The Manzoni frame is drawn in a single line: the wood rises from one corner of the seat, widens into an armrest long enough to carry the elbow through a full working day, spreads at shoulder height into a leaf-shaped back panel, and comes down on the opposite side with the same easy curve. Grain fans out from the centre of that panel, while the darker pieces of wood at the joints have been left visible rather than disguised. The seat is upholstered in mustard leather, generously filled and set into a thick wooden frame with chamfered edges, its matt patina made for someone who will spend most of the day in it. Below, a black swivel mechanism and a short steel column bring the height to whatever desk the chair is pulled up to. Where a plastic star would normally sit, there is a solid wooden base branching into four hand-carved arms, running on plain black castors. Turning from screen to phone to the person across the room happens on timber, not on an anonymous fitting.