— Vjenceslav RichterWhat is a chair when no one sits on it?
Revisiting Richter brings the work of Croatian architect and artist Vjenceslav Richter into the present — through archival research and contemporary production that turn unrealised ideas into living design. Prototypes, sketches and concepts are translated into contemporary pieces.
As Richter was ahead of his time, many of his projects remained unrealised.
Vjenceslav Richter worked across architecture, art and design — treating them as one continuous field. As part of EXAT 51 and New Tendencies, he helped shape a culture of experimentation that connected Zagreb to an international network of ideas. His work moved between disciplines, from spatial systems to early explorations of cybernetics, kinetic and optical art.
For Richter, design was not form, but structure — linking artistic research with everyday life. Objects were not ends, but beginnings: steps toward a world in which art becomes scientific and science becomes poetic.
Each project was a proposal for the future — grounded in logic, not utopia. Richter replaced monumentality with openness, dissolving boundaries between disciplines, ideologies and technologies, and positioning design as an active infrastructure of society.
Richter’s thinking feels immediate. In a world shaped by systems, technology and constant change, his work offers open frameworks — designed not to fix outcomes, but to enable participation and transformation.
Building on Richter’s designs, Prostoria continues this logic into contemporary objects — evolutions refined through today’s technologies while preserving their clarity.
Five collections comprising 20 pieces translate archival designs into contemporary furniture, developed through research and engineering into new, living forms. Many of Richter’s concepts remained unrealised, and Prostoria brings them into production for the first time, continuing rather than returning to the past.
VR51 revisits a compact task chair originally conceived by Vjenceslav Richter as part of a rational workspace system. Defined by an ultra-light metal frame and a carefully balanced composition of supports, the chair reflects a clear logic of structural economy.
Vjenceslav Richter, 1951
Richter+, 2026
VR52 is defined by a minimal tubular steel frame and ergonomically shaped plywood surfaces, forming a clear and expressive composition. Supported at discrete points, the seat and backrest introduce a subtle elasticity, enhancing comfort while maintaining structural precision.
Vjenceslav Richter, 1952
VR53 is based on archival photographs of Vjenceslav Richter’s interiors from the early 1950s, where no physical prototype survives. Reconstructed through the analysis of proportion and posture, it is defined by a minimal wooden base with a rotated T-shaped geometry supporting soft upholstered volumes.
Vjenceslav Richter, 1953
Richter+, 2026
Richter+, 2026
VR58 revisits an easy chair originally designed by Vjenceslav Richter in the context of his work for Expo 58 in Bruxelles. Defined by a precise tubular frame and a characteristic X-shaped base, the chair expresses Richter’s fascination with structural clarity and geometric order.
Richter+, 2026
Richter+, 2026
Vjenceslav Richter, 1958
VR61 revisits a vision first conceived by Vjenceslav Richter for Italia ’61 in Turin. Defined by mirrored symmetry and a lucid sculptural gesture, its plywood shell rises from a central base, rigorous in geometry yet unexpectedly light in presence.
Vjenceslav Richter, 1961
Richter+, 2026
Richter+, 2026
Richter+, 2026
Richter+, 2026
— Vjenceslav Richter“Industrial production is a cultural-artistic, economic and political category.”
Richter+ brought together Numen/ForUse, Neisako and Grupa studios who collaboratively translated Vjenceslav Richter’s archival designs into contemporary products. Through research and development with Prostoria’s in-house team, they turned unrealised concepts into functional pieces that retain Richter’s experimental spirit while meeting today’s standards of comfort and production.
Prostoria unveils Revisiting Richter at Salone del Mobile 2026 in Milan, presenting 5 collections and 20 products.
The Richter Collection will premiere in the USA in June during NeoCon, at The Mart and Prostoria’s flagship store in Chicago.
Discover the ideas behind Richter's work. Watch the short films.
Richter is a type system designed by Nikola Đurek, inspired by Richter’s methodological approach. While not a type designer, his mathematical and system-based thinking closely parallels the logic of constructing letterforms, translated here into a contemporary typographic system.
Salone del Mobile, Milano, 21. – 26. April 202.
Das Fotoprojekt „Revisiting Architecture“ haben wir im Jahr 2020 ins Leben gerufen, um eine unserer wichtigsten Inspirationsquellen zu erforschen – das modernistische Erbe Zagrebs. Bei Prostoria betrachten wir den Modernismus nicht als zeitlich begrenzten Stil, sondern als kulturelle Grundlage: Design wird hier als rationales, aufrichtiges und menschenzentriertes Konzept verstanden. Die modernistischen Werte wie Proportion, Klarheit und Optimismus bilden bis heute die Grundlage für all unsere Kreationen. Als Teil einer Trilogie, zu der auch „Revisiting Analogue“ und „Revisiting Factory“ gehören, setzt sich „Revisiting Architecture“ mit jenen Schlüsselthemen auseinander, die das Fundament der Identität und der Werte von Prostoria bilden.
Hervorgegangen aus dem modernistischen Erbe Kroatiens, findet Prostoria ihre Inspiration in den Arbeiten der Architekten und Designer Vjenceslav Richter, Ivan Vitić, Bernardo Bernardi, Marijan Haberle und Niko Kralj. Ihre Vision – Architektur, Design und Kunst im Horizont menschlicher Erfahrung zusammenzuführen – prägt bis heute unseren Zugang zum Möbeldesign, der mit derselben Aufmerksamkeit für Funktionalität, Komfort und Alltagstauglichkeit entwickelt wird. In der modernistischen Kultur der Stadt Zagreb wurden Architektur, Kunst und Design als Teile eines gemeinsamen Systems verstanden.
Polygon entstand zu einem Zeitpunkt, als Prostoria seine Identität über Funktion hinaus definierte und nach einer klareren Designsprache Ausschau hielt, die ihre Wurzeln in Struktur, Komfort und kultureller Kontinuität hatte. Der Sessel spiegelt den frühen Geist der Marke und ihre Offenheit für neue Formen wider; er stellt Konventionen in Frage und erweitert die Polstermöbelsprache.