Nym Soft
Pedrali - 2018

Glove me tender.

Nym Soft is a seat with organic geometries, which draws on a timeless shapes repertory, known since forever, such as the hollow of the hand, the nest, the hug. This collection was developed as an extension of our previous Nym series. The seats that in Nym are made of solid ash, here are turned into smooth solids, in soft surfaces that wrap the body of the user up.

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Some historians of architecture could ascribe the Nym Soft to the shapes of International Design, referring to the universal comprehensibility, free from particularisms of the movement created by great Italian, Scandinavian and American designers after the Second World War.

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Intelligent softness.

The Nym Soft is equipped with a padding that allows a distribution of the person's weight by varying the density according to the part of the body that rests on it. This guarantees adaptability and support, a combination that is the basis of comfort.

The external surface of the back is similar to a truncated cone. On the edge of the backrest there is a change of direction, which highlights the internal enlargement of the section and marks the border between inside and outside. So the Nym Soft, seen from behind, appears in its defined and composed volume, and sitting reveals its softness.

Nym Soft family:

 

WANDERLUST

Concave and Convex.

The plasticity of the Nym Soft manifests itself fully when the observer is moving. By changing the observation point, the perception of the body's articulation in space is amplified. The gaze shifts from the external surface of the back to the soft internal one, and from this to the seat, and then follows its front perimeter and returns to the back. The transition from concave to convex surfaces is continuous and dynamic.

Alberto Sordi must have missed some detail of the previous speech, as he appears perplexed in front of the infinite passages from concave to convex of Alberto Viani's Nude at the 1958 Venice Biennale.

Alberto Sordi must have missed some detail of the previous speech, as he appears perplexed in front of the infinite passages from concave to convex of Alberto Viani's Nude at the 1958 Venice Biennale.

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