Originally conceived to be used on the deck of cruise ships, the deck chair found its fortune also on the ground, becoming the epitome of beach furniture and also adapting itself to city balconies, where it has been able to awaken feelings connected to the idleness and freedom of holidays. After all, it is the structure itself to determine its (non) scope. With a structure that makes it impossible to sit with your back straight, the deck chair does hardly conjugate with work life and, on the contrary, it is perfect for resting or reading. Two activities that, in fact, tend to last longer than expected considered the impossibility to promptly stand up once hugged by its canvas.

Designed in 1855 and patented in England in 1877, the Beverly Fendy model reached a level of popularity that transcended borders and resulted in several replicas and imitations, a fact that explains the reason for its multiple names: safari chair, official chair – in the United States, in fact, it was first put on the market in 1895 advertised as a chair with military purposes – and campaign chair. Tripolina, the name by which the chair is known in Italy, comes from its use during the colonial campaign in Libia. After the war, this chair with a wooden structure, metal screws and a removable canvas seat rose in popularity, finding in Cesare Viganò and Gavina two of its most notorious producers.

Archetype of the American garden chair and among the first rustic lounge chairs, the Adirondack Chair can also be considered the epitome of intellectual property theft in the field of design. Projected by Thomas Lee, who tested it during a family holiday and finalised it in an eleven-pieces version, it was later patented under the Westport Chairs brand by Harry Bunnell, a friend of his to whom Lee had showed the chair. The chair witnessed great fame and was adopted, during the '900s, in a multitude of versions that thanks to concave seatbacks and shaped seats improved its comfort.

Inspired by a same-named English model and developed within the pervasive historical context of the colonial campaigns, the Indian Chair by Swiss designer Wilhelm Kienzle made practicality its distinctive trait. Lightweight, foldable and easily carriable, its simple traits are enhanced by the use of wood and leather. However, its originality lies in some clever details, like the metal screw that ensures the tense position of the leather armrest. Its clean lines and the great functionalism of this model would end up influencing Le Corbusier and Charlotte Perriand as much as Eileen Gray in the production of their seats in the early '30s.

One of the most notorious pieces of the Brazilian tropical modernism, this chaise longue with an adjustable set up enhances the beauty of local woods. The geometrical combination of a half-moon shape with the seat's zigzag trait results, also thanks to the use of Vienna straw, in synthesis of great elegance.    

An icon of the '50s, now once again on trend, the Acapulco chair is characterised by hardly documented origins that nod to Mexican hammocks. They are here reproposed through a vinyl rope texture tied to an oval metal structure that is instrumental in aiding the breeze against the body during the warm seasons.

Taking upon the codes of the metal and PVC loungers and chaise longues, Urquiola enhances the pattern’s weaving by experimenting with the chromatic juxtapositions, so to celebrate the lysergic and tropical nature of the chair.

A continuation of the research on pointillism that made the notorious Proust armchair a hit, Mendini revisits the rules of the game by proposing an answer to one of the most pressing issues for the planet's ecosystem: plastic pollution. Produced in collaboration with Ecoplex, the lounge chair is made of low-density polyethylene, of which 55% is recycled. The chair is fully recyclable thanks to the low temperature necessary for its melting. Following the precedent set by the Proust, the pixels used for the chair's pattern are also surprisingly big as they measure 24x24cm.

Symbol of a lively design that finds in assembling elements and in insubordination a creative getaway to the restrictions and the dogmas of the discipline, Transwood nods to the tradition of the garden seats in midollino offering a revolutionary collective take on them. Similarly to the Transwood series, the Transplastic line also proposes a game of reappropriation by playing upon the iconic monobloc white plastic chair.

A double metaphor for the imminent risk due to clinmatic change. The deckchair is named after a Pacific island submerged by advancing waters, while the sun-warmed metal of the structure proves too hot to accommodate those who intend to sit down. A warning about the harmful consequences of our flashy and unconscious consumerism.