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West Street Armchair
Case
Designed by Robin Day.
A pared-down design based on a simple cube shape, the West Street Chair was named after the home that designers Robin and Lucienne Day moved to in 1999, 21 West Street, in Chichester. The design was finished in their garden studio studio there, and the finished piece was used as a 'telephone chair' by the couple.
The solid wood frame has upholstered leather pads on the seat and back, with the back pad angled slightly for extra comfort. No assembly required.
Details
Materials
Solid wood frame in oak or walnut
Upholstered leather seat and back pads
Dimensions
W524 × D500 × H720mm
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More information about West Street Armchair by Robin Day
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.
![](http://cdn.shopify.com/s/files/1/0053/2792/files/675-chair-side-view-1952-credit-Robin-and-Lucienne-Day-Foundation_1_grande.jpg?v=1498027042)
Robin and Lucienne Day
![](http://cdn.shopify.com/s/files/1/0053/2792/files/robin-and-lucienne-day-image_grande.jpg?v=1498029356)
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.