Crown Table by Flexform Mood
The CROWN table is round and regal. The central support composed of a circular metal grille seems almost like a crown. The slender, visually light base forms a contrast with the top in solid wood that contains three large marble inlays, inserted in the wooden structure. Since the table has a large diameter of 240 cm, the center can be equipped with a handy Lazy Susan, to allow guests to help themselves to different dishes.
Ø180 x H75 cm
Ø240 x H75 cm
Frame in satined, chromed, black chromed, burnished, bronzed 457 or champagne metal.
Top in wood (ashwood natural, stained wengé, stained ebony or stained brown) with marble inserts (glossy white carrara, glossy black marquinia, emperador either glossy or matt, emperador light, calacatta oro either glossy or matt, rosso Lepanto, verde alpi, pinta verde)
Lazy susan in solid ashwoodwood natural, stained ebony, stained wenge’ or stained brown. with rotating movement.
Further options are available and our design team are at your disposal, so do not hesitate to contact us as we can discuss your requirements – please phone 01425 600273, send us an email or visit our award winning showrooms.
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About The Designer – Roberto Lazzeroni
Roberto Lazzeroni, born in Pisa, began his professional life with the study of art and architecture in Florence and the interests he developed during his training, in particular in the conceptual art and radical design movements. In the early 1980s, Lazzeroni made his professional debut with a series of important works in the field of “interior architecture” that immediately attracted attention and were published in Italian and foreign periodicals. Lazzeroni considers “interior architecture” to be a necessary discipline, a sort of “training field” in which to glean varied experience in materials, techniques, and problems inherent to design in the home. A fundamental step for anyone approaching the world of product design. Receptive to the history of design and its “signs,” with a personal stylistic flair that Lazzeroni spontaneously defines as “sentimental design.” It is in fact easy even for the non-expert eye to sense the link between past and future in Roberto Lazzeroni’s projects: his is design that does not parade industrial geometries, but neither does it embody frivolous affectations of aestheticism; it gives objects their correct places in history, in tradition, in an individual and collective autobiography. Lazzeroni’s peculiar understanding of design led him to specialize in concept development: the ideas underlying the creation of new trademarks.