Butterfly Stool
Sori Yanagi designed the Butterfly Stool in 1954, and it has never required revision. Two mirror-image shells of molded plywood rise and join at a central brass rod, their arcing forms suggesting a moment of lift, a held breath before flight. The silhouette reads as sculpture from every angle.
Yanagi arrived at this form by marrying the plywood bending techniques pioneered by Charles and Ray Eames with a distinctly Japanese sense of proportion and negative space. The result belongs to neither tradition entirely, which is precisely why it endures. It is one of the rare objects that looks inevitable.
- Available in Maple or Rosewood veneer
- Shells joined by a single brass tension rod
- Designed 1954, produced continuously since
- Part of the permanent collection of the Museum of Modern Art, New York
Original: $1,250.00
-65%$1,250.00
$437.50More Images
Butterfly Stool
Sori Yanagi designed the Butterfly Stool in 1954, and it has never required revision. Two mirror-image shells of molded plywood rise and join at a central brass rod, their arcing forms suggesting a moment of lift, a held breath before flight. The silhouette reads as sculpture from every angle.
Yanagi arrived at this form by marrying the plywood bending techniques pioneered by Charles and Ray Eames with a distinctly Japanese sense of proportion and negative space. The result belongs to neither tradition entirely, which is precisely why it endures. It is one of the rare objects that looks inevitable.
- Available in Maple or Rosewood veneer
- Shells joined by a single brass tension rod
- Designed 1954, produced continuously since
- Part of the permanent collection of the Museum of Modern Art, New York
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Description
Sori Yanagi designed the Butterfly Stool in 1954, and it has never required revision. Two mirror-image shells of molded plywood rise and join at a central brass rod, their arcing forms suggesting a moment of lift, a held breath before flight. The silhouette reads as sculpture from every angle.
Yanagi arrived at this form by marrying the plywood bending techniques pioneered by Charles and Ray Eames with a distinctly Japanese sense of proportion and negative space. The result belongs to neither tradition entirely, which is precisely why it endures. It is one of the rare objects that looks inevitable.
- Available in Maple or Rosewood veneer
- Shells joined by a single brass tension rod
- Designed 1954, produced continuously since
- Part of the permanent collection of the Museum of Modern Art, New York
