Brera 90th Anniversary Edition | Bench

Guglielmo Ulrich

In the Brera 90th Anniversary Edition bench, the seat weft is made solely of leather-colored straps in Pelle Frau® Colorsphere® SC 66 India, running on the long side of the bench so as not to break its profile. The warp, on the other hand, features a delicate sequence of warm and cool hues drawn from the same world as the leather collection itself: SC 146 Cocciopesto, SC 92 Garnet, SC 233 Bardiglio, SC 176 Darsena and SC 01 Avorio. The different tones intertwine in a highly contemporary geometric and tactile pattern. The structure and two tapered, lightweight supports are made of solid ash wood with a Wengé or Moka finish. Brera 90th Anniversary Edition is a special edition presented in April and available only throughout 2024. It features a metal plaque on the inner side of the bench. 

Brera 90th Anniversary Edition | Bench

Guglielmo Ulrich
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Concept and Design

Poltrona Frau re-introduces one of its most captivating and versatile pieces from Guglielmo Ulrich’s extensive production: the Brera bench.  

Designed by
Guglielmo Ulrich

Guglielmo Ulrich was born in Milan in 1904, the son of Albert and Luisa Battaglia. Of a noble family of Danish origin, he attended the Brera Accademy, and after a two-years cour¬se, he graduated in architecture at Milan Polytechnic. In 1930 he founded the Arca (Arredamento Casa/House-furnishing) company with Scaglia and Wild, of which he was the designer, presenting objects realized with grea¬test care and craftmanship skill, using precious and exotic materials (until 1935). He designed furnishings for Scaglia until 1945, realized by Jannace and Kovacs. In the 50's he participated in various "Triennali", he furnished shops and offices in various Italian towns and designed buildings. He participated in various competi¬tions, amongst which those relating to "naval furnishings" In the 60's saw Ulrich's progression with cautious interest towards the industrial world. In 1961 he was awarded first prize in the competition of the Trieste Fair for a chair produced by Saffa. The leap in scale from the object to architecture did not involve any parti¬cular methodological adaptations. In both cases Ulrich's passion to do it well and to do it beautifully did not permit a diversity of attitude, the aim always being to achieve the best pos¬sible result. He died in 1977. 

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