The archaic origin of the volumes, and their actual concreteness, has the task of serving as a support with the utmost naturalness: for people, objects, everything. "They are bases but in the same way as pedestal symbols, in which something else resides", says Calatroni. "They refer to the primordial Neolithic blocks of carved stone, and to the distinctive signs of the works of Brancusi and Noguchi".

An archetypal nature that brings to light the core of the design idea: art and the mystery of its origin. Starting from the name, Pachamama, which in the Quechua language means Mother Earth, the great mother goddess, goddess of the earth, agriculture and fertility revered by the Incas and other peoples inhabiting the Andean plateau, such as the Aymara and Quechua.

"A space where art releases the invisible", says Calatroni, "what we still know nothing about: neither where it comes from and nor why". This is the sense of the apparent primordiality of the forms of this contemporary interior work in which "the utility has not been misunderstood, but placed in synchrony, available to the imagination; that is, to the coming and going of images perceptible through the senses".

A perfect mix of art, craftsmanship and function, expressed through a storm of color that is absorbed by a monochromatic yellow that becomes the scaffolding of the whole space.

"What gives another sharp shot to the place are the star-shaped luminous deviations of the neon lights on the ceiling that dynamize the ordering, and the distribution of a theory of a minimal backdrop of shelves. like another way it flows towards the origins. Towards another unknown".