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Image source: Moroso — Fjord Armchair

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Fjord Armchair

Fjord Relax swivel armchair by Patricia Urquiola, Moroso (2002): shell with a long cut-away

Year

2002

Materials
Cold injected polyurethaneSteel internal framePowder-coated steel
Finishes
White Chalk (RAL 9002)Oriental Red (RAL 3031)Oxidored (RAL 3009)Anthracite (RAL 7016)Black (RAL 9005)
Colors
White ChalkOriental RedOxidoredAnthraciteBlack

Official product information

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Description

Overview

Fjord is the swivel armchair that Moroso credits to Patricia Urquiola, 2002 (the product page and the data sheet agree; the data sheet calls it Fjord Relax). The Wayback copy of Moroso's page says it starts from a piece of seashell broken and smoothed by the waves, with a strong Scandinavian influence: references to Arne Jacobsen and the inlets of northern coastlines, represented in the long cut-away. The armchair is available with fixed upholstery (code 03K) or designed for the addition of a quilt (code 03G).

Construction

The data sheet describes a swivel armchair in cold injected polyurethane with an internal steel frame and a powder-coated square steel base. CAL TB 117 is the standard, with no flame retardants; BS 5852, crib 5 is the flame-retardant option. The product page says the foam is covered in fabric or leather. On code 03G the quilt, code 340, is fixed with a zip, and a leather quilt is not available.

Specifications

  • Swivel base colours: White Chalk (RAL 9002), Oriental Red (RAL 3031), Oxidored (RAL 3009), Anthracite (RAL 7016), Black (RAL 9005)
  • Stitching: standard white, black or red, or out-of-standard colours from the Divina palette

Story

Perfection in a broken shell

A Wayback copy of the product page carries Moroso's own text: Urquiola's collection of seats for homes and public spaces starts from a seashell broken and smoothed by waves, and the name points to Scandinavian influence, with Arne Jacobsen and northern coastal inlets, the latter shown in the long cut-away.

From chair to armchair to stool

The same text likens the shell's rebirth through time and water to a natural cycle in which the chair turns into an armchair and then a stool, and says the broken form and the abstract concept together become a design object, with decorative stitching following the chair's structure.

More by Patricia Urquiola

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