Designer: Maarten Van Severen, 1998
Manufacturer: Vitra

The aesthetic hallmark of the .03 chair is its sleek, slim shape - a design that can be seen as an expression of the concept ‘less is more’. At the same time, the chair is unexpectedly comfortable: made of resilient polyurethane integral foam, the linear shape of the seat shell adapts to the body. When the sitter leans back, the upper part of the backrest yields slightly - a pleasant sensation created by the integrated leaf springs. The extraordinary comfort of .03 is first revealed upon use.

MATERIALS:

• Seat shell: integral skin polyurethane foam. Shell with upholstered effect, self-supporting on a tubular steel frame. Flexible backrest with integrated leaf springs.
• Base/stackability: back legs in tubular steel, front legs in aluminium profile, powder-coated or chrome-plated. Stacking and non-stacking versions. Up to 10 chairs can be stacked on the floor, up to 20 chairs on a stacking trolley. Fitted with plastic glides for carpet or felt glides for hard floors.
  • Chrome
  • Black: powder-coated (textured)
  • Silver: powder-coated (smooth)

DIMENSIONS:

.03 - The story of a Vitra original

‘The design starts with a memory. I want to be able to understand the space. Master it. I think it’s important that you have it within you – it’s genetic. The attention you pay to precision or a particular way of looking at things is something you are born with. Not just when it comes to the furniture I make, but also what I experience in life.’
- Maarten Van Severen

In 1994, the influential Italian architecture and design magazine ‘Domus’ published an article about Belgian interior architect and designer Maarten Van Severen entitled ‘A way of work for a way of life’. It was researched and written by architectural historian Federica Zanco, the wife of Rolf Fehlbaum. As CEO and Chairman of Vitra at the time, Fehlbaum was so inspired by Van Severen’s work that he visited the designer in his studio in Ghent in September 1994. A few days later Vitra received a fax that marked the beginning of a personal and professional relationship: ‘I hope there will be an opportunity to work together, either on some furniture of my collection which I have conceived and developed in a semi-industrial way or on new furniture in an industrial spirit and strictly controlled.’

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