Dining Chair Edit: Chosen with Intention.

The most architecturally considered of the three. Its defining element is the half-moon back shell, a geometric motif that gives the chair an immediately recognizable silhouette from across a room. Available across four configurations: upholstered or veneered back, wood or metal base. That range is unusual at this level and at this level of design specificity. The chair that can shift its register without losing its identity.

Named for the ancient Komi Forest, where roots shape the land over centuries. The oak and walnut construction carries a sense of rootedness that is difficult to describe but immediately legible in a room. The grain does not just pattern the surface — it contributes to the meaning of the object. Warmer than the austere end of the Scandinavian tradition, with curves that feel derived from observation of the natural world rather than from a drafting table. Most naturally at home alongside the Komi Round or Komi Rectangular Dining Table, where the material story runs from surface to seat.

An ode to the European bistro tradition, though calling it nostalgic would be reductive. The finely sculpted curved solid wood frame reads as a single, continuous gesture — fluid transitions between legs, back posts, and seat rail that feel resolved rather than constructed. The inset upholstered seat and back sit within the frame rather than on top of it. The wood reads as the primary material. The upholstery as a considered accent. Nothing about it looks assembled. It looks grown.