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AEO Lounge Chair

c. 1973

by Paolo Deganello

AEO Armchair

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AEO Lounge Chair

by Paolo Deganello
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Designed in 1973 by Paolo Deganello and produced by Cassina, the AEO Lounge Chair is a study in the decon­struc­tion of tradi­tional uphol­stery. The chair’s struc­tural logic relies on a distinct sepa­ra­tion of compo­nents: a painted steel base, a plastic D‑shaped seat, and a fabric back­rest that is tensioned over the frame. This assem­bly allows the chair to main­tain a wide, concave profile while remain­ing light in its physical footprint.

The geom­e­try is expan­sive, featur­ing inte­grated arms and a deep, low-slung seating surface. The remov­able cover is precisely tailored to the inter­nal frame, regis­ter­ing the segmented nature of the chair’s construc­tion through clear, func­tional contours. This specific example is uphol­stered in Kvadrat Raf Simons Pilot fabric, a navy blue wool-blend that empha­sizes the conti­nu­ity of the back and arms. Void of extra­ne­ous padding, the design relies on the suspen­sion and flex­i­bil­ity of its mate­ri­als to provide support, repre­sent­ing a signif­i­cant shift toward the exper­i­men­tal indus­tri­al­ism of the 1970s. 

Paolo Deganello

Italy

Paolo Deganello was born in Este, Italy, in 1940 and trained as an architect in Florence, where postwar debates around design, politics, and industrial production shaped his early work. In 1966 he joined the collective Archizoom Associati, a central figure in Italy’s Radical Design movement, which rejected functionalist orthodoxy in favor of critical, often ironic proposals addressing consumer culture and the built environment.

Deganello contributed to projects that blurred architecture, furniture, and theory, including the continuous environments and modular systems that questioned domestic conventions. His later work moved away from collective practice toward a more explicitly social approach to design, emphasizing process over form and participation over authorship. In this phase, he engaged with craft traditions and marginal production contexts, proposing design as a tool for autonomy rather than consumption. Across both periods, Deganello’s work reflects a sustained critique of design’s alignment with industrial standardization, situating him within a lineage that runs from postwar Italian modernism to the experimental practices of the 1960s and 1970s.

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