Its 29 rooms wel­come you in an area pro­tect­ed from the out­side and the stress of the ci­ty. You will make a fan­tas­tic dis­cov­ery by stay­ing at the "O". Ho­tel O aims to de­liv­er an ex­pe­ri­ence of joy and re­lax­a­tion af­ter a hec­tic day in Paris. more information

UFO est la con­t­i­nu­ité logique d'un man­i­feste en­­gagé avec le pre­mi­er mono­­typ­ique, Evo­­mo­­bil, réal­isé en col­lab­o­ra­­tion avec Cit­roën. Ces deux en­tités perme­t­­tent aux «mu­­ta­­tions géné­­tiques» de pos­er les bas­es de nou­velles di­rec­­tions jusqu’ici ja­­mais ex­­plorées par l’in­­­dus­trie au­­to­­mo­­bile. more information

ORA-ÏTO and SABE­NA TECH­NICS Af­ter over a year of prod­uct de­vel­op­ment, Sabe­na tech­nics, a key play­er in the air­craft main­te­nance sec­tor, and ORA-ÏTO, pre­sent at Le Bour­get ‘Aero Sys­tem’, a new con­cept that brings to the air­craft de­sign in­dus­try a new ex­pe­ri­ence of lux­u­ry. more information

Af­ter more than 3 years of col­lab­o­ra­­tion with Cit­roën on the de­vel­op­­ment of ar­chi­tec­­tu­ral pro­­jects, Ora-ïto turned to the man­u­­fac­­tur­er to de­vel­op his first ar­tis­tic pro­­ject. The icon­o­­clas­tic artist wasn’t dream­ing about another con­­cept car but a ge­net­ic tran­s­­for­­ma­­tion. More Information

Basé sur son idée des nou­velles per­spec­­­tives, son sens de l’époque, fait de mod­­er­nité et de min­i­­­mal­isme, de l’at­­­trait pour les formes et de ra­­­tio­n­al­isme fon­c­­­tion­nel, Ora-ïto a créé le dessin du fla­­­con du derni­er par­­­fum féminin de la mai­­­son Guer­lain, IDYLLE. more information

Unit­ing mod­er­ni­­ty, lux­u­ry and refine­­ment, it fits in the hand like a piece of am­ber. Round and soft like a pe­b­ble, it is filled with the promis­es of more beau­ti­­ful skin. More Information

Mo­d­u­lar so­­fa in var­i­ous el­e­­ments: right and left end mo­d­ules in dif­fer­­ent sizes, and corn­er, sup­­ple­­men­t­ed by a so­­fa and a armchair. Struc­­ture in beech and po­­plar and spring sys­tem with elas­tic we­b­bing on me­t­al frames. All pad­d­ing is in dif­fer­­en­ti­at­ed-den­si­­ty po­­lyurethane. On­­ly the seat cushions have re­­mov­able cov­­ers. More Information

The bot­tle de­signed by Ora-Ïto is based on a graph­ic mo­tif, the small oval bub­ble mo­tif that re­curs of ten in Puc­ci prints, most notab­ly in the Vi­vara print. Ora Ito trans­lat­ed this icon­ic Puc­ci mo­tif in­to a pre­cious bot­tle, em­body­ing the mai­son’s fun­da­men­tal codes. More Information

Le de­sign­er français s’em­pare de l’héri­tage Stein­er pour sign­er une sculp­tu­rale col­lec­tion de mo­bili­er, re­nouant avec l’es­prit fu­turiste de la fin des an­nées 1960. Un tour de force tech­nique et es­thé­tique d’une rad­i­cale moder­nité. More Information

Pour répon­dre aux nou­velles façons de vivre, seul, en cou­ple ou en famille, Dun­lop­il­lo a choisi de faire ap­pel à un de­sign­er ta­l­entueux et re­con­nu, Ora-ïto, à l’écoute des nou­velles at­tentes sans pour au­tant faire table rase des valeurs his­toriques de la marque, qui com­bi­nent an­ti-con­for­misme et com­plic­ité, mais aus­si savoir-faire et con­fort. More Information

Break­ing all of the estab­lished codes, the po­­lyurethane ORA-GA­­MI armchair, true icon of the col­lec­­tion, is char­ac­­terised by the pu­ri­­ty of its line and its graph­ic vol­ume in­­spired by the orig­i­­nal shape of the armchair. More Information

Ora-Ito want­ed to pay ho­mage to Ayr­ton Sen­na by de­sign­ing this mod­el where the bed­side ta­bles are in­te­grat­ed in­to the bed to cre­ate an orange key shape. This de­sign cre­ates in turn a cut­away, which serves as a stor­age space in the form of a For­mu­la 1 cir­cuit. More Information

The Goren­­je col­lec­­tion by Ora-Ito is made up of a se­lec­­tion of fridge-freez­ers, mul­ti­­func­­tio­n­al built-in ovens, glass ce­ram­ic hobs, evac­u­a­­tion hoods, as well as de­c­o­ra­­tive pan­els for in­­te­­grat­ed dish­wash­ers and mi­crowaves. More Information

Soft round­ed so­­fa that takes an ar­chi­tec­­tu­ral di­­men­­sion speak­ing about its lines, shapes and coloured hol­low joint de­signs the space around it. Of­fer­­ing a tra­di­­tio­n­al com­­fort, how­ev­er cre­at­ing soft­­er lines mak­ing it more sta­­tu­­to­ry. More Information

The Parisian Ren­dez-Vous Toy­o­­ta show­­room has changed the store con­­cept im­age, with a the­a­tri­­cal back­­­drop which fades in­­­to the back­­­ground in or­der to set off the cars on dis­­­play. Toy­o­­ta wan­t­ed to com­bine it with a place to eat, that Ora-Ito con­­ceived as a mod­­i­­fi­able space. More Information

For Arte­lano, Ora-Ito has de­signed an eco­log­i­­cal book­­case con­struc­t­ed from re­­cy­­clable ma­te­rials orig­i­­nat­ing from cer­ti­­fied forests. It can be as­sem­bled with­­out fas­ten­ings us­ing a sim­­ple fit­t­ing. By com­bin­ing curves and flats in the style so char­ac­­teris­tic of the de­sign­er, it sk­il­­ful­­ly makes re­f­er­ence to the 70s. More Information

Based on the idea of dis­­­tor­­tion, the col­lec­­tion of «mo­­bil com­­pos­able» and side­board fur­ni­­ture for the lounge al­lows it to take ad­­van­­tage skil­l­­ful­­ly of sev­er­al depths and of­fers var­i­ous ty­polo­­gies of ar­range­­ment. More Information

For Ora-Ito, na­­ture is an in­­ex­hausti­ble source of in­­spi­ra­­tion. Ver­i­ta­ble sculp­­tures for the home, th­ese can­de­labras ex­­press a free-flow­ing es­­­thet­ic in­­ter­ac­­tion be­tween the idea of un­­tamed na­­ture — the “ar­­bores­­cence” of the sil­ver ma­te­rial, which takes on a bo­­tan­i­­cal ap­­pear­ance with branch-like shapes — and the mas­tery of ar­chi­tec­­tu­ral lines. More Information

Here again, we find the iden­ti­­fy­ing sig­­na­­tures of Ora-Ito’s for­­mal ap­proach: the curve and coun­ter-curve, the bro­ken line that ex­em­­pli­­fies the es­­­thet­ic of the col­lec­­tion, as well as ex­ac­t­ing stric­t­­ness and lin­ear­i­­ty. More Information

The main char­ac­­teris­tic of the space re­de­signed by Ora-Ito is its mod­er­ni­­ty. The sur­round­ings are in­­­cred­i­b­­ly fu­­turis­tic but the am­biance is soft and sen­­su­al. The rad­i­­cal ar­chi­tec­­ture of the premis­es nev­er­the­­less re­­mains log­i­­cal and ra­­tio­n­al. More Information