Sezgin Aksu sketches of Asymmetrical table for Colé.

Aksu/ Suardi presented this project for our first collection 2011 not without a certain concern. They had taken much into account Colé Moodboard and were in love with a craft table in an artist’s house in Paris. They said: “Our table always has metal legs and can also have the top in solid wood or even glass for a more minimal appearance, but it is not so static, it came out a table with legs that… Move! ”

Art. Cultural Sedimentation. Semiotic Transfer.

When we speak or hear about “table legs”, we generally have heard and used so many times this term that we no longer grasp the metaphorical aspect. For us there remains only the referral to something physical, to a certain variety of forms with support function. The metaphor has been consumed and evokes only its function. The table legs are an enormously rich metaphor. It works because it emphasizes the support feature but enormously enriches the idea, creating a fantastic world with new fantastic individuals. It evokes images of tables that walk, of tables that run, of chairs that kneel, legs slender and sturdy,

As writer enzo saia quotes

We thought of all the places and all the houses that this table could have visited evoking the incredible walking cities of architect Ron Herron.

In the 60’s, British architect Ron Herron reinterpreted Le Corbusier’s famous notion of the house as a “machine for living” with this space-age fantasy of a city that would be fully automated and mobile. Powered by artificial intelligence, the urban landscape comprises numerous robot-like pods with legs that allow whole neighborhoods to roam the Earth and transport resources. In Herron’s mind, the peripatetic structures would also have the ability to combine with other self-contained modules to form large walking metropolises.

Going Places Art Exhibition in Milan