The latest expansion of this modern outdoor dining set starts with a lower, wider seating model. Its profile sits closer to the terrace, while the color range continues the palette already used in the earlier EXES 55. Teak cross details on cushions give the seating a clear visual signature, especially beside the black frames and light gray cushions seen throughout the project images. The collection now adds another layer, but the language stays restrained: round tables, oval tables, and seating that keeps the forms readable.

A lower profile with the same collection language

The new EXES 77 extends the range with a body that feels broader and lower than the earlier model. That change is visible at a glance. Instead of lifting the seating high above the terrace, the piece settles into the setting and lets the table shapes remain central. The finishes stay close to the familiar palette of the collection, which keeps the different pieces related without making them identical. In the photographs, that relationship is reinforced by black chair frames and pale cushions placed against concrete walls and stone surfaces.

What stands out most is the way the cushions are fastened. Teak cross details on cushions are not hidden; they are part of the look. That small structural note is important here because it links the upholstery to the material language of the rest of the set. Around the table, the eye moves from the dark frame to the light seat pads, then to the warmer teak accents. The result is not decorative noise, but a clear sequence of surfaces that can be read from a distance.

Round and oval tables on stone and gravel terraces

The table pieces give the collection its range. The images show a round outdoor dining table as a recurring anchor, sometimes in a marble-look finish and sometimes on a central pedestal. In other views, an oval outdoor table appears with black seating around it, its longer shape stretching the setting across a light terrace. These are not empty display objects. They organize the space around them, whether the surface is gravel, ceramic tile, or a pale stone platform.

The marble-look outdoor furniture references in the imagery add another layer of contrast. A round top with a dark base reads differently from the nearby black metal chairs, and the shift from matte frame to veined surface keeps the arrangement active without becoming loud. On one terrace, the table sits against a concrete wall; on another, it stands beside greenery and a line of light paving. The pieces stay consistent, but the surface beneath them changes the mood of the whole scene.

The smaller tripod table at 1.2 m

After the success of the original round tripod table with a diameter of 1.6, the collection now gains a smaller tripod table 1.2 m version. That adjustment is practical in scale, but the effect is mostly visual. A smaller round top reads lighter in a seating plan and leaves more room around it, which matters on compact terraces and in closer dining arrangements. The tripod base remains part of the language, keeping the table visually distinct from the heavier circular models in the series.

Seen in context, the smaller table supports the same dining sequence as the larger version: chairs gathered around a centered top, clear legroom underneath, and a shape that holds the composition together without taking over. The round format also ties back to the wider collection, where circles and gentle curves keep returning across different table sizes. That repetition gives the series a recognizable rhythm while still allowing each piece to do a different job.

Black chairs, pale cushions, and a measured material shift

The seating images are especially direct. Black chairs with light gray cushions appear repeatedly, sometimes around a round marble-look table and sometimes beside a lighter tabletop. Their frames draw a sharp outline against the pale terrace and the concrete backdrop, while the cushions soften the visual weight of the metal. Because the palette stays restrained, small differences in form become easy to notice: a curved arm, a half-open back, a straighter profile under a square cushion.

Those visual differences matter in a project like this, where the collection is being expanded rather than replaced. One model introduces a lower and wider seat; another introduces a smaller tripod table. The pieces are related through proportion and finish, but each one changes the way people would sit, gather, or move around the table. The images make that legible through placement rather than explanation: a pair of chairs here, a full dining ring there, and always the table as the fixed point.

How the terrace surfaces frame the furniture

Concrete, gravel, and light stone surfaces do much of the framing. A gravel floor darkens the base of a round table and makes the black chair legs disappear slightly into the ground plane. A lighter tile terrace, by contrast, sharpens the outline of the furniture and lets the pale cushions read more clearly. In the wider garden views, low planting and stone edging keep the setting controlled, so the tables remain the main visible objects rather than one element among many.

The architecture in the background stays quiet but specific: concrete wall planes, vertical openings, and broad surfaces that echo the furniture’s stripped-down lines. That repetition of straight edges and round tops is what gives the project its visual order. Even when a wooden tabletop appears, the composition remains measured. The furniture is doing the strongest work in the frame, with the building and garden acting as a plain backdrop that lets the collection be read properly.

A collection built through clear variants

The strength of this modern outdoor dining set lies in the way the variants are introduced. First came the EXES 55, then the broader and lower EXES 77, and now the smaller round tripod table. Together they form a family rather than a single fixed setup. That matters for terraces where scale changes from one spot to another, or where a dining area needs to be adjusted without changing the visual language. The round forms, pale cushions, and dark frames stay consistent enough to hold the series together.

Even in the most minimal views, the pieces feel grounded by their proportions. The tables keep a clear center. The chairs keep a tight outline. The teak cross details on cushions provide a small but visible point of difference. Nothing is overexplained, and nothing needs to be. The collection is presented through the actual objects, their sizes, and the way they sit on stone, gravel, and tile.

Seen across the images, this is a modern outdoor dining set that expands by refinement rather than reinvention. A lower seat, a smaller tripod table, round and oval table shapes, and familiar black-and-light-gray seating give the series enough variation to serve different settings while keeping its visual language intact. The result is easy to read from across a terrace and detailed enough to reward a closer look.