Cassina

On 11 May 2026, Domus confirmed that Zanotta had been granted an exclusive licence to manufacture 30 Carlo Mollino designs, awarded by Italy’s Agenzia del Demanio via public tender — the year’s most consequential entry in a wider wave of mid-century archive revivals that runs from Cassina’s Le Corbusier Inédits at Salone del Mobile 2026 back through the same company’s 1965 LC Series, sideways into Pierre Jeanneret’s Chandigarh furniture, and out to the $33.5M Claude Lalanne mirror suite auctioned at Sotheby’s New York three weeks earlier. The Mollino licence closes a circuit that the Cassina template opened in 1964. ...

Linde Freya Tangelder’s Cassina Fluid Re-Collection is the first Cassina commission that asks the company’s industrial-design machine to behave like a glassblower’s workshop — six days at 10 Corso Como, four materials, three named pieces, and a thesis about whether the Cassina catalogue has room for objects that cannot be reproduced. Open from 21 to 26 April 2026 in the first-floor Project Room at Corso Como 10, the show was the Italian solo debut of the Dutch-born, Belgium-based designer who runs the studio Destroyers/Builders out of Antwerp, Brussels, and a workshop in Asse. It was also the most legible thing Cassina did during Milan Design Week 2026, which is a strong claim against a company that also activated the Le Corbusier archive the week before. ...

When the High Court of Punjab and Haryana opened in March 1955, every committee chair, library seat and demountable workstation inside it was a Pierre Jeanneret design — and seventy-one years later, those same teak-and-cane typologies are the second great mid-century price story after Eames. Chandigarh furniture, as the trade now calls it, was built for the civic interiors of the Capitol Complex that Le Corbusier drew between 1951 and 1965; it was declared obsolete in batches between the 1980s and the early 2000s; it was repatriated, restored, and resold by a small number of European dealers; and it has, since roughly 2007, run a parallel canon to the Cassina LC series whose 1928 Paris drawings sit at the other end of the same architects’ careers. ...

Twenty-four years after the Fjord chair, Patricia Urquiola has shipped a sauna for Effe — and the line from Moroso 2002 to Salone del Mobile 2026 is straighter than her catalogue suggests. The question FORMA tracks here is narrow and answerable: what has Patricia Urquiola actually designed for the brands we follow — Cassina, Moroso, Effe, and Loro Piana — in chronological order, with the materials and the edition details that the receipts support? The answer fits in a single table, and the table tells a more disciplined story than the airport-magazine version of her career. ...

Cassina has been producing the LC series — the canonical Le Corbusier, Charlotte Perriand, and Pierre Jeanneret pieces — since 1965. The LC2 armchair, the LC4 chaise, the LC6 table: these are the works that defined what mid-century modernism meant when translated into commercial production. Their continued availability is, in many ways, the bedrock of Cassina’s brand. Sixty-one years of uninterrupted manufacture have turned three architects’ tubular-steel experiments of the late 1920s into the closest thing modernism has to a vernacular. ...