Structure: Steel painted in matt or chromed color.
Seat and backrest: Hand-worked with 3 mm polypropylene braided rope.
Luis Feduchi (Madrid, 1901-1975), in the chapter dedicated to contemporary furniture in his book “History of Furniture” (Barcelona, 1946) points to the chair as one of the fundamental furniture used by man. His relationship with it implies a series of conditions very different from other types of furniture and recalls the definition Neruda made of it in his ode to the chair “The supreme dignity of rest”.1 Feduchi’s interest in furniture began very early; as an architecture student at the Polytechnic University of Madrid, he already designed furniture and interiors. From 1929 he is the first work that integrates furniture and architecture, the rehabilitation of the Parador de Oropesa, Toledo, but it is in the Capitol building in Madrid (1931) where he incorporates a modern language in his design.attentive to the evolution of the furniture, to the advances of the techniques, the incorporation of new materials, the social changes, he was a fundamental architect in his role of disseminator in Spain of the modern furniture, that he put into practice in the commission of the Hilton hotel in Madrid that he made with his son Javier Feduchi and finished in 1953. The chair Parábola, produced by the Madrid furniture company Rolaco, dates from the same year. Its essential design reflects well Neruda’s definition. The structure is made of painted steel tube formed by two pieces, a parabola that picks up the seat and an angle that forms the legs with two finishes for the weft that accommodates the backrest and seat, natural rope for interior use and plastic strips for the exterior. The simplicity of its image does not reveal the comfort of the seat, but it does reveal the beauty of a light, non-intrusive element that fits well into the informal life of today’s domestic interiors. In 2016, the architecture and design studio Moneo Brock was contacted by the DAE company with the intention of re-editing the Parabola Chair and thus recovering this singular piece of design. Belén Moneo Feduchi, the designer’s granddaughter, adapts the chair from a careful study of the original prototype, softening the delivery of the legs to the floor and seeking correct ergonomics in the structure. The new range of colours and the use of polypropylene string update the design, which also allows for indoor and outdoor use.
Luis and Javier Feduchi. Hilton Hotel, Madrid 1953. Shop window-exhibitor
Luis M. Feduchi Javier Feduchi