Posa Project combines volumes and geometric forms adapted to precise technical requirements. This new interpretation of falcon perches comes directly from the original aesthetical criterions and combined with luxurious materials they become a precious object, a statement going beyond its functional value.
The solid beech wooden ring is handmade from a factory in Italy that developed the components of the famous Thonet chair. The bases are made of a fine selection of Italian marble, all turned and hand finished. The metallic components are made of pure brass by Milan artisans. These central elegant brass elements are then plated with precious metals in collaboration with De Vecchi, an historical Milanese high end silverware specialist. All the metallic elements are rigorously and meticulously plated with pure gold, pink gold, shiny and mat silver in De Vecchi laboratories.
The result is a sculptural and elegant object that flows with the ergonomic demands of the raptors. Two different types of support are proposed as an option according to the origin of the falcon (arboreal or desert environments). The wide support area and the stability of the marble base offer a secure stationing to the animal, while the inside structure of the circle has a structural function and doesn’t allow the bird to cross the lower part.
The top part of the pole can be extracted from the base and planted in the ground, to showcase another type of use in another context. Posa Project brings, through its formal research, a design that exalts the beauty and nobility of the hawk, giving an iconic and symbolic status to its master. The collectible falcon perch is a cultural hybrid, a decorative object with pure lines and noble materials, a reminiscence of medieval practices meeting contemporary Middle Eastern practices with the know-how of Italian craftsmanship.
Such objects stratified with a rich background are a great occasion to show how time can convey unexpected gestures and meanings, with epochs and different places.
Manufacturer: De Vecchi, Milano 1935