imp ingl_newsletter2

Year 7 no. 3
20 September 2012
Happenings
PRODUCTION
INTERVIEW
Textile
identity
Taissa
Buescu
For personalized
furnishings; textiles
and fabric accessories
from the Zanotta
2012 catalogue
The editor of
Casa Vogue Brazil
analyzes the
developments
of design in
her country
p.2/3
p.4
FROM DESIGN
TO PRODUCT
Altopiano
The sofa system by
Ludovica+Roberto
Palomba for Zanotta
offers many
solutions, from
conversational
to pure relax
p.5
WORLDWIDE
ARCHETYPES
FOCUS
NEWS
Selling
design is
an art
Celestina
Discovering
beauty
Exhibitions,
events,
designers
The industrial
adaption of a
‘familiar’ object via
The Zanotta Shops in noble materials and
Milan and Athens,
refined detailing
and the shop-in-shops p.8
in Miami and
New York: top
quality service and
cultural initiative
p.6-7
Party sofa composition
n.4 in fabric Tuareg
26104; small cushions in
decorative fabrics Treccia,
Quadretto, Quadro
and Rombo. Aside,
Party desk with Lia chair,
Toi table, Hillroad
armchairs and Tempo
occasional tables (Photo
Adriano Brusaferri).
The new “Museo
dell’Ottocento” in
Milan renovated
by Michele De Lucchi,
is a superb part
of the Gallerie
d’Italia project
p.9
Must-see
events in the world
of design
p.10
Happenings
no.3/12 p.2
PRODUCTION
TEXTILE IDENTITY
Zanotta has always paid
careful attention to the
quality of the fabrics used for
its products, from natural
high-quality fibers to
technical materials, and
textile accessories for
personalizing furnishings.
efined and soft to the
touch: the fabric selection that Zanotta
makes every year for
sofas and beds is
aimed at creating a
truly individual product line. Textiles can
make all the difference to an interior. The
tradition of carefully selecting, elaborating and utilizing fabric coverings is part
of the company’s history, ever since
Aurelio and Emilio Zanotta started producing upholstered furnishings in the
50’s. A continual fine-tuning of aesthetic and functional expressions, a constant
evaluation of fibers, material characteristics, fit, and color selection. One special
event is the metamorphosis of the Sacco
chair: since 1968 it’s been in evolution
with fabric variations, designer ‘outfits’ >
R
In this photo,
Lia chair in fabric
Tuareg 26105. Right,
Altopiano sofa in
fabric Vivo 26305
fabric fabric with Gru
lana and Gru cotone
small cushions.
Happenings
no.3/12 p.3
Below, Derby armchair
and pouf in fabric
Corvara 64331. Center,
small cushions Zip,
Romance, Micky, Gru
cotone and Gru lana;
below, small cushions
in Rombo, Quadro,
Treccia, Quadretto
decorative fabrics. On
the right the Talamo bed
in fabric Vasco 25815.
(like the collection which celebrated its
40 years) and ‘intelligent’ technical materials. Textiles are a 360° experience in the
2012 Zanotta catalogue where they offer
the maximum in expression and innovation: there are four collections of exceptional elegance and quality. From the
Vivo line with a soft, structured cotton
fabric, and Tuareg, a textured fabric with
a mélange effect ideal for upholstering
padded lines and curves, to Corvara, a
matelassé fabric in a braided design with
a three-dimensional woven effect, and
Tangeri, soft yarns in 100% polyester
Trevira CS, fire resistant and perfect for
all contract environments.
TOTAL DÉCOR Created for small cushions, a range of four decorative
fabric coverings: Treccia, Rombo and Quadro, jacquard fabrics in 100%
cotton with embossed geometric designs and a range of colors inspired
by nature, plus Quadretto, a mixed fiber fabric created on a jacquard
loom with a small square pattern. And finally, a set of 5 small cushions
in goose down or goose feather, designed by Ludovica+Roberto
Palomba and made by artisans: Zip, Romance, Micky, Gru cotone and
Gru lana. Quilted, with piping and tone-on-tone or contrast stitching,
they complete and personalize the upholstered furnishings.
Happenings
no.3/12 p.4
INTERVIEW
A window
on Brazil
A growing
economy and
creative vitality
make Brazil one
of the most
dynamic and
promising
countries in the
design sector.
There’s only
one problem…
Taissa Buescu
tells us about it.
Taissa Buescu;
above, Casa Vogue
Brazil, July edition.
aissa Buescu,
born in New York
and brought up in
San Paolo, Brazil
(she has a degree
in law), is editor
of Casa Vogue Brazil - Globo Condé
Nast Editions - since 2010. She
cultivated her great passion for
design in Italy where, for seven
years she was the curator
of exhibitions, events and
publications, organizing collective
exhibitions at the Haaz gallery in
Milan, for Brazilian design
at the Festival of Creativity in
Florence (2008), and at the
Fondazione Triennale (2010).
Q. How are Italian industrial
design products viewed nowadays
in your adoptive country?
A. Thanks to the Salone del Mobile
fair and to all the Design Weeks
that take place worldwide (there
are possibly more Design Weeks
than calendar weeks…) and also
thanks to journals that diffuse the
culture of furnishing and design
(Casa Vogue Brazil included)
Italian design is becoming more
appreciated and, I’d say, more
democratic in the sense of
accessibility to a wider public.
It’s a reality that’s developing in
Brazil too, even though there’s
still a long way to go before
reaching what Starck calls
“the true democracy of design”.
T
Q. Who are the clients that buy
from high level furniture companies
in your country?
A. In Brazil design is still seen as a
niche market product. Prices are
high for designer furnishing
products distributed by the most
prestigious firms. So, the public that
understands them and buys them
are from the upper A and B social
grades (with a high income,
according to economic standards)
even though they are quite young,
between thirty and fifty years old.
Q. During the global crisis, analysts
affirm that Brazil is becoming a
gold mine for top end international
brands. What do you think?
A. This is true to a certain extent.
Sure, the Brazilian economy is
growing in a consistent way and
we’ve seen an increase in the B
social grade which has strong
purchasing power. However this
‘gold mine’ for international
products can’t expand because of
import duty that doubles or even
triples final prices to the local
consumer. We need urgent tax
reform in Brazilian law so that the
country can become a stable ‘gold
mine’, at least for the next decade.
Q. Which products Made in Italy
are most appreciated in Brazil?
A. Made in Italy is a guarantee in
Brazil - and worldwide - that adds
extra value to products in many
sectors: fashion, design, food and
art. We Brazilians absolutely adore
anything that comes from Italy!
Q. Brazilian designers seem
to have a lot in common with
the creativity of artists.
A. Yes, and I’d say that the artistic
approach to designing furniture in
Brazil was begun and diffused
worldwide by the Campana brothers
in the late 90’s. Without a doubt
they are a source of inspiration for
the new generation of national
designer-artists such as Rodrigo
Almeida, Brunno Jahara and Carol
Gay. But the Brazilian design also
has a ‘purist’ woodworker in its
DNA from the 1950’s with maestros
such as Sergio Rodrigues, Geraldo
de Barros, Joaquim Tenreiro, and
Lina Bo Bardi the Italian designer
who lived in Brazil. There are many
contemporary designers along
these lines: Claudia Moreira Salles,
Zanini de Zanine and Jader Almeida.
Q. How do you rate the Zanotta
catalogue? Do you have a favorite
piece?
A. One of my first jobs in Italy in
2004, was for the Zanotta catalogue.
I learnt a lot about Italian design by
exploring Zanotta’s collections.
I don’t have one, but many favorite
pieces: the Ardea and Gilda armchairs
by Carlo Mollino, Superstudio’s
Quaderna collection, the Allunaggio
seat by the Castiglioni brothers, and
the Singer chair for ‘extremely short
visits’ by Bruno Munari.
Happenings
no.3/12 p.5
Changing scenery
FROM DESIGN
TO PRODUCT
Altopiano, the new
sofa system
designed by
Ludovica+Roberto
Palomba, offers
many solutions
playing on the
alternation of
the upholstered
elements and
their diverse
depths.
or three years we’ve been studying a
new upholstery concept that has a familiar mood and impeccable comfort, allowing the sitting room to be lived in for
anything from conversation to pure relax. We wanted it to be of an elegance that was both
simple and distinctive, without trying to astound, as
if its shape was already in the DNA of the contemporary consumer. Finally, joining our capacities with
Zanotta’s product development office, Altopiano was
created; the seat is raised from the floor and appears
to be suspended, the casing houses the padded part
with the cushions forming a sort skyline in the sitting
room», says Roberto Palomba architect, describing
the formation of the new Altopiano modular sofas.
Thanks to the seat which incorporates the base, and
the inward positioning of the legs, a suspended appearance is created; added to this is the innovative
camber of the backrests and seating which permits
exceptional ergonomic comfort. Altopiano is made
up of a series of interchangeable elements offering
many different solutions: sofas, chaise longue units,
corner pieces without armrests, poufs, for creating
traditional monobloc sofas and modular sofas for 4,
F
6, 8 seats or more. The combination of the elements
can form linear or corner solutions, or more flexible
arrangements.
The frame is entirely in steel, the upholstery in diverse density polyurethane foam has separate quilted
inserts in goose feathers for the seat, giving outstanding contact comfort; for the backrest and armrests quilted inserts of goose feathers and polyester
fiber flakes make them less deformable. On top of
the quilted sections a layer of Dacron DuPont creates uniformity, softness and total product comfort.
«One of the key elements of Altopiano has been
stitch analysis for the fabric covers, the precise positioning of which is important for a good aesthetic
and functional result», explains Palomba. «Textiles
cover a crucial role in this system and create new
identities. From a selection of 200 different fabrics
we’ve chosen the most suitable and up-to-date
ones». High quality fibers - linen, textured cotton and
natural canvas - co-ordinated with a collection of five
small, matching decorative cushions in goose down
made by artisans. The alternation of textured fabrics,
quilting, piping and mélange colors creates a very
new and refined result.
LUDOVICA+ROBERTO PALOMBA
Architects, they live and work in
Milan. In 1994 they founded Palomba
Serafini Associates. The studio deals
with architecture, design, exhibition
design, artistic direction,
communications and marketing.
They have received numerous prizes
and international awards.
They collaborate with various top
international design companies,
including Zanotta (since 2004).
Happenings
WORLDWIDE
no.3/12 p.6
SELLING
DESIGN IS
AN ART
A trip to the showrooms where
Zanotta design is available
worldwide: from the mono
brand stores in Milan and
Athens to the shop-in-shops in
Miami and New York. Top
quality service is accompanied
by cultural initiatives.
Left, the Zanotta
Shop Milan. In this
picture, the mono
brand Zanotta
showroom in Athens.
hat does selling Zanotta
design mean today?
What are the best ways
of maintaining contact
with designers and the
public? How are the historical design
pieces and the latest proposals presented
in the showroom, particularly regarding
expository choices such as color, materials,
and lighting?
We directed these questions to two
managers of the mono brand Zanotta
Shops in Milan and Athens, Michela Scorri
(of the Zanotta Shop, first store exclusive
to the brand, in the central piazza del
Tricolore) and Dimitris Varangis (architect
design today means also being able to
and manager of Varangis Avepe, in the
furnish a total service, guaranteeing
heart of the élite Kolonaki district).
duration and quality over time».
W
M. Scorri: «Selling Zanotta means selling
design, not a scanty product but something
very superior. It means selling objects that
are fruit of meticulous studies in both the
creative and industrial fields. Zanotta has
always invested a lot in research and
experimentation: you perceive that in the
finished product, avant-garde from a
stylistic and technological point of view,
and top end in terms of quality. The Milan
store is inspirational: a point of reference
for designers, architects and clients. Selling
D. Varangis: «The presence of Zanotta on
our market comprises historic products,
modern, post-modern and contemporary.
It’s enormously satisfying to have a collection
like this, which stands out from the
interminable volume of mass-produced
products and low cost imitations, and
supplies a new prospect of what design really
is. The combination of authentic Italian
design and quality without compromise gives
the client (and the retailer) all the advantages
and intrinsic worth of a superior choice».
M. Scorri: «Regarding strategies and ways
of keeping in contact with designers and
clients (which is fundamental for anyone
who works in retailing) we proceed on
various fronts. To begin with, the Zanotta
Shop is a cultural reference point for trade
and the public on various occasions
throughout the year, with a rich agenda of
events and exhibitions of art, design and
current affairs. The store becomes a
meeting point that includes the public and
offers the opportunity to exchange ideas
and enter into contact with experts and
designers. Furthermore, we have a system
of regular communication with our clients
and a series of ad hoc initiatives for
Happenings
Another view of the
Zanotta showroom in
the historical center of
Milan. Right, Dimitri
Varangis with a
colleague in the Zanotta
Shop in Athens.
architectural studies accompanied by
update visits on production».
D. Varangis: «In Athens too we are
constantly looking for new ways of keeping
interest alive in design as a whole and the
Zanotta brand in particular. The methods
for encouraging public participation are
numerous: now, for example, we’ve put on
a photographic exhibition on Middle
Eastern culture. Our store has recently
reinforced the presence of the contract
sector in the area between Abu Dhabi,
Doha in Qatar and Muscat in Oman. To
bring the ‘taste’ of these countries to our
market we’ve chosen to combine the
Zanotta atmosphere with elements of
Eastern Asia. The furnishings are placed in
front of an enormous reproduction of
oases and valleys from the regions of
Oman. And because the Greek summer
season is on its way, images of dunes,
no.3/12 p.7
Two shop-in-shops in the USA
As a great protagonist in the history of Italian design, Zanotta has conquered the
international scene with two shop-in-shops of excellence in America, one in New
York and the other in Miami, reference points for cultured life in the two cities.
In the Big Apple, the Zanotta products are in the large, modern setting of the
famous Domus Design Collection showroom, on the very central Madison Avenue,
managed by Babak e Siamak Hakakian. The Zanotta concept, situated on two levels
with over 400 mq of floor space, was created by Studio BPM of Milan. In Miami,
Zanotta chose an enormous area in a renowned district, as its ideal display
window: 4141 Design on Second Avenue, created by the brothers David and John
Marquette. Within the 25,000 mq of floor space dedicated to the best Italian and
international design companies, Zanotta occupies a vast position which changes
over time with the arrival of the new collections. Always in perfect equilibrium
between innovative design, creative atmosphere and interpreting new lifestyles.
sand, and skies from the Middle East
make a perfect setting for the outdoor
Zanotta pieces. Imagine a Talia chair by
Roberto Barbieri in such an evocative
context: it’s an intriguing combination».
M. Scorri: «Every two or three months,
the décor of the Milan showroom is
completely transformed, thanks also to the
collaboration of external professionals. In
regards to the mix of historical pieces and
new proposals in various points of the
store, it’s surprisingly harmonic: the
cohabitation between very different period
pieces always seems natural. Every
Zanotta product is part of a world: there’s
a connection that holds the collection
together so that a 1940’s armchair looks
perfect next to a state-of-the-art sofa».
D. Varangis: «What Michela is saying also
happens in our showroom. Zanotta’s
historical production, from the pieces
created in the 30’s, 40’s and 50’s up to the
60’s and 70’s, is at the same time classical
and unique. It faithfully expresses the
passage from ‘form and function’ to
‘function and soul’ in the sense of style and
enchantment. In pieces like Follia by
Terragni (1934), Ardea by Mollino (1944),
Mezzadro by the Castiglioni brothers (1957)
and Primate by Achille Castiglioni (1970)
for example, there is the embodiment of
classical design. It’s also at the base of the
Caracalla bed, the Lungometraggio table, the
Derby armchair by Duchaufour Lawrance
and the Parco modular sofa. An essential
and linear design with a special touch that
defines the spirit of the time, the new
modern style signed by Zanotta. That’s why
at the Athens Shop we mix the traditional
of ‘pure modern’ with the verve of
contemporary, a mix that is perfectly
epitomized in Zanotta.”
«The store becomes a
meeting point that includes
the public and offers the
opportunity to exchange ideas
and enter into contact with
experts and designers»
Happenings
ARCHETYPES
no.3/12 p.8
CELESTINA
Designer
Project year
Production year
Marco Zanuso
1978
1978
Typology
Structure
Folding chair
18/8 polished
stainless steel,
burnished steel,
chrome or black,
white or graphite
varnished steel.
Seat and backrest in
nylon slats covered
in cowhide.
Size
42x50xh82cm
Museums
Design Museum at
Butlers Wharf,
London; Vitra Design
Museum in Weil
am Rhein;
Fondazione Triennale
Design Museum,
Milan.
History
The oldest and most popular folding chair is
reinterpreted by Marco Zanuso upon request of
Aurelio Zanotta after he’d seen it on the Promenade
de la Croisette in Cannes. He’d perceived it, as he
often did, as being an important piece that needed
to be thoroughly examined and reproduced,
consolidating its functional and aesthetic values.
He was famous for saying, “Architect, this is
Cinderella: make her into a princess.” The idea of
the designer: the industrial adaption of a ‘familiar’
object via noble materials and refined detailing. In
making the classical wooden or metal wire folding
chair more noble Zanuso has combined the
practicality of new materials that are modern and
indestructible with the refinedness of a cowhide
seat that is comfortable and elastic.
Values
During the reacquisition of the traditional chair,
essential forms are discovered, developed and
made more sophisticated. Past and future meet in
the choice of materials: nylon is covered with
cowhide, and in turn, the cowhide covered slats are
fixed to the frame with special copper nails. The
final product is a lightweight chair that is essential
and easily adapts to any environment, it’s practical
to store when folded (it’s no wider than a few
centimeters) and comfortable to use when open.
There is an ample choice of finishes: burnished
steel, chrome or three colors of varnished steel, to
coordinate with a wide variety of cowhide tones.
Happenings
no.3/12 p.9
FOCUS
Discovering
beauty
The new “Museo dell’Ottocento”
in Milan renovated by Michele
De Lucchi, is a superb part
of the Gallerie d’Italia project.
It’s a cultural space destined
to hosting initiatives open to
a vast public, and to
reinforcing territorial ties.
The new Museo dell’Ottocento,
in sketches by architect
De Lucchi and in an external
and internal view.
pened a few months ago in the
center of Milan, it’s an architectural
and artistic complex of great
importance. It’s composed of the
17 th and 18th century Palazzo Anguissola and
Palazzo Brentani: historic dwellings that have
become the “Gallerie di Piazza Scala” thanks to
the initiative of the Cariplo Foundation and
Intesa Sanpaolo, with architectural interventions
by Michele De Lucchi. A magnificent collection
of 200 works from Lombardy’s 19th century plus other masterpieces - takes us through a
century of Italian art from Antonio Canova’s
bas-reliefs to Umberto Boccioni’s paintings. The
exhibited works, part of the Cariplo Foundation
and Intesa Sanpaolo collection, were once part
of collections belonging to the likes of prince
Rezzonico, the emperor of Austria, or the kings
of Italy. The galleries, now open to the public,
are between Via Manzoni, Via Morone and
Piazza della Scala, in the historical palazzos that
are part of the Intesa Sanpaolo patrimony. The
buildings were designed by the most prominent
architects who worked in the city during the
18th and 19th centuries. Michele De Lucchi, in
a footnote to his beautiful pencil and paper
designs, explains, «Four palazzos host the
Gallerie d’Italia, built between the last half of
the 18th century and the beginning of the 20th
century in the center of Milan: at no. 10 Via
Manzoni there is the palazzo with the octagonal
courtyard designed by Luigi Canonica in 1829
commissioned by the lawyer Antona Traversi;
the courtyard is the central point of the galleries
and is finished by a series of large glass
windows in a bronze framework that enclose
the loggia. Via the stairway designed by
Canonica the first floor of the sumptuous
Palazzo Anguissola can be reached, where
plaster casts by Canova are exhibited on bronze
trestles, divided by theme and in complete
O
harmony with the neoclassic architecture.
Illumination and air-conditioning is done in
such a way as to respect the original structure
and decoration. In one of the rooms there is
fireplace with a charming window that looks out
over the garden of the Manzoni house. Where
there is enough wall space, paintings are hung
close together similar to 19th century bourgeois
sitting rooms. Palazzo Brentani Greppi is
entered via a wooden staircase that leads to
more informal settings… here the exhibition
areas are evidenced with different colored walls,
resembling 19th century homes. The “Sala delle
Colonne” is the last room in the museum’s
provisional itinerary and, with the works of
Boccioni, introduce a new century. Overlooking
the garden of the Palazzo Anguissola, before
the exit, there is a bookshop and café. The inner
garden is an outdoor exhibition space that will
be used for shows in the future. In the autumn
of 2012 the entrance to the Gallerie d’Italia
will be moved to Piazza della Scala».
Andrea M. Massari, in charge of the institute’s
archeological and historical-artistic amenities
adds, «The Gallerie di Piazza Scala which are
combined with those of Palazzo Leoni
Montanari in Vicenza and Palazzo Zevallos
Stigliano in Naples, are the result of our city’s
ambitious project: after the opening in
November 2011 of the ‘From Canova to
Boccioni’ exhibition area, an inauguration is
planned for autumn 2012 for the part devoted
to the 20th century called Cantiere del
Novecento, in the palazzo on Piazza della
Scala». A cultural itinerary of excellence, as
Stefano Boeri council representative for the
arts summarizes, “This place represents the
paradigm of the creation of culture in Milan
today. It is the emersion of the arts and
masterpieces that are finally being made
available to everyone.”
Happenings
NEWS
no.3/12 p.10
Not to miss
Exhibitions, events, designers.
POP ART DESIGN
This is the title of the
exhibition organized by the
Vitra Design Museum in Weil
am Rhein, the Louisiana
Museum of Modern Art and
the Moderna Museet of
Stockholm, staged first at the
Vitra Design Museum and
then travelling around in
2013: famous Pop Art works
from 1956 to 1972 are
presented alongside design
objects from the same period,
in a dialogue that illustrates
the reciprocal influence they
had on each other. The
exhibition areas are organized
by theme: fetishism,
exaggeration, and stylization
etc. Each of the participating
museums is contributing with
a selection of works
(Rauschenberg, Jasper Johns,
Andy Warhol, Ettore Sottsass
and Oldenburg for example)
and encounters between
artists and designers. In the
catalogue the section on
Italian art and design is edited
by Germano Celant; Zanotta is
showing the inflatable Blow
armchair by De Pas, D’Urbino,
Lomazzi and Scolari (1967).
From 12 October.
ZANOTTA AT
INTERIEUR 2012
The biennial international
design fair Interieur held
in Kortrijk, Belgium since
1968 is one of the most
awaited events on the
calendar of designers and
trade alike (the last edition
had more than 93
thousand visitors). The
23rd Interieur exhibition is
even bigger this year with
areas for demonstrations
and workshops in the
historic center of the city.
More than 300 brands
from the best of
international design are
going to be present at the
40,000 mq fair: Zanotta is
attending with a large
stand exhibiting the new
collections and historic
pieces (Hall 1, Stand 126).
There are many on-going
events at the fair, in
showrooms and in some
of the most prestigious
edifices, with prizes for
innovative ideas, visions
of interior design in the
future, and new forms of
communication. From 20
to 28 October 2012.
99 ICONS IN CHINA
‘Italiaamo: Cina e Italia, un
amore di design’ is arriving
in Hangzhou, China as part
of the first edition of the
large exhibition that has
been travelling around the
world since 2009. It’s
organized by the Centro
Ricerche Enrico Baleri with
curators Enrico Baleri and
Luigi Baroli, and the
exhibition brings together
99 small masterpieces that
represent a style and that
have made Italian design
famous throughout the
world. They are just some
of the Made in Italy cult
pieces that are testimony to
the creativity, the
exploration and the
innovation of Italy’s
virtuosity applied above all
to the world of fashion and
design. Zanotta is exhibiting
some of its historic pieces
that are still in production:
the Cumano table, the
Mezzadro stool, the
anatomic Sacco armchair,
the Sciangai clothes stand,
the Servomuto service table
and the Servofumo ashtray.
From 8 to 15 October 2012.
ART ON CHAIRS
At the Paredes Center of
Furniture Design in the
Portuguese town of the
same name, the architect
Paolo Deganello has
organized an exhibition
that follows the
productive processes of
11 iconic chairs. ‘Art on
Chairs’ illustrates the
changes produced by art
and design on the
concept of the chair, via
exhibitions, workshops,
video projections and
encounters. The entire
event will travel around
museums and cultural
centers during 2013, as
well as becoming a part of
the future MAM, Mosteiro
das Artes do Móvel of the
city. Zanotta is present
with the historic Imperiale
armchair by Achille
Castiglioni (1983). From
14 September to 18
November 2012.
DÉJÀ-VU!
Among the main
displays presented at the
modern Interieur 2012
fair at Kortijk is Déjà-vu! curator Chris Meplon an itinerary amid
archetypes, ‘homages
to…’, and design pieces
that have created
generations of déjà-vu
impressions over the
years; those elements
that are proposed in
countless variations,
triggering the sense of
having already seen
them somewhere before.
The intent is to open a
new debate on the sense
of innovation and
creativity in
contemporary design.
Special pieces include
the Sciangai clothes
stand in natural beech by
De Pas, D’Urbino and
Lomazzi for Zanotta
(1973). From 20 to 28
October 2012.
TRANS-FORMA
ON THE MOVE
The complete exhibition
complete with seventeen
historic Zanotta pieces
proposed in a contemporary
key by the designers at Fabrica
in 2009, is arriving at the
prestigious Belgian showroom
T’Casteelken in Oostkamp. The
iconic pieces transformed by
the young designers and
coordinated by Sam Baron (the
inflatable Blow armchair, the
Sella seat and the Quaderna
table for example) continue to
amaze thanks to their sheer
evocative and visionary force.
The Trans-Forma pieces are
available as a limited and
numbered series as part of the
Zanotta Edizioni. From 20
October to 30 November 2012.
Editorial project Giuliana Zoppis
Graphic design Stefania Giarlotta
Coordination and supervision Zanotta spa
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The use of texts and images are subject
to Zanotta authorization
Press office Zanotta
tel. 0362.4981
www.zanotta.it
communication@zanotta.it