Have you ever asked where Ikea gets its inspiration for its furniture? Anthony looked at the question and found out. Here are five Ikea furniture pieces and the inspiration behind them.

1- The Stool 60 by Alvar AALTO (1933) and Frosta stool by Gillis Lundgren for Ikea

Pure, simple and elegant, the # 60 stool was designed in 1933 by Alvar Aalto. Imitated again and again, the original model in Finnish birch remains today an industrial design icon. Here, the Ikea design borrows heavily from the early 20th century, with birch veneer parts assembled together with screws. Almost identical at first glance, the two versions of the iconic stool are probably a perfect item for your living room or bedroom, whether you are a purist or student.

Sources : 1, 2

2- The chair 401 by Alvar AALTO (1933) and the Poäng armchair by Noboru Nakamura for Ikea

Made for the first time in 1933 by the architect, urban planner and designer Alvar Aalto, the chair # 401 from its very conception pushes the limits of wood. For example, the frame of the # 401 flexes slightly under weight, but it is this give in the material that increases the comfort of the chair. It is through the details we see the experimental spirit of Aalto, who influenced other designers like Ray and Charles Eames. What about the imitation version of the piece by Ikea? At first glance, the Poäng Ikea Series and the # 40 chair seem almost identical. It is by paying attention to the assemblage of the different parts of the item (many more in the case of Ikea) that we notice dissimilarity. Another obvious difference is the price, with the Alvar AALTO chair costing considerably higher. With this difference in price, it comes as no surprise that the # 401 chair is made ​​from better materials.

Sources : 1, 2

3- 20-06 Stacking chair by Norman Foster and the chair Melltorp by Ola Wihlborg for Ikea

Designed by British architect Norman Foster for the Emeco company, the 20-06 stackable chair is arguably the most accurately imitated design by Ikea. The story behind the chair is, nevertheless, worth knowing. In fact, the chair was created in tribute to the Navy Emeco, a chair originally designed for the US Navy. It was a chair that was intended for the decks of battleships and could survive sea air and a torpedo blast to the side of the ship, if need be. In 2005, Emeco began a lawsuit against Ikea, given their obvious replication. Finally, the lawsuit was settled to the satisfaction of both sides. So, what are the differences? That’s easy: the 20-06 chair is handmade in 77 steps from 80% recycled metals and is guaranteed for life for an approximate sum of $ 966.00. The chair in plastic and metal produced by Ikea is available for only $ 15.00 … and cannot be guaranteed for life, let alone withstand sea air and torpedo blasts!

Sources : 1, 2

4- Maui stacking chair by Vico Magistretti (2005) and the chair Leifarne by Mia Lagerman for Ikea

Perfect for offices, restaurants, public waiting areas and, of course, your kitchen, the chair, Vico Magistretti, is very versatile. As much as Ikea offers a variety of colours, Kartell (distributor of the original model) offers more. (2 at Ikea versus 11 at Kartell ) Ikea offers modifications available for the chair. For example, there is a version without armrests. In their defense, Kartell also offers some variants such a model on wheels or with padded backrest. With a quite considerable difference in price, however, it’s up to the customer, to determine which one is more appealing.

Sources : 1, 2

5- Baby Rocket Stool, by Eero AARNIO (2006) VS Mammut Stool for Children, by M. KIELSTRUP and A. ÖSTGAAR for Ikea

We find here a clear case of inspiration on the part of Ikea, rather than an obvious imitation. On one side: The Rocket stool and on the other, the Mammut. It’s easy to identify the model owned by Ikea. In addition to the difference in price, we notice that the Ikea stool is plastic rather than wood. However, despite everything, the childish look is similar. What is behind the look? The Finnish designer, Aarnio, was recognized for his achievements in the strong design, stimulating the imagination of its users. This is also why several models of Aarnio are found today in various prestigious museums, movies, video clips and fashion shows.

Source: 1, 2

1 / 5    La maison De Gaspé, La Shed architecture

Localisée dans le quartier de Villeray, cette rénovation contemporaine d’un duplex typiquement montréalais visait à créer une maison unifamiliale tout à fait hors du commun. Avec un budget de 400 000 $ en main pour le projet, La Shed architecture opta pour un style contemporain adapté à l’architecture environnante. L’entreprise décida également de retirer une partie de l’ancien duplex à l’étage pour créer une toiture-terrasse, rare avantage dans le quartier. Faisant face aux dimensions restreintes du terrain, la firme montréalaise regroupa une garde-robe, une toilette et des espaces de rangement dans un même bloc, servant aussi de séparation visuelle de l’espace intérieur. En combinant l’ouverture des pièces de vie sur 2 étages, l’utilisation de matériaux pâles et une généreuse fenestration, la résidence se trouve baignée d’éclairage naturel à toute heure du jour.

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2 / 5    Demers, La Shed architecture

Cette fois-ci, La Shed disposait d’un budget de 500 000 $ pour concevoir et réaliser la rénovation d’un duplex typique du plateau en maison contemporaine. Communiquant avec 4 bâtiments, la cour intérieure commune nous fait un clin d’œil en façade, avec sa matérialité jaune éclatante recouvrant la porte cochère. Comme à leur habitude, les concepteurs de La Shed on employé diverses stratégies autant matérielles que spatiales pour apporter le plus d’éclairage naturel possible, chose essentielle à toute résidence. Quelques éléments distinguent le projet, comme l’escalier “dont les lignes ont été conçues pour dynamiser la perspective” à l’intérieur de la maison, une grande porte de garage vitrée s’ouvrant sur la cuisine et un usage exceptionnel de l’espace disponible pour la réalisation de ce projet.

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3 / 5    2×1000, Tom Balaban architecte

Ce projet, situé dans le secteur de la Petite Italie, est le nouveau voisin de bâtiments datant de 1920. Étant donnée le petit budget mis en place pour la réalisation du duplex, la volumétrie finale ainsi que le choix des matériaux restèrent minimalistes. La grande fenestration donnant sur Waverly, combinée au travail épuré de textures dans le parement de briques sombres, vient mettre en valeur cette réalisation tout en restant en harmonie avec l’existant. À la recherche de luminosité, Tom Balaban opta ici pour des fenêtres s’élevant sur la pleine hauteur des étages, plongeant ainsi l’espace neutre, mais plein de finesse, dans la lumière du jour.

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