Martinel Interior Furniture

Riva

Cornice Riva 1920

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Cornice Riva 1920
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Riva

Cornice Riva 1920

Request the price for this product by clicking on the button at the bottom of the page.

This project offers an opportunity to stop and think, above all about the material to hand, material that is already a project, already a narrative. The briccole are seen here as a material emerging from the water, indeed removed from the water and from its original function to be reinvented, re-used like a relic, a fossil used symbolically to ...

More information

This project offers an opportunity to stop and think, above all about the material to hand, material that is already a project, already a narrative. The briccole are seen here as a material emerging from the water, indeed removed from the water and from its original function to be reinvented, re-used like a relic, a fossil used symbolically to create new forms.  In the same way, removing these marker posts from the putrid, slimy floor of the lagoon of a stagnant Venice can give birth to “something else”, something else that represents and reinvents Venice and its lustrous past. The elemental Euclidean geometry of sheets and panels determines the whole design. It is almost as if before being a table the table were a picture gallery or theatrical machinery, a piece of scenery on show. A bronze coloured metal structure frames the briccola here transformed into long, fixed planks, suspended, exhibited like “wood” newly discovered, almost archeological, to represent a story, a history that is mysterious and not completely knowable.   The hulls of the gondolas, Venice’s “other wood”, gleaming with the play of reflected light, magnified and confused by the water, stand in sharp contrast to the roughness and the natural solidity of the briccole. Just as with a reflection, my table takes its physical for  from the twofold nature of wood and from the twofold face of Venice, where naturalness, opacity and porosity contrast with brilliance, compactness and patient human labour. And it seems that in this apparent contrast – this contradiction between nature and “progress” that characterises our times, just as in the “non apparent” but real possibility of their unity – lies the hope of a common path in the future.

Structure finishing:

Natural iron color

Top finishing:

Glass

Finitura elemento centrale:

Briccola

Size:

280/300 x 90 x h 72 cm

 

Any movements, cracks and changes in the condition of the wood are an essential feature of these furnishings and are due to the natural settlement and the different environmental conditions. It is its own and essential characteristic synonymous with originality and authenticity.

 

More information


This project offers an opportunity to stop and think, above all about the material to hand, material that is already a project, already a narrative. The briccole are seen here as a material emerging from the water, indeed removed from the water and from its original function to be reinvented, re-used like a relic, a fossil used symbolically to create new forms.  In the same way, removing these marker posts from the putrid, slimy floor of the lagoon of a stagnant Venice can give birth to “something else”, something else that represents and reinvents Venice and its lustrous past. The elemental Euclidean geometry of sheets and panels determines the whole design. It is almost as if before being a table the table were a picture gallery or theatrical machinery, a piece of scenery on show. A bronze coloured metal structure frames the briccola here transformed into long, fixed planks, suspended, exhibited like “wood” newly discovered, almost archeological, to represent a story, a history that is mysterious and not completely knowable.   The hulls of the gondolas, Venice’s “other wood”, gleaming with the play of reflected light, magnified and confused by the water, stand in sharp contrast to the roughness and the natural solidity of the briccole. Just as with a reflection, my table takes its physical for  from the twofold nature of wood and from the twofold face of Venice, where naturalness, opacity and porosity contrast with brilliance, compactness and patient human labour. And it seems that in this apparent contrast – this contradiction between nature and “progress” that characterises our times, just as in the “non apparent” but real possibility of their unity – lies the hope of a common path in the future.

Structure finishing:

Natural iron color

Top finishing:

Glass

Finitura elemento centrale:

Briccola

Size:

280/300 x 90 x h 72 cm

 

Any movements, cracks and changes in the condition of the wood are an essential feature of these furnishings and are due to the natural settlement and the different environmental conditions. It is its own and essential characteristic synonymous with originality and authenticity.

 

Riva

Once upon a time, it was 1920, in Brianza, and in his tiny workshop in Cantù a serene craftsman works wood day after day, with such love and respect. It’s an art form, simple furniture of a refined elegance. That woodworker was Nino Romano.

The years go by, and the work keeps going on, with more and more dedication, constantly enhancing the manufacturing process.

For the first time in 1992, Riva 1920 presents its first collection at the ‘Salone del Mobile’ international fair in Milan. In this very moment, Riva 1920 becomes known in Italy and abroad, in an inevitable success.

Entrepreneurial intuition, collaborations with world-renowned architects and the fourth Riva generation joining the company as close-knit as ever, all this has started the evolution towards new marketplaces, new horizons while fully respecting the company’s philosophy, which combines functionality, aesthetic shapes, without forgetting the importance of a healthy and sustainable living. The company introduces, in addition to the American reforestation wood, wood of reuse, such as the thousand-year-old Kauri from New Zealand, the Briccole from the Venice Lagoon and the Cedar from Lebanon; as a matter of fact, wood is a renewable yet not endless resource.

In 2010 the suggestive Riva Center building comes to completion, entirely covered with larch wood, with a 1200-square-meter Showroom that exalts the essence and uniqueness of the products, and with a first floor dedicated to the Museum of Wood with upwards of 4000 items on display.

Riva 1920, the love for nature, the search for a high quality of living, combined with tradition, culture, creativity, innovation, artisanal and technological, give birth on a daily basis to something special, unique and timeless: such is the furniture signed by Riva 1920.

Riva 1920, truly natural wood; Riva 1920 the guarantee of a product completely Made in Italy.

Luca Scacchetti