White Billion Chairs No. 25/33

by Tina Roeder Germany

$1.513 Incl.0% VAT

1 in stock

Insured Delivery: $151
Est delivery: Feb 4th, 2022
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Dimension LxWxH (cm): 50x50x90
Unique Pieces Material : perforated, Polypropylene, sanded
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White Billion Chairs: Limited and numbered edition of 33 unique pieces.
Individually perforated with up to ten thousand holes each, and sanded by hand. Polypropylene, various natural sizes.


“I made a prototype in 2002, which was effectively the very first piece I had ever designed. Throughout the subsequent years, I continued with the project, collecting old and rare monobloc chairs on my travels. In 2009, I chose a typological selection that became WHITE BILLION CHAIRS.

Being the most sold chair world wide – what’s the monobloc chair worth? Can you add substance to an industrial product by taking away material, bit by bit, hole by hole, eventually rendering its structure too fragile to support its traditional usage? Will we perceive the monobloc, once we can see through it? Will we start noticing the monobloc, once it has disappeared? Are we close enough yet, to look behind that perforated screen?“

Sculptural object. Conceptual sculpture. Not a chair, too fragile to sit on.
Dimensions vary.

Additional information

Weight 5 kg
Dimensions 100 × 60 × 60 cm
Dimensions LxWxH (cm)

Weight (kg)


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About the designer

Tina Roeder

Born in Germany, Roeder graduated from Central Saint Martins in London and went on to earn an MA from the Design Academy Eindhoven under Droog in 2004. After training with Studio Job in Antwerp, she launched her own studio in 2007. She lives and works in Berlin.   Roeder’s practice exists at the intersection of furniture design, architecture, and conceptual sculpture. Her postcritical approach engages design history—especially the legacies of Modernism, Gerrit Rietveld, Frank Lloyd Wright, Marcel Duchamp, and Donald Judd. Her work can be found in the Vitra Design Museum permanent collection and Fendi private collection.

Curated by

The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.