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‘Helicoid’ spiral staircase designed by Roger Tallon

available

#rogertallon #designfurniture #midcenturymodern #spaceage #spaceagemodern

‘Helicoid’ spiral staircase designed by Roger Tallon

available

#rogertallon #designfurniture #midcenturymodern #spaceage #spaceagemodern

‘Helicoid’ spiral staircase designed by Roger Tallon

available

#rogertallon #designfurniture #midcenturymodern #spaceage #spaceagemodern

‘Helicoid’ spiral staircase designed by Roger Tallon

available

#rogertallon #designfurniture #midcenturymodern #spaceage #spaceagemodern

‘Helicoid’ spiral staircase designed by Roger Tallon

available

#rogertallon #designfurniture #midcenturymodern #spaceage #spaceagemodern

@apartment97_ 🛋️🏍️

On view & available —
Designs by Gaetano Pesce, Mario Bellini, Cesare Leonardi, Achille Castiglioni, Ueli Berger, George Nelson, Fabio Taglioni and more

Images by @glenallsop

#midcenturymodernhome #vintageinteriors #vintagefurniture

@apartment97_ 🛋️🏍️

On view & available —
Designs by Gaetano Pesce, Mario Bellini, Cesare Leonardi, Achille Castiglioni, Ueli Berger, George Nelson, Fabio Taglioni and more

Images by @glenallsop

#midcenturymodernhome #vintageinteriors #vintagefurniture

@apartment97_ 🛋️🏍️

On view & available —
Designs by Gaetano Pesce, Mario Bellini, Cesare Leonardi, Achille Castiglioni, Ueli Berger, George Nelson, Fabio Taglioni and more

Images by @glenallsop

#midcenturymodernhome #vintageinteriors #vintagefurniture

@apartment97_ 🛋️🏍️

On view & available —
Designs by Gaetano Pesce, Mario Bellini, Cesare Leonardi, Achille Castiglioni, Ueli Berger, George Nelson, Fabio Taglioni and more

Images by @glenallsop

#midcenturymodernhome #vintageinteriors #vintagefurniture

@apartment97_ 🛋️🏍️

On view & available —
Designs by Gaetano Pesce, Mario Bellini, Cesare Leonardi, Achille Castiglioni, Ueli Berger, George Nelson, Fabio Taglioni and more

Images by @glenallsop

#midcenturymodernhome #vintageinteriors #vintagefurniture

@apartment97_ 🛋️🏍️

On view & available —
Designs by Gaetano Pesce, Mario Bellini, Cesare Leonardi, Achille Castiglioni, Ueli Berger, George Nelson, Fabio Taglioni and more

Images by @glenallsop

#midcenturymodernhome #vintageinteriors #vintagefurniture

Broadway dining set by Gaetano Pesce for Bernini, 1990s 💎

Dining table and four chairs in colorful cast resin with stainless steel structures and spring feet

#gaetanopesce #gaetanopescedesign #broadwaychair #90sdesign #sweeterfat

Broadway dining set by Gaetano Pesce for Bernini, 1990s 💎

Dining table and four chairs in colorful cast resin with stainless steel structures and spring feet

#gaetanopesce #gaetanopescedesign #broadwaychair #90sdesign #sweeterfat

@sweeterfat and @futurenostalgiatrading present a dialogue between two radically different design intentions.

A black Pierre Jeanneret table made c.1956 for Punjab University’s medical institute for education and research in Chandigarh sits beside a selection of Gaetano Pesce Broadway chairs from the Chiat\Day advertising headquarters in New York City, 1994.

This tension is purposeful:

Jeanneret’s table was created for public use, part of a larger vision where design served education, medicine, and the institutions built to move a country forward. Its disciplined form carries the optimism of post independence India, where architecture and furniture became tools of collective progress, and where everyday objects quietly supported the people shaping that future.

Pesce’s chairs come from an entirely different cultural force: the creatively and emotionally charged world of NYC in the 90s. Fluid, individual, and expressive, they push against the order that the table proposes, bringing with them the energy of personality, experimentation, and human imperfection.

Between these distinct forms a shared logic emerges. One is shaped by public purpose, the other by creative autonomy. Brought together, they reveal how design operates across contexts - as a framework that shapes the ways people experience and understand their spaces.

@sweeterfat and @futurenostalgiatrading present a dialogue between two radically different design intentions.

A black Pierre Jeanneret table made c.1956 for Punjab University’s medical institute for education and research in Chandigarh sits beside a selection of Gaetano Pesce Broadway chairs from the Chiat\Day advertising headquarters in New York City, 1994.

This tension is purposeful:

Jeanneret’s table was created for public use, part of a larger vision where design served education, medicine, and the institutions built to move a country forward. Its disciplined form carries the optimism of post independence India, where architecture and furniture became tools of collective progress, and where everyday objects quietly supported the people shaping that future.

Pesce’s chairs come from an entirely different cultural force: the creatively and emotionally charged world of NYC in the 90s. Fluid, individual, and expressive, they push against the order that the table proposes, bringing with them the energy of personality, experimentation, and human imperfection.

Between these distinct forms a shared logic emerges. One is shaped by public purpose, the other by creative autonomy. Brought together, they reveal how design operates across contexts - as a framework that shapes the ways people experience and understand their spaces.

@sweeterfat and @futurenostalgiatrading present a dialogue between two radically different design intentions.

A black Pierre Jeanneret table made c.1956 for Punjab University’s medical institute for education and research in Chandigarh sits beside a selection of Gaetano Pesce Broadway chairs from the Chiat\Day advertising headquarters in New York City, 1994.

This tension is purposeful:

Jeanneret’s table was created for public use, part of a larger vision where design served education, medicine, and the institutions built to move a country forward. Its disciplined form carries the optimism of post independence India, where architecture and furniture became tools of collective progress, and where everyday objects quietly supported the people shaping that future.

Pesce’s chairs come from an entirely different cultural force: the creatively and emotionally charged world of NYC in the 90s. Fluid, individual, and expressive, they push against the order that the table proposes, bringing with them the energy of personality, experimentation, and human imperfection.

Between these distinct forms a shared logic emerges. One is shaped by public purpose, the other by creative autonomy. Brought together, they reveal how design operates across contexts - as a framework that shapes the ways people experience and understand their spaces.

@sweeterfat and @futurenostalgiatrading present a dialogue between two radically different design intentions.

A black Pierre Jeanneret table made c.1956 for Punjab University’s medical institute for education and research in Chandigarh sits beside a selection of Gaetano Pesce Broadway chairs from the Chiat\Day advertising headquarters in New York City, 1994.

This tension is purposeful:

Jeanneret’s table was created for public use, part of a larger vision where design served education, medicine, and the institutions built to move a country forward. Its disciplined form carries the optimism of post independence India, where architecture and furniture became tools of collective progress, and where everyday objects quietly supported the people shaping that future.

Pesce’s chairs come from an entirely different cultural force: the creatively and emotionally charged world of NYC in the 90s. Fluid, individual, and expressive, they push against the order that the table proposes, bringing with them the energy of personality, experimentation, and human imperfection.

Between these distinct forms a shared logic emerges. One is shaped by public purpose, the other by creative autonomy. Brought together, they reveal how design operates across contexts - as a framework that shapes the ways people experience and understand their spaces.

@sweeterfat and @futurenostalgiatrading present a dialogue between two radically different design intentions.

A black Pierre Jeanneret table made c.1956 for Punjab University’s medical institute for education and research in Chandigarh sits beside a selection of Gaetano Pesce Broadway chairs from the Chiat\Day advertising headquarters in New York City, 1994.

This tension is purposeful:

Jeanneret’s table was created for public use, part of a larger vision where design served education, medicine, and the institutions built to move a country forward. Its disciplined form carries the optimism of post independence India, where architecture and furniture became tools of collective progress, and where everyday objects quietly supported the people shaping that future.

Pesce’s chairs come from an entirely different cultural force: the creatively and emotionally charged world of NYC in the 90s. Fluid, individual, and expressive, they push against the order that the table proposes, bringing with them the energy of personality, experimentation, and human imperfection.

Between these distinct forms a shared logic emerges. One is shaped by public purpose, the other by creative autonomy. Brought together, they reveal how design operates across contexts - as a framework that shapes the ways people experience and understand their spaces.

@sweeterfat and @futurenostalgiatrading present a dialogue between two radically different design intentions.

A black Pierre Jeanneret table made c.1956 for Punjab University’s medical institute for education and research in Chandigarh sits beside a selection of Gaetano Pesce Broadway chairs from the Chiat\Day advertising headquarters in New York City, 1994.

This tension is purposeful:

Jeanneret’s table was created for public use, part of a larger vision where design served education, medicine, and the institutions built to move a country forward. Its disciplined form carries the optimism of post independence India, where architecture and furniture became tools of collective progress, and where everyday objects quietly supported the people shaping that future.

Pesce’s chairs come from an entirely different cultural force: the creatively and emotionally charged world of NYC in the 90s. Fluid, individual, and expressive, they push against the order that the table proposes, bringing with them the energy of personality, experimentation, and human imperfection.

Between these distinct forms a shared logic emerges. One is shaped by public purpose, the other by creative autonomy. Brought together, they reveal how design operates across contexts - as a framework that shapes the ways people experience and understand their spaces.

@sweeterfat and @futurenostalgiatrading present a dialogue between two radically different design intentions.

A black Pierre Jeanneret table made c.1956 for Punjab University’s medical institute for education and research in Chandigarh sits beside a selection of Gaetano Pesce Broadway chairs from the Chiat\Day advertising headquarters in New York City, 1994.

This tension is purposeful:

Jeanneret’s table was created for public use, part of a larger vision where design served education, medicine, and the institutions built to move a country forward. Its disciplined form carries the optimism of post independence India, where architecture and furniture became tools of collective progress, and where everyday objects quietly supported the people shaping that future.

Pesce’s chairs come from an entirely different cultural force: the creatively and emotionally charged world of NYC in the 90s. Fluid, individual, and expressive, they push against the order that the table proposes, bringing with them the energy of personality, experimentation, and human imperfection.

Between these distinct forms a shared logic emerges. One is shaped by public purpose, the other by creative autonomy. Brought together, they reveal how design operates across contexts - as a framework that shapes the ways people experience and understand their spaces.

Nicola L. l’Oeill Lamp, 1999 (No. 5/24)

A lamp that looks back. 👁️

Nicola L. developed a lifelong, interdisciplinary practice spanning performance, film, painting, and design. She focused on women’s bodies as a site of metaphor and politics - sometimes subtle, other times overt: the l’Oeill lamp presents a single eye with uncanny realism and creates a human-like presence. Appropriating the body through synthetic materials often found inside the home, Nicola holds the constructed and the intimate in tension. Other works move into overt statement, such as the ‘Man Sofa’ (formed from a dismembered body), or “I Am The Last Woman Object” (where a television is embedded within the torso of an upholstered female body, delivering a recorded message).

Nicola L. used the body as an object to interpret modern life and by doing so confronted how it is shaped and objectified. Rather than invent a new reality, she sharpened the one already in front of us.

Treasure hunt for this special piece (now sold) in partnership with @rub.ish.nyc
Last photo inside of Nicola L.’s 1990s Chelsea Hotel apartment, courtesy of the Nicola L. Collection & Archive

Nicola L. l’Oeill Lamp, 1999 (No. 5/24)

A lamp that looks back. 👁️

Nicola L. developed a lifelong, interdisciplinary practice spanning performance, film, painting, and design. She focused on women’s bodies as a site of metaphor and politics - sometimes subtle, other times overt: the l’Oeill lamp presents a single eye with uncanny realism and creates a human-like presence. Appropriating the body through synthetic materials often found inside the home, Nicola holds the constructed and the intimate in tension. Other works move into overt statement, such as the ‘Man Sofa’ (formed from a dismembered body), or “I Am The Last Woman Object” (where a television is embedded within the torso of an upholstered female body, delivering a recorded message).

Nicola L. used the body as an object to interpret modern life and by doing so confronted how it is shaped and objectified. Rather than invent a new reality, she sharpened the one already in front of us.

Treasure hunt for this special piece (now sold) in partnership with @rub.ish.nyc
Last photo inside of Nicola L.’s 1990s Chelsea Hotel apartment, courtesy of the Nicola L. Collection & Archive

Nicola L. l’Oeill Lamp, 1999 (No. 5/24)

A lamp that looks back. 👁️

Nicola L. developed a lifelong, interdisciplinary practice spanning performance, film, painting, and design. She focused on women’s bodies as a site of metaphor and politics - sometimes subtle, other times overt: the l’Oeill lamp presents a single eye with uncanny realism and creates a human-like presence. Appropriating the body through synthetic materials often found inside the home, Nicola holds the constructed and the intimate in tension. Other works move into overt statement, such as the ‘Man Sofa’ (formed from a dismembered body), or “I Am The Last Woman Object” (where a television is embedded within the torso of an upholstered female body, delivering a recorded message).

Nicola L. used the body as an object to interpret modern life and by doing so confronted how it is shaped and objectified. Rather than invent a new reality, she sharpened the one already in front of us.

Treasure hunt for this special piece (now sold) in partnership with @rub.ish.nyc
Last photo inside of Nicola L.’s 1990s Chelsea Hotel apartment, courtesy of the Nicola L. Collection & Archive

Nicola L. l’Oeill Lamp, 1999 (No. 5/24)

A lamp that looks back. 👁️

Nicola L. developed a lifelong, interdisciplinary practice spanning performance, film, painting, and design. She focused on women’s bodies as a site of metaphor and politics - sometimes subtle, other times overt: the l’Oeill lamp presents a single eye with uncanny realism and creates a human-like presence. Appropriating the body through synthetic materials often found inside the home, Nicola holds the constructed and the intimate in tension. Other works move into overt statement, such as the ‘Man Sofa’ (formed from a dismembered body), or “I Am The Last Woman Object” (where a television is embedded within the torso of an upholstered female body, delivering a recorded message).

Nicola L. used the body as an object to interpret modern life and by doing so confronted how it is shaped and objectified. Rather than invent a new reality, she sharpened the one already in front of us.

Treasure hunt for this special piece (now sold) in partnership with @rub.ish.nyc
Last photo inside of Nicola L.’s 1990s Chelsea Hotel apartment, courtesy of the Nicola L. Collection & Archive

Nicola L. l’Oeill Lamp, 1999 (No. 5/24)

A lamp that looks back. 👁️

Nicola L. developed a lifelong, interdisciplinary practice spanning performance, film, painting, and design. She focused on women’s bodies as a site of metaphor and politics - sometimes subtle, other times overt: the l’Oeill lamp presents a single eye with uncanny realism and creates a human-like presence. Appropriating the body through synthetic materials often found inside the home, Nicola holds the constructed and the intimate in tension. Other works move into overt statement, such as the ‘Man Sofa’ (formed from a dismembered body), or “I Am The Last Woman Object” (where a television is embedded within the torso of an upholstered female body, delivering a recorded message).

Nicola L. used the body as an object to interpret modern life and by doing so confronted how it is shaped and objectified. Rather than invent a new reality, she sharpened the one already in front of us.

Treasure hunt for this special piece (now sold) in partnership with @rub.ish.nyc
Last photo inside of Nicola L.’s 1990s Chelsea Hotel apartment, courtesy of the Nicola L. Collection & Archive

Nicola L. l’Oeill Lamp, 1999 (No. 5/24)

A lamp that looks back. 👁️

Nicola L. developed a lifelong, interdisciplinary practice spanning performance, film, painting, and design. She focused on women’s bodies as a site of metaphor and politics - sometimes subtle, other times overt: the l’Oeill lamp presents a single eye with uncanny realism and creates a human-like presence. Appropriating the body through synthetic materials often found inside the home, Nicola holds the constructed and the intimate in tension. Other works move into overt statement, such as the ‘Man Sofa’ (formed from a dismembered body), or “I Am The Last Woman Object” (where a television is embedded within the torso of an upholstered female body, delivering a recorded message).

Nicola L. used the body as an object to interpret modern life and by doing so confronted how it is shaped and objectified. Rather than invent a new reality, she sharpened the one already in front of us.

Treasure hunt for this special piece (now sold) in partnership with @rub.ish.nyc
Last photo inside of Nicola L.’s 1990s Chelsea Hotel apartment, courtesy of the Nicola L. Collection & Archive

3 days left of “Return To Office” ⏰

Gaetano Pesce’s 1994 Chiat/Day collection reunited in the same building - and same floor - where it first came to life over thirty years ago.

Join us on the final day 12.17 at 4pm for a special conversation with those closest to the project, reflecting on the office, Pesce’s experimentation, and the stories behind the exhibited works.

📍180 Maiden Lane 39F @wsanyc
🕕 Open daily 11AM-6PM
✉️ For inquires please contact hello@sweeterfat.com

#gaetanopesce #radicaldesign

3 days left of “Return To Office” ⏰

Gaetano Pesce’s 1994 Chiat/Day collection reunited in the same building - and same floor - where it first came to life over thirty years ago.

Join us on the final day 12.17 at 4pm for a special conversation with those closest to the project, reflecting on the office, Pesce’s experimentation, and the stories behind the exhibited works.

📍180 Maiden Lane 39F @wsanyc
🕕 Open daily 11AM-6PM
✉️ For inquires please contact hello@sweeterfat.com

#gaetanopesce #radicaldesign

3 days left of “Return To Office” ⏰

Gaetano Pesce’s 1994 Chiat/Day collection reunited in the same building - and same floor - where it first came to life over thirty years ago.

Join us on the final day 12.17 at 4pm for a special conversation with those closest to the project, reflecting on the office, Pesce’s experimentation, and the stories behind the exhibited works.

📍180 Maiden Lane 39F @wsanyc
🕕 Open daily 11AM-6PM
✉️ For inquires please contact hello@sweeterfat.com

#gaetanopesce #radicaldesign

3 days left of “Return To Office” ⏰

Gaetano Pesce’s 1994 Chiat/Day collection reunited in the same building - and same floor - where it first came to life over thirty years ago.

Join us on the final day 12.17 at 4pm for a special conversation with those closest to the project, reflecting on the office, Pesce’s experimentation, and the stories behind the exhibited works.

📍180 Maiden Lane 39F @wsanyc
🕕 Open daily 11AM-6PM
✉️ For inquires please contact hello@sweeterfat.com

#gaetanopesce #radicaldesign

3 days left of “Return To Office” ⏰

Gaetano Pesce’s 1994 Chiat/Day collection reunited in the same building - and same floor - where it first came to life over thirty years ago.

Join us on the final day 12.17 at 4pm for a special conversation with those closest to the project, reflecting on the office, Pesce’s experimentation, and the stories behind the exhibited works.

📍180 Maiden Lane 39F @wsanyc
🕕 Open daily 11AM-6PM
✉️ For inquires please contact hello@sweeterfat.com

#gaetanopesce #radicaldesign

3 days left of “Return To Office” ⏰

Gaetano Pesce’s 1994 Chiat/Day collection reunited in the same building - and same floor - where it first came to life over thirty years ago.

Join us on the final day 12.17 at 4pm for a special conversation with those closest to the project, reflecting on the office, Pesce’s experimentation, and the stories behind the exhibited works.

📍180 Maiden Lane 39F @wsanyc
🕕 Open daily 11AM-6PM
✉️ For inquires please contact hello@sweeterfat.com

#gaetanopesce #radicaldesign

3 days left of “Return To Office” ⏰

Gaetano Pesce’s 1994 Chiat/Day collection reunited in the same building - and same floor - where it first came to life over thirty years ago.

Join us on the final day 12.17 at 4pm for a special conversation with those closest to the project, reflecting on the office, Pesce’s experimentation, and the stories behind the exhibited works.

📍180 Maiden Lane 39F @wsanyc
🕕 Open daily 11AM-6PM
✉️ For inquires please contact hello@sweeterfat.com

#gaetanopesce #radicaldesign

3 days left of “Return To Office” ⏰

Gaetano Pesce’s 1994 Chiat/Day collection reunited in the same building - and same floor - where it first came to life over thirty years ago.

Join us on the final day 12.17 at 4pm for a special conversation with those closest to the project, reflecting on the office, Pesce’s experimentation, and the stories behind the exhibited works.

📍180 Maiden Lane 39F @wsanyc
🕕 Open daily 11AM-6PM
✉️ For inquires please contact hello@sweeterfat.com

#gaetanopesce #radicaldesign

On the closing day of “Return To Office” we’re hosting a special conversation with Donatella Brun - photographer, longtime friend of Gaetano Pesce, and Jay Chiat’s partner during the Chiat/Day years - joined by Pesce’s collaborators Emily MacCloud and Doug Fitch, along with Eric Portnoy, the gallerist and collector who rescued many of the original pieces in 1998.

Together, they will reflect on Pesce’s broader practice, his collaboration with Jay Chiat, and the radical vision behind the 1994 Chiat/Day office.

Join us December 17th at 4PM
180 Maiden Lane 39th Fl
@wsanyc

On the closing day of “Return To Office” we’re hosting a special conversation with Donatella Brun - photographer, longtime friend of Gaetano Pesce, and Jay Chiat’s partner during the Chiat/Day years - joined by Pesce’s collaborators Emily MacCloud and Doug Fitch, along with Eric Portnoy, the gallerist and collector who rescued many of the original pieces in 1998.

Together, they will reflect on Pesce’s broader practice, his collaboration with Jay Chiat, and the radical vision behind the 1994 Chiat/Day office.

Join us December 17th at 4PM
180 Maiden Lane 39th Fl
@wsanyc

Resin Switch Cover by Gaetano Pesce for the 1994 Chiat/Day headquarters in NYC 💡

The smallest details in this corporate space were molded from Pesce’s resin. It was his material of choice because he considered it an extension of nature with no straight lines. Using an original Leviton cover, he turned an object used many times throughout the day (often overlooked) into a moment of reflection and play. From the pieces in the office to the symbols poured into its resin floors, Pesce was shaping a thesis: design can be art.

This is the only switch cover that we have record of being rescued from the office during its demolition in 1998. While Pesce did create more switch covers similar to this, it is unknown exactly how many were in the office and may have survived.

Currently on view @wsanyc through Dec 17th as part of the “Return To Office” exhibition, presenting Gaetano Pesce’s Chiat/Day collection back in its original location.

Image 4: Donatella Brun, 1994
Image 2/6: Eric Portnoy, 1998

Resin Switch Cover by Gaetano Pesce for the 1994 Chiat/Day headquarters in NYC 💡

The smallest details in this corporate space were molded from Pesce’s resin. It was his material of choice because he considered it an extension of nature with no straight lines. Using an original Leviton cover, he turned an object used many times throughout the day (often overlooked) into a moment of reflection and play. From the pieces in the office to the symbols poured into its resin floors, Pesce was shaping a thesis: design can be art.

This is the only switch cover that we have record of being rescued from the office during its demolition in 1998. While Pesce did create more switch covers similar to this, it is unknown exactly how many were in the office and may have survived.

Currently on view @wsanyc through Dec 17th as part of the “Return To Office” exhibition, presenting Gaetano Pesce’s Chiat/Day collection back in its original location.

Image 4: Donatella Brun, 1994
Image 2/6: Eric Portnoy, 1998

Resin Switch Cover by Gaetano Pesce for the 1994 Chiat/Day headquarters in NYC 💡

The smallest details in this corporate space were molded from Pesce’s resin. It was his material of choice because he considered it an extension of nature with no straight lines. Using an original Leviton cover, he turned an object used many times throughout the day (often overlooked) into a moment of reflection and play. From the pieces in the office to the symbols poured into its resin floors, Pesce was shaping a thesis: design can be art.

This is the only switch cover that we have record of being rescued from the office during its demolition in 1998. While Pesce did create more switch covers similar to this, it is unknown exactly how many were in the office and may have survived.

Currently on view @wsanyc through Dec 17th as part of the “Return To Office” exhibition, presenting Gaetano Pesce’s Chiat/Day collection back in its original location.

Image 4: Donatella Brun, 1994
Image 2/6: Eric Portnoy, 1998

Resin Switch Cover by Gaetano Pesce for the 1994 Chiat/Day headquarters in NYC 💡

The smallest details in this corporate space were molded from Pesce’s resin. It was his material of choice because he considered it an extension of nature with no straight lines. Using an original Leviton cover, he turned an object used many times throughout the day (often overlooked) into a moment of reflection and play. From the pieces in the office to the symbols poured into its resin floors, Pesce was shaping a thesis: design can be art.

This is the only switch cover that we have record of being rescued from the office during its demolition in 1998. While Pesce did create more switch covers similar to this, it is unknown exactly how many were in the office and may have survived.

Currently on view @wsanyc through Dec 17th as part of the “Return To Office” exhibition, presenting Gaetano Pesce’s Chiat/Day collection back in its original location.

Image 4: Donatella Brun, 1994
Image 2/6: Eric Portnoy, 1998

Resin Switch Cover by Gaetano Pesce for the 1994 Chiat/Day headquarters in NYC 💡

The smallest details in this corporate space were molded from Pesce’s resin. It was his material of choice because he considered it an extension of nature with no straight lines. Using an original Leviton cover, he turned an object used many times throughout the day (often overlooked) into a moment of reflection and play. From the pieces in the office to the symbols poured into its resin floors, Pesce was shaping a thesis: design can be art.

This is the only switch cover that we have record of being rescued from the office during its demolition in 1998. While Pesce did create more switch covers similar to this, it is unknown exactly how many were in the office and may have survived.

Currently on view @wsanyc through Dec 17th as part of the “Return To Office” exhibition, presenting Gaetano Pesce’s Chiat/Day collection back in its original location.

Image 4: Donatella Brun, 1994
Image 2/6: Eric Portnoy, 1998

Resin Switch Cover by Gaetano Pesce for the 1994 Chiat/Day headquarters in NYC 💡

The smallest details in this corporate space were molded from Pesce’s resin. It was his material of choice because he considered it an extension of nature with no straight lines. Using an original Leviton cover, he turned an object used many times throughout the day (often overlooked) into a moment of reflection and play. From the pieces in the office to the symbols poured into its resin floors, Pesce was shaping a thesis: design can be art.

This is the only switch cover that we have record of being rescued from the office during its demolition in 1998. While Pesce did create more switch covers similar to this, it is unknown exactly how many were in the office and may have survived.

Currently on view @wsanyc through Dec 17th as part of the “Return To Office” exhibition, presenting Gaetano Pesce’s Chiat/Day collection back in its original location.

Image 4: Donatella Brun, 1994
Image 2/6: Eric Portnoy, 1998

On view now - “Return To Office” 👔

Gaetano Pesce’s experiments from the 1994 Chiat/Day NYC headquarters featured alongside a broad retrospective - presented over 30 years later back in the original building where the office once lived, now @wsanyc

📍180 Maiden Lane 39F
📆 12.3 - 12.17
🕟 11AM - 6PM

#gaetanopesce #radicaldesign

On view now - “Return To Office” 👔

Gaetano Pesce’s experiments from the 1994 Chiat/Day NYC headquarters featured alongside a broad retrospective - presented over 30 years later back in the original building where the office once lived, now @wsanyc

📍180 Maiden Lane 39F
📆 12.3 - 12.17
🕟 11AM - 6PM

#gaetanopesce #radicaldesign

On view now - “Return To Office” 👔

Gaetano Pesce’s experiments from the 1994 Chiat/Day NYC headquarters featured alongside a broad retrospective - presented over 30 years later back in the original building where the office once lived, now @wsanyc

📍180 Maiden Lane 39F
📆 12.3 - 12.17
🕟 11AM - 6PM

#gaetanopesce #radicaldesign

On view now - “Return To Office” 👔

Gaetano Pesce’s experiments from the 1994 Chiat/Day NYC headquarters featured alongside a broad retrospective - presented over 30 years later back in the original building where the office once lived, now @wsanyc

📍180 Maiden Lane 39F
📆 12.3 - 12.17
🕟 11AM - 6PM

#gaetanopesce #radicaldesign

On view now - “Return To Office” 👔

Gaetano Pesce’s experiments from the 1994 Chiat/Day NYC headquarters featured alongside a broad retrospective - presented over 30 years later back in the original building where the office once lived, now @wsanyc

📍180 Maiden Lane 39F
📆 12.3 - 12.17
🕟 11AM - 6PM

#gaetanopesce #radicaldesign

On view now - “Return To Office” 👔

Gaetano Pesce’s experiments from the 1994 Chiat/Day NYC headquarters featured alongside a broad retrospective - presented over 30 years later back in the original building where the office once lived, now @wsanyc

📍180 Maiden Lane 39F
📆 12.3 - 12.17
🕟 11AM - 6PM

#gaetanopesce #radicaldesign

Time bends and the office returns 🕟

Gaetano Pesce understood time as elastic, symbolic, and never fixed. On view from Dec. 3-17, “Return To Office” mirrors this insight - the 1994 Chiat/Day collection reappears in the same space, altered by three decades yet unmistakably alive.

Dec 3-17 @wsanyc
180 Maiden Lane 39F
Daily 11AM-6PM

Time bends and the office returns 🕟

Gaetano Pesce understood time as elastic, symbolic, and never fixed. On view from Dec. 3-17, “Return To Office” mirrors this insight - the 1994 Chiat/Day collection reappears in the same space, altered by three decades yet unmistakably alive.

Dec 3-17 @wsanyc
180 Maiden Lane 39F
Daily 11AM-6PM

Time bends and the office returns 🕟

Gaetano Pesce understood time as elastic, symbolic, and never fixed. On view from Dec. 3-17, “Return To Office” mirrors this insight - the 1994 Chiat/Day collection reappears in the same space, altered by three decades yet unmistakably alive.

Dec 3-17 @wsanyc
180 Maiden Lane 39F
Daily 11AM-6PM

Time bends and the office returns 🕟

Gaetano Pesce understood time as elastic, symbolic, and never fixed. On view from Dec. 3-17, “Return To Office” mirrors this insight - the 1994 Chiat/Day collection reappears in the same space, altered by three decades yet unmistakably alive.

Dec 3-17 @wsanyc
180 Maiden Lane 39F
Daily 11AM-6PM

Time bends and the office returns 🕟

Gaetano Pesce understood time as elastic, symbolic, and never fixed. On view from Dec. 3-17, “Return To Office” mirrors this insight - the 1994 Chiat/Day collection reappears in the same space, altered by three decades yet unmistakably alive.

Dec 3-17 @wsanyc
180 Maiden Lane 39F
Daily 11AM-6PM

Time bends and the office returns 🕟

Gaetano Pesce understood time as elastic, symbolic, and never fixed. On view from Dec. 3-17, “Return To Office” mirrors this insight - the 1994 Chiat/Day collection reappears in the same space, altered by three decades yet unmistakably alive.

Dec 3-17 @wsanyc
180 Maiden Lane 39F
Daily 11AM-6PM

Time bends and the office returns 🕟

Gaetano Pesce understood time as elastic, symbolic, and never fixed. On view from Dec. 3-17, “Return To Office” mirrors this insight - the 1994 Chiat/Day collection reappears in the same space, altered by three decades yet unmistakably alive.

Dec 3-17 @wsanyc
180 Maiden Lane 39F
Daily 11AM-6PM

Gaetano Pesce returns to 180 Maiden Lane 🐠

From Dec. 3-17, “Return To Office” brings the 1994 Chiat\Day collection back to the original floor where it was first installed, now more than thirty years later. This presentation expands into a wider retrospective of Pesce’s experiments and prototypes, forming one of the most significant showings of his work in recent years.

Presented by Sweeterfat, the exhibition will also include conversations with artists and designers who worked closely with Pesce, offering firsthand perspectives on his process and legacy.

180 Maiden Lane, 39F
Open daily 12/3-12/17 • 11 AM-6 PM
Presented by Sweeterfat + @wsanyc

From December 3-17, “Return To Office” returns to the very floor where the Chiat/Day collection lived over 30 years ago 🪄 🗓️

A rare second chance to see this retrospective in its original home - the reshowing will unveil new works and host conversations with artists and designers who collaborated with Pesce over many years.

180 Maiden Lane, 39F
In partnership with @wsanyc

From December 3-17, “Return To Office” returns to the very floor where the Chiat/Day collection lived over 30 years ago 🪄 🗓️

A rare second chance to see this retrospective in its original home - the reshowing will unveil new works and host conversations with artists and designers who collaborated with Pesce over many years.

180 Maiden Lane, 39F
In partnership with @wsanyc

From December 3-17, “Return To Office” returns to the very floor where the Chiat/Day collection lived over 30 years ago 🪄 🗓️

A rare second chance to see this retrospective in its original home - the reshowing will unveil new works and host conversations with artists and designers who collaborated with Pesce over many years.

180 Maiden Lane, 39F
In partnership with @wsanyc

From December 3-17, “Return To Office” returns to the very floor where the Chiat/Day collection lived over 30 years ago 🪄 🗓️

A rare second chance to see this retrospective in its original home - the reshowing will unveil new works and host conversations with artists and designers who collaborated with Pesce over many years.

180 Maiden Lane, 39F
In partnership with @wsanyc