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WADI

WADI ARMCHAIR

designer: Tomek Rygalik

An upholstered armchair with a distinctive, rhythmic form inspired by the design of the 1970s and 1980s, with a characteristic division of the shape into soft, rounded segments.

Rhythm is one of the most important elements of the Wadi project. A repeating arrangement of narrow, upholstered segments runs through the seat and backrest of the chair, creating its distinctive silhouette and giving it a distinct identity.

The geometric division of the body has been summarized with rounded lines and full armrests, which soften its form. Tomek Rygalik's design features references to the design of the 1970s and 1980s, translated into a contemporary design language.

 

The Wadi armchair was designed as compact, coherent shape, where form stems from construction, and detail becomes an integral part of the design. Soft, enveloping shapes provide comfortable relaxation, and the distinctive silhouette attracts attention without dominating the space.

The armchair is part of Wadi collection, also including a sofa and a pouffe, with which it creates a stylistically coherent whole. The project was appreciated by the Polish design community – won the must have 2020 title and was in the final of the Dobry Wzór 2020 competition.

TYPE
Lounge chair, non-reclining

COMFORT TECHNOLOGY
SoftLayers™ – a system of multi-layer flexible foams, including a thermo+ layer, ensuring high comfort of use and high resistance to deformation.
VelaFit® – Nobonobo's proprietary comfort technology based on ultra-thin fibers, ensuring exceptional lightness, elasticity and durability as well as a unique relaxation experience.

BASE
metal, black

UPHOLSTERY
Fabric or leather

COUNTRY OF PRODUCTION
Poland

Technical information
DIMENSIONS
CONFIGURATOR
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Materials and finishes

13 materials

DESIGNER

Tomek Rygalik

One of Poland's most recognizable designers, he served as artistic director of nobonobo from 2019 to 2022. His practice combines formal discipline with material experimentation and often speaks about the moral dimension of design—creating things that deserve to exist.

For nobonobo he created an extensive family of Wadi furniture (sofa, armchair and pouffe), as well as the Raksa sofa, the Tupak armchair, the Nato table set and the Oo table.

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DISCOVER OUR ARMCHAIRS

Nobonobo armchairs feature expressive shapes designed for comfort and versatile relaxation. The collection includes swivel models, high-back armchairs, and versions with a footrest. The variety of shapes, proportions, and details allows the armchair to complement any interior or add a strong, individual accent.

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showroom Bielsko-Biała
Księdza Stanisława Stojałowskiego 63,
43-300 Bielsko-Biała
showroom WARSAW
Józefa Piusa Dziekońskiego 1,
00-728 Warsaw
showroom Gdynia
Henryka Sienkiewicza 44,
81-374 Gdynia

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Margo armchair

Technical information

Technical dimensions [mm]
1. Total height 710
2. Seat height 380
3. Total depth 1120
4. Seat depth 820
5. Seat depth with cushion 650
6. Leg height 40

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TOMEK RYGALIK

One of the most recognizable Polish designers, artistic director of nobonobo from 2019 to 2022. In his practice, he combines formal discipline with material experimentation and often speaks about the moral dimension of design – creating things that deserve to exist.

For nobonobo he created an extensive family of Wadi furniture (sofa, armchair and pouffe), as well as the Raksa sofa, the Tupak armchair, the Nato table set and the Oo table.

From 2019 to 2022, you served as nobonobo's artistic director, a role fundamentally different from commissioned design. How did this dual role of simultaneously creating and curating the brand's identity influence the way you thought about each new project?

Creating the brand from scratch, including its name, logo, and strategic foundations, served as the starting point for further work, such as designing products that would constitute the new identity. These products were to express a completely new approach to offerings, based on the originality of the original design, which already boasted a high level of craftsmanship.

To define this direction and establish a coherent aesthetic—a foundation for further development—several interconnected furniture types were needed, each addressing different market needs: from a sales hit, through an image icon, to complementary armchairs and tables. While this may sound simple today, it was a significant challenge and a huge amount of work, especially considering the varying levels of design awareness and market attitudes at the time.

Wadi_Vamos07_detal_3547

Wadi is the most extensive furniture family you've created for nobonobo, encompassing a sofa, armchair, and pouffe. What's the idea behind this collection?

Almost every product family I design incorporates a modular system, allowing for the creation of various configurations and types. Most sofas available on the market are based on a similar typology and construction principle, so in this collection I deliberately utilized a much less common configuration method, based on repeating modules in the form of „slices.” Their number defines the width of the seat, and on either side are similar modules with armrests.

The main idea was to create a model that could be disassembled into its basic components – not only for washing the fabric, but above all for the possibility of repairing or disposing of individual materials, in the spirit of sustainable development.

Your designs are based, among other things, on a dialogue between formal discipline and material experimentation. How do these principles work in the case of upholstered furniture, whose form is largely defined by softness and the concealment of structure?

I also design upholstered products from the inside out, ensuring they are carefully considered in every respect. Good function and form are the result of this approach.

„Most sofas available on the market are based on a similar typology and construction principle, so in the Wadi collection I deliberately used a much less common configuration method, based on repeating modules in the form of „slices.” Their number defines the width of the seat, with corresponding modules with armrests on either side.”

You often speak about the moral dimension of design, about creating things that deserve to exist. How does this ethics operate within the everyday reality of a furniture brand?

This is a significant and complex dilemma stemming from the consumerist paradigm. We all participate in shaping the world around us every day – from experiences and emotions, through workplaces, to the modernization and development of the country, as well as waste generation and environmental impact.

It is good to actively support positive changes at every step, thus developing awareness of yourself and your surroundings.

„We all participate in shaping the world around us every day – from experiences and emotions, through jobs, to the modernization and development of the country, as well as the generation of waste and the impact on the natural environment.

It is good to actively support positive changes at every step, thus developing awareness of yourself and your surroundings.”

Looking at the entire collection you created for nobonobo – from the Wadi furniture, through the Raksa sofa and Tupak armchair, to the Nato coffee table set and the Oo table – is there a formal or philosophical thread that connects these designs into a coherent story?

This is a coherent story, formally, materially, technologically, and ethically, constituting a new, credible brand. It provides a foundation and unlimited potential for further development, not only in the material sphere.

TOMEK RYGALIK'S PROJECTS

sofa WADI
Designer Tomek Rygalik

Armchair WADI

Designer Tomek Rygalik

pouf WADI

Designer Tomek Rygalik

sofa HANK

Designer Tomek Rygalik

Armchair TUPAK

Designer Tomek Rygalik

table NATO

Designer Tomek Rygalik

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