Mario
Botta

His creations leave a lasting impression, as their lines resonate with perfect balance. Verticals and horizontals intersect, lines play like a score. Black and white swing like the metronome of style.

A true maestro of architecture, Mario Botta also made his mark with stunning furniture creations. Metal reigns supreme, expressed through a multitude of perforated sheets. Color is nearly absent, replaced by an orgy of black and grey.
Always present in the interiors of his buildings, his furniture was published by Alias, a remarkable master of tubular metal. The craftsmanship still shines, even forty years later. Both stylistically and in terms of preservation, Mario Botta’s furniture has aged gracefully.

The designs of Mario Botta’s furniture are always imbued with the hallmarks of architecture. While some pieces, like the Seconda chairs (1982), have long been known to the public, other creations by the maestro remain more discreet. Robot 619 (1989), for instance: a clever chest of drawers, striking in its cantilevered opening. Another is the Quarta chair (1984), inspired by two skyscrapers alternating between metal and emptiness. A true op-art piece, the chair appears and disappears in an optical illusion as the viewer moves around it.

Mario Botta will remain engraved in Pulp Galerie as a turning point.
The discovery of his architectural works felt like a revelation. A love for straight lines was born. It is when the object is reduced to just a few lines that our eye is truly drawn.
Mario Botta’s simplicity never feels lazy. On the contrary, it overflows with precision, refining each stroke until it becomes enough.

No Mario Botta, no 80s.
No 80s, no Pulp Galerie.
Mario, sincerely, thank you.