A confirmed cultural wanderer half way between New-World creative happiness and Old-World intellectual restlessness, Littmann moves quickly from Washington to Vienna, dividing himself impartially between New York and Milan, between the activity of critic-writer and constructive application to the furniture-structure theme. Heralded by faxes with the grace of hermetic epigrams, his arrivals match the magic of calculated conjuring shows, with the explosion of minimal elements – a tube, a filament, a sheet of glass, etc. – that recompose the static world in reverse order, redistributing the weights in a hypnotic network of bare, subtle structures. Like a sculptor, Littman formalises function by shaping objects that are useful for daily life but also charming to look at, three-dimensional prostheses from a virtual universe built on descriptive geometrical magic. Coherently, while for many years he has been exploring the mysteries of an “American archaeology” made of abandoned spaces, neglected margins and forgotten landscapes, in Europe he proposes fresh inventions of minimal furnishings, ascribable to the expressive force of a few guidelines that spark off a play of shiny or transparent suspended sheets. Elliott Littman’s collaboration with Driade commenced in 1987 with the Lybra table.