From this rich history emerges Ordinære™, a transformation of the most universal chair in the world into something unexpected, banal yet extraordinary.

 By fusing the disposable with the artisanal, Ordinære™ introduces a carefully crafted rocking base, made from reclaimed high-quality wood, seamlessly fitted to the mass-produced plastic seat. The result is a playful contradiction—an object that exists between cheap pragmatism and meticulous craftsmanship, between mass production and bespoke design.

Each Ordinære™ Rocking Chair is made in Italy, where the industrial meets the handmade. It is not just a seat—it is an intervention, an exploration of what happens when the most ordinary chair in the world is forced to move.

The Monobloc plastic chair represents a pluralistic approach to design, one that exists beyond the traditional canon of good taste. Born in the mid-20th century, the Monobloc is a testament to radical simplicity, mass production, and affordability—a global icon molded from a single piece of plastic, found everywhere from Parisian cafés to street stalls in Jakarta. Yet, despite its banal omnipresence, the Monobloc remains a provocative object—beloved by some for its democratic accessibility, dismissed by others as a symbol of disposable consumerism.

The Monobloc’s roots stretch back to the 1960s, when designers sought new ways to mold seating into a single, fluid form. Among its early pioneers:

• Verner Panton's Panton Chair (1958-68, Denmark) – A sculptural approach to plastic seating
  
  
• Helmut Bätzner's Bofinger Chair (1964-68, Germany) – The first truly industrially produced plastic chair
  
  
• Vico Magistretti's Selene Chair (1961-68, Italy) – A sleek, stackable solution

By 1972, French engineer Henry Massonnet introduced the Fauteuil 300, refining the manufacturing process to produce a Monobloc chair in under two minutes—marking the birth of a global design archetype. From the 1980s onward, countless iterations flooded the market, cementing the Monobloc as an unavoidable presence in both design culture and everyday life.

In recent years, designers have sought to reinterpret the Monobloc, questioning its cultural status and aesthetic value:

• Fernando & Humberto Campana’s Café Chair (2006) – A playfully chaotic assembly of Monobloc fragments

• Martí Guixé’s Respect Cheap Furniture (2009) – A deconstructed approach to affordable design

• Martino Gamper’s Monothrone (2017) – A conceptual piece elevating the Monobloc to the realm of collectible art

The 2017 "Monobloc: A Chair for the World" exhibition at the Vitra Design Museum further solidified its cultural significance, featuring artistic interpretations, critiques, and historical analyses of the world’s most common chair. Today, the Monobloc stands as both a symbol of utilitarian perfection and an object of design irony—endlessly imitated, widely criticized, and yet, indispensable.