本和简单,但视觉冲击力很大。

Delfino

由...设计 Erberto Carboni 1954

Erberto Carboni的Delfino扶手椅是所谓的“有机”家具系列的重要示例,该系列于1950年代开发并从自然形态中汲取了灵感。

Marenco system

由...设计 Mario Marenco 1970

显而易见的设计和广泛的模块化仍然使Marenco沙发成为当代家具的必备品。


由...设计

Erberto Carboni

Graphic designer, poster designer and illustrator (Parma 1899 - Milan 1984).
Graduated in architecture at the Accademia di Belle Arti in Parma (in 1921, earning an honorary diploma), he immediately started working as a graphic designer, opening a studio in his hometown (he developed advertising material for some local companies).
He also began to work as an illustrator, collaborating with some publishing houses in setting up the iconography of volumes of consumer fiction and beginning to work with some magazines, such as "Lidel", "Novella", "Dramma", "Emporium", "Le Grandi Firme".
In 1932 he moved to Milan, where he came into contact with Studio Boggeri and Olivetti Advertising and Development Office. 
In short, he became an appreciated stand designer for exhibition pavilions within cultural and trade fair exhibitions: in the Thirties, there were the graphic concepts for the Italian Air Show at the Triennale di Milano (1934), for the International Expo in Paris (1936) and for the stands for Faesite and Montecatini at the Milan Fair (1940). 
He did not stop, however, his activity in periodic illustration, collaborating with "L'Ufficio Moderno" (with other graphic designers of this magazine he founded "Amici della Razionalizzazione" Group), "La Lettura", "La Rivista illustrata del Popolo d'Italia", "Natura", "Snia Viscosa".
After the war, he continued his activity as a trade fair graphic designer, in particular at the Milan Fair (pavilion for the Italian Radio, 1950; exhibition of the chemist products Montecatini, 1950; commemorative setting for the 50th anniversary of the death of Giuseppe Verdi, 1951; Montecatini pavilion, 1952; Rai-Tv stand, 1952 and 1954, etc.). 
Also noteworthy is the setting up of pavilion Italia 61 in Turin (1961), for the centenary of the Unification of Italy. Between the second half of the 1930s and the 1960s, Carboni also set up the advertising campaigns of many famous companies, often marking their growth or affirmation on the market. We remember, in particular, the campaigns for Olivetti (1935), Shell (1937), Motta (1939), Rai-Tv (since 1948), Barilla, Bertolli (since 1952) and Pavesi (since 1958).
In advertising communication, Erberto Carboni brought his experience as an illustrator and his attention to the architecture of the page, derived from his studies, but even more from his collaboration with Boggeri, his friendship with Herbert Bayer and his ideal contiguity with Bauhaus themes.
He won numerous awards, such as the National Prize for Advertising Graphics, the National Prize for Exhibition Design, the Palma d'Oro for the advertising, the Grand Prize of the Triennale of Milan.
In the last period of his life, he reduced his activity as a graphic designer and turned to sculpture and painting, exhibiting in some art galleries and at the Venice Biennale in 1972.
 

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