The Romana coffee table was based on a similar design. It has a long marble top affixed to thin, exquisitely curved wooden legs. In the Petalas series Zalszupin played with an organic form inspired by flower petals. The idea works both as a large octagonal table as well as in a smaller one made of only four elements. The restrictive geometric form has been interpreted in a poetic way. Petalas tables are captivating due to their clever construction and sensual shape, bringing to mind some of Neimeyer’s architectural forms, for instance Palácio da Alvorada in Brasilia.
Zalszupin’s table Andorinha is another design inspired by nature – the shape of a swallow. He transformed this inspiration into a multifunctional table with ease, cutting out an opening in the tabletop in which he places a double ‘hanger’ – a newspaper holder. A newspaper holder also appears in his Onda bench. Its sensual lines hint at waves, although Zalszupin did not allow this inspiration to reach the realm of the obvious. The ergonomic waves of the seat are balanced by simple, straight metal legs, creating a contrast of both line and material.
His experiments of linking various materials have resulted in such projects like Veranda or 720. In both armchair designs, Zalszupin explored the possibilities of stretching leather over wooden frames. He exposed the connecting joints and elements of the armchairs' structures, creating an additional intriguing visual element which gives the chairs a nonchalant air.
In his flagship project entitled Dinamarquesa Zalszupin yet again played with the idea of a wooden armchair structure and leather spread across the seat, yet this time placing a great emphasis on elegance and an immaculate silhouette. The attention to detail and quality of materials make the chair resemble a piece of jewellery: the lower part of its supporting legs are wrapped in what seem to be metal bracelets. The connecting joints are not exposed, yet there is a well thought-out frame and distinctively curved armrests. Dinamarquesa may be the embodiment of what is best in Zalszupin’s designs: where discipline meets the beauty of a liberated, clear line resulting in a harmonious whole which is full of emotion.
Author: Agata Morka, August 2015, Translated by: Zuzanna Wiśniewska, August 2015, revised August 2020