An open weave outdoor chair changes the way a terrace reads. In the Sori series, the woven shell stays visually light, while the frame in a chalk tone keeps the profile quiet against the dark brick wall in the photos. White-taupe rope carries the weave, and the dune seat cushion sits low and neat within that structure. The result is a set of outdoor seats that leans on line, texture and proportion rather than bulk.

Open woven structure and organic silhouettes

The series follows the move toward organic outdoor seating, but it does so with restraint. Curved edges soften the outline of each chair, while the open pattern lets air and light pass through the back and seat. That openness is not decorative only; it defines the shape itself. The chair reads almost like a drawn line in space, with the woven surface giving it depth when you come closer. From a distance, the pieces stay calm and compact on the terrace.

Sori includes three chair types: an outdoor dining woven chair, a high dining outdoor chair and an outdoor lounge chair woven in the same material language. A footstool outdoor completes the series. Seen together, the group moves from upright dining use to a lower lounge position without changing its visual code. The different seating types share the same rope weave, the same chalk frame color and the same light-toned palette, so they can sit beside one another without feeling mixed or mismatched.

Rope weave, frame and cushion

The white taupe rope weave gives the chairs their visible rhythm. It wraps the seat and back in a repeated pattern that looks precise from close range and softens slightly in the wider terrace view. Against that, the chalk frame color keeps the base understated. The dune cushion is slim and straight-edged, which makes the woven shell do most of the visual work. Nothing is oversized here; the furniture relies on the weave to support the body and to define the silhouette.

Close-up photography makes the material story clearer. The open weave reveals a fine grid, with the synthetic rope forming small gaps that let the structure breathe visually. In another image, the rounded chair profile is placed in front of green planting and a brick wall, so the pale rope stands out without looking stark. The eye moves from the light seat to the darker background, then back to the weave detail. That contrast gives the series its strongest reading.

A terrace setting built around light tones

The images place the chairs in a restrained outdoor setting with a rectangular dining table, a lounge arrangement and a large parasol above the eating area. The parasol mast rises through the composition, while the pale canopy echoes the chair palette. A transparent curtain-like element near the glazed wall adds another layer, but it never competes with the furniture. Instead, the scene stays focused on the furniture’s light surfaces and the way they sit against brick, paving and planting.

This is where the series feels most complete. The chairs are not isolated objects; they are shown as part of a terrace arrangement that shifts from dining to lounging with ease. The white taupe rope weave, chalk frame color and dune cushion keep the whole set within a narrow range of tones. That limited palette helps the forms stand out. The eye notices the curve of an armrest, the spacing of the weave, the compact line of the seat cushion, then the straight edge of the table nearby.

Different seats, one material language

The outdoor dining woven chair is the most upright piece in the group. It is made for the table, yet the open back keeps it from looking heavy. The high dining outdoor chair raises that same language to suit a taller setting, while the lounge chair lowers the posture and opens the form a little more. Because the three share the same woven structure and frame tone, the difference lies mainly in proportion. That makes the series easy to read even when only one chair is shown.

The footstool outdoor extends the series without taking over the composition. It appears as a quiet companion piece, useful as a place to rest the legs beside the lounge chair. Visually, it repeats the same rope texture and light palette, so it belongs to the family immediately. In a terrace layout, that small piece helps the series move from dining use to a more relaxed sitting position. The set stays coherent through material and tone, not through ornament.

What the weave does at close range

At close range, the weave is the main event. The pattern forms a clear mesh over the seat and back, and that structure gives the chairs their presence even before the cushion is visible. Because the rope is kept in a white taupe range, the texture shows up through shadow rather than contrast. The chalk frame color frames the weave lightly, and the dune cushion settles inside the structure instead of sitting on top of it as a separate block. Everything feels measured and slender.

Seen from across the terrace, the series becomes quieter. The open weave outdoor chair does not fill the room with mass; it leaves gaps, allowing the dark wall, the paving and the greenery to remain part of the view. That is what makes the series interesting in an exterior setting. It is present, but it does not close off the space. The organic curves and open pattern keep the seating visually breathable, while the low, pale cushions anchor the chairs to the ground.

Material, light and proportion in one series

Sori works because its parts are consistent. The rope weave, the chalk frame color and the dune cushion all stay within a subdued range, and that gives the series a clear identity without relying on excess detail. The result is a set of outdoor seats that can shift between an outdoor dining woven chair, a high dining outdoor chair and an outdoor lounge chair woven while keeping the same visual language. On the terrace, that consistency matters more than decoration.

In the photographs, the furniture is shown with the kind of clarity that lets the weave, cushion and frame read separately. One image focuses on the lounge grouping, another on the rounded chair form, and another on the texture of the seat itself. Together they show how the series works as a whole: open, light-toned and direct in its material expression. The footstool outdoor remains part of that system, small but aligned with the rest of the chairs.

Photography – Jurrit van der Waal