A tub, a shell, a hull, an empty open shape entirely upholstered in leather. An upside-down, extended saddle resting on fine metal stirrups and filled with cushions that follow the outline and at the same time soften it. It brings to mind neoclassical, clean-cut, unadulterated shapes and the voluptuousness of the sensual forms of feminine figures always seen reclining on them in classic paintings or academy representations, completing the classicist geometries and references. A sofa where the tradition of saddlery and upholstery combine to give a new look to spaces and the neoclassical atmosphere and their more commonplace and heartfelt icons. Bed. Its lyre shape recall classical atmospheres in a moderate elegance, together with the extraordinary richness of the saddle leather and refined saddler’s stitching.
The load-bearing frame is made in 3 different materials: the back is in 20 mm poplar plywood, the seat in elm heartwood and the arms in box-type steel consisting of various laser-contoured elements. The heartwood is seasoned “naturally” for at least three years in stacks on the company’s premises, while the metal parts are seam welded. Dap joints unite the various wooden parts of the frame with securing cylindrical dowels. The seat webbing consists of elastic polypropylene and natural latex belts in two sizes and with different elasticity. Belts 9 cm wide with 20% elasticity are fixed parallel to each other and perpendicularly to the length of Brera; these are alternately crossed by 5 cm wide belts with 80% elasticity. The framework is fully upholstered in leather and a layer of polyester wadding is fixed to the back to provide softness. The cushions are padded with sheets of resilient CFC-free polyurethane foam with differing density (between 30 and 35 kg/m3), covered with bonded plush and polyester wadding. The back cushions are in “Tecnolat”, a mixture of 100% silicon-coated hollow staple polyester and natural latex foam cut into small lozenge-shaped pieces (this new material gives the same softness as feathers while having a “memory” effect, in other words, after pressure has been exerted on the cushion it automatically returns to its initial condition without having to plump it up manually). The steel supports are stove enamelled with epoxy powder paint and combined with a strip of leather that is not only for aesthetic purposes, but protects against scratches. The occasional tables in the collection have a load-bearing frame in poplar heartwood and Esoflex for the curved parts, while all the visible part is covered in leather. The etched plate glass top rests on a surface made in melamine-coated particleboard. The steel supports are stove enamelled with epoxy powder paint and combined with a strip of leather.
Design By Luca Scacchetti
Luca Scacchetti was born in Milan in 1952.In 1975 he graduated from the Faculty of Architecture of Milan Polytechnic with a council housing project. In 1987 he began teaching Architectural Design in the Architecture Department of the European Institute of Design in Milan; from 1990 to 1995 he was Principal of the same Department. Since 1993 he has taught Elements of Architecture and Town Planning at the Brera Academy of Fine Arts in Milan. He writes essays and articles on the transformation of the architectural language in Milan in the years between the two world wars and on the nature of rural architecture in Lombardy, as well as many articles and papers on different topics regarding the history of architecture and design methodology; he has also taken part in many congresses and conferences in Italy, Europe, East Asia and the United States. He designs for many important Italian and European firms in the field of furniture, lighting and ornaments.