Castor Sofa 3 Seater: Pure Oak
Castor Sofa 3 Seater: Grain Grey
Castor Sofa 3 Seater: Pure Oak
Castor Sofa 3 Seater: Pure Oak
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Castor Sofa 3 Seater: Pure Oak
Castor Sofa 3 Seater: Pure Oak
Castor Sofa 3 Seater: Grain Grey
Castor Sofa 3 Seater: Grain Grey
Castor Sofa 3 Seater: Pure Oak
Castor Sofa 3 Seater: Pure Oak
Castor Sofa 3 Seater: Pure Oak
Castor Sofa 3 Seater: Pure Oak
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Karimoku New Standard × Big-Game

Castor Sofa 3 Seater

$5,558 - $7,448



Description

Design studio Big-Game's largest version of Castor is a supersized take on Le Corbusier’s classic Grand Confort sofa, with an elaborate Japanese-oak structure instead of Corbu's steel framework. Marrying functionality with the highest level of comfort, it draws on Karimoku’s vaunted woodworking wizardry, carefully crafted down to the last detail and finished on all sides, making the freestanding sofa a perfect room divider. Available in 3 tonal frame finishes, the sofa's accompanying cushions are plumped with high-quality foam and natural feathers and come with a choice of fabric or leather upholstery.

Specifications

Size

  • 29.5" h x 82.7" w x 34.6" d (75x210x88cm)
  • Seat height: 14.6" (37cm)

Material

Japanese oak, upholstery: fabric or leather

Details

  • Upholstery Group:
    • Mode
    • Merit
    • Raf Simons Vidar 3
    • Steelcut Trio 3
    • Dark Grey Leather
    • Brown Leather
    • Black Leather
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Brand

Karimoku New Standard

It has always been about the wood. Shohei Kato opened a small woodworking shop in 1940 from a longstanding timber firm he acquired in Kariya. The first letters of the town name combined with “moku,” as in “mokuzai” ( “wood”) provided the brand name. Furniture followed within 2 decades, along with several brands under the Karimoku umbrella. Then in 2009, with his grandson Hiroshi Kato as vice president, the Karimoku New Standard branch launched to develop works with international designers in the modern design arena.

The star roster includes Swedish studio TAF, the Swiss team Big-Game and Dutch duo Scholten & Baijings. Among them is David Glaettli, who also serves as KNS brand creative director and dubbed its credo as “high-tech and high-touch.” The highly skilled Japanese carpentry and hand-applied painting that are a part of the parent company heritage are integral to KNS. It also looks forward, revitalizing native forests by targeting undervalued, sustainably grown hardwoods. Advanced technologies have elevated the low-diameter chestnut, maple and oak trees, once turned into wood chips for paper pulp, into something of lasting beauty. The aim, notes Hiroshi, is “furniture that will be used and loved for more than 100 years.”


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