Simon James returns with a collection that speaks in quiet confidence. Four new pieces, the Portrait Lounge Chair, Sur Sofa, Block Chair and Block Stool continue his exploration of form, proportion and material clarity.

Each design is grounded in architectural reference, yet softened by detail. Together, they form a cohesive language of sculptural restraint.

Portrait Lounge Chair

A study in balance. The Portrait Lounge Chair draws from Brutalist architecture, with squared arms and an arched back that cantilever over a timber base. Its proportions are generous but measured, offering presence without excess. Designed for both residential and commercial spaces, it holds its own.

Sur Sofa

Sur is modular, but not modular as usual. Its curved forms rest on a shared plinth that appears to hover just above the floor. The system is generous in scale, with multi-density foam and feather fill for comfort. Configurations are flexible, but the design language remains consistent. Grounded, refined and quietly expressive.

Block Chair and Stool

The Block collection is a return to essentials. A squared timber frame is punctuated by bold junction detailing, giving each piece its own character.

C41: The original SEC system dates back to 1997. How did you approach the idea of re-designing or re-releasing it today?

Alfredo Häberli: First of all, SEC is a self-supporting aluminium structure. This is its load-bearing element. Alongside this is a second, more sensory and tangible dimension: the materials that can be touched — drawers, shelves, panels. It is precisely this dual nature that has led to the redesign of SEC: a new vision that reinterprets the system from a different perspective, creating a dialogue between structure and material.

C41: Modular systems today must adapt to highly flexible living and working environments. How do you balance preserving SEC’s original 90s design DNA while evolving it to meet contemporary domestic and professional needs?

AH: The quality of a system, it’s that you can adapt it to every need that you have, and you can also, over the time adapted to it, you can add some elements, you can take away some elements, compose it in a new way. And this is something which makes it extremely modern and contemporary.

C41: So do you feel like SEC has always been modern and contemporary?

AH: Yes, because for me it is very important not to follow trends. I observe them and I am aware of them, but the design must always be one step ahead — three, four, even five years ahead. That's why chasing trends makes no sense. This is also why SEC, almost thirty years after its creation, continues to be relevant, remaining in production and in the catalogue.