{"id":36672,"date":"2025-06-12T07:45:49","date_gmt":"2025-06-12T07:45:49","guid":{"rendered":"https:\/\/exagono.es\/?p=36672"},"modified":"2025-06-12T14:48:30","modified_gmt":"2025-06-12T14:48:30","slug":"tacchini-revives-the-iconic-and-unmistakable-africa-chair-by-tobia-scarpa","status":"publish","type":"post","link":"https:\/\/exagono.es\/en\/tacchini-revives-the-iconic-and-unmistakable-africa-chair-by-tobia-scarpa\/","title":{"rendered":"Tacchini revives the iconic and unmistakable Africa chair by Tobia Scarpa"},"content":{"rendered":"

Originally conceived in 1975, Tobia Scarpa\u2019s Africa Chair returns with a discreet yet unmistakable presence. Far from cold functionalism or excessive formalism, Scarpa has always carved his own path: a quiet design, brimming with intent, where every curve holds meaning. Africa is a compelling expression of this approach. Its solid wood frame, austere yet carefully sculpted, offers a perfect synthesis of structure, form and function\u2014like a sculpture that reveals the constructive and communicative power of the material itself<\/p>\n\n\n

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The curved backrest, generous yet restrained, and the true protagonist of the piece, is crafted from a single piece of wood, then split and finished into two mirrored parts. The result of delicate manual processes of roughing and smoothing, it reveals subtle layers of different woods that create striking tonal effects through refined black marquetry. The backrest and rear legs meet only at the base, creating a wide open space that lends the structure a gentle flexibility while evoking a totemic image.<\/p>\n\n

The frame, in solid Canaletto walnut with a slender rectangular profile, showcases the full expressive potential of the veneer through subtle variations in thickness. It supports a gracefully curved seat, upholstered in either leather or fabric.<\/p>\n\n

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In its ongoing mission to recover essential pieces from the modern canon, Tacchini<\/a> brings this chair back to life\u2014sober and beautiful, and embodying the purest values of Italian design in the second half of the 20th century: proportion, noble materials, and an intimate understanding of dwelling.<\/p>\n\n\n\n

This re-edition is not merely an homage to a seminal designer; it is a declaration of intent. In a time defined by acceleration, the Africa Chair reminds us of the enduring beauty of the essential. Faithfully reproduced in stained ash wood and upholsteries that echo the original 1970s spirit, this is not a piece that has aged\u2014it has matured.<\/p>\n\n\n

In contemporary interiors, the Africa Chair reappears not as a relic, but as a gentle presence. It belongs in a living room, a studio, an intimate dining area. It adapts effortlessly, as if it had always been there.<\/p>\n\n\n

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Tobia Scarpa with Afra Bianchin, his partner in life and in work.
Together, they founded their studio in 1960.<\/figcaption><\/figure>\n\n\n\n

Tobia Scarpa<\/h2>\n\n\n\n

Tobia Scarpa, son of the renowned architect Carlo Scarpa, was born in Venice in 1935. He studied architecture at the IUAV in Venice, where he met Afra Bianchin\u2014his lifelong partner in both life and profession. The couple graduated in 1957 and married shortly after, embarking on a brilliant creative partnership. Following a brief period working for the Murano-based glassmakers Venini, Tobia and Afra opened their own studio in Montebelluna, nestled in the Veneto countryside where Afra had grown up.<\/p>\n\n\n\n

Their first design piece, the Pigreco<\/em> chair, was created in 1959 during a university course in Interior and Decorative Design led by Franco Albini. Conceived for Gavina\u2014later acquired by Knoll\u2014Pigreco<\/em> was a daring departure from convention. Its two rear legs converge so closely they form a single structural point, remaining faithful to the triangular geometry that inspired Scarpa\u2019s original concept. The piece, now reissued in a limited edition by Tacchini, was the first in a long series of designs that would cement their place in design history.<\/p>\n\n\n\n

Their armchair 925<\/em>, designed for Cassina in 1966, is held in the permanent collection of MoMA in New York, while the Libert\u00e0<\/em> chair for Meritalia is part of the Contemporary Art collection at the Louvre. Their most iconic creation, the Soriana<\/em> lounge chair\u2014also for Cassina\u2014was awarded the Compasso d\u2019Oro in 1970. Between 1962 and 1975, the couple designed several lighting pieces for Flos, including Fantasma<\/em>, Foglio<\/em>, Biagio<\/em>, Pierrot<\/em>, Ariette<\/em> and Papillona<\/em>. Their Coronado<\/em> sofa, designed in 1966 for B&B Italia, remains to this day a timeless symbol of relaxation.<\/p>\n\n\n\n

Although better known for his work in design, Tobia Scarpa has also developed notable architectural projects. In addition to single-family homes and residential buildings, he and Afra oversaw the design and construction of industrial facilities, including Benetton\u2019s first factory and numerous retail stores for the brand around the world. In 2008, Scarpa was awarded the Compasso d\u2019Oro for lifetime achievement.<\/p>\n\n\n

Source: Tachini.<\/p>\n\n

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Tacchini Italia Forniture
<\/strong>via Domodossola 19
20822 Seveso (MB) Italia
+39 0362 50 41 82
hello@tacchini.it
www.tacchini.it<\/a><\/p>\n<\/div>\n\n\n

<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Africa is a timeless project that pays tribute to the ancient craft of cabinetmaking and the contemporary revival of wood in design.<\/p>\n","protected":false},"author":1,"featured_media":36684,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","editor_plus_copied_stylings":"{}","footnotes":""},"categories":[1716],"tags":[1227,835,1775,1742],"ppma_author":[249],"class_list":["post-36672","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-disenos-que-hicieron-historia","tag-furniture-design-en","tag-tachini-en","tag-tobia-scarpa-en","tag-tobia-scarpa"],"authors":[{"term_id":249,"user_id":1,"is_guest":0,"slug":"amoratinos","display_name":"Ex\u00e1gono","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/95418ef5af1f1a520d5386cfe82ba253c88665f94a4343ec69a36d8df034ab4b?s=96&d=mm&r=g","author_category":"","first_name":"","last_name":"","user_url":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/36672","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/comments?post=36672"}],"version-history":[{"count":0,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/36672\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/media\/36684"}],"wp:attachment":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/media?parent=36672"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/categories?post=36672"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/tags?post=36672"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/ppma_author?post=36672"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}