Anonima Castelli

Penelope, here painted in black and white, was designed by Charles Randolph Po***ck in 1982.

Picture by: Maurizio Polese

DSC stands for "Divisione Sedie Castelli" (Castelli Chairs Division). A division that was created after the development of this first chair, and which started the production of all our other models.

Pictures by: Polese

#106

Kirsten Dunst sitting on Plia for British GQ!

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Plia inside our painting plant and in a bright red frame!

Pictures by: Maurizio Polese

Thank you for stopping by and visiting our new showroom!

Anonima Castelli is delighted to be back in a historical city of its own, and now physically alongside the most important contemporary furniture brands.

Pictures by: Sebastiano Maielli

With its predominant shape, Alky showcases the essence of the fabrics it’s upholstered with, flexible to the most diverse customisation requests.

Pictures by Maurizio Polese

In this recently discovered image from our archive, it's interesting to observe the workers in the fabric sewing department, when the company was still based in Bologna.

The construction of Alky's sled, which serves as a base to lift it off the ground, ensures several chairs can be placed side by side, one perfectly parallel to the other.

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As a perfect result of comfort, Alky is also used in commercial spaces as waiting seat. Then I dare you to get up!

We love to share with you the images we discover within our archive. Some of these completely devoid of dates or references result in so much research for us that we discover each time new details about this company with almost 150 years of age.

Differently than the assembly of its sister Plia, Plona is done entirely by hand, but pulling its joints together to a single shell made of shockproof material, for the complete and resilient accommodation of the body.

Pictures by Maurizio Polese

Anonima's designers adopted symmetry as an essential design solution to give their products a simple and usable construction. This rare skill is embodied here in an armchair that continues to thrive, withstanding the passage of time after more than fifty years.

Pictures by Maurizio Polese

Thanks to its components, Plona it’s extremely light and versatile. Perfect for moving outside on a sunny day.

The supporting structure of Axis 10000 was made to absorb the stresses of the human body during prolonged and intensive use by a considerable number of people.

Axis 10000, a 2000s reinterpretation of Piretti’s Axis 3000 community fixed seat, expands the previous concept by optimizing its technological and disposition capabilities.

Axis 9000 can be compatible with a variety of desks and accessories, for plain and sloped floors, for steps disposition or custom solutions, designed to engage a considerable number of people.

A series of reclining seats organized side by side, Axis 9000 has been designed by contemporary needs referring to strong equipability, with accessories for directional and private use.

Axis 9000, a 2000s rework of Piretti’s Axis 4000 community reclinable seat, evolves the concept with a focus on serial arrangement to maximize technological and ergonomic potential.

The Axis 4000 series is perfect for furnishing meeting, conference, or classroom spaces. This seating series offers tilting, just like its seating, or fixed bases, with a wide variety of accessories including writing surfaces of different sizes, either reclining or hideable.

The community seating systems originated right after the ingenious DSC 106 model, designed by Giancarlo Piretti and produced in 1965. The Axis model introduced the idea of a unique system for which to arrange the seats one after the other, along a single axis of support.

Axis 3000 is an excellent solution for optimizing space in collective environments. These bar-mounted seats are ideal for equipping waiting areas, which can be permanent or temporary. Its versatility is reflected in the choice of movable or ground-fixed bases.

A glimpse of some slides and films taken last century, now part of our historical archives.

Pictures by Maurizio Polese

Penelope, designed for the office by Charles Randolph Po***ck in 1982, differently than other chairs in our family, appears with no transparencies, but where the gaze can still pass through its thin materials or bounce off its luminescent structure.

Pictures by Maurizio Polese

Penelope, designed for the office by Charles Randolph Po***ck in 1982, differently than other chairs in our family, appears with no transparencies, but where the gaze can still pass through its thin materials or bounce off its luminescent structure.

Pictures by Maurizio Polese

Noisy and crowded corridors, the smell of metal and oil from the operational machines. A group of people, dressed in fashionable clothes for the time, watching an automated production line, producing objects with a blend of advanced technology and manual labor. These were the years of a revolution for the furniture industry.

Penelope, designed by Charles Randolph Po***ck in 1982. Here in white seat frame and chromed metal structure.

Visually and concretely light, the presence of Penelope blends into spaces according to the needs of its owner, or those who use it momentarily, in an office, museum or waiting room.

We love to dust off images from our archive, not only to look at them with passionate nostalgia, but also to get a closer insight into the genius, the relationships and the lifestyle that led to creating Anonima Caselli's best pieces.

Here, a group of people attempt a presentation of DSC 106, specifically in its press-bent beech plywood version. The speaker is probably intent on describing the function of its tubular steel sled under the seat, facing the audience, to absorb the weight of the user.
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