Lucas Recchia
With a degree in architecture, Lucas Recchia (Florianópolis, 1992) began his career as a designer in 2018, after a successful experience creating a fused glass side table. He has an aesthetic sense and irreverent technique, carried out by specialist craftsmen with whom he has since been exploring new paths, such as the use of recycled glass and solar energy in the manufacturing process. Lucas develops collections for Brazilian and international brands and galleries, as well as bespoke pieces. In addition to glass, his work has used Brazilian stones from an experimental perspective combined with exquisite manufacturing and finishing.
Lucas currently works in his atelier in downtown São Paulo, where he develops his new projects with a group of local artisans. With a focus on how to reuse traditional materials, besides glass, bronze, aluminum and Brazilian stones, he approaches them from a unique perspective.
In his latest work, Lucas dives deeper into the use of glass and explores the feeling that the aesthetics of broken glass evokes in people: "the feeling of both loss and transformation at the same time because a broken object goes from being to becoming something else.”
“My purpose is to mix the boundaries between art and design from the standpoint of a not-too-obvious functionality and also express/add a Brazilian element that is not focused on the traditional modern Brazilian furniture made of wood.”
Lucas Recchia
Material Distortion refers to the phenomenological relationship the pieces establish with materials and space. Colored glasses are transformed by cutting, stacking, and baking, which results in more thickness and subtly rounded surfaces and small bubbles. The bronze is cast in molds to form frames for the glass, and then undergoes oxidation creating patinas on unique colors and textures. When the light passes through them, the design of the pieces reverberates in the form of colored light contained by the shadows of the metal.
Lucas Recchia
Material Distortion refers to the phenomenological relationship the pieces establish with materials and space. Colored glasses are transformed by cutting, stacking, and baking, which results in more thickness and subtly rounded surfaces and small bubbles. The bronze is cast in molds to form frames for the glass, and then undergoes oxidation creating patinas on unique colors and textures. When the light passes through them, the design of the pieces reverberates in the form of colored light contained by the shadows of the metal.
Lucas Recchia
The Osso marble stool was meticulously composed of Brazilian quartzite with special color variations. The blend of rigid quartzite and permeable pink glass, acquired from precious metals, creates a captivating contrast. This rarest pink glass hue is a result of a chemical reaction involving gold during the glass-heating process.
Lucas Recchia
In Incas only the two inclined planes bear the stresses due to the weight of the plan, while the vertical ones do not collaborate in the construction system. Incas is now also available in other stone materials and with suitable finishes, today for the first time it finds an unprecedented and sophisticated solution in solid wood, demonstrating how every great idea can be further developed without losing strength and meaning.
