[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-poltrona-frau-sanluca-limited-edition-50plus50-2018":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":97},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":92,"matched_pages":93,"match_count":94,"two_pages":95,"show_text":96},24203,"Sanluca Limited Edition 50plus50 2018","poltrona-frau-sanluca-limited-edition-50plus50-2018","\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F7e\u002F07fec5e6c3b404f7a38674be3a3e2a-28f466a7d8.pdf","Poltrona Frau",393,"poltrona-frau","3.8 MB",[14,17,20,24,28,32,36,40,44,48,52,56,60,64,68,72,76,80,83,87,90],{"image":7,"text":15,"number":16},"I012050 - 1000 - 10\u002F18\nAchille & Pier Giacomo\nCasiglioni \nSanluca Limited Edition\n50+50\nMax Huber\nLa poltrona Sanluca, presentata nel 1960 alla XII Triennale \ndi Milano, è senz’altro una delle grandi icone del design \nitaliano, ma non solo. È anche la tesimonianza tangibile \ndel rapporto fortissimo che legava Achille e Pier Giacomo \nCasiglioni. A 100 anni dalla nascita del primo e a 50 anni \ndalla scomparsa del secondo un’edizione in serie limitata \ndella Sanluca ricorda e celebra queso sodalizio e \ncontemporaneamente ci parla di un altro gigante del \nprogeto, l’artisa-grafico Max Huber, legato ai Casiglioni \nda un’amicizia decennale. A lui si deve il disegno da cui \nè sato sviluppato l’inedito tessuto che rivese la Sanluca \nLimited Edition. Perché quesi sraordinari oggeti disegnati \nin un tempo ormai lontano non sono soltanto capolavori, \nma “libri aperti” con cui raccontare le sorie meravigliose \ndel progeto italiano. \nMarco Romanelli\nThe Sanluca armchair was presented in 1960 at the XII \nTriennale Museum in Milan and is without any doubt one \nof the greates icons of Italian Design. It is also the tangible \nproof of the extremely close relationship between Achille \nand Pier Giacomo Casiglioni. At the 100th birth anniversary \nof the former and 50th death anniversary of the later, the \nSanluca Limited Edition armchair commemorates this \nextraordinary relationship and at the same time tells the sory \nof another design giant, the artis and graphic designer \nMax Huber, who was conneced to the Casiglioni brothers \nby a long-lasing friendship. He is the man behind the \ndrawing used to develop the original fabric that upholsers \nthe Sanluca Limited Edition. These extraordinary producs \ndesigned so long ago aren’t jus maserpieces, but rather \n“open books” that tell wonderful sories of Italian Design.  \nMarco Romanelli\n",1,{"image":18,"text":15,"number":19},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.2.png",2,{"image":21,"text":22,"number":23},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.3.png","Achille &\nPier Giacomo\nCastiglioni \nSanluca\nLimited Edition\n50+50\nMax Huber\n2018\nSanluca Limited Edition\nMax Huber \nAchille & Pier Giacomo Castiglioni\n",3,{"image":25,"text":26,"number":27},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.4.png","",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.5.png","Sanluca Limited Edition\nQuella che andiamo a raccontare è  \nuna lunga storia. Una storia di fratellanza \ne di amicizia, di genialità e divertimento. \nUna storia “per sempre” che, oggi,  \nin un momento esteticamente fragile,  \npuò trasformarsi in un vero paradigma.  \nCome tutte le storie che si rispettino \nanche questa però non può che \ncominciare così: c’erano una volta,  \nmolti anni or sono, due giovani uomini \nche dividevano ogni esperienza, \nmarciavano in coppia e uno terminava, \nsenza sforzo alcuno, le parole dell’altro. \nAchille e Pier Giacomo Castiglioni, \nfratelli (questo è evidente!), lavorano \nfisicamente uniti tra il 1943 e il 1968. \nDa quella data in poi, ovvero dalla \nprematura scomparsa di Pier Giacomo, \nAchille cammina da solo sulla strada che \navevano tracciato insieme, coltivando \nla memoria del fratello e facendo sì che, \nper quarant’anni ancora, si parlasse di lui \nsempre e comunque al presente, come \nse fosse ancora tra noi. Ma torniamo \nun momento indietro, a un punto della \nvicenda in cui non vi sono ancora \navvisaglie di quanto avverrà in futuro. \nÈ il 1954 circa, Achille e Pier Giacomo \nhanno appena conosciuto, grazie a Lucio \nFontana, un vulcanico giovanotto, Dino \nGavina, personaggio strano, difficile da \ndefinire: un po’ imprenditore, un po’ lui \nstesso artista, forse semplicemente un \nmaieuta. Loro tre, Pier Giacomo, Achille e \nDino, costruiranno una parte importante \ndel design italiano (e soprattutto un \nesempio di quel rapporto tra designer \ne produttore che ne costituì il segreto). \nCome sempre avviene con la memoria \ndegli uomini però, questa storia sarebbe \noggi dimenticata se non ne esistesse \nuna puntuale testimonianza: non penso \nai ricordi ormai labili di chi fu con loro a \nquei tempi, penso a un ricordo che si è \nfatto icona, una poltrona indimenticabile \ne indimenticata. La Sanluca (così \nchiamata dall’omonimo portico di \nBologna ove fu fotografata da Mauro \nMasera) nasce tra il 1959 e il 1960. Viene \npresentata alla XII Triennale di Milano, \nsuscitando opinioni contrastanti:  \nuna parte della critica la interpreta \ncome un ritorno a temi tipologici \nborghesi, quasi una bérgère, un’altra \nparte si affanna a giustificarne la linea, \ntotalmente inedita per un imbottito, come \nomaggio al Futurismo e a certe “forme \ndinamiche nello spazio” di Boccioni. \nPochi ne comprendono il portato di \ninnovazione: nella Sanluca proprio \nciò che appare pura forma è in realtà \npura funzione. La capacità “sculturale” \ndei due fratelli, ereditata dal padre \nGiannino, celebre scultore, ha infatti \nsaputo trasformare in iconico un gesto \nche è, in realtà, da un lato ergonomico, \ndall’altro produttivo. La sagoma “a onde” \nrappresenta infatti un corpo umano \nseduto: si tratta quindi di una delle prime \nmanifestazioni di una nuova scienza \nche, provenendo da ambienti tecnici, \nl’automobile in particolare, si affacciava \nallora sulla scena del design: più tardi si \nchiamerà ergonomia. Ogni singola curva \ndella Sanluca coincide, a ben vedere, con \nun preciso punto della colonna vertebrale \numana: la piega tra il collo e le spalle, \nquella tra la schiena e le natiche, quella \ntra le natiche e le gambe. Seguendo \nSanluca Limited Edition\nThe story we’re about to tell you is a \nlong one. A story of brotherhood and \nfriendship, of genius and fun. A “forever” \nstory that, today, at an aesthetically \nfragile time, can morph into a real \nparadigm. Like any respectable story, \nthis one can’t help but begin as follows: \nonce upon a time, many years ago, there \nwere two young men that shared every \nexperience, walked side-by-side, where \none — without even trying — finished \nthe other’s sentences. Achille and Pier \nGiacomo Castiglioni brothers physically \nworked together from 1943 to 1968. \nFrom that date onward, that is, from  \nthe early death of Pier Giacomo, Achille, \non his own, thread the path that they had \nlaid together, preserving the memory \nof his brother and making sure that he \nwould always be talked about for another \n40 years in the present tense, as if  \nhe were still among us. But let’s take  \na step back to a point in the story when \nthere weren’t any signs of what would \nhappen in the future. It is about 1954  \nand thanks to Lucio Fontana, Achille  \nand Pier Giacomo have just met an \nenergetic young man, Dino Gavina,  \nan odd person, hard to define: a little bit \nentrepreneur, a little bit artist himself, \nperhaps simply a maieutic being.  \nThe trio, Pier Giacomo, Achille and Dino, \ncreated an important part of Italian \nDesign (and above all, a model of that \nrelationship between designer and \nproducer that was, indeed, the secret \nof success). However, as it always goes \nwith people’s memories, the story would \nhave been forgotten if a precise account \ndidn’t exist. I don’t mean the memories, \nby now faded, of those who were with \nthem in those days, but am thinking of \na memory that has become an icon, an \nunforgettable and un-forgotten armchair. \nThe Sanluca (named after the Bologna \nportico of the same name, where Mauro \nMasera photographed the armchair) \nwas created between 1959 and 1960. \nIt was introduced at the XII Triennale \nMuseum in Milan, causing quite a stir: \none side of the criticism interpreted \nit as a return to typological bourgeois \nthemes, almost a bergère; another side \nhad a hard time justifying its line, never-\nbefore-seen for a padded piece, like \nan homage to Futurism and to certain \n“dynamic forms in space” by Boccioni. \nFew comprehended the extent of its \ninnovation; what seems to be precisely \npure form in the Sanluca is, actually, \npure function. In fact, the two brother’s \n“sculptural” ability inherited from their \nfather Giannino, a famous sculptor, \nmanaged to transform a gesture that \nwas on the one hand ergonomic and on \nthe other hand productive, into an icon. \nIndeed, the “wave” silhouette represents \na seated human body, making it one  \nof the first expressions of a new science \nthat - coming from technical sectors \nand the automotive world in particular - \nappeared on the design scene  \nin those days. Later on, it would be \ncalled ergonomics. Every single curve \nof the Sanluca, as you can easily see, \ncoincides with a precise point on  \nthe human backbone: the fold between \nthe neck and shoulders, that between \nthe back and buttocks, that between  \n7\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.6.png","questa intuizione i Fratelli costruirono \nuna linea ondulata e spigolosa, che \ndoveva però ancora diventare volume, \nun volume da spedire nel mondo intero \n(alla fine degli anni ‘50 l’Italia sogna \nin grande): ecco allora la seconda \nintuizione ovvero la scomponibilità in \ncinque parti. Ciascuna parte sarà dotata \ndi una differente imbottitura, adatta \nalla specifica funzione svolta nel gioco \ndell’insieme, e, una volta arrivate a \ndestinazione, le parti potranno essere \nfacilmente assemblate, mediante viti. \nNon vorrei tuttavia che questo racconto, \npur veritiero, apparisse prosaico, \ntogliendo qualcosa al fascino della \nSanluca: edotti circa la realtà storico-\nprogettuale, possiamo benissimo \ncontinuare a pensare a questa poltrona \ncome a un antico mostro, a un’armatura \nmedioevale, a uno strumento musicale. \nSenz’altro al simbolo condiviso di \nun’epoca. Quello che ci interessa \nsottolineare, in questo 2018, è soprattutto \nil suo rappresentare, per sempre, la \nstoria unica di due fratelli, Pier Giacomo, \nmorto nel 1968, e Achille nato nel 1918. \nA 50 anni dalla prima ricorrenza e a 100 \ndalla seconda, Poltrona Frau ha voluto \ncelebrare la storia della Sanluca con una \nedizione limitata in 100 esemplari. \nOggi usualmente rivestita in pelle, \nla Sanluca veniva originariamente \nfoderata anche in velluto o tessuto di \nlana. Partendo da tale constatazione, \nnell’elaborare il progetto per la limited \nedition, si è innanzitutto deciso di optare \nper un rivestimento tessile. Da quel \nmomento chi scrive e Cristina Nardi, \ndel Poltrona Frau Style & Design Centre, \nhanno portato avanti una puntuale ricerca \nd’archivio rispetto alle finiture originali. \nTra le molte ipotesi analizzate ha prevalso, \nanche in questa occasione,  \nla volontà di raccontare una storia:  \nla storia dell’amicizia tra i fratelli \nCastiglioni e Max Huber. Al di là della \ncollaborazione professionale che portò  \ni tre a progettare alcuni dei più importanti \nallestimenti che si ricordino (per la RAI, \nper la Montecatini, per l’Eni), esisteva  \ntra le famiglie un rapporto speciale. \nAchille e Irma Castiglioni visitavano \nregolarmente Max e Aoi Huber \nnella loro casa sulle montagne della \nSvizzera italiana, fino al punto da \ncomprare anch’essi una proprietà in \nquella zona ove trascorrere i weekend. \nCastiglioni e Huber scherzavano, \ndividevano esperienze, concepivano \nmemorabili progetti di interni, mentre, \nautonomamente, Achille costruiva \ncapolavori di design e Max capolavori \ndi grafica. Max però dipingeva anche, \ntracciando opere segnate da un forte \nastrattismo lirico. Avrete a questo punto \ngià capito che, tra le molte possibilità, \nè proprio attraverso un disegno inedito \ndi Max Huber, trasformato in tessuto e \napplicato alla poltrona di Pier Giacomo e \nAchille Castiglioni, che abbiamo deciso  \ndi celebrare questo plurimo anniversario. \nLe curve della Sanluca si vestono oggi \ndi altre curve, curve di livello tracciate \nda un grafico capace di sognare, alla \nCalvino, un territorio immaginario. \nUn territorio in bianco e nero e in nero \ne bianco: perché negli spazi sconfinati \ndell’amicizia, nei terreni impervi della \ngenialità, non servono altri colori.\nMarco Romanelli\nthe buttocks and the legs. Feeding off of \nthis idea, the brothers built a wavy, spiky \nline that however still had to become \nvolume, a volume to be shipped all over \nthe world (in the late 1950s Italy dreamt \nbig). That’s when the second idea came \nup: that of five detachable parts.  \nEach part would have a different padding \nsuited to the specific function performed \nin the overall ensemble, and once they \narrived at their destination the parts \ncould be assembled easily with screws.\nHowever I wouldn’t want this tale \n(although true) to seem prosaic, killing  \na bit of the charm of Sanluca.  \nOnce aware of its historic and design \nbackground, we may keep thinking of \nthis armchair as an antique monster, \nmedieval armour, a musical instrument \n- certainly, as a shared symbol of an \nera. What i’d like to emphasise above \nall here and now in 2018 is how it is an \nevergreen representation of the unique \nstory of two brothers, Pier Giacomo \n(who died in 1968) and Achille born in \n1918. Fifty years after the former date \nand one hundred years after the latter, \nPoltrona Frau wanted to celebrate the \nstory of the Sanluca with a limited edition \nof 100 pieces. Usually upholstered in \nleather, the Sanluca was originally also \nupholstered in velvet and wool fabric. \nStarting from this evidence, in creating \nthe design for the limited-edition, the \ndecision was to opt for fabric upholstery. \nFrom that moment forward Cristina \nNardi, from the Poltrona Frau Style & \nDesign Centre, and myself carried out \nmeticulous research in the archives for \nthe original finishes. Among the many \noptions weighed, even on this occasion \nthe urge to tell a story prevailed –  \nthe story of the friendship between  \nthe Castiglioni brothers and Max Huber. \nBeyond the professional collaboration \nthat brought the three to design some  \nof the most important exhibitions (for \nRAI, Montecatini and Eni), a special  \nbond existed between the families. \nAchille and Irma Castiglioni regularly \nvisited Max and Aoi Huber at their  \nhome in Italian Switzerland, up to  \nthe point that they bought a property  \nin that area where they could spend \nweekends. Castiglioni and Huber joked \naround, shared experiences, conceived \nmemorable exhibit designs, while Achille \nindependently built masterpieces of \ndesign and Max worked on graphic \nmasterpieces. But Max also painted, \ntracing works characterised by a marked \nlyric abstractionism. At this point you \nmust have figured out that among the \nmany possibilities available, it was \nprecisely an original drawing by Max \nHuber, transformed into fabric and \napplied to the armchair by Pier Giacomo \nand Achille Castiglioni, that we took  \nto celebrate this commemoration.  \nThe curves of the Sanluca are \nemphasized by other curves, level \ncurves traced by a graphic designer \nwho knows how to dream an imaginary \nterritory. A territory in black and white \nand in white and black: because in the \nboundless spaces of friendship, in the \nimpervious grounds of genius, no other \ncolours are needed.\nMarco Romanelli\n9\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.7.png","2018 was a special year for the Castiglioni brothers, as it is \nthe 100th birthday of Achille (February 16, 1918) and the 50th \nanniversary of the passing of Pier Giacomo (November 27, \n1968). But let’s take a step back: Giannino Castiglioni, the \nfamous 20th century Milanese sculptor, had three sons:  \nLivio (1911), Pier Giacomo (1913) and Achille (1918), all of which \nwould become architects. The three worked together until \n1952, when the eldest, Livio, opened his own studio where \nhe would mainly work on lighting design. Achille and Pier \nGiacomo instead created an extraordinary partnership:  \nthe two brothers conceived and designed in unison  \n(Lisa Ponti recalls: “they would come at the Domus together, \nalways in a pair even if only one would’ve been enough!  \nThey’d unfold a project drawing and one brother'd start \na sentence that the other would finish”).\nThose were the years of great opportunities and great \ninventions: with the sharp blows of the Castiglioni brothers, \nItalian furniture and product design took on a modern look. \nFrom the most essential objects like the switch for BML, \nproduced in millions of copies, to the ready-made ironic items \nlike the “Toio” lamp, our household panorama still bears the \nsignature of their designs today. The Castiglioni brothers were \nat the same time also “storytellers”, creating jaw-dropping \nsets for RAI and for Italian industry (Montecatini in particular). \nThe tales gain further clarity on these occasions thanks to \nthe collaboration of the great graphic designers of the era, \nfrom Erberto Carboni to Max Huber, and from Pino Tovaglia to \nMichele Provinciali and Heinz Waibl. When Pier Giacomo died, \nAchille kept designing for many years in the celebrated studio \nin Piazza Castello, with great continuity of ideals and forms. \nNumerous masterpieces also came out of this second period, \nfrom the Parentesi lamp in 1971 to the folding Cumano side \ntable in 1979, from the Linda bathroom fixtures in 1977 to  \nthe San Carlo armchair in 1983, from the Taraxacum lamp  \nin 1988 to the T95 table in 1995.\nIl 2018 segna un anno particolare per i fratelli Castiglioni  \nin quanto ricorrenza dei 100 anni dalla nascita di Achille  \n(16 febbraio 1918) e dei 50 anni dalla scomparsa di Pier \nGiacomo (27 novembre 1968). Ma facciamo un passo indietro:  \nGiannino Castiglioni, celebre scultore milanese del XX \nsecolo, aveva avuto tre figli maschi: Livio (1911), Pier Giacomo \n(1913) e Achille (1918) che tutti saranno architetti.  \nI tre lavoreranno insieme fino al 1952, quando il maggiore, \nLivio, apre un proprio studio ove si occuperà prevalentemente \ndi lighting design. Achille e Pier Giacomo costituiscono \ninvece un sodalizio straordinario: i due fratelli pensano e \nprogettano all’unisono (ricorda Lisa Ponti: “arrivavano a \nDomus assieme, sempre in due anche se ne sarebbe bastato \nuno! aprivano un disegno e il primo cominciava una frase  \nche il secondo finiva”).  \nSono anni di grandi opportunità e di grandi invenzioni: \nil furniture e il product design italiani, sotto i colpi serrati \ndei due Castiglioni, conquistano la modernità. Dagli oggetti \npiù essenziali, come l’interruttore per VML, prodotto in \nmilioni di esemplari, agli ironici ready-made, come la \nlampada “Toio”, ancora oggi il nostro panorama abitativo è \nsegnato dalla presenza dei loro progetti. Parallelamente i \nCastiglioni si fanno “narratori di storie”, ideando mirabolanti \nallestimenti per la RAI e per l’industria italiana (in particolare \nla Montecatini). Il racconto, in queste occasioni, diventa \nancor più chiaro grazie alla collaborazione dei grandi \ngrafici dell’epoca, da Erberto Carboni a Max Huber, da Pino \nTovaglia a Michele Provinciali e Heinz Waibl. Alla morte di \nPier Giacomo, Achille prosegue la sua attività per molti anni, \nnel celebre studio di Piazza Castello, in grande continuità di \nideali e di forme. Innumerevoli i capolavori anche in questo \nsecondo periodo, dalla lampada Parentesi del 1971 al tavolino \npieghevole Cumano del 1979, dai sanitari Linda del 1977 \nalla poltrona San Carlo del 1983, dal lampadario Taraxacum \ndel 1988 al tavolo T95 del 1995. \nAchille &  \nPier Giacomo \nCastiglioni\n11\n",7,{"image":41,"text":42,"number":43},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.8.png","Originally produced by Gavina, the Sanluca armchair was \nintroduced in 1960 at the XII Triennale di Milano. Its name \ncomes from the Portico of San Luca in Bologna, where \ngraphic designer Michele Provinciali staged a famous photo \nshoot by Mauro Masera. The “Sanluca” collection was \noriginally composed by a two-seater sofa and a three or five-\nseater sofa, which, affirming the technical seating inspiration \n(like in trains), are built by repeating side-by-side modules, \nkeeping the armrests in the middle. The Sanluca armchair \nwas produced by Knoll International in 1969 along with a \nlarge part of the Gavina catalogue, and then, in 1990 by \nBernini, with slight changes chosen and followed directly by \nAchille Castiglioni who also added a footrest called “Luca”. \nAs of 2004, after agreements with Achille and Pier Giacomo \nCastiglioni’s heirs, the Sanluca armchair was included  \nin the Poltrona Frau catalogue.\nInizialmente prodotta da Gavina, la poltrona “Sanluca” viene \npresentata, nel 1960, alla XII Triennale di Milano.  \nIl nome deriva dal Portico di San Luca a Bologna ove il grafico \nMichele Provinciali ambienta un celebre servizio fotografico \ndi Mauro Masera. La collezione “Sanluca” è originariamente \ncompletata da un divanetto a due posti e da un divano a tre \no cinque posti che, a confermare la derivazione da sedute \ntecniche, vedi i treni, sono costruiti per ripetizione di moduli \naccostati, conservando i braccioli intermedi. Nel 1969, \nassieme a una parte significativa del catalogo Gavina, passa \nin Knoll International e quindi, dal 1990, viene prodotta da \nBernini, con leggere modifiche volute e seguite direttamente \nda Achille Castiglioni che aggiunge anche un poggiapiedi, \ndenominato “Luca”. Dal 2004 la poltrona Sanluca,  \nin seguito agli accordi con gli eredi di Achille e Pier Giacomo \nCastiglioni, fa parte del catalogo Poltrona Frau. \n13\n↖ Achille e Pier Giacomo Castiglioni,  \ncon Dino Gavina, fotografati da Mauro Masera \na Bologna sotto il portico di San Luca,  \nda cui la poltrona prenderà il nome\n↖ Achille and Pier Giacomo Castiglioni, with \nDino Gavina, photographed by Mauro Masera \nin Bologna under the portico of San Luca, from \nwhich the armchair gets its name\n(courtesy Iuav University in Venice, Design \nArchive, Mauro Masera fund)\n↗ La banda dei “ragazzi di don Marella” viene\ninserita, per un’intuizione di Michele Provinciali,\nnel celebre servizio fotografico di Mauro Masera\n↗ The group of “don Marella’s kids” is inserted in \nthe famous photo shoot by Mauro Masera based \non one of Michele Provinciali’s ideas\n(courtesy Iuav University in Venice, Design \nArchive, Mauro Masera fund)\n",8,{"image":45,"text":46,"number":47},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.9.png","Negli schizzi in sezione si evidenzia la caratteristica curvatura dello schienale \nche propone un appoggio su tre punti a seguire la colonna vertebrale\nSide sketches showing the typical curve of the backrest. The body support comes \nfrom three essential points, following the natural configuration of the spine.\n14\n",9,{"image":49,"text":50,"number":51},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.10.png","Ergonomics, especially the concept of total support of the \nspine, is the core of the design, as it is the desire to optimise \nproduction on an industrial scale. This method led to separate \nconstruction and finishing of the different parts (side, seat, \nbackrest and headrest), then fixed with screws.\nL’ergonomia, in particolare il concetto di sostegno integrale \nalla spina dorsale, è il punto di partenza del progetto. \nAltrettanto importante risulta però la volontà di ottimizzare la \nproduzione su scala industriale che porta alla costruzione e \nal finissaggio distinti, e quindi all’assemblaggio mediante viti, \ndei vari componenti: fianchi, sedile, schienale e poggiatesta.\nLa tecnica costruttiva originale, con molleggio ottenuto \nmediante cinghie elastiche e scocca inizialmente in \nmetallo e, dal 1990, in multistrati, è oggi sostanzialmente \nimmutata. Per i tempi si trattava di un procedimento \nassai innovativo che, ai principi normalmente seguiti \nnell’arredamento, aggiungeva notazioni provenienti \ndal settore delle sedute tecniche, in particolare \nautomobilistiche. Ciò comportava una notevole riduzione \nin spessore delle usuali imbottiture e una differenziazione \ndelle stesse in base alle diverse zone funzionali. Ancora \noggi la Sanluca viene imbottita mediante poliuretano \nespanso da blocco con gradi di densità diversi. Analoghi \nconcetti di differenziazione per parti venivano e vengono \napplicati per quanto concerne il rivestimento. Innanzitutto, \ncome si faceva nei modelli degli anni ’60, si è evitato  \ndi avere, in qualsiasi parte, cuciture con filo a vista,  \nindi è stata adottata la tecnica più idonea relativamente  \na ciascuna componente. Il poggiareni e il sedile,  \nad esempio, utilizzano un procedimento classico  \nin tappezzeria che prevede che il tessuto sia calzato  \nsul pezzo e poi ancorato alla struttura in legno mediante \nchiodatura con punti metallici. Viceversa, per quanto \nriguarda i braccioli, si usa una tecnica particolare, \ndenominata “tiro all’inglese”, che permette di fissare \nil tessuto anche sotto il bracciolo ove si presenta \nun sottosquadro. Il poggiatesta infine adotta un \nprocedimento appositamente definito che prevede due \nfasi: inizialmente si riveste la parte anteriore, tesando il \ntessuto mediante punti metallici sulla superficie concava; \nsuccessivamente si passa al rivestimento della parte \nconvessa, realizzato grazie a una maschera in compensato \ncurvato che permette di posizionare il tessuto e di fissare \nposteriormente, sulla struttura in legno, uno speciale \nprofilo metallico a reggetta (per altro analogo a quello \nadoperato negli anni ‘60), arrivando così al risultato \nvoluto senza l’uso di collanti. I piedi, dopo alcuni prototipi \niniziali sagomati, hanno assunto l’andamento a cilindro \nstondato. Inizialmente venivano prodotti solo in massello \ndi palissandro tornito. Oggi sono realizzati in frassino tinto \nwengé (soluzione scelta anche per la limited edition) e in \nnoce canaletto.\nThe original constructive technique with seat suspension \nobtained from elastic belts and a structure made out  \nof metal, and as of 1990 in wood, is unaltered today.  \nFor those times, it was an extremely innovative procedure, \nthat combined methods typical of the technical seating \nsector and specifically of the automotive one, to normal \nfurnishing principles. This remarkably reduced  \nthe thickness of the usual padding and differentiated \nit according to functional zones. The Sanluca is today \npadded with differentiated-density polyurethane foam. \nThe analogous technique of differentiation by area was, \nand still is, applied to the upholstery. In particular,  \nas with the 1960s models, stitches with visible thread were \navoided, so the most suitable technique was adopted  \nin each section. For instance, the upholstery of the seat \nand lumbar cushion was made using the classic procedure \nthat requires the fabric to be shod and then fixed to  \nthe wooden structure with metal nails. Vice versa, for  \nthe armrests a special technique was adopted: it consists \nin fastening the fabric underneath the armrest where \nthere is an undercut. Lastly, the headrest requires an ad \nhoc two-stage procedure: firstly, the front is upholstered, \npulling the fabric taut with metal studs over the concave \nsurface, then the upholstery of the convex part is realized \nthanks to a curved plywood mask that enables the \npositioning of the fabric. Lastly, a special metal band  \nis fastened to on the wood structure on the backside,  \nthus achieving the desired look without using glue.  \nAfter some traditionally shaped prototypes, the feet  \ntook on a rounded cylinder shape. At first they were  \nonly produced in turned solid rosewood. Today they  \nare made out of wenge-stained ash wood (the option \nchosen for the Limited Edition) and in Canaletto walnut.\n17\n↗ Nel disegno esploso, in evidenza la costruzione \ndella poltrona Sanluca per assemblaggio di parti\n↗ In the enlarged drawing, the Sanluca armchair \nconstruction method is highlighted\n",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.11.png","Max\nHuber\nFor many years, Achille and Pier Giacomo Castiglioni \ncollaborated with Max Huber on the sets for Rai,  \nEni and Montecatini. The partnership developed into a strong \nfriendship which for Achille would last until the early death  \nof the great Swiss graphic designer in 1992. Max Huber  \nwas born in Baat in 1919. He studied graphic design at  \nthe Kunstgewerbeschule in Zürich and he moved to Milan  \nin 1945, in charge of the VIII Triennale Museum graphic \ndesign along with Albe Steiner. At the same time,  \nhe started an important collaboration with Giulio Einaudi. \nIn the 1950s his work was intense, especially with \nRinascente: this partnership led him to receive the \nCompasso d’Oro award in 1954. Many companies and \ninstitutions, like Coin, Nava and Esselunga, still bear signs \nof his handiwork today.In 1962 Max married the Japanese \nartist Aoi Kono. In 1970, the pair moved to Canton Ticino, \nin Novazzano, where the Max Huber archive is today located. \nIn Chiasso, an art museum bearing Huber's name was \nopened in 2005. From the very start the profession of painter \nfor Huber has flanked that of graphic designer.\nPer molti anni Achille e Pier Giacomo Castiglioni collaborano \ncon Max Huber agli allestimenti per Rai, Eni e Montecatini. \nIl sodalizio si trasforma ben presto in una forte amicizia che, \nper Achille, durerà fino alla prematura scomparsa del grande \ngrafico svizzero, nel 1992. Max Huber era nato a Baat nel 1919, \ndopo aver studiato grafica presso la Kunstgewerbeschule \ndi Zurigo, nel 1945 si era trasferito a Milano, incaricato, \ncon Albe Steiner del progetto grafico per la VIII Triennale. \nContemporaneamente aveva iniziato un’importante \ncollaborazione con Giulio Einaudi. \nIntensa l’attività negli anni ‘50, in particolare per la \nRinascente, che lo porta, nel 1954, a ricevere il premio \nCompasso d’Oro. Molte aziende e istituzioni, come Coin, \nNava, Esselunga, conservano ancora oggi il segno della \nsua mano. Nel 1962 Max sposa l’artista giapponese Aoi Kono \ne, nel 1970, i due si trasferiscono nel Canton Ticino, \na Novazzano, dove ha oggi sede l’archivio Max Huber \ne nel 2005 a Chiasso è stato inaugurato, un museo d’arte \na lui dedicato. Da sempre l’attività di grafico si affianca per \nHuber a quella di pittore. \n19\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.12.png","Tra il 1964 e il 1968 Max Huber realizza tre opere  \nintitolate “Onde Geofisiche”, una in bianco su nero,  \nuna in nero su bianco e infine una in nero su senape.  \nIn esse traccia linee assimilabili alle curve di livello di  \nuna carta geografica. In particolare uno di questi disegni,  \nche misura 32,5x69 cm, è apparso adatto a essere \nportato a rapporto e trasformato in tessuto, nelle due \nvarianti negativo-positivo: bianco su nero e nero su \nbianco. Così è avvenuto, sotto il controllo di Aoi Kono \nHuber, grazie all’intervento di Torri Lana 1885, Bergamo. \nSi decide allora di utilizzare un telaio Alpha di produzione \nPromatech, con macchina Jaquard elettronica ultima \ngenerazione Staubli, che consente un rapporto di disegno \nassolutamente fedele alla dimensione dell’originale.\nNasce un tessuto Jacquard realizzato su ordito di cotone \nin mischia intima con una piccola percentuale  \ndi poliammide, tramato con lana ritorta australiana 26\u002F28 \nmicron, anche essa in mischia con poliammide  \na elevata torsione. Il filato di lana crea la superficie unita, \nmentre il cotone dal rovescio del tessuto sale al diritto, \ndando luogo a un disegno a piccoli punti, con un effetto \n“imbastitura”, a seguire esattamente le “curve di livello” \noriginariamente tracciate da Max Huber. In ultimo si \nprocede al finissaggio, eseguito a Biella in una azienda \nspecializzata in tessuti per abbigliamento di altissima \nqualità. Diverse sono le fasi, dal lavaggio a settanta \ngradi, al passaggio in una macchina Ram che stabilizza \nl'altezza, alla cimatura e infine al decatizzo con cilindri  \nad alta pressione, per conferire al tessuto la lucentezza  \ne la fluidità tipica dei pettinati da drapperia. \nBetween 1964 and 1968, Max Huber made three works \nentitled “Geophysical Waves”, one white on a black \nbackground and black on a white background and lastly one \nin black on a mustard background. In these works, he traces \nlines similar to level curves typical of geographic maps. \nIn particular, one of the 32,5 x 69 cm drawings seemed \nsuitable to be converted into actual size and into fabric in \ntwo negative\u002Fpositive variants: white on a black background \nand black on a white background. Aoi Kono Huber’s \nsupervision and the support of Torri Lana 1885, Bergamo \nplayed a central role. They decided to use an Alpha frame \nproduced by Promatech, with the latest generation Stäubli \nelectronic Jacquard machines, which enabled to create a \npattern true to the original’s dimensions. \nA jacquard fabric was created, made on cotton warp  \nin close blend with a small percentage of polyamide,  \nwoven with Australian twisted 26\u002F28 micron wool,  \nalso blended with high tenacity polyamide. The wool  \nthread created a uniform surface, while the cotton  \non the underside of the fabric rose up straight, creating \na design with tiny stiches, with a “tacking” effect to exactly \nfollow the “level curves” originally traced by Max Huber. \nLastly, the finishing was carried out in Biella at a company \nspecialised in fabric for extremely high-quality clothing. \nMany stages were performed to the fabric: from the \nwashing at 70°C, to the stabilization of the height  \nby means of a Ram machine, to the shearing and lastly  \nto the decatising with high-pressure cylinders giving  \nthe characteristic shininess and fluidness typical  \nof worsted drapery.\n↗ Max Huber, disegno originale gouache su cartoncino “Onde Geofisiche”, 1968\n↗ Max Huber, original design gouache on paper “Geophysical Waves”, 1968\n(courtesy Max Huber archive, Novazzano)\n↑ Max Huber, nel suo studio, 1970, foto Ugo Mulas\n↑ Max Huber in his atelier, 1970, photo Ugo Mulas\n(courtesy Archivio Ugo Mulas, Milano–Galleria Lia Rumma, Milano\u002FNapoli)\n→ Max Huber e Aoi Kono Huber, 1962\n→ Max Huber and Aoi Kono Huber, 1962 \n(courtesy Max Huber archive, Novazzano -\nPublifoto, Università degli Studi di Parma CSAC)\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.13.png","Sanluca \nLimited \nEdition\n2018\nSanluca Limited Edition\nMax Huber \nAchille & Pier Giacomo Castiglioni\n23\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.14.png","25\n25\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.15.png","26\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.16.png","29\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.17.png","31\n",17,{"image":81,"text":26,"number":82},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.18.png",18,{"image":84,"text":85,"number":86},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.19.png","CONTACTS\nPoltrona Frau S.p.A\nVia Sandro Pertini, 22\n62029 Tolentino MC  Italy\nTel. +39 0733 909.1\nFax +39 0733 909246\nwww.poltronafrau.com\nCREDITS\nCatalogo a cura di \u002F A catalogue by\nMarco Romanelli \nProgetto a cura di \u002F Project developed by\nMarco Romanelli, Cristina Nardi\nsotto l’egida di \u002F under the aegis of\nFondazione Achille Castiglioni,\narchivio Max Huber\nstudio arch. Piergiacomo Castiglioni\nArt direction \u002F Graphic design \nstudio FM milano\nPhoto:\narchivio Max Huber, Novazzano\nMauro Masera (Università Iuav di Venezia, \nArchivio Progetti, fondo M. Masera)\nUgo Mulas – © Eredi Ugo Mulas\n(courtesy Archivio Ugo Mulas, Milano –\nGalleria Lia Rumma, Milano\u002FNapoli)\nPhoto Sanluca Limited Edition\nAlessio D'Aniello (Poltrona Frau)\nPost production \u002F Color selection \nPan Group\nPrinting\nOGM\nSanluca limited edition 2018\nTessuto “Onde Geofisiche” su disegno\ninedito di Max Huber espressamente\ningegnerizzato e realizzato da Torri Lana\n1885, Bergamo. \n\"Geophysical Waves\" fabric inspired by \nan artwork of Max Huber, engeneered and \nproduced by Torri Lana 1885, Bergamo.\nTHANKS\nAoi Kono Huber\nAntonella Gornati\nLuca Ladiana\nStefano Galli\nMassimo Belotti\n© POLTRONA FRAU 2018\nPoltrona Frau reserves the right to modify the products and the components \nin this catalogue, without any prior notice. Company with certified Quality Management \nSystem in accordance with ISO 9001, certified Environmental Management System in \naccordance with ISO 14001 and certified Occupational Health and Safety Management \nSystem in accordance with BS OHSAS 18001 \nCompany subject to management and co— ordination of Haworth Italy Holding S.r.l\nSanluca \nLimited Edition\n35\n2018\nSanluca Limited Edition\nMax Huber \nAchille & Pier Giacomo Castiglioni\n",19,{"image":88,"text":15,"number":89},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.20.png",20,{"image":91,"text":15,"number":92},"\u002Fmedia\u002Fimages\u002F41\u002Fcb3b4bd42035edaae60257433f4f2b-28f4671d4e.21.png",21,[],0,false,true,{"success":96,"data":98,"meta":318,"count":319,"next":320,"previous":321,"results":357,"brand_chips":418},[99,112,122,132,142,152,162,172,182,194,207,220,230,243,256,266,276,286,296,308],{"id":100,"title":101,"slug":102,"image":103,"source":104,"brand_name":105,"brand":106,"brand_slug":107,"file_size":108,"pages":109,"pages_count":110,"matched_pages":111,"match_count":94,"two_pages":95,"show_text":96},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 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