A light and airy metal stackable chair. Gaja is a contemporary piece of furniture that harks back to the pure classicism of rationalism, in which the model fits right in thanks to its agile and practical character. Kazuhide Takahama (Nobeoka, 1930 - Bologna, 10 February 2010 ) was a Japanese architect and designer. Born in 1930, he studied architecture in Tokyo and after graduating joined Kazuo Fujioka's studio. In 1957 he came to Italy to supervise the architectural design of the pavilion with which Japan participated for the first time in the 11th Milan Triennale, where he met the designer and entrepreneur Dino Gavina (1922-2007) with whom he began a lifelong professional collaboration. As a result, he moved to Bologna in 1964 and went to work as a furniture and lamp designer in the San Lazzaro factory. In 1968, Gavina sold his company Gavina SPA to Knoll International, with its factory in Foligno designed by Achille Castiglioni, and together with Maria Simoncini (1927-2010) founded the Simon International factory (later acquired by Cassina). The following year he opened the exhibition and commercial centre in Bologna named after Marcel Duchamp with the participation of the famous Dadaist painter and photographer Man Ray. In these new premises, Takahama had the opportunity to collaborate with the famous architect and designer Carlo Scarpa, and in the following years he carried out an intense professional activity that led to the creation of furniture and lamps of various types, which still today constitute works of art, always characterised by great simplicity and formal cleanliness and very often as rigorous as Zen compositions. His colleagues said he was so quiet that he was called 'the man of stone', but his presence was clearly perceptible. Takahama continued to work as a designer until his death in 2010. SIMON was born in 1968 from the meeting of Dino Gavina and Maria Simoncini with some of the greatest representatives of architecture and modern art. In this entrepreneurial adventure, all the cultural experiences and production testimonies converged to create a cult collection for design lovers. Today, these furnishing objects, synonymous with an industrial activity that has been able to become a vehicle for cultural promotion, represent classics, because they are repositories of timeless values from which to draw inspiration and draw on.
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