Oki-Nami Bar Stool By Nazanin Kamali for Case
Case
This barstool was originally designed for the Oki-Nami Japanese restaurant in Brighton, UK in 2008. The brief was to create contemporary tables, chairs and stools that reflected the craftsmanship, proportion and attention to detail found in Japanese creative industries.
The furniture also needed to be suitably comfortable and durable enough for its intended restaurant environment.
Nazanin Kamali designed the interior of the restaurant and worked with Case to create the tables, chairs and stools. The Oki-Nami Chair was Shortlisted for the Restaurant and Bar Design Awards in 2009.
Details
Materials
Solid oak or walnut frame
Leather upholstered seat pad fabricated from mix foam layers
Clear polyurethane lacquer
Dimensions
Counter Stool H630mm × W350mm × D350mm
Bar Stool H770mm × W350mm × D350mm
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More information about Oki-Nami Bar Stool By Nazanin Kamali for Case
675 Chair, 1953
Whereas 1930s furniture had been heavy and ponderous, Day’s post-war designs were light on their feet and economical in their use of materials. A minimalist frame was adopted for the 675 Chair, a dining chair with a slender floating moulded plywood seat back.
In September 2014 Case Furniture launched an authentic new production of Robin Days’ classic 675 Chair (1952). An example of the original production was sourced as the template for development work carried out in consultation with the Robin and Lucienne Day Foundation. It was awarded a Design Guild Mark by the Furniture Makers' Company in March 2015.
Robin and Lucienne Day
Together, Robin and Lucienne Day transformed British design after World War II with striking furniture and textiles that signaled a new era of modernist sensibilities for everyday living. Robin’s revolutionary furniture designs introduced materials such as plastic, steel and plywood to homes, offices and schools. His stacking polypropylene chair endures as an icon and now graces a Royal Mail postage stamp. Lucienne’s abstract textile designs brought accessible elegance into the homes of postwar British consumers.
The Days’ fresh design approaches, including their contributions to the Royal Festival Hall in 1951, helped fuel the artistic and commercial awakening that led Britain out of the devastation of World War II.