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San Luca Limited Edition 50+50

In this special year for the Italian Design history, 100 years after Achille’s birth anniversary and 50 years after Pier Giacomo’s death anniversary, Poltrona Frau wanted to celebrate Castiglioni brothers with the launch of a Limited Edition of Sanluca armchair. 

Presented for the first time in 1960 at the XII Triennale Museum in Milan and included in the Poltrona Frau catalogue in 2004, Sanluca armchair is without any doubt one of the greatest icons of the Italian Design. And it is also the tangible proof of the extremely close relationship between Achille and Pier Giacomo Castiglioni.

The Sanluca Limited Edition armchair commemorates this extraordinary relationship and at the same time tells the story of another design giant, the Swiss artist and graphic designer Max Huber, who was connected to the Castiglioni brothers by a long-lasting friendship. He is the man behind the drawing used to develop the original and precious fabric that upholsters the Sanluca Limited Edition.

It’s available in 100 limited pieces, 50 upholstered in white on a black background and 50 in black on a white background.

Poltrona San Luca - The origins

The Sanluca (named after the Bologna portico of the same name, where Mauro Masera photographed the armchair) was created between 1959 and 1960. It was introduced at the XII Triennale Museum in Milan, causing quite a stir: one side of the criticism interpreted it as a return to typological bourgeois themes, almost a bergère; another side had a hard time justifying its line, neverbefore-seen for a padded piece, like an homage to Futurism and to certain “dynamic forms in space” by Boccioni.

Few comprehended the extent of its innovation; what seems to be precisely pure form in the Sanluca is, actually, pure function. In fact, the two brother’s “sculptural” ability inherited from their father Giannino, a famous sculptor, managed to transform a gesture that was on the one hand ergonomic and on the other hand productive, into an icon. Indeed, the “wave” silhouette represents a seated human body, making it one of the first expressions of a new science that – coming from technical sectors and the automotive world in particular -appeared on the design scene in those days. Later on, it would be called ergonomics. Every single curve of the Sanluca, as you can easily see, coincides with a precise point onthe human backbone: the fold between the neck and shoulders, that between the back and buttocks, that between the buttocks and the legs.

Achille & Pier Giacomo Castiglioni

Achille and Pier Giacomo instead created an extraordinary partnership: the two brothers conceived and designed in unison (Lisa Ponti recalls: “they would come at the Domus together, always in a pair even if only one would’ve been enough! They’d unfold a project drawing and one brother’d start a sentence that the other would finish”).

Those were the years of great opportunities and great inventions: with the sharp blows of the Castiglioni brothers,Italian furniture and product design took on a modern look. From the most essential objects like the switch for BML, produced in millions of copies, to the ready-made ironic items like the “Toio” lamp by Flos , our household panorama still bears the signature of their designs today. When Pier Giacomo died, Achille kept designing with great continuity of ideals and forms.
Numerous masterpieces also came out of this second period, from the Parentesi lamp in 1971 to the folding Cumano side
table in 1979, from the Linda bathroom fixtures in 1977 to the San Carlo armchair in 1983, from the Taraxacum lamp in 1988 to the T95 table in 1995.

Max Huber

Max Huber was born in Baat in 1919. He studied graphic design at the Kunstgewerbeschule in Zürich and he moved to Milan
in 1945, in charge of the VIII Triennale Museum graphic design along with Albe Steiner. At the same time, he started an important collaboration with Giulio Einaudi.

In the 1950s his work was intense, especially with Rinascente: this partnership led him to receive the Compasso d’Oro award in 1954. Many companies and institutions, like Coin, Nava and Esselunga, still bear signs of his handiwork today.

From the very start the profession of painter for Huber has flanked that of graphic designer. Between 1964 and 1968, Max Huber made three works entitled “Geophysical Waves”, one white on a black background and black on a white background and lastly one in black on a mustard background. In these works, he traces lines similar to level curves typical of geographic maps. In particular, one of the 32,5 x 69 cm drawings seemed suitable to be converted into actual size and into fabric in
two negative/positive variants: white on a black background and black on a white background.

Contact us!

Send us an email to info@internionline.it to have more information about the San Luca’s Limited Edition and if you wan to by it.

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