The journey of marble: from nature for nature
From nature for nature: the journey of marble
Not many companies treat marble with the same devotion as we do, whether it be for design, furniture, or art.
Our approach is to transform marble into a discreet, tasteful product that impresses with its beauty. We do not like mirror-polished surfaces that distort the qualities of the stone and make it opulent. On the contrary, we tend to use subtle, matt finishes that allow the material to retain its natural appearance. How many shiny mountains have you seen?
Yet, obviously, over the course of history Salvatori has not provided the only example of natural and respectful working of natural stone; many other sculptors and artists have done so, among who it is certainly impossible not to mention Henry Moore, who in his works, indulges and works the material as nature does, able to smooth out corners and outcrops with sweetness and delicacy.
Dive with us into the journey of marble, a material that goes from nature to nature and for nature.
The Salvatori Approach
We believe in artifice. We reject complex answers, because intricate solutions hide a lack of clarity, a real inconsistency. We like to treat the material we use for our work well.
We are sophisticated by nature, because it is nature that we look at, respecting it in its purest identity.
Marble can be the ideal element for design, as long as it is allowed to express itself at its best, and that means knowing it and, consequently, treating it properly. Our works are created from a marble that remains as true to its identity as possible, without treatments that would distort it.
Our commitment to this is continuous, both in the development of innovative interior furniture and in evocative outdoor projects: a commitment to art and design that has always distinguished us.
Our Curl chaise longue, created in collaboration with Piero Lissoni, is a magnificent example.
Winner of the Wallpaper* Design Awards 2021, in the “best sculpted forms” category, Curl unites within itself all the plasticity and naturalness of marble. Sculpted from a single block of natural stone, in Bianco Carrara or Pietra d’Avola, its ethereal, sinuous profile enhances the intrinsically ancestral nature of marble.
It is also thanks to our devotion that internationally renowned artists choose us to give shape to their ideas. In 2014, the renowned Japanese architect Kengo Kuma chose our Bianco Carrara to create his Stone Forest.
Based on the jigoku-gumi technique, a construction system used in Japanese architecture to create structural grids in wood, Kuma used Salvatori marble to challenge the heaviness of natural stone. In this way, with a project featuring simple, natural lines, he managed to enhance the innate elegance and versatility of marble, without distorting it.
A minimalist design that belongs to us completely: in fact, we believe that beauty does not need to be overloaded to achieve such an identity. On the contrary, an excessively full design is an idea that has collapsed from the start: far from being synonymous with banality, minimalism applied to space allows us to be fully aware of the environment we live in on a daily basis.
We are natural by nature, simple by choice, refined by definition.
The Henry Moore Approach
All of nature is an endless manifestation of lines and shapes. This was the view of Henry Moore, who admitted that he was always surprised when artists tried to move away from this point: everything, every shape, every fragment of natural form, be it animals, people, stones, shells, whatever we like and catches our eye can help us make art. According to the great English sculptor, art is based on the senses and this is the main key to understanding his works and his relationship with marble.
Being the son of a miner led Moore to a peculiar human and artistic maturity, with a vision of life and of his profession that differed from that of many of his colleagues.
In fact, unlike other masters of marble, like Michelangelo, who strove for an unbridled static form, or Canova, who sought perfect classical harmony, Moore had other points of reference, above all primitive, Egyptian, and Sumerian art.
Just like us, Moore did not aspire to achieve perfection, unattainable in itself, but to achieve a value that is malleable and rich in its unmitigated simplicity: it is not by filling the eye with elements that a harmonious and balanced whole is achieved, because – as the English say – less is more. Moore regarded his works in marble as natural elements contextualised in a non-artificial, but totally natural context.
Thus his art succeeded in rendering marble soft, sinuous, a plastic and simple material, a beauty brought back to its essential elements. Lines and curves that fill a space, that elevate it.