The Bocca Sofa (also known as the Lip Sofa) is a cult icon of modern furniture design influenced by pop art. The use of cold-expanded polyurethane makes traditional methods of constructing furniture redundant. This object stands out amongst the furniture designs of the “Studio 65″group, since it makes radical use of the freedom of design allowed by this new material. And the style of this furniture demonstrates characteristics originating in the pictorial arts of the 1960s: the softening of a Claes Oldenburg, the naive stylization to be found in comics and commercial art, or the giant, intoxicated dimensions assumed by 1960s objects. Studio 65’s contribution to the “radical design” is materialized by this sofa in the shape of a woman’s mouth.
The subtitle Studio 65 gave to its Sofa Bocca: “alias lips, alias Marylin”, is a reference to the inspiration for this design and its symbolism. Salvador Dalà, to whom the idea for a design of this kind has been attributed, was quoted by Studio 65 in this context as follows: “Objects with a symbolic function leave no room for formal considerations. They are characterized only by each individual’s idea of love and are above any notions of shape”.
This Vitra collectible miniature design sofa is constructed to the exact specifications of the original, right down to the last detail. Because each miniature modern sofa is so true to the original, the miniature sofa is not only a valuable collector “item or decorative item, but also an ideal illustrative material for universities, colleges of design and architects. The Vitra miniatures collection presents the most important classics of modern furniture history in miniature scale.
• Dimensions: 5.75″H x 14″W x 5.25″D
• Scale 1:6
• Material: Polyurethane-foam, fabric
• Manufacturer of the full-scale 1:1 model: Gufram – Studio 65
• Ships in a small wooden Vitra box which is perfect for storage or display
In 1965 Studio 65 was founded by Piero Gatti, Cesare Paolini, and Franco Teodoro, architecture and art students in Turin. Their ironic adaptation of classical elements predates the historicist designs of such 1980s postmodernists as Robert Venturi and Michael Graves in America and Hans Hollein, Ricardo Bofill, and Aldo Rossi in Europe, and it also takes note of pop art developments of the period.