‘Equilibrium’ works with tension in order to turn minimum gestures into balanced, elementary constructions. The manipulation of unconventional details allowed Poletti to deconstruct an image and then restore it with the smallest intervention, in order to achieve a deeper impact.
February 6, 2017
The four pieces follow similar construction principles, which have been applied to different materials in order to broaden the challenges, investigating their properties and their limits.
Although the resulting objects differ from each other from a formal point of view, they share a common language based on purity and built around a fascination for the heart of the matter, for the essence of things.
The bench is the result of a personal search for the essence of things. It’s the attempt to get to the heart of the matter by deconstructing an image, pushing the material to the limit, and then restore it with a minimum intervention. By walking on a thin line, my aim is to create a small shift of perception, making the viewer question the object and the effective potential use us of it. The main structure of the seating element is made out of several layers of lacquered MDF, the central part of which reaches the minimum thickness of 3 millimeters. In order to make the piece structural, a hot-rolled steel arch is paired with the MDF. The darkened stainless steel cable provides the final stability to the whole, avoiding any possible movement of the arch when receiving pressure from above.
The console is characterised by the very fine profiles of the two elements, which stay in balance thanks to a system of tension triggered by a small gesture. The construction allows the whole piece to be visually very light, going as thin as possibile. The purity of the minimal composition is deliberately perturbed by the choice of materials and their finish, or by the presence of the small details. The structure is made out of 3 millimeters darkened Corten steel sheets, which are bent and held in position through the use of a stainless steel cable. The top element is bent in order to get charged with the tension necessary to close the circuit, from which the drawing of its gentle curves derives. The two little hammered pins are used to avoid the movements between the two parts.
The core of the low table is represented by the transparency of its pure geometries, which allows to the central geometry of the connection to stand out, suspended in the middle. This configuration aims to make the structure disappear, thus highlighting the construction principle of the piece, in which the joint plays a major role both under a function and visual point of view. The top and the base of the table, both made out of transparent acrylic, are tighten to thanks to a 180° rotation of the central bronze stick. The subtle gesture increases the tension of the rope by twisting it around itself. A series of grooves ensure that each of the elements is centered and kept in the right position.
The stool is the result of an elementary composition, in which few components are combined through simple gestures. It highlights a personal interest for basic constructions and simplicity. The monolithic presence of the piece is enhanced by the visual contrast between the solid bottom arch and the very fine top curve. The main body of the object, made out of flexible urethane rubber, has been casted in the shape of a cylinder and then bent in order to become structural. The rope is used to put the structure in tension and to combine it with the seating element, a slightly curved, oxydised copper plate. The concave shape of bottom of the two legs creates a vacuum grip on the floor, increasing the sitting stability.