Driade Edward Bed Antonia Astori
Driade Edward Bed Antonia Astori calls “memory furniture” those pieces which tell something about people attention to indoor living. an attention expressed both by the recovery of disappeared archetypes (e.g. canopy bed) and in precious materials manifacturing (e.g. pleached roped steel headboard).
Bed. satin stainless steel and wooden structure with solid wooden base.
edward I double bed with headboard: w. 187/73,6″ d. 207/81,5″ h. 105/41,3″; bed base: h. 34/13,3″
edward III double bed without headboard: w. 187/73,6″ d. 207/81,4″ h. 34/13,3″
edward II double canopy bed with headboard: w. 199/78,3″ d. 219/86,2″ h. 250/98,4″; bed base: h. 34/13,3″
edward IV double canopy bed without headboard: w. 199/78,3″ d. 219/86,2″ h. 250/98,4″; bed base: h. 34/13,3″
antonia astori attended then the athenaeum in lausanne where she graduated in 1966 in industrial and visual design; in 1968, with his brother enico and adelaide acerbi she founded driade. antonia astori for driade, in addition to designing furniture, plays the role of projectile coordinator, getting to build a unique network of furniture design, exhibitions and shops. she designed the forerunner containment systems oikos i (1972), oikos ii (1980) and kaos ( 1986). to those systems, antonia astori combines the design of individual pieces in which, however, the sense of living is always carefully considered. in this spirit were born, we could say as ” chamber architectures ” , first the project aforismi (1984), then the san souci collection (1990) and finally, in 2006, virginia writing desk and eileen bookcase. in parallel to her designer main activity, antonia astori takes care also of interior projects, designing houses that organization and rationality, pursued to the utmost, have made long-lasting and absolutely free of stylistic references to the dominant mannerism. the role of antonia astori on national and international scene, even though characterized by a very discrete character, is completed by her presence at major events, from an initial, but unforgotten, eurodomus in turin in 1971, under the aegis of gio ponti, to the exhibition “design donne” of 1985 in tokyo, and by numerous appearances at the triennale as well as in verona at “abitare il tempo”.