Architect Michele De Lucchi plans a new exhibition, called "Haysacks", a recent series of wooden sculptures realized by him. The exhibition will be held at the Nivola museum in Orani (NU), Italy, from June, the 30th until September, the 15th. The inauguration date is June, the 30th, at 6 p.m.
The Museo Nivola continues the exploration of the territory between between art and architecture, presenting - one year after the Andrea Branzi exhibition - another protagonist of international design, Michele De Lucchi.
Focus of the exhibition at the Nivola Museum is the recent Haystacks series, densely packed structures obtained by the superimposition of layers. De Lucchi explains their meaning: "Cutting grass and harvesting hay, in bundles and then in stacks, is an ancestral activity by now in disuse. It is still however commonly perceived as an inescapable driving force and poetry of preparation for the future, for the cold winter months. The object of a haystack is perhaps the architectural form par excellence: pure, essential and unique. It looks the same from all sides and as a recognisable landmark, it merges discreetly and beautifully into the countryside. It is a form that can change meaning in our own landscapes, depending on our distance from it, and those objects that complement it. It is a form constructed by superimposing material on material until a human scale is accomplished by the time-honoured skills of manual farm labour. The haystack projects a common image of positive attention to the planet.”
De Lucchi’s Haystacks are thus the discrete medium of a message of sustainability; they are also an invitation to future designers and architects “to proceed - as Richard Ingersoll writes - with the modesty of agriculturalists stacking their produce, to have the same respect for resources and not produce waste.”
In addition to the Haystacks, on display is also a selection of wooden models from other series and a video on their creative process.
Through these small wooden totems, De Lucchi aims at maintaining a connection with craft, which stands for him as an indispensable practice even in the contemporary cultural context dominated by technology. It is this forma mentis - says Antonella Camarda - which ideally connects De Lucchi to Costantino Nivola: a creativity that rejects fixed schemes, a continuous experimentation laced with a serious sense of irony.
In the series of Haystacks and in the other works on exhibition, De Lucchi achieves through the realization of sculptures, which are also spatial and architectural concepts, the same pleasure that he found “while sharpening pencils with a penknife, trimming the lead and whittling it down to the longest, smoothest and nest possible point”: a simple, remedial gesture that is nonetheless essential to the practice of design.
Photo credit: © Tom Vack