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UNI

UNI ARMCHAIR

designer: Stas Litvinov

An upholstered armchair with a soft, relaxed form, loosely filled in a minimalist metal frame, combining comfortable relaxation with an informal character.

The Uni armchair stands out a soft, freely shaped body, whose generous filling contrasts with the lightweight metal frame. Rounded lines, natural fabric creases, and distinctive edge finishes give it a friendly, informal character.

Loose filling adapts to the body position, Providing comfort and freedom while relaxing. A metal frame surrounds the soft body, defining its shape and providing comfortable support. Uni encourages relaxation in your favorite position, whether for reading, conversation, or moments of relaxation.

The contrast of soft upholstery and slim metal structure is one of the most distinctive design elements. The black frame gives the armchair a graphic look, while the loosely draping fabric emphasizes its natural, effortless aesthetic. Uni is available on its own or in a set with a matching pouffe, which acts as a footrest, increasing the comfort of rest.

Thanks to its universal form Uni is perfect for both residential and commercial spaces. It can be used as a living room, bedroom, café, or office relaxation area, and with the right upholstery, it can also be used on a terrace or garden. The project was appreciated by the Polish design community, reaching the finals of the Dobry Wzór 2022 competition.

AWARDS RECEIVED

TYPE
Lounge chair with loose filling

DESTINY
Residential and contract interiors, terraces and gardens (with appropriate upholstery)

FILLING
Loose filling made of polystyrene granules and siliconized polyester fibers. The special fiber structure ensures fluffiness, elasticity, and conformability to body position.

FRAME
Metal, black

UPHOLSTERY
Fabric

COUNTRY OF PRODUCTION
Poland

Technical information
DIMENSIONS
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USE

Materials and finishes

13 materials

DESIGNER

Stas Litvinov

A designer for whom simplicity is a conscious choice, a supporter of honest design. He believes that a product must earn its right to exist, and that refusing to follow trends gives it the chance to become a timeless classic.

The nobonobo collection includes his Uni armchair – an icon of private and commercial interiors, in which well-thought-out, recyclable materials combine with a universal, versatile form.

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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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Uni armchair

Technical information

Technical dimensions [mm]
1. Total height 620
2. Seat height 380
3. Total depth 900
4. Seat depth 480
5. Leg height 80
6. Total height of the POUF 340
7. Seat depth of the POUF 530

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Muro sofa

Technical information

Technical dimensions [mm]
1. Total height 670
2. Backrest height 670
3. Seat height 370
4. Armrest height 485
5. Armrest width 360
6. Total depth 1080
7. Seat depth 700
8. Leg height 25

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STAS LITVINOV

A designer for whom simplicity is a conscious choice, a supporter of honest design. He believes that a product must earn its right to exist, and that refusing to follow trends gives it the chance to become a timeless classic.

The nobonobo collection includes his Uni armchair – an icon of private and commercial interiors, in which well-thought-out, recyclable materials combine with a universal, versatile form.

You studied industrial design in Bydgoszcz, furniture design in Poznań, and industrial design in Valencia, and it was in Spain that you spent several important years of your professional career. What did this design environment teach you about form, materials, and the way of looking at furniture?

Each of these environments introduced me to a different approach to design. However, it was my first professional experience at a design studio in Spain that truly opened my eyes to the responsibility of designing for industry, as well as the opportunities this profession offers. It was then that I felt the need to look at design more broadly than just through the prism of the product itself. The subsequent creation of the Calma Creative studio allowed me to develop this approach and collaborate with industry on many levels.

The form, material, and perception of a piece of furniture are often the essence of a design, but in practice, they're only part of a much more complex process. My first few years working in Spain taught me, above all, how fascinating, demanding, and unpredictable design is. Each project brings new questions and challenges. And that's precisely why I wouldn't trade this job for any other.

detal-lanube-pulsano-2@025x.png

You emphasize that design always begins with the human being, with observation, analysis, and understanding of needs. How does this moment of attentive listening to the user translate into specific formal decisions? Was there such a turning point in the Lanube project?

For Lanube, the turning point was finding a balance between expressive form and user comfort. From the outset, I aimed to create a soft, calm, architectural form, in which the backrest acts as a natural extension of the seat. At the same time, every formal decision had to be in harmony with ergonomics. Therefore, the additional cushions are not merely an aesthetic element; they are designed as an integral part of the support system, stemming directly from the sofa's architecture.

The Lanube sofa and bed – two distinct pieces of furniture, two zones of the home creating a coherent, calming formal language. What was the starting point for this project: the shape, the detail, the material, or perhaps the atmosphere of the space for which they were designed?

I must admit that from the outset of designing Lanube, I considered not so much the individual piece of furniture as the atmosphere it creates in a space. Both the sofa and the bed are designed for relaxation, so I aimed to create a calm, soft formal language that would naturally support everyday comfort.

It was from this idea that subsequent design decisions regarding form, proportion, and detail emerged. Distinctive, soft volumes, subtle quilting, and carefully crafted proportions were intended to create a sense of visual calm while simultaneously maintaining a distinctive, architectural character.

I wanted the furniture to be comfortable not only physically but also visually, to fit well into everyday life and create a space conducive to relaxation.

„In the case of the Lanube collection, the common point was relaxation – both the everyday, active kind associated with the life of the living room, and the more tranquil kind characteristic of the bedroom.”

Lanube is a collection that flows from the living room to the bedroom. How do you design furniture for such diverse uses—active presence and profound tranquility?

It's true that a sofa and a bed function in different areas of the home and address slightly different user needs. However, in the case of Lanube, the common thread was relaxation – both the everyday, active kind associated with the living room, and the more tranquil kind characteristic of the bedroom.

Once the sofa's proportions, ergonomics, and formal language were achieved, it was a natural step to transfer these values to the next product. The distinctive, soft volumes and stitching details became the building blocks of the entire collection's identity.

However, developing a product family doesn't always work this way. Sometimes, consciously introducing contrast between individual pieces of furniture offers greater value. With Lanube, however, from the outset, we aimed to create a cohesive world in which both the sofa and the bed tell the same story of comfort, softness, and tranquility.

„I increasingly think of design as a search for a balance between innovation and timelessness. I believe that a designer's role is not to create objects that will attract attention only for a moment, but ones that will have the potential to function for many years.”

You've often said that good furniture should last for years and have a second life. How does this long-term perspective influence the decisions you make during the design process?

I increasingly think of design as a search for a balance between innovation and timelessness. I believe that a designer's role isn't to create objects that will attract attention only for a moment, but ones that will have the potential to function for many years.

If a design becomes too expressive, too sculptural, or strays too far from the realities of an industrial product, it risks becoming outdated more quickly.

Of course, there are exceptions and many iconic designs defy this rule, but for me it is becoming increasingly important to find the right balance between my own vision and the needs of the industry and the user.

This is where solutions that are likely to stand the test of time are most often born.

STAS LITVINOV PROJECTS

Armchair UNI

Designer Stas Litvinov

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