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Heritage Collection Collection

D.859.1

Ponti's 1959 meeting table for the Time&Life auditorium, with a tapered ash top on trapezoidal legs.

Dimensions

3600 × 750 × 1120 mm

Seat / Notes

Source: spec sheet PDF — D.859.1C table, 360 cm

Year

1959

Materials
Solid ash structureSpruce slat support with high-density fibre panel and ash veneer (top)Satin brass feet with plastic floor support
Finishes
Ash in natural colourAsh stained blackSatin brass feet
Official page

Description

Overview

D.859.1 is a table by Gio Ponti, designed in 1959 for the auditorium of the Time&Life Building in New York and reissued by Molteni&C in 2018. The datasheet says it was designed primarily as a meeting table for up to ten people, over 3.60 m long, with legs that make a trapezoidal single-span bridge under a large tapered top.

Long table with a chair at its end in a high room with a patterned floor covering

Construction

Under the top, the legs and frame are solid ash. Inside the top is a core of spruce slats (Picea abies) with outer parts in high-density fibre panel, covered with sliced ash veneer. Each leg ends in a satin-finish brass foot.

Specifications

  • D.859.1C, table: 360 cm long, up to 112 cm deep, 75 cm on the vertical dimension line (not labelled on the drawing), with a second vertical line of 71 cm labelled as the undertop height

Story

The Time&Life auditorium

The datasheet says Ponti was enlisted in 1958 to design the auditorium of the Time&Life Building at 1271 Avenue of the Americas in New York, headquarters of Time Inc., and calls it his most prestigious project in the city. The table stands out among the auditorium furnishings for its size and for its simple, refined design.

Legs, top and ferrules

The sheet describes fine-membered legs forming a trapezoidal single-span bridge for a large tapered top that conveys aerodynamics; the page uses the words slender-legged trapezoidal base and aerodynamic form. It says the original was solid ash with brass ferrules (the page says bronze), now also offered in black stained ash, and that two smaller versions reproduce the proportions of the original.

More by Gio Ponti

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