The Renaissance of the Sofa: Innovations, Atypical Shapes, and Anthropometry
The earliest vestiges of furniture in society can be traced back to the Fourth Dynasty of Egypt when the armchair of Queen Hetepheres I (ca. 2600 BC) was discovered. This armchair marked a significant milestone in the history of furniture. It is not surprising, therefore, that the chronology of furniture is intertwined with architectural, pictorial, and sculptural expressions of the time, where these elements often act as witnesses and, in exceptional cases, as central objects in the history of art and design.
Standard, project sketches. Francesco Binfaré, 2012. Image Courtesy of Edra
The earliest vestiges of furniture in society can be traced back to the Fourth Dynasty of Egypt when the armchair of Queen Hetepheres I (ca. 2600 BC) was discovered. This armchair marked a significant milestone in the history of furniture. It is not surprising, therefore, that the chronology of furniture is intertwined with architectural, pictorial, and sculptural expressions of the time, where these elements often act as witnesses and, in exceptional cases, as central objects in the history of art and design.
Furniture consists of everyday objects designed to meet specific needs in our daily lives. However, sometimes they transcend their practical function and take on an autonomous presence. A piece of furniture has no nobler purpose than its interaction with human beings, therefore, separating these objects from their utilitarian dimension becomes an act of disruption. As a result, designers such as Francesco Binfaré have described sofas as “The most mysterious object amongst the furniture populating the interior design universe”. In this context, Edra creates unique objects that blend art and industrial production, reflecting contemporary domestic landscapes and experimenting with new shapes and materials.
