The top is set on four pillars supported by square legs. The symmetric pattern in the metal represents a geometric design of the head of a ram or the decorations repeated in the more ornate picture frames with elements from the classical architecture.The geometric references are subtly stated, drawing after drawing, becoming only mysterious traces now only revealed by name. The tops are marked on the edges by a steel profile, with the horizontal bands drawn from the world of the classical architecture.

Technical Info

The model ARES is available covered by saddle leather (C) or in Ebonywood (E) Walnutwood (N) or Zebranwood (Z): the finishes of the aluminium parts are available in chromed polish, silver painted or matte brass painted.The tops of the desks and the conference tables are composed by a top with thickness mm 30 and by a subtop thickness mm 20, both in black melamine coated panel for the saddle leather version or in particleboard panel for the wood veneered version.The top is available in three different finishes: completely covered by saddle leather with edges in saddle leather, covered by saddle leather with also saddle leather edges and central veneered inlay thickness mm 8 or completely veneered both top and edges. Whereas the edge of the subtop is always veneered in one of the three wood finishes available. Between the top and the subtop is fixed an aluminium profile with the three provided finishes. Under the tops are fixed four steel bars with the function to give stability and strength.


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.