after many years of use, aesthetics of rotational molding should necessarily enter into the second phase of its existence. it couldn’t be but starck to get rotational make such a step. in the outdoor collection out/in starck with eugeni quitllet, proceeds along two paths: the high chair expands sizes, particularly height, transforming the object into a shell as a bulwark. with the sofa he doesn’t look for the “iconic object”, but he rather adopts sophisticated stratagems, usually intended for “home interiors”, for example the inclusion of essential aluminum armrests. are this high chair and this sofa, almost functionalist, creating a “collection”? certainly, but outside of the ordinary bourgeois aesthetics of the “all coordinated.”