2008 / 2010
VISIONS
After embracing the themes of dreams and imagination, of the emptiness and fairytales, through collections that featured different works joined by their unique way of interpreting a story, Luca Sacchetti start realizing in 2008 a series of works, each inspired by its own individual theme. Each piece, therefore, assumes its own narrative and an increasingly sculptural dimension without neglecting its functionality. Materials are chosen purely on their suitability to the artistic intent and the process of creation tends towards an increasingly handcrafted and experimental application of the production techniques so much so that these works may be considered as the first steps towards the statement of a design concept interpreted as art design rather than design art.
2007 / 2009
SLEEPING BEAUTY
Along his creative path, Luca Sacchetti lingers on the symbolic value of design objects to tell the fairy tale of life. Armchairs, sofas and tables abstractly represent moments of an existential journey, expressing the author’s desire to enhance thoughts and actions through recollection in everyday living. Shapes and materials become transpositions of individual and collective memories, a physical reference of occurrences and emotional influences. A fairy tale is a narrative instrument that decodes the symbolisms used to represent situations of daily heroicness: facing fear “armed with the sword of truth and the shield of virtue” to achieve happiness. The Castle of Aurora marks the fairy-tale beginning, the first chapter of human odyssey in search of love. The entire castle structure is formed and protected by the feminine curvilinear, transparent as who does not have nothing to hide and therefore is vulnerable to envy and jealousy. A frame of life for the cozy chair transparency is created by cylindrical towers alternating themselves with squared and angular dwellings, in a use of alternated position and color. The Gift of Good Fairies is the sign of hope, of wait for the day will come after the last day of the hoped event. Conical and circular forms filled of light interfere with the damage accomplishment and send back to the sword knight the enchantment dissolution. The light will show him the way and the spherical will support him in his venture. The Sleeping Castle marks the presence-absence of the audience. Sleep freezes minds preventing it to take part to the happenings not even as a simple observer. To be “not aware” helps the opinions and feelings absence but causes fissures and fractures like ice melting itself in his own conscience building. The Bed of Aurora is the crystal coffin of who believes and knows to wait. Sign of death for the disenchanted and of redemption for the dreamer. The seat conical wall protects from external interferences and allows by the music rain to remember our own dreams supporting us in the wait. The loneliness feeling is melted by the materials transparency and allow us to be within even if we are outside the reality. It will be up to the knight to smash appearance and love who is able to believe. The Forest of Thorns tells the story of facing a “virtual” reality by overcoming its obstacles: by learning “how to brandish a sword”, you can penetrate into the forest of thorns, the forest of the unconscious, and find your way out. Hence, metal tubes mix with crystal surfaces to depict a clearer vision of the woods; a support for the imaginary world and an obstacle to creation at the same time. And after confronting one’s own dragon...true love can be awaken. The chaise-longue The Kiss represents the end of the fairy tale, of the odyssey of man’s search for love. It represents the “magical harmony” that for so long has been expected and desired. The flexible, sinuous and rounded feminine form blends with the more masculine squared, angular shape through one hundred and five metal tubes. At a first view an unstable union but the sharing of air and earth, in their transparency of sentiments and materials, finally generates harmony and stability. and when he saves her... she saves him.
2005
EIFFEL
Empty shapes and the geometric relation between interior and exterior. For his second collection, Luca Sacchetti chooses to explore the plastic function of inter-woven metal structures: a sensorial homage to logic and Eiffel’s romantic-futurist impulse. The Eiffel collection is conceived along the design path undertaken by Sacchetti. It displays pieces of furniture in which the internal structure of armchairs, chairs and tables is naked. A sense of emptiness emerges that at the same time remains boxed and supported by aluminum joints. A maze of tubes to free and let loose a thought. An attempt to tear down the fear of emptiness and space, an ancestral fear of Man, to be overcome by physical objects and supporting shapes built with the rational parameters of industrial design: it amounts to geometry serving the purpose of leaning out suspended in midair, reassuringly. A logic sensation is generated: i see, therefore I trust. An aerial but reasoned vision of life is reached. In the Eiffel armchair, an example of aerial and protective design, one remains suspended but aware and conscious. One looks through the furniture built along traditional guide lines with solid exteriors and a supporting structure that creates soft and sometimes englobing surfaces that generate an effect of body-suspension. Or, also, surfaces that reflect and generate light thanks to the transparency of Pvc. Armchair, chair, small table and coffee-table. These four pieces have a common denominator: to introduce and synthesize a sense of full and empty.
2004
DREAMS
“Things have a life of their own... It’s simply a matter of waking up their souls”
(One Hundred Years of Solitude, G.G Marquez)
Dreams is a collection of art design furniture founded on a set of principles of ancestral worth and on a sense of style that invokes recollection, emphasize reminder and gives new meaning of the imagination that inhabits the unconscious. The opportunity to regain the benefits derived from dreaming cannot be precluded from any sort of circumstances. Anxiety is a game played by adults. It is possible to fight the fear of growth, to lighten the sense of unhappiness that comes from the gap between life’s stages of development. Objects cannot bring happiness but they can both come together. Freedom of thought and actions of a child are called upon to overcome the constrictions imposed by theatre of social codes and to raise the curtain of appearance. The desire for dissolving codes of behavior is applied to shapes. The esthetic research is focused to leave strictness for a new harmonious balance. It is a creative process in which astonishment, laughter and the magic of light assume valuable significance. The aim is to tear down the fear of fear by producing feelings. Rather than imposing a finite view of spaces and contents, the intent is to provide new interpretations of needs, first among them the desire to build spaces for freedom. Luca Sacchetti feels the need for self-expression and communication trough furniture. Furniture items, such as “Home Sweety Pool”, can become a sort of “agora’” or they can turn into private elements as tools to fulfill an interior search, such as “La Culla” couch swing; moreover furniture can become a refuge, a hiding place, as “Il Rifugio” hideaway bed. A Dream must go well beyond the attempt to realize a desire. It must be able to escape the trap of the mind. Surrounding and furniture become the decompression chambers that favor this process of liberation, be it personal or collective. The sense of touch is the utmost and most didactic of the senses. Hence the preference for high-tech innovative technologies reflected in the decision to employ optical fibers hasn’t been undertaken just to create suffused lighting ambiences but to underline a creative process that involves synthetic and natural elements. Both straight and curved lines meet together in the collection. The ultimate encounter between the male soul, characterized by its esthetic rigidity, and the female sense, sinuous and rounded...