Low backrest as a design element: Pop-up sofa in the middle of the room

Imagine an open-plan living space where the sofa isn't leaning against the wall, but stands freely on the floor. The view still extends unimpeded to the window, the bookshelf, or the picture on the opposite wall. That this is even possible has less to do with the size of the room than with a single dimension: the height of the backrest. Where it remains low, the sofa transforms from a room-dividing block into a line that organizes the space without obstructing it.

This is where Pop-Up comes in, a pop-up sofa by Michele Mantovani, created as an exclusive new addition to the collection of the Italian manufacturer Bodema . The following statement clearly summarizes the basic idea:

Mantovani creates a balance between strict geometries and gentle curves by replacing the classic shapes of the living room sofa and making the low backrest the main focus of the design.”

A line instead of a wall: the backrest as an aesthetic choice

Functionally speaking, a low backrest is a compromise, as it offers less support and requires cushions. Aesthetically, however, it makes a statement. Pop-Up features a single, continuous backrest that begins at the ends of the armrests and runs the entire length of the structure. It frames the wide seats like a flat edge, and in the manufacturer's sample configurations, the armrests and backrest are at the same height. From this perspective, the design creates a horizontal line that is more reminiscent of an architectural plinth than an upholstered piece of furniture.

This continuity is particularly evident in the L-, U-, and C-shaped versions, as well as in the purely linear variations, where soft goose-down back cushions accentuate the seat. In the asymmetrical combinations, this effect is deliberately subdued. On the inner sides of the armrests, where the contours are gently curved, a counterpoint to the otherwise austere lines can be found; here, the upholstered cushions of the outer seats appear more inviting. Everything rests on an aluminum base with a beveled edge, available in either anthracite or bronze. This base can be conveniently combined with the fabric, leather, and velvet upholstery options from the collection.

It is a tradition for Italian manufacturers to treat such formal questions with utmost seriousness. The history of the Compasso d'Oro, the design prize created in 1954 by La Rinascente based on an idea by Gio Ponti and Alberto Rosselli , whose historical collection is now housed in the ADI Design Museum in Milan, demonstrates how early everyday objects were considered cultural achievements in Italy. Pop-Up embodies this philosophy: the sofa should be comfortable, but it should also make a statement about the space it occupies.

Configurations for the center of the room

Bodema itself sees the ideal place for Pop-Up in the center of the room. This makes sense, as only there does the low backrest truly shine. The modular system ranges from small, linear sofas to large panoramic solutions, including corner sofas for six, eight, or ten people, asymmetrical compositions with only one armrest, backless seats, and sculpted modules. Three configurations deserve special attention in an open-plan layout.

The island

As an island, the sofa stands freely on all sides and can be used from multiple angles. One example configuration shows a spacious corner sofa with seating on both sides, creating a relaxation zone rather than serving only one direction of view. In a generous room, this creates a central point around which the dining area, reading zone, and passageways can be grouped, similar to a piece of furniture in a museum that can be walked around.

The peninsula

The peninsula is the more precise design. One section of the sofa extends into the room, while the other acts as a spine. The seating arrangement is defined without being fully enclosed, and the open section guides the movement through the space. For example, the manufacturer offers an L-shaped configuration with a peninsula, a table with integrated storage, and an end element without armrests.

The open end element

The sofa's most radical effect is achieved where it simply ends. Without armrests, the end element leaves the seating area open, eliminating the appearance of a finished form. This is where the collection's wooden additions come into play: cabinets with shelves and low storage compartments, or side tables with trays and compartments accessible from above.

Kunstplaza recently demonstrated how much such a secondary piece of furniture contributes to the overall effect of a room when it is understood as an independent form: using the side table as a radical piece of furniture. In the Pop-Up design , these elements make the sofa usable from all sides, so that it offers a view from every angle.

Between object and use

A sofa for the center of a room must be effective even when no one is sitting on it. A high backrest turns its back on half the room, while a low one offers it a view. Pop-Up follows a clear hierarchy: first the lines, then the upholstery, then the accessories. The geometry defines the frame, while the rounded inner contours and down cushions transform the frame into a place to linger.

Anyone planning to use such a sofa should therefore think from the center of the room rather than from the wall. Sight lines, traffic flow, and which side of the furniture is seen first upon entering determine the choice between an island, peninsula, or open end configuration. Bodema a technical data sheet as well as 2D and 3D files on the product page to aid in this planning. These files allow you to test the configurations in your own floor planbefore placing the sofa in the center of the room.

Joachim Rodriguez y Romero

Owner and Managing Director of Kunstplaza . Publicist, editor, and passionate blogger in the fields of art, design, and creativity since 2011. Graduated with a degree in web design from university (2008). Further developed creative techniques through courses in freehand drawing, expressive painting, and theatre/acting. Profound knowledge of the art market gained through years of journalistic research and numerous collaborations with key players and institutions in the arts and culture sector.

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