With offices in New York and Toronto and a team of over 100 professionals, Yabu Pushelberg brings an external perspective to the Porro project, offering a fresh and unexpected point of view.

“You know, when you think about Porro’s DNA, it has never followed a specific trend. 
Today, in the world of technology, it’s hard for things to truly stand out because there are so many products, so many images that are accessible to you.
When we started a dialogue with Porro, that was exactly the point: there are too many chairs. The problem is that a chair without purpose doesn’t mean much. We realized together how important it was to make a chair with an idea, something that has a little bit of poetry to it. 
The seat floats, the back floats, the connection is minimal, but it has an idea, an intention. It looks like it floats, despite its size: I think that is its beauty.  It looks like a very substantial chair from a distance, but when you get close, it’s so delicate.
What’s really beautiful about Porro as a company is that they have their classics, but they also have these eccentric pieces, they embrace new design in a kind of refined and caring way. 
As a family, Porro embraced Arnaldo, with that same characteristic of embracing continuity in design with a purpose” – George Yabu and Glenn Pushelberg