Africa and beyond: a story of pairings, materials, and design harmony for Tacchini
The Africa chair by Tobia Scarpa, now reissued by Tacchini, captures the essence of design as a silent dialogue between form and material. A project that transcends time, it merges Italian craftsmanship with functional elegance. Defined by pure lines, impeccable joinery, and subtle references to fine cabinetry, Africa exudes both sculptural presence and intimate warmth—equally at ease in domestic interiors and sophisticated contract spaces. With this re-edition, Tacchini reaffirms its dedication to an aesthetic that honors memory while embracing innovation.
Sculpted from wood with enveloping forms, Tobia Scarpa's Africa is a tribute to woodworking traditions. It radiates a quiet strength, a material balance that seamlessly adapts to the most refined settings. Tacchini brings this icon back with thoughtful sensitivity, updating finishes and upholstery while preserving the integrity of Scarpa’s original vision.
Sculpted from wood with enveloping forms, Tobia Scarpa's Africa is a tribute to woodworking traditions. It radiates a quiet strength, a material balance that seamlessly adapts to the most refined settings. Tacchini brings this icon back with thoughtful sensitivity, updating finishes and upholstery while preserving the integrity of Scarpa’s original vision.
The Torii Love Dining Table by Studiopepe introduces an architectural and spiritual note. Inspired by the asymmetry of the traditional Japanese Torii gate, its structure is reimagined through a contemporary lens. The table’s geometric rhythm enhances the fluid curves of Africa, playing with calibrated contrasts. The visual lightness of the tabletop counterbalances the chair’s material depth, weaving together cultures, aesthetics, and design sensibilities.
Next to these, Clockwise, the side table by Michael Anastassiades, draws a new geometry of comfort. Subtle in its wit, it reveals a quiet humor to the observant eye: a choreographed interplay of legs placed in alternating directions, inviting dynamic interactions around it. The table adapts to the rhythm of its surroundings—fluid, informal, and attuned to the way people live and move.
Anchoring the space is the Serie 500 storage unit by Gianfranco Frattini. The 500/3 is a credenza with three compartments and tambour doors; the 500/4 is a tall credenza with two roll-top shutters. Both are rooted in a modular vision ahead of its time. The system begins with a bench-like wooden base, strengthened by a T-shaped support, designed to be virtually indestructible. From there, elements can be added in length and height, creating versatile compositions.
Colombo, the console designed by Lorenzo Bini, explores a sculptural minimalism. Its irregular top rests on three legs crafted by juxtaposing four slightly offset strips of marble—an elegant equilibrium between geometry and fluidity, weight and grace. A single slab of stone, transformed into a subtle homage to sculpture and art.
The Friedl, Lucie, and Marlene vases by Studiopepe add a poetic accent. With their soft forms and earthy hues, they evoke a sensual, primitive aesthetic that resonates with Africa’s spirit. These sculptural objects bring a refined decorative touch, underscoring the dialogue between design and art.
Completing the scene is Alma, a table lamp by Studiopepe that emits a warm, enveloping glow. Its generous volume, made from handwoven wicker, cement, and bush-hammered limestone, embodies the value of material research—where texture enhances form. Alma elevates the grain of wood, the weave of fabric, and the atmosphere itself, offering a soft yet striking presence that amplifies Africa’s character.
The result is a continuous dialogue between craftsmanship and contemporary design—between objects that do more than furnish a space: they narrate it. At the center of this narrative is Africa, a chair with deep roots and a resolutely modern soul.
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