It was not the first time it happened, that a chair was conceived by architects. Nor was it the first time that it would develop like a small-scale construction of what would later be architectural resolutions.
When architects Federico Correa and Alfonso Milà developed the Reno restaurant project in Barcelona’s mythical Tuset Street, they conceived from the structure of the space to the furnishings, and they designed a chair that could be understood as the announcement of an architecture that would arise twenty-five years later in the diagonally opposite corner of the same street.
The Reno chair was a “conceptual model”, a declaration of principles, an aesthetic manifesto. Its authors prophesied in 1961 what would be postmodern decades later. With the update of a Louis XVI style armchair, constructed with wood and upholstered in leather. The same approach with which in 1982 the Metro 3 building project began, the exercise of contemporizing a historic architecture. A facade with Renaissance rhythm and fantasies, synthesized and unified in color and material.
With a similar resolution, the building for the Diputación de Barcelona was built a short time later, conceived as a backdrop to the modernist Casa Serra by architect Puig i Cadafalch. Neo-neo classicism as authorization and essence of the postmodern turns.
In the Reno chair, they had already envisioned it many years before, and Correa and Milà were so elegant in their premonitory development that no one noticed. One of the star designers of the last century, Philippe Starck, had to spend more time until he proposed the Louis Ghost chair. A similar exercise of rereading the Louis XVI chair in a step beyond that of our visionaries; synthesizing it in a transparent plastic volume. A boldness in a context more prone to these turns of argument.