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Utrecht XL

DESIGN BY Gerrit Thomas Rietveld, 2015

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THE XL VERSION OF A ICON

The contemporary interpretation of the design armchair crafted in 1935 for the Metz & Co department store in Amsterdam: an anthropometric answer that caters to new demands for comfort.

 

The juxtaposition of right angles ‒ backrest and seat that meet at the floor and armrests that morph into support pieces ‒ are hallmark features of the Utrecht armchair, which became a symbol of the Neoplastic movement.

FABRIC

LEATHER

DESIGN BY

Gerrit Thomas Rietveld

Filename
scheda-prodotto-637-utrecht.pdf
Size
566 KB
Format
application/pdf
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PRODUCT CARE AND MAINTENANCE

In this manual you will find some recommendations for the care and maintenance of your Cassina products.

The materials are divided into different categories; each one is accompanied by its own information sheet with instructions, preventative measures and methods for cleaning.

Downloads

Access 2D and 3D drawings, technical sheets, and complete documentation to explore every detail of our products.

Designed for professionals and those seeking in-depth information.

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Certifications and Assembly

This section contains, where available, the certifications regarding quality, safety, and compliance standards, as well as the instructions for the correct installation of the item.

PRODUCTION YEAR

2015

Cassina offers a new reinterpretation of the iconic model dated 1935: an anthropometric response to the increasing sizes of modern generations. Armchair with main frame, seat and backrest in poplar plywood and fir solid wood. Massive poplar wood armrests. Polyurethane foam and polyester padding. Not removable upholstery: fabric or leather with blanket fine stitching in natural colour. Feet in black plastic material.

Gerrit Thomas Rietveld

I MAESTRI

Gerrit Thomas Rietveld

Gerrit Thomas Rietveld, born in Utrecht on 24 June 1888, seems possessed of two personalities, each so distinct that one might take his work to be that of more than one artist. The first personality is that seen in the craftsman cabinet-maker working in a primordial idiom, re-inventing chairs and other furniture as if no one had ever built them before him and following a structural code all of his own; the second is that of the architect working with elegant formulas, determined to drive home the rationalist and neoplastic message in the context of European architecture. The two activities alternate, overlap, and fuse in a perfect osmosis unfolding then into a logical sequence.

 

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