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Edit 17 opened at twentytwentyone's River Street showroom on 20th September. The exhibition hosted an array of classic and contemporary designs reflecting a creative mix of materials, construction and form. 
 
The edit explores the use of the essential raw materials of wood, metal and glass, and their treatment and amalgamation. While diverse in design, the works displayed are unified by a desire to create enduring and individual furniture and lighting.  

Michael Anastassiades’ new series of works are both an evolution and a refinement of his design philosophy, which seeks to identify the timeless qualities of an object. Continuing a preoccupation with geometry, balance and the reduced expression of form, the new pieces distil a language of honesty and simplicity in an exploration of new material and form.  

The three new Mobile Chandeliers are a natural evolution of a series first designed in 2008 (Mobile Chandeliers 1 to 10). Further developing the language of curves introduced in 2015, these pieces manifest a playful complexity while maintaining a sense of refinement and discipline. As part of a growing lineage, the three new designs contribute to an ongoing exploration of elements in perfect equilibrium. 

Anastassiades brings together metal and glass in an apparently effortless union, celebrating the elegant and pure sculptural forms that can be achieved through steel and brass, whilst detailing their connections with minimalist restraint.   

Created to be adaptable, light and strong, the Result Chair (designed by Friso Kramer and Wim Rietfeld in 1958) and Pyramid Collection (designed by Wim Rietveld in 1959) were conceived from the outset as industrially produced designs. Both products utilise cut-out sheet steel to form their frames.   

Functionality being a primary concern, the Result chair has a comfortable and robust structure that is lightweight both aesthetically and in use. The comprehensive range of tables and benches that comprise the Pyramid family are ideally suited to both commercial and domestic environments, with an external stacking leg formation and a variety of table- and bench-top sizes and finishes. 

Danish design manufacturer Hay has partnered with Royal Ahrend to bring these two classic designs to a new audience. 

The Slatted Bench was designed by Robin Day in 1954 and offers a multifunctional platform in domestic and commercial interiors. Solid walnut slats are supported by a fine steel rod frame, creating a timeless and restrained presence that marries the honesty of a natural material with man-made forged and coated metal. 

This design offers the flexibility of function as a seat and surface. It originally also combined with Day’s storage units, serving as a modular flexible base for drawer units. In the contemporary interior, and in the absence of the now discontinued storage range, the Slatted Bench may be used as a media bench for television or audio equipment.
 
It is equally at home in a lounge setting as a multipurpose coffee table, footstool or perch, with the addition of cushions transforming it into a low seat. The modernist design language and functionality of Day’s design can now be appreciated by a new generation of users. 

The Wrongwoods Table is a new addition to the well-known collaboration between British artist Richard Woods and British designer Sebastian Wrong for Established & Sons. The characterful Wrongwoods collection brings contemporary art into everyday use as a functional piece of furniture.  

Celebrating ten years of working together, Woods and Wrong have revisited the very first design they prototyped. The Wrongwoods table sees Woods’ signature graphic wood grain print paired with Wrong’s reimagining of a utilitarian plywood furniture system. Combining the simplicity of form with straightforward construction, the design remains true to the utilitarian characteristic that defines the range.