The house is where the experience of living is stratified, where everything has a defined and recognizable role: functional orientation, but also a testimony to memories, and a metaphysical door to other places and times. The resonance between the walls that define spaces and environments, and the furnishings that illustrate precise functions and aesthetic form, vibrates according to a frequency that is unique and different for each person because no one has ever experienced the same place in the same way. Everyone retains a fraction of being and living, and what we see participates in what we are. Not only that, each piece of furniture and accessory carries its own story: the design of a project, the finishing material, a production made of art and craft, and technical intuitions on artisanal experiences. All these stories blend harmoniously together where they are placed, to which our reflection is added: like seismographs capable of grasping these subtle frequencies and drawing an evocative path on the unique pages of our memory. Living spaces are dense even when essential because they are never full of things, but rich in stories: just waiting to be told. Tacchini reveals its story in this place sculpted from the solid and removed from the superfluous: each piece of furniture completes its own story in silence because it has already been narrated in all its forms. And in silence, we listen.

Solar sits at the centre of Toogood and Tacchini’s Cosmic Collection. Upholstered seating that at a glance, look like a pile of pillows. With her signature mix of wit and style, Faye Toogood invites you to crash land on these padded stacks. Solar combines sculptural shapes with softness, proposing a new interpretation of Tacchini’s iconic upholstery. Fabric is purposefully wrinkled giving the seating a generous squish. Solar has a relaxed aesthetic that embodies the informal elegance of Faye Toogood’s studio. The slack tactility of Solar sets it apart in Tacchini’s stable of bold and hand-some furniture. Terrifically comfortable, but sophisticated statements of modern style. Sink in, lie back and space out.

Modules with unusual shapes give life to original seating configurations where aggregation and variability become the protagonists. Additional System is a project designed by Joe Colombo in 1967: a modular system with timeless charm, “futuristic” still today 50 years later. Cushions of six different sizes, inspired by the ergonomic studies of the 1960s, come together in dynamic and flexible combinations created by varying the number of elements and how they are positioned. Additional System is available in armchair, ottoman, and daybed versions.

Simple and monumental, Clockwise reveals its subtle humour only to those who manage to grasp the play of steps that define the position of the legs and the alternation of their positioning in the corners of the top. Born from the first collaboration between Tacchini and designer Michael Anastassiades, it is a table with an important presence, which at the same time evokes a sense of lightness in the legs that chase each other almost dancing, rotating around a choreography that suggests the right dance steps to experience it fully. At different rhythms, following the metaphor of a gesture, the movements and activities that take place around the table can thus be told from time to time unexpectedly, as fluid and informal as the environments in which the table itself can be placed. Clockwise was created in Verde Mediterraneo marble — a material very dear to the designer that “is like a Japanese painting of the sea” and reminds him of his homeland, Cyprus, and the colour of the waters in which he loves to swim. It is also available in Verde Avocado marble with a matt finish and in natural stained ash wood, in square and rectangular formats.

Solidity and lightness go together. Rigidity and sweetness meet. Paola is a chair that speaks of tradition and modernity, it is a historic project by Vico Magistretti that Tacchini is proud to include in its project dedicated to re-editions. A slight helical rotation outlines the rear legs when they become the backrest supports, slightly inclined and curved; soft and rounded lines soften the front legs at the point where they join the base of the seat, geometric and rectangular. Proposed with an ash wood structure and padded seat, this chair represents the dichotomy of many of the Lombard architect’s works: composed and robust, but stackable and light to be easily moved.

Still considered today one of the most characteristic and complete collections ever designed by Frattini, Serie 500 was born from careful observation of the need for a new way of living, and new functions filtered by the designer’s aesthetic sensitivity and his historical memory. Serie 500 writes another page in the collaboration with the Gianfranco Frattini Archive and a new chapter in the history of Tacchini: storage cabinets. Traditional elements are reinterpreted in new functions. Unexpected compartments open the doors of memory and recall the warmth of home. The first two pieces re-edited by Tacchini, the sideboard, Model 500/3, with three container elements with shutters and the high sideboard, Model 500/4, with two-plus-two shutters, were designed following a concept of modularity ante litteram, which begins with a bench element — a curved wooden base strengthened by a T-shaped element that makes it non-deformable — and then involves the addition of various modules in length and height.

Astral is a metal cabinet forming part of Cosmic: Toogood’s collaborative collection with Tacchini. Like the other pieces in Cosmic, Astral celebrates irregular and elliptical shapes. Faye Toogood’s process is predominately rooted in hand-making maquettes out of everyday materials. The contours of Astral were first discovered in pliable aluminium mesh, then scaled up in steel. Like the Orbit tables or Lunar lights, the cabinet features soft shapes within shapes. Astral is designed with the playful and organic approach of the Toogood studio. Sculptural forms that unite the artistic with the everyday. The cabinet’s curves trick the eye and at first glance it appears Astral has no straight lines. The shelves are of course level and functional, ready for you to fill with your own curiosities.

Orbit coffee table and desk are part of Cosmic: Toogood’s collaborative collection with Tacchini. Cosmic is full of irregular, elliptical shapes. Orbit features curving wooden legs upholstered in hide, topped with smooth wooden pebble shapes. The desk and table tops are lacquered, with a rounded hide inlay. The concentric ovals of Orbit are not uniform, characterizing Faye Toogood’s tactile and emotional design process. Orbit is named after the manner in which light wraps around the surface of the tables, following the soft wooden curves. Faced with one of these pieces, you’ll struggle not to run your hands around the tactile edges, tracing your own trajectory that follows the contrasting hide inlay.

Art is a spontaneous expression, which dissolves the constraints of traditional culture. The material as a raw element, worked and shaped to highlight its expressive power. Brut is a table with strong references to Art Brut, spontaneous and informal, and brutalist architecture both in the volumes, accentuated and massive, and in the mate- rials, concrete and only partially controllable. Tacchini’s first project with the designer Roberto Sironi, this table with a cast aluminium top and concrete legs presents itself as a procedural object, where the material takes over and dominates the forms to give life to a piece with a proud and charismatic personality.

Two furnishing elements of pure material. Two architectural blocks in perfect scale. The materiality of the concrete becomes the protagonist and is expressed through irregular surfaces that recall the raw wood with which the formwork is made — the wooden formwork used in construction that holds within it the shape to be created by casting concrete. Designed by Roberto Sironi, Cassero is a material reworking in which the tactility of the wood grain becomes the distinctive and significant aesthetic element of the project: two low tables with essential and rigorous shapes that bring a powerful architectural sign to the living environment through variation of scale and careful chromatic research.

Doric is designed by Umberto Bellardi Ricci for Tacchini: a wall light that evokes the Doric columns of classical Greece and is inspired by the designer’s recent experiments with the golden spiral, or divine proportion, and curvilinear shapes and spiral shapes that can be obtained from it. Made of painted sheet metal, it emanates a symmetrical light that spreads downwards on the wall from both sides. Thus, the light caresses the wall following the gentle movement that creates the illusion that the wall lamp is wrapping around itself — a movement that can be read very well when looking at the lamp from the side.

From the first piece of bent metal, Umberto Bellardi Ricci experiments with shapes and reflections to capture and refract light as if it were coming from the curves of a spiral while the light source remains embedded in the initial fold. Designed for Tacchini, the Ancora rolled mirror captures light in the metal curves and diffuses it onto the reflective surface. Linked to the designer’s recent studies on the spiral of the golden ratio, Ancora deviates from pure geometry to become a wall mirror that brings a modern reinterpretation of sculptural light into domestic spaces.

A luminous sphere seems almost suspended in time and space. A metal structure seduces the gaze with its striking simplicity and the boldness of its construction. The extroverted Dana by Jean-Pierre Garrault and Henri Delord fits perfectly into the constant search for timeless pieces carried out by Tacchini: a lamp with a strong personality. Born from free creative thought and full of the artistry of the 70s, rediscovered by Tacchini to leave an unmistakable mark in any room. Dana’s idea was born in 1970 during a trip to Japan, when the designers decided to climb Mount Fuji-Yama and one evening, during a stop in a traditional Japanese inn, they were lucky enough to see the full moon rise and pass over the top of the mountain: hence the intuition to create a lamp with large luminous spheres that seem to rise towards the sky. The project then comes to life following a working method inspired by the “Meccano” which decrees its originality, a systematic search to reduce technical solutions to a few elements that allow multiple solutions. Today, re-edited in agreement with the two designers, Dana is presented in a floor-to-ceiling version with a tubular structure in chromed metal and a sphere of light in composite material.

Lunar form a constellation of scrunchable, glowing lights designed by Faye Toogood. This range of lighting epitomises Toogood’s playful and tactile taxonomy of materials. Lunar are quilted pendant lights with crumpled, papery covers. Internal wadding diffuses the light, giving Lunar a soft glow. Although each light is the same design the crunchable material framing the bulb can be scrunched and folded, holding shape and giving each light its own unique character. You could hang a whole room with Lunar and no two would be look exactly the same. With a nod to the light’s origins, Lunar is available in international paper sizes A2, A1 and A0

Stellar has the appearance of a mirror buried in a cushion. Designed by Faye Toogood, Stellar reflects the materials and forms used throughout Cosmic — the studio’s collaborative collection with Tacchini. Faye Toogood’s disruptive energy takes Tacchini’s trademark upholstery and stuffs it in unexpected places. Here, the hard and shiny surface of a mirror is couched in a puffy, tactile frame.

In German, “leise” means silent. Inspired by the warmth and quiet that tapestries have given to interior spaces for centuries, Salem van der Swaagh created a wall hanging for Tacchini that fuses tactile and visual sensations in a textile work that invites slow, silent exploration. Leise takes shape from a meticulous manual knotting technique that defines its volume and texture — from the rich white tones to the ends that seem almost immersed in gold — in a tonal and material transformation that creates a rich and harmonious contrast. An invitation to slow and silent exploration to grasp the poetics of tactile sensations in a continuous balance between wild and tamed, raw and worked.

Casual, rhythmic, intense nuances. The Jacob rug is inspired by two motifs very dear to the designer: the spotted fleece of the Jacob sheep — an ancient breed of small, piebald sheep — and the characteristic designs on the birch trunk. The carpet takes up the particular details of the sheep’s coat which then fade into the long fringes cut at one of the two ends, recreating the fascinating grain of a birch trunk. Spots and streaks follow one another in a celebration of nature and its extraordinary designs, completely irregular and absolutely perfect.