A precious legacy, that of architect Luca Scacchetti, who had completed the designs for the additions to the first Rubelli Casa collection before his untimely death. As a continuation of that first appearance, at the Salone del Mobile 2015, the new line of products acts as a link between two opposing influences: the joyously refined Venetian temperament and the all-Milanese reserve. With a distinct twentieth-century inspiration, from the early decades up to the rethink on the exploration into form by the masters of Milan design between the second half and the final quarter of the last century. Basing on these sources Rubelli Casa adds value to the living area with a modular system, introduces the home office and makes its debut in the bedroom. The overall balance associated with the virtually endless textiles range from the historic company contributes to a second debut in accordance with the dictates of comfort and discreet elegance marked also by the understated selection of materials which, contrarily and almost hesitantly, make way for the enrichment brought by the prime care dedicated to details and finishes.

This Rubelli Casa continuation also saw the hand and creative work of architect Scacchetti run parallel, along both the lucid and rigorous lines of creation. Blt Burger T-ShirtsAmong the archetypes of his own, cultured architectural world, Scacchetti made the most appropriate choice and assigned the task of translating the archetype onto the sheet of paper to his brilliant free hand. Leather Car Seat Covers For Vw TouranIn the translation process, removing and adding, the balances, materials and finishes tried out their strength. Hepa Air Purifier Grow RoomThis is how Luca Scacchetti’s contemporary style took shape, having always claimed to be detached and pruned of the fragile ephemera of fashions. This addition to the collection pays tribute to and endorses this approach.

Rubelli launches its first furniture collection, RUBELLI CASA, designed by the architect Luca Scacchetti, for the occasion of the Salone del Mobile. RUBELLI CASA proposes a first series of furniture, including upholstered pieces and accessories, for a total of some forty articles, claiming its own original and unique space in the world of homewares and interiors. The collection is the outcome of a journey midway between the contemporary and the traditional, filled with inspirational ideas via shapes, colours, lines, surfaces, decorations and the silences of the modern. From the first experiences of the early twentieth century to the extraordinary output of the twentieth-century Lombardy school in the period between the two Wars, from the designs of the Milan architects of the 50s and 60s, crucial to Italian design, to the more radical attitudes of the 60s and 70s and the later search for minimal and absolute forms up to the current mix of design and decoration. Luca Scacchetti has reinterpreted this vast heritage through Rubelli’s eyes, those of a company that is part of the history of textile decoration, maintaining over the years an undeniable level of excellence.

An almost scientific and rational decision-making process in the work of design is essential for arriving at an elegance in the original meaning, i.e. the art and ability to select, “elect”, eliminate, remove the superfluous. Decorating only where decoration is useful to the design. With a certain deliberate detachment from more contingent or faster-paced times. A contemporary style destined to travel through time and generate a permanence of shapes, materials and colours, based on a cultured and careful rereading of past experiences of our modernity and inserting fragments of our actual memory of contemporary human beings. A set of individual pieces, each one with its own personality yet ultimately part of the same group, the same family. Upholstered furniture, storage solutions, tables and chairs, accessories in wood, metal, lacquer, leather and fabrics. The latter play a special role considering that each piece can benefit from an infinite number of “dresses”, colours, decorations in velvet, cotton, silk, lampas, embroidery.

A sort of sophisticated and cultured eclecticism prevails over it all. Born in Venice and Milan the pieces from this collection absorb, so to speak, the essential features of the two cities. On the one hand the decoration, the opulence, the disguise, the exuberance, the palazzos of Venice; on the other hand the nature of Lombardy, the apparently reserved personality, the houses closed at the front yet in actual fact concealing gardens of Stendhalian memory. A Milan with the great postwar tradition where design and architecture are totally reinvented, generating the forerunners of the actual phenomenon of Italian design. This first RUBELLI CASA collection is therefore the manifestation of a Milanese, rational and reserved, line which however is affected here and there by the wonder and amazement which belong to Venice. Hence unusual shapes and composition expedients, such as a slightly slimmer leg, a non-existent back, a table support removed, a deliberately deviated relationship: exceptionally slim, exaggeratedly deep, low, high, long.

This collection aims at returning to the road partly lost of Italian and Milanese design, that world of Italian design which is still topical with totally contemporary pieces, debunking the theory of the new equalling design. A theory which has generated a frenetic and equally useless abandoning of day-to-day forms with which this collection, on the contrary, interacts.John Hutton, an influential home furnishings designer whose work has been widely imitated by mass-market manufacturers in the United States and Europe, died Thursday in Manhattan. He was 59 and had homes in West Islip, N.Y., and Nancy, France.His wife, Brenda, said the cause was prostate cancer.From 1978 to 1998, Mr. Hutton was the design director of Donghia, a leading supplier of fabrics and furnishings to interior designers and architects. After he left Donghia, he started his own design company, opening offices in West Islip and Nancy.His designs are characterized by a glamorous bravura and a love of voluptuous classical forms.

He was particularly influenced by the 18th-century Italian architect Palladio.“He was a great furniture designer,” said Barbara Bloemink, curatorial director of the Cooper-Hewitt National Design Museum in Manhattan. “I believe he has been called a national treasure. His designs were classic, elegant, beautifully proportioned and timeless. He got his inspiration from museums, not furniture fairs.”The Los Angeles-based interior designer Barbara Barry said yesterday: “As a young designer, I was awed by the restraint and simplicity of his forms. John gave the contemporary world truly modern pieces that were as inviting as they were comfortable. He showed us that upholstered furniture can be sculpture as well as the stuff we live with in our homes.” John Andrew Hutton was born in Holyoke, Mass., in 1947. He moved with his family to Long Island the following year and grew up in West Islip. He graduated from the Fashion Institute of Technology in Manhattan in 1969 and began his career as an assistant at a custom furniture company.

Six months later he became its design director.He also worked as a design director for Louis Maslow & Sons in New York and for Randolph & Hein in San Francisco, where he was discovered in the late 1970’s by the interior designer Angelo Donghia, who also owned a fabric company. When Mr. Donghia decided to open a furniture division in 1978, he hired Mr. Hutton to run it. While at Donghia, Mr. Hutton produced more than 200 designs, most of which are still in production. Perhaps his best-known piece is the Anziano chair. Originally designed for the American Academy in Rome, the chair has a bent-wood seat and back and metal legs. Another Hutton classic is his Ghost chair, whose lines were inspired by the sheets one sees worn on Halloween.As head of his own business since 1998, Mr. Hutton designed furniture collections for American companies like Sutherland Teak, Hickory Business Furniture and Holly Hunt, as well as the Italian company Flexform, the Dutch manufacturer Bench Ensemble and the French firm Pierre Counot-Blandin