Press Kit ENG

Transcription

Press Kit ENG

Patronage
Milano Capitale del Design® 2011 (11-17 April 2011)
Università degli Studi di Milano Via Festa del Perdono 7, Milano (11-23 April 2011)
INSTALLATIONS
Cortile del 700
Zaha Hadid Architects
with Lea Ceramiche - lighting Artemide
Cortile della Farmacia
Ingo Maurer for Enel
Cortile dei Bagni
Gwenael Nicolas with Deborah Milano
Loggiato Est
Michele De Lucchi
with Corpo Nazionale Vigili del Fuoco
and Riva 1920
Cortile D’Onore
Mario Botta
with Gvm, Mapei and Riva 1920
Richard Meier
with Italcementi and Styl-Comp Group
Snøhetta with CarraraMarmotec Franchi Umberto Marmi, Gemeg,
Il Fiorino, Italmarble di Pocai, Sam,
Savema, MT&S, Up Group
Anders Warming with MINI
Lighting installation
Jacopo Foggini with Nice
Hall Aula Magna
Giulio Iacchetti with Moleskine
Hours:
Mon 11 to Sun 17 April 9.00-24.00
Mon 18 to Fri 22 April 9.00-21.00
Sat 23 April 9.00-16.00
For the FuoriSalone 2011, INTERNI produces, during Design Week in Milan
(11-17 April 2011), the major Exhibition-Event INTERNI MUTANT
ARCHITECTURE & DESIGN.
The design proposal that emerges from these reflections and involves the home,
the city, the landscape and the territory, is that of a highly materic, transformable
and mobile architecture that responds to necessary strategies of use over time in
different places: intelligent structures characterized by great flexibility and the
capacity to be dismantled and moved, conceived to be reutilized after an initial role.
MUTANT, then, means the condition of design in the wider sense of the term, no
longer tied to pre-set truths or ideological axioms that were part of the culture of late
modernity, but capable of creating a responsible relationship with reality.
The focus is on the use of materials, their durability, the relationship between
materials and time. Today is important to distinguish between materials that since
the implementation decay, and materials that improve (cultured materials such as
wood, metals, marble, stones ...). The concept of the project cost must be linked to the
concept of use and reuse over time.
MUTANT means evolution and continuous experimentation to connect the design
process to increasingly attentive, necessary environmental awareness, in which the
theme of resources and assets also provides guiding values for thinking about objects
and spaces in an innovative way.
DESIGN ISLANDS
Cortile D’Onore
Carlo Colombo with Arflex,
Compagnia del Verde and Stratex
Ron Gilad with De Castelli and Flos
Diego Grandi
with Rosenthal and Sambonet
Setsu and Shinobu Ito with Art_Container
Nendo with Lema
Massimo Pierattelli with Arval
Sybarite with Marzorati Ronchetti
Scaloni d’Onore
Francesco Lucchese-Caldia Cube
with Marmi e Graniti d’Italia Sicilmarmi
Loggiato Ovest
Pedro Campos Costa
with Amorim Isolamentos
Thomas Heatherwick
with Marzorati Ronchetti
Matteo Ragni with Camparisoda
Lorenzo Palmeri
with Lavazza A Modo Mio
E. Cimini and W. Monici with Lumina
Vincenzo De Cotiis with Rossana
D. Di Lauro and M. Della Foglia
with DO.IT Design Outlet Italiano
Portico del Richini
Dror Benshetrit with Terra Moretti
Simone Micheli with ICE Italian
Institute for Foreign Trade
The theme of ‘mutant’ architecture, i.e. architecture that is ready for changes,
alterations and additions in its development and reutilization, promotes awareness
of these themes through EXPERIMENTAL INSTALLATIONS that mix different
scales of reference, micro-architectures or macro-objects created by a series of
international designers that design also on a metaphorical and symbolic level.
Press Room
Simone Micheli with Visionnaire
Press conference – Monday 11 April, 14.30 - Aula Magna
Thanks to
Sharp Aquos with INTERNI for 10 years
Arpa Industriale, Baraclit, Bose,
Cipriano Costruzioni, Color Kinetics
Japan, Energy Resources, iGuzzini,
Martinelli Luce, Serralunga
Live Concert - MUTANT ARCHITECTURE&DESIGN - Tuesday 12 April, 20.00
by Lorenzo Palmeri and Davide Ferrario
LA RINASCENTE
MUTANT VITRINES
Piazza Duomo, Milano
Via D. Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
internieventi@mondadori.it
www.internimagazine.it
The research continues along the itinerary across the University and the Loggiato
Ovest of the first floor, with interpretations of places of encounter, the DESIGN
ISLANDS: created by designers, these are true urban lounges positioned along the
exhibition itinerary and specially produced for this event.
The contribution of companies leader in the Italian and international research
field, has allowed the realization of original proposals and projects and the exhibition
of the protitypes and products from the latest collections.
Speech RICHARD MEIER - Saturday 9 April, 11.30
Sala di Rappresentanza
Lectio Magistralis MARIO BOTTA - Wednesday 13 April, 16.00
Aula Magna
Co-Producer
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Patronage
INSTALLATIONS
Cortile del 700
Cortile dei Bagni
Loggiato Est
Michele De Lucchi
and Riva 1920
Cortile D’Onore
Mario Botta
Richard Meier
Hall Aula Magna
DESIGN ISLANDS
Cortile D’Onore
Diego Grandi
Nendo with Lema
Scaloni d’Onore
Loggiato Ovest
Pedro Campos Costa
Thomas Heatherwick
Lorenzo Palmeri
Portico del Richini
Milan and the FuoriSalone
Design=Milano is the equation to refer to, in order to understand the Milanese
FuoriSalone, an event organized for the first time in 1990 by Interni , when
Salone del Mobile, usually held in Setember, was held instead in April, and that has
now crossed the boundaries of a conventional market-show, from the point of view of
cultural interest and experimentation, to become a festive event, the design project,
invading the whole city.
In Italy, when you speak of design you inevitably end by speaking of Milan.
That explains why FuoriSalone came into being right in Milan, on home ground, and
the development of which seems to be almost unrelenting, as for a week it takes up
large areas of the city, that change into showcase “districts” luring the so-called
“design community”, invading and conquering the city. Furthermore, as years go by
FuoriSalone has influenced the city morphology, re-inventing and upgrading
some of its districts permanently.
The April Design Week is by now a unique rendezvous on an international plane, felt
by everybody as a transversal, spectacular and unmissable happening, apart from any
specific interest in design.
Within this project covering the whole city, FuoriSalone takes up every space
available, from the usual locations to traditional places such as museums and art
galleries, on this occasion cleared of their collections to accommodate experimental
furniture and objects; from “found out” places (workshops, warehouses, disused
factories) to monumental places well-known to tourists yet “squatted” by temporary
installations, thus “atypical”, The most important component of ‘FuoriSalone’,
apart from the content of the many proposals, is the cultural-spectacular as well
as market consumption – rendered in performances, installations, shows and
experimental events – for everybody, spontaneously, in city spots transformed in
“atypical” and attractive places, stages for a collective and many-sided pièce, that are
also a direct “training” process on a planning-educational plane.
A balance of the last few FuoriSalone allows to set a team effort historically, with
Interni as one of the players, the result of concepts backed by a multilinear production,
entrepreneural and creative context, that wants to be complementary and not opposed
to the renowned Salone del mobile di Milano and that takes the city as ideal place
for the interaction of a widespread culture to make design a factor of meditation,
development and encounter.
Press Room
Thanks to
LA RINASCENTE
MUTANT VITRINES
20134 Milano
tel 02 21 56 3-319/237/320
Co-Producer
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Patronage
INSTALLATIONS
Cortile del 700
Cortile dei Bagni
Loggiato Est
Michele De Lucchi
and Riva 1920
Cortile D’Onore
Mario Botta
Richard Meier
Hall Aula Magna
DESIGN ISLANDS
Cortile D’Onore
Diego Grandi
Nendo with Lema
Scaloni d’Onore
Loggiato Ovest
Pedro Campos Costa
Thomas Heatherwick
Lorenzo Palmeri
Portico del Richini
Press Room
Thanks to
LA RINASCENTE
MUTANT VITRINES
20134 Milano
tel 02 21 56 3-319/237/320
The “Università degli Studi” of Milan
Established in 1924, today Milan University is made up of nine Faculties with more
than 140 study programmes between first and second level, 20 doctorate schools and
66 specializing schools. It is the only Italian university to be part of LERU (League of
European Research Universities). Among the most recent realizations there is Centro
APICE (Archives of word, image and editorial communication), where are preserved book
funds of great value for the studies on the history of printing and publishing, whose national
epicentre is Milan.
L’Ospedale Maggiore, now the State University of Milan
This monumental hospital building, popularly called Ca’ Granda (great house) by the
inhabitants of Milan, was established in 1456 by Francesco Sforza, Duke of Milan, and his
wife Bianca Maria to gather in one large building the many small hospitals that had been
built in various parts of the city. The project was assigned to Tuscany born Antonio Averlino,
called Filarete (1400-1469), who described it in detail in his famous “Treaty of Architecture”,
and envisaged the construction of two large four-sided buildings separated by a large main
courtyard, surrounded by a four-sided portico on two floors. Two-floor porticoes also
surrounded the four minor courtyards in which each four-sided building was divided, like a
cross. The project of the building (surface area of 43,000 square metres) was carried out
in various stages, following bequests and donations, but especially the popular contribution
of a special jubilee called the Day of Pardon and celebrated on the 25 March of each odd year
with a generous distribution of indulgences. The first stage of the works, followed by Filarete
(ground floor) until his death in 1469, continued with Milan born Guiniforte Solari (second
floor) and then with Giovanni Antonio Amadeo. The second stage of the works began in
1624 (17th century). The main courtyard, inherited by Filarete, was finished based on the
designs of Giovanni Battista Pessina, soon supported by Francesco Maria Richini, Fabio
Mangone and Giovanni Battista Crespi. The baroque front and the church of SS. Annunziata
were built. On the front along Via Festa del Perdono Richini re-utilized the windows with two
lancets and on the inside presented again the stone decorations made by Giovanni Antonio
Amadeo which had belonged to the portico wing that had been demolished to build the
new large courtyard. The third stage included the years from 1797 to 1804, during which
the three internal courtyards of the second quadrilateral were built and the left part of
the wide façade was completed. The hospital functions were then passed onto the halls of
nearby Policlinico and, in 1939, to the Niguarda Hospital; so that the Ca’ Granda was adapted
to become the headquarters of the Dean’s office of the State University. The left wing (late
1700s) features a sober Neoclassical design. The front (283 metres long) is marked by three
volumes that precede the two side quadrilaterals and the main courtyard in between. The right
wing (15th century) is fully covered by red brick and consists of the portico built by Filarete
which stands on a tall base, and of the upper floor built by Solari, pierced by elegant windows
with two lancets, underlined by a continuous fascia with rich earthenware decorations. The
main body (17th century), follows on the design of the 15th-century building and features
the grand Baroque gate by Richini, flanked by niches with the statues of Saint Charles and
Saint Ambrose. The grand main courtyard is surrounded by a four-sided portico, on top
of which stands the ethereal open gallery. In the side of the courtyard opposite the entrance
there is the small church of SS. Annunziata, built in the 17th century by architects Richini,
Pessina and Mangone. The four small courtyards of the Filarete building in the right wing
were long ago restored. The first, built by Solari in 1467 and called in the past “the grocery”,
is a four-sided portico with an open gallery on top standing on elegant marble columns. It is
followed by a second courtyard called “the women’s Baths” (1473), and by a third courtyard,
called “the Giazzeria” (Ice-House) (1468). The last of the four small courtyards is called “the
Woodshed”. The current situation is the result of the significant restoration started in 1953
on the project of architects Piero Portaluppi and Liliana Grassi.
Co-Producer
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Patronage
INSTALLATIONS
Cortile del 700
Cortile dei Bagni
Loggiato Est
Michele De Lucchi
and Riva 1920
Cortile D’Onore
Mario Botta
Richard Meier
Hall Aula Magna
DESIGN ISLANDS
Cortile D’Onore
Diego Grandi
Nendo with Lema
Scaloni d’Onore
Loggiato Ovest
Pedro Campos Costa
Thomas Heatherwick
Lorenzo Palmeri
Portico del Richini
Entrace of Università degli Studi di Milano - Via Festa del Perdono, 7
Entrace Portico of Cortile d’Onore - Scalone d’onore Loggiato Ovest Section of Loggiato Ovest
Press Room
Thanks to
LA RINASCENTE
MUTANT VITRINES
1st floor- Loggiato Ovest
20134 Milano
tel 02 21 56 3-319/237/320
Co-Producer
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Patronage
INSTALLATIONS
Cortile del 700
Cortile dei Bagni
Loggiato Est
Michele De Lucchi
and Riva 1920
Cortile D’Onore
Mario Botta
Richard Meier
Hall Aula Magna
DESIGN ISLANDS
Cortile D’Onore
Diego Grandi
Nendo with Lema
Scaloni d’Onore
Loggiato Ovest
Pedro Campos Costa
Thomas Heatherwick
Lorenzo Palmeri
Portico del Richini
Cortile d’Onore
Cortile del 700
Cortile dei Bagni
Portico del Richini (internal view)
Press Room
Thanks to
LA RINASCENTE
MUTANT VITRINES
20134 Milano
tel 02 21 56 3-319/237/320
Co-Producer
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Patronage
\C30;SERVOSCALA
Sybarite
Michele De Lucchi
Setsu e
Shinobu
Ito
Jacopo
Foggini
XX
Cortile
d’Onore
via Francesco Sforza
Richard Meier
1° piano
\C5;70
\C5;210
Loggiato ovest
\C5;70
\C5;210
\C5;90
\C5;210
Mario
Botta
Ron Gilad
Massimo
Pierattelli
Snøhetta
Carlo Colombo
\C104;50
\C104;75
1° piano
Diego
Grandi
Loggiato est
Anders
Warming
Ingo
Maurer
Cortile
Ghiacciaia
Cortile
Farmacia
Dror Benshetrit
Thanks to
Press
Room
\C5;70 \C5;70
\C5;210 \C5;210
Press Room
Cortile
del 700
Giulio
Iacchetti
Portico largo Richini
DESIGN ISLANDS
Cortile D’Onore
Diego Grandi
Nendo with Lema
Scaloni d’Onore
Loggiato Ovest
Pedro Campos Costa
Thomas Heatherwick
Lorenzo Palmeri
Portico del Richini
Zaha Hadid
Architects
Aula
Magna
via Festa del Perdono, 7
INSTALLATIONS
Cortile del 700
Cortile dei Bagni
Loggiato Est
Michele De Lucchi
and Riva 1920
Cortile D’Onore
Mario Botta
Richard Meier
Hall Aula Magna
Gwenael Nicolas
Cortile
Bagni
Cortile
Legnaia
LA RINASCENTE
MUTANT VITRINES
20134 Milano
tel 02 21 56 3-319/237/320
Largo Richini
Co-Producer
Portico San Nazaro
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Patronage
INSTALLATIONS
CORTILE DEL 700
Twirl
by ZAHA HADID ARCHITECTS with LEA CERAMICHE - lighting ARTEMIDE
CORTILE DELLA FARMACIA
Ablaze - Sentimento (s)travolgente
by INGO MAURER for ENEL
CORTILE DEI BAGNI
Suspended Colors
by GWENAEL NICOLAS with DEBORAH MILANO
LOGGIATO EST
Pensando L’Aquila
by MICHELE DE LUCCHI
with CORPO NAZIONALE VIGILI DEL FUOCO and RIVA 1920
CORTILE D’ONORE
Stanza
by MARIO BOTTA with GVM, MAPEI e RIVA 1920
Mutated Panels
by RICHARD MEIER with ITALCEMENTI and STYL-COMP GROUP
Zero
by SNØHETTA
in collaboration with Paolo Armenise and Silvia Nerbi
with CARRARAMARMOTEC - Franchi Umberto Marmi, Gemeg, Il Fiorino,
Italmarble di Pocai, Sam, Savema, MT&S, Up Group
MINI Sintesi
by ANDERS WARMING with MINI
LIGHTING INSTALLATION
Plasteroid
by JACOPO FOGGINI with NICE
HALL AULA MAGNA
Scriba
by GIULIO IACCHETTI with MOLESKINE
20134 Milano
tel 02 21 56 3-319/237/320
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LA RINASCENTE MUTANT VITRINES
PIAZZA DUOMO, MILAN
projects by
ZAHA HADID
RICHARD MEIER
GWENAEL NICOLAS
DIEGO GRANDI
SETSU and SHINOBU ITO
SNØHETTA
MARIO BOTTA
INGO MAURER
7
Patronage
ZAHA HADID, founder of Zaha Hadid
Architects, was awarded the Pritzker
Architecture Prize (considered to be the Nobel
Prize of architecture) in 2004 and is internationally
known for both her theoretical and academic work.
Each of her dynamic and innovative projects builds
on over thirty years of revolutionary exploration
and research in the interrelated fields of urbanism,
architecture and design. Working with senior
office partner Patrik Schumacher, Hadid’s interest
lies in the rigorous interface between architecture,
landscape and geology, as her practice integrates
natural topography and human-made systems,
leading to experimentation with cutting-edge
technologies. Such a process often results in
unexpected and dynamic architectural forms.
Ph. Steve Double
The Guangzhou Opera House, the first project
realised in China; the MAXXI:National Museum
of 21st Century Arts in Rome, Italy, the BMW Central Building in Leipzig, Germany
and the Phaeno Science Center in Wolfsburg, Germany are excellent demonstrations
of Hadid’s quest for complex, fluid space. Previous fundamental buildings such as the
Rosenthal Center for Contemporary Art in Cincinnati, Ohio, have also been hailed
as architecture that transforms our vision of the future with new spatial concepts and
bold, visionary forms.
Currently Hadid is working on a multitude of projects worldwide including: the
London Aquatics Centre for the 2012 Olympic Games; high-speed train stations in
Naples and Durango; the CMA CGM Headquarters tower in Marseille; masterplan
and tower for Citylife in Milan, as well as major master-planning projects in
Beijing, Bilbao, Istanbul and Singapore.
Zaha Hadid’s work of the past 30 years was the subject of critically-acclaimed
retrospective exhibitions at New York’s Solomon R. Guggenheim Museum in 2006,
London’s Design Museum in 2007 and the Palazzo della Ragione, Padua, Italy in
2009. Her recently completed projects include the MAXXI Museum in Rome; the
innovative Nordpark Railway Stations in Innsbruck, Austria; Mobile Art for
Chanel in Hong Kong, Tokyo, New York and Paris; the new Zaragoza Bridge in
Spain and the Burnham Pavilion in Chicago.
20134 Milano
tel 02 21 56 3-319/237/320
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Patronage
Twirl
by ZAHA HADID ARCHITECTS
with LEA CERAMICHE
lighting Artemide
Concept
This project is a contemporary interpretation of the architecture of the 18thcentury courtyard of the State University of Milan, translated and transformed from
rigid Cartesian geometries into the linear fluidity of dynamic space. Adapting to the
natural contours of the courtyard and the forces that converge towards its center, the
project emphasizes the slope of the arches, creating a powerful vortex of spatial
distortion that favors dialogue with the surrounding colonnade. The development
of the complex three-dimensional curved geometries of the installation, starting
with the flat ceramic tiles, adds another level of complexity to the whole. Visitors are
encouraged to explore the sculptural sensibility and formal dynamic of different
elements in which the balanced relationship between solids and voids expresses the
project solution. Each individual piece can be interpreted not only as a whole, but
also as a captured fragment of a magnetic field. A certain margin of strangeness
introduces a stimulus that has evolved between latent force and physical material.
Project
The project consists of laminated stoneware sheets (Slimtech by Lea Ceramiche),
1 meter wide, cut at various heights, up to 2 metres. The edges follow the elegant flow
of the geometry that corresponds to an overall tiled surface of 800 m2. Each panel is
composed of two overlapping layers of ultra-thin tiles of 3 mm. For the installation
7 different color codes have been used, creating shadings from white to black.
Seen from the side, the various colors give rise to constant changes of appearance,
taking advantage of the changes in the daylight and the nature of the curvature. The
installation transforms the courtyard into a space that constantly alters its form and
color, depending on multiple perspectives. The platform realigns the deformed grid
of the colonnade to the pixelated floor tiles and underscores the shadow of the vertical
tiles.
20134 Milano
tel 02 21 56 3-319/237/320
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Lea Ceramiche
Excellence, innovation, enthusiasm, aesthetics, competency and reliability: these
are the founding values of Lea Ceramiche, the Fiorano Modenese-based company
which designs and produces floor and wall ceramics for all kinds of settings. The
company’s ability to innovate lies in its continuous experimentation, which leads to
the development of cutting-edge production systems and technologies and allows Lea
Ceramiche to supply its customers with a wide range of high quality products which
lie at the top end of the market in terms of excellent technical performance and design
qualities. Slimtech is one example of this: the revolutionary laminated stoneware,
just 3 mm thick and extra-sized at 1 x 3 metres, suited for uses which until now have
not been accessible to traditional ceramics and protagonist of the installation by
Zaha Hadid for Interni Mutant Architecture & Design 2011. Lea Ceramiche is part of
Panariagroup Industrie Ceramiche, a leading international ceramics group quoted
in the Star segment of the Italian stock exchange, which also owns the brands Panaria,
Cotto d’Este, Fiordo, Blustyle, Margres, Love Tiles and Florida Tile.
Artemide
A series of fluorescent tubes (Algoritmo lamps specially produced by Artemide,
designed by Carlotta De Bevilacqua) spread light from the center toward the edges of
the site to the colonnade, lighting the existing architecture and forming a link between
the rigid Cartesian setting and the linear fluidity of the installation.
9
Cortile del 700
installation Twirl (30 x 30 x h 2 m)
project by ZAHA HADID ARCHITECTS
with LEA CERAMICHE - lighting ARTEMIDE
10
Patronage
INGO MAURER, is a lighting designer and
entrepreneur in the lighting sector, since 1966 he
has run company, based in Munich, to produce
and market his designs. The first of which was
Bulb, inserted into the MoMA design collection
as early as 1969. At the 1984 Euroluce, Maurer
presented the pioneering low-voltage lighting system
YaYaHo, then advanced, it consists of low-voltage
cables with a variety of movable halogen elements.
Maurer’s best-known designs include the winged
light bulb Lucellino (1992), Porca Miseria (1994)
and Zettel’z (1997). Since the mid-1990s Maurer
has been exploiting the aesthetic effects of LEDs
and printed circuit boards, with which he creates
a range of smaller and larger objects. In 1989 the
Fondation Cartier pour l’Art Contemporain staged
the exhibition Ingo Maurer: Lumière Hasard
Réflexion. Since then his designs - whether oneoff commissions or lamps from his ordinary collection - have been shown all over the
world in many exhibitions, e.g. Ingo Maurer - Light - Reaching for the Moon by the Vitra
Design Museum and Provoking Magic: Lighting of Ingo Maurer, at the Cooper-Hewitt
National Design Museum in New York. In 2010, the Bauhaus Archiv Berlin showed a
representative selection of his works. In 1990, Maurer began to plan installations and
lighting for public and private clients, in addition to making lamps for his firm, Ingo
Maurer GmbH. Some examples of these special commissions are the giant lampshades
for the Westfriedhof underground station in Munich; the lighting for the interior of the
Kruisherenhotel in Maastricht, Netherlands, and the Atomium in Brussels; a large light
object for the the Rockhal in Luxembourg, and the lighting and color design for another
subway station in Munich. He also received commissions to design exhibitions and
fashion shows, including an installation for Issey Miyake (1999) and the exhibition “Rêves
des Diamants” for Chanel. Maurer lives and works in Munich. In 2008 he opened a 700
sqm showroom at 47 Kaiserstrasse, Munich, in a former production and warehouse
facility, in the same building as his office and studio space. In 2010 Ingo Maurer received
the Design Award of the Federal Republic of Germany.
20134 Milano
tel 02 21 56 3-319/237/320
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Patronage
Ablaze - Sentimento (s)travolgente
by INGO MAURER
with Axel Schmid
for ENEL
Concept
Fire is a mode of radical change arouses amazement and excitement for its mobile
light. The idea comes from the desire to demonstrate, in slow motion, the gradual
transformation of a burning building: the initial “dream” is then transformed into
perception of change, mutation. The installation “Ablaze - sentimento (s)travolgente”
thus references the transformation of buildings and the emotional power of fire
and light, in a more abstract way: a cabin, the archetype of the edifice, not perfectly
“square”, already distorted. A cable is needed to stabilize its structure. The contrast
between the interior and the exterior is striking: rough and black on the outside,
lit up by an intense red color inside, with the contrast of a bright green opening in the
floor. A spherical object hangs from the ceiling, moving slowly, floating in space and
reflecting what is around it. The human being that “dwells” in the house in the project
is very demanding, and exists with the emotion and passion for new technologies.
Project
The installation inside the Farmacia courtyard is a small house with elementary
forms: the cabin in flames, built with blackened wooden boards, is placed on a wooden
platform at the center of the courtyard. Slightly inclined and attached to a lateral
steel cable, the construction seems like it is about to fall. The fire is represented
symbolically by the bright red paint inside, while a reflecting pendulum creates
dynamism, reverberating with the flames-light. At the center of the floor a recessed
geometric opening, painted green, enriches the chromatic shadings and reflections. A
hidden smoke machine completes the theatrical effect and brings out the impact of the
light in the overall composition. The installation in the Cortile della Farmacia will be
accompanied by Cajun and Zydeco music.
20134 Milano
tel 02 21 56 3-319/237/320
Enel
Enel is an international group active in the production and distribution of
electricity and gas in 40 countries on four continents. Among Europe’s listed
utility companies, Enel is the second largest by installed capacity and one of the
leaders in terms of shareholder numbers, with some 1.2 million investors.
Enel generates 289 TWh/year of electricity using a balanced mix of energy
resources. The generation plants have a total capacity of 94,869 MW, of which more
than a third powered by renewable resources; use of the latter is increasing constantly,
especially in North, Central and South America. The Enel Group distributes energy
over 1.7 million km of power lines. Enel sells electricity to 57.2 million customers
and gas to 4 million households and enterprises. Enel’s shareholders include Italy’s
Ministry for the Economy and Finance, which holds 13.88% directly and another
17.36% through Cassa Depositi e Prestiti, leading international investment funds,
insurance companies, pension funds and ethical funds, as well as 1.2 million small
investors.
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12
Ph. Tom Vack
installation Ablaze - Sentimento (s)travolgente (3 x 4,6 x h 4,2 m)
project by INGO MAURER
for ENEL
13
Patronage
GWENAEL NICOLAS, was born in 1966 in
Brittany. He took a Masters in Industrial Design at
the Royal College of Art in London.
In 1991 he moved to Tokyo, where he worked with
Water Studio (Cassina ixc.) and Issey Miyake on
interior design projects (Pleats Please Shops) and
packaging design (Le Feu d’Issey).
In 1998 he founded the Studio ‘Curiosity’ with
the backing of Reiko Miyamoto. He has worked on
many projects of varying levels of complexity and
size: architecture, interior and product design.
He has collaborated with many international
brands including Nissan, Lexus, Docomo, Louis
Vuitton, Kanebo, Nintendo, Agape.
His work, especially certain conceptual
installations, has attracted international attention.
Just to name a few works: “D-Day” at the Centre
Pompidou in Paris, “Light-Light” in Tokyo Wonder
(Milan 2008), Tokyo Fiber (Milan 2009) and the Lexus museum in Tokyo (2009).
Recent projects include: “Sparks” for Swarovski Crystal Palace during the Salone
2010 in Milan, and the new packaging of the “Aura” fragrance by Swarovski.
He describes himself as a “choreographer of spaces” and his works focus on the
“art of encounter”. Knowing does not necessarily imply understanding. Information
can be shared, but experience has to be encountered to be fully understood. After
impressionism, minimalism, modernism and other “isms” we are now in the era of
“experientialism”. His style stands out for its luminous transparency, glamourous
forms and emotional nuances.
After having received many prizes for his architectural and product designs, Gwenael
was recently chosen for the Ku/Kan Prize 2009, the most prestigious Japanese Interior
Design prize, awarded to a foreign designer for the first time.
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Patronage
Suspended Colors
by GWENAEL NICOLAS
with DEBORAH MILANO
lighting Color Kinetics Japan
Concept
Mutant architecture: spaces in which the parts are in constant evolution or movement,
with an as yet indefinite final configuration. Like a cocoon from which a butterfly is
hatched, mutant architectures are spaces in transition, hybrid compositions of elements.
Suspended Colors lets the observer interpret space in a different way. The installation
seems to be suspended, like a jellyfish floating in water; the space defined by the fibers is
in constant motion, and comes to life when it is touched by a breeze or a visitor. Movement
and speed are the catalysts of mutant architecture: perspectives turn into trajectories. The
installation is conceived to be crossed on foot, to give the impression of being alive,
in perpetual motion, interacting with natural elements and the audience. The spiral space
is surrounded by an expanse of fibers, entities in movement, ready to be transformed into
new mutant architectures. The iconic lipstick of Deborah Milano, Light Creator, is
used to create a magical colored garden.
Project
Suspended Colors is a spiral corridor composed of a series of 80 fibers, 14 meters in
length, and lit with RGB Led’s. The spiral has a diameter of 25 meters and is 7 meters
high. Every section of the fibers has been designed to generate a natural curve and to
limit the stress on the tensile structure. The fibers extend from the central base where
they are joined together. The tension of each fiber is balanced out by that of all the others,
and the result is a light object that seems to defy the force of gravity. The tension permits
the external perimeter to bounce lightly from one side to the other. At the four corners of
the courtyard four groups of 1000 packaged units of Light Creator, the lipstick by
Deborah Milano (design Mario Trimarchi), create zones of mutable color on the lawn.
20134 Milano
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Deborah Group
The company has been in the beauty business for four generations and, for over a century,
it has worked to create a clear idea of democratic beauty. Today, it is an international group
that can meet the needs of all women because of the variety and versatility of its product
range and because it covers just about every sector of the cosmetics market, including
make-up, skincare, healthcare and fragrances. Currently, the Group has a presence
in 50 countries, including a widespread network across Europe that is headed by the
Group’s own companies in Italy (Deborah Italia) and Spain (Deborah Iberica). Created
in the 1960s, Deborah Milano is the Group’s Italian brand and a market leader in the
make-up sector. Over the years, this brand has built its image and gained market respect
through the quality of its products. The cornerstone of this quality is its research and
an ability to communicate with women with simplicity. Since the beginning, Deborah
Milano has made Italian spirit and character central to its brand, with these elements being
synonymous globally with style, fashion and design. Since 2000 the Company has chosen
and pursued a well-defined design strategy that has given the brand its current personality
and, by making the packaging easily identifiable, the products have become modern icons.
Since 2008, the commitment to design has developed, in terms of communication, through
Deborah Milano having its own projects at Milan Design Week. In these projects, worldfamous designers interpret, with real sensitivity, small make-up design objects, turning
them into architectural structures. Suspended Colors, designed by Nicolas Gwenael, comes
from this idea of evolution and transformation applied to Light Creator, Deborah Milano’s
iconic lipstick that, since 2003, has represented a perfect match of design and make up,
proposed every year in limited editions.
15
Cortile dei Bagni
installation Suspended Colors (Ø 25 x h 7 m)
project by GWENAEL NICOLAS
with DEBORAH MILANO
16
Patronage
MICHELE DE LUCCHI was born in 1951
in Ferrara and graduated in architecture in
Florence. During the period of radical and
experimental architecture he was a prominent
figure in movements like Cavart, Alchymia and
Memphis. De Lucchi has designed lamps and
furniture for the most known Italian and European
companies. For Olivetti he has been Director of
Design from 1992 to 2002 and he developed
experimental projects for Compaq Computers,
Philips, Siemens and Vitra and he elaborated
various personal theories on the evolution of the
workplace. He designed and restored buildings
in Japan for NTT, in Germany for Deutsche Bank,
in Switzerland for Novartis, and in Italy for Enel,
Olivetti, Piaggio, Poste Italiane, Telecom Italia. In
Ph. Giovanni Gastel
1999 he has been appointed to renovate some of
ENEL’s (the Italian Electricity Company) power
plants. For Deutsche Bank, Deutsche Bundesbahn, Enel, Poste Italine, Telecom Italia,
Hera, Intesa Sanpaolo he has collaborated to the evolution of the corporate image,
introducing technical and aesthetic innovation into the working environments. He
has taken care of numerous art and design exhibitions and has planned buildings for
museums as Triennale di Milano, Palazzo delle Esposizioni di Roma and Neues
Museum Berlin. In the last years he developed many architectural projects for private
and public clients in Georgia, as Ministry of Internal Affairs and the Bridge of Peace
in Tbilisi, recently unveiled. His professional work has always gone side-by-side with
a personal exploration of architecture, design, technology and crafts. In 1990 he
founded Produzione Privata, a small-scale company concern through which Michele
De Lucchi designs products that are made using artisan techniques and crafts. Since
2004 he has been sculpturing little wooden houses with the chain saw to create the
essentiality of the architectural style.
His Studio, aMDL S.r.l., has its offices in Milan and Rome.
In 2003 the Centre Georges Pompidou in Paris has acquired a considerable number
of his works. Selections of his products are exhibited in the most important design
Museums in Europe, United States and Japan. In 2000 he was appointed Officer of
Italian Republic by President Ciampi, for services to design and architecture.
In 2001 he has been nominated Professor at the Design and Art Faculty at the
University in Venice. In 2006 he received the Honorary Doctorate from Kingston
University, for his contribution to “living quality”. In 2008 he has been nominated
Professor at the Design Faculty of the Politecnico of Milan and Member of the
Accademia Nazionale di San Luca in Rome. In 2009 he received the Golden Fleece
Order and in 2010 the Presidential Order of Excellency by President of Georgia,
Mikheil Saakashvili.
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Loggiato Est
installation Pensando L’Aquila (5,5 x 3 m)
project by MICHELE DE LUCCHI
18
Patronage
Pensando L’Aquila
by MICHELE DE LUCCHI
with Philippe Nigro
Concept
“I don’t know if any way exists to express the dismay I feel when I think about
L’Aquila. I see everything at a halt, people deprived of their everyday life, a city that
is but a pale recollection of the city that was there before. When I visited L’Aquila
after the earthquake, walking through the destroyed streets, in that stunned silence, I
saw traces of beauty. Amidst the cracks in historical buildings, the firemen had built
structures in salvaged wood that were inserted in a perfectly harmonious way. The
surprise of finding such delicacy in a work created in an emergency situation deserved
narration. The most humble wood, that of the worksite, the rugged wood that passed
from person to person, was used to create very beautiful compositions, solid supports,
but also decorations to admire. With that same wood the firemen use in emergencies,
I have designed decorative structures for the arches of the Università degli Studi in
Milan, a perfect work of architecture that is part of the city’s heritage, something we all
see every day and thus run the risk of not seeing at all. Two teams of firemen will make
the structures I have designed under the arches of the western Loggiato. Their work,
considered only technical, will be observed for the first time, with amazement, in Milan
as well.”
Project
The arches of the Loggiato will be decorated with wooden structures. These elements
are based on the support structures that firemen build to sustain damaged
edifices, depending on the type of damage to be countered, using the manual of
“provisional works for post-earthquake intervention”. Interpreting the decorative
specificity of these works of architectural shoring, Michele De Lucchi designs an
installation that translates the sense of destruction into beauty. False shoring
structures have been developed with the collaboration of the engineer Claudio
Modena, to be built by firemen for Design Week in Milan. The material is the wood
used for scaffolding, supplied by Riva 1920.
20134 Milano
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Riva 1920
Creating furniture that challenges time and respects nature. Riva 1920 has been
producing furniture for three generations. Maurizio and Davide Riva are currently
leading the company, started off by granfather Nino Romano in 1920 and carried
on by their father Mario Riva. In the past 20 years, the company was committed to
producing furniture with only and exclusively natural materials and complements,
allowing a low environmental impact. Riva 1920 inaugurates in 2001 the Museum
of Wood, to hand over and not forget that wood is a renewable resource, but it is not
infinite. Culture, design and social sensitivity have become a key feature of Riva 1920’s
activities. Special Project were born out of this marriage between woodwork and
geniality, such as the project aimed at re-utilizing Venetian Briccole, the millenary
New Zealand Kauri wood, and the project Ground Zero, to remember the history of
11 September through design masters.
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Patronage
THE NATIONAL DEPARTMENT OF FIRE BRIGADES
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700,000 emergency rescue operations per year. 700,000 responses that firemen
provide in real time to citizens, making the fire brigades a clear point of reference
for safety and security: the latest polls indicate that 98% of Italians are fully satisfied
with the operations of their local firemen. Training, ability, experience and use of
technology are the key terms of today’s firefighting, and factors that emerged clearly
during the operations to help the population of Abruzzo following the earthquake
on 6 April 2009.
Immediately after the quake at 3:32 the rescue system of the National Department,
which represents a model of reference all over the world, was automatically activated.
The national operations center of the Viminale immediately responded, sending
operative divisions to Abruzzo, with the proper equipment, from all the Italian
provinces: after less than 48 hours over 2700 firemen and over 1200 vehicles
were already at the site. The mission took place in three phases. After the initial
emergency phase, almost entirely devoted to rescuing persons trapped under the
rubble, saving hundreds of lives, and after the second phase of assistance to the
population, in the third phase, together with the supply of basic needs, an important
operation of assessment of the damage to structures was undertaken, leading to the
reinforcement of dangerously damaged buildings.
For this phase the teams made use of a fundamental resource, namely the over 1000
engineers, architects, geometers and experts who make the fire brigades the largest
technical structure of its kind in Italy, who worked on the design of the provisional
support structures for the damaged buildings.
The work of installation, done in total safety by the fire brigade personnel, was
coordinated and directed by the technical staff, in collaboration with experts on cultural
heritage when the buildings in question were of historic value. Until today over
250,000 interventions have been completed in the three phases.
The 700,000 operations done every year also have another positive result, namely
the accumulation of an indispensable store of experiences that enrich the already
great knowledge of the firemen in the field of safety and prevention. From analysis
of accidents, the national department issues and modifies standards and operative
procedures, leading to better security for the whole country.
It is no coincidence that Italy, among the countries of the European Community, is
the one with the lowest rate of deaths caused by fires. Thanks to the model of fire
prevention implemented by the National Department of Fire Brigades, the number
of deaths each year amounts to 2 persons for every one million inhabitants. As
demonstrated by the report of the EU Fire Safety Network, operating under the aegis
of the European Commission, the average in the 19 member countries is equal to 10.7/
million. More highly industrialized countries like Germany, France and England
report figures of between 5 and 7 persons per million.
Each year 200,000 projects are examined and inspections are made by the National
Department of Fire Brigades to certify compliance with fire prevention standards of
industrial and commercial facilities, crafts workshops, heating plants, tall buildings
(over 24 meters) and, more generally, of activities with a risk of fire and/or high
concentrations of human presence. Then there are the theater performances, musical
concerts, sports events in stadiums, trade fairs: in this sector alone the Department
provides 50,000 service interventions each year, as its personnel ensures the safety of
the participants in case of fire, and coordination of emergency and evacuation services
in case of accidents.
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20
Patronage
MARIO BOTTA, after a period of apprenticeship
in Lugano, attended art high school in Milan and
continued his studies at the Istituto Universitario
d’Architettura of Venice, taking a degree in 1969
under the guidance of Carlo Scarpa and Giuseppe
Mazzariol. During the period in Venice he had a
chance to meet and work with Le Corbusier and
Louis I. Kahn.
In 1970 he opened his own studio in Lugano, and
since then he has also been active as a teacher,
conducting lectures, seminars and courses at
architecture schools in Europe, Asia, the United
States and Latin America. In 1976 he was a visiting
professor at the Lausanne Polytechnic and in
1987 at the Yale School of Architecture in New
Haven, USA. Since 1983 he has been a professor
Ph. Beat Pfändler
of the Scuole Politecniche Svizzere, and from 1982
to 1987 he was a member of the Swiss Federal
Commission of Fine Arts.
Starting with single-family homes in Canton Ticino, his work has branched out to
cover all building typologies: schools, banks, office buildings, libraries, museums
and religious buildings. Over the last few years he has been one of the founders of
the newArchitecture Academy of Mendrisio, where he still teaches, and was the
director for the academic year of 2002/03.
His work has received many important international honors (including the Merit
Award for Excellence in Design by the AIA for the Museum of Modern Art
of San Francisco), and many exhibitions on his research have been organized. In
September 2010 the MART Museum of Trent and Rovereto commemorated 50 years
of his activity as an architect with a major retrospective.
His most important works include: the theater and cultural center of Chambéry;
the media library of Villeurbanne; the SF MoMA Museum of Modern Art of San
Francisco; the Cathedral of the Resurrection at Evry; the Jean Tinguely Museum
in Basel; the Cymbalista Synagogue and Jewish Heritage Center in Tel Aviv; the
municipal library of Dortmund; the Dürrenmatt Center at Neuchâtel; the MART
Museum of Modern and Contemporary Art of Trent and Rovereto; the Kyobo
tower and the Leeum Museum in Seoul; the office buildings of Tata Consultancy
Services in New Delhi and Hyderabad; the Fondation Bodmer museum and library
in Cologny; the Church of Pope John XXIII at Seriate; the restructuring of Teatro
alla Scala in Milan; the Church of the Holy Visage in Turin; the Tschuggen Berg
Oase wellness center in Arosa; the Château Faugères winery at Saint-Emilion;
the Bechtler Museum in Charlotte; the church of Santa Maria Nuova at Terranuova
Bracciolini, the subway stations of Naples, the museum of architecture in Mendrisio.
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Patronage
Stanza
by MARIO BOTTA
with GVM, MAPEI and RIVA 1920
Concept
Interni Mutant Architecture & Design is an opportunity to think about our ways
of living and building. For the architect, coming to terms with a prototype means
exploring a utopian thrust that links up with the archetypal forms of the past.
This is the key to interpretation of this “minimalist” design that works with a single
material: marble. The marble surfaces seem to come alive thanks to light and a
physical presence that anchors them to the earth, expressing the idea of gravity and
weight. The rigor of the pure surfaces of the single piece of stone, 86x86x43 cm – and
its various combinations – take architecture back to primordial values. A relationship
has been created with the existing architecture that, in its more courtly form, becomes
a part of the project, forming the backdrop for this new “stanza” (room).
Project
“Stanza” is composed of 115 marble L-shaped modules, each measuring 86x86x43
cm, for a total weight of 45 tons. The composition of these blocks, which can be
combined and rearranged in different solutions, leads to the final volume, measuring
516x473x473 cm. The fourth wall is formed by the loggia of the 17th-century
Cortile d’Onore that hosts the installation. Marble has great natural resistance to
compression. The cutting of the L-shaped modules is done starting at the center of
the block, moving toward the perimeter to avoid breakage. The only exceptions to
this modular rule are the table and the 7 vase, also in marble, that contribute to create
different conditions inside “stanza”.
GVM La civiltà del marmo
GVM is a factory that attempts to create a new, highly technological philosophy in
Carrara, around the very ancient culture of marble.
Art, technology, creativity, diversification and uniqueness are the guiding principles
that prompted Gualtiero Vanelli, in 1995, to found “GVM la civiltà del marmo”,
continuing the tradition of a family that for over two centuries has been a leader in the
stone materials sector, and owns some of the largest marble quarries at Carrara.
Over the years GVM has diversified the tools connected with the working of stone to
create something different that connects the world of marble with those of art, design
and marketing.
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Mapei
Mapei, the world leader in the sector of adesives, sealants and chemical products for
construction, collaborates with the architect Mario Botta to produce the installation
“Stanza”, thus continuing a relationship that has bound them for many years. The
result of this synergy are the many joint projects: the Museum of Modern Art in San
Francisco, the wooden model of the San Carlino in Lugano and the restoration of
Teatro alla Scala in Milan.
Riva 1920
Creating furniture that challenges time and respects nature. Riva 1920 has been
producing furniture for three generations. In the past 20 years, the company was
committed to producing furniture with only and exclusively natural materials and
complements, allowing a low environmental impact.
22
Cortile d’Onore
installation Stanza (5,16 x 4,73 x h 4,73 m)
project by MARIO BOTTA
with GVM, MAPEI and RIVA 1920
23
Patronage
RICHARD MEIER, managing partner of
Richard Meier & Partners Architects, received
his architectural training at Cornell University.
He worked with Skidmore, Owings and Merrill
and then with Marcel Breuer, and was a member
of the group Five Architects (with Eisenman,
Hejduk, Graves and Gwathmey). He established
his own office in New York in 1963. His bestknown projects include the Getty Center in Los
Angeles; the Jubilee Church in Rome; the High
Museum of Art in Atlanta; the Perry and Charles
Street Condominiums in New York; the Canal+
Television Headquarters in Paris; and the
Museum of Contemporary Art in Barcelona.
In 1984, Mr. Meier was awarded the Pritzker Prize
for Architecture, considered the field’s highest
Ph. © Mark Seliger and Richard Meier & Partners Architects
honor. Projects recently completed by Richard
Meier & Partners include the Gagosian Gallery
in Los Angeles; the Arp Museum in Germany; the Ara Pacis Museum in Rome;
the Burda Collection Museum in Baden-Baden, Germany; the Broad Art Center at
UCLA; the San Jose City Hall; the Coffee Plaza in Hamburg, Germany; the United
States Federal Courthouses in Islip, New York and Phoenix, Arizona; and Weill Hall,
the Life Sciences Technology Building at Cornell University in Ithaca, New York.
Projects currently under construction include the Italcementi i.Lab in Bergamo;
residential towers in Tel Aviv and Tokyo; two hospitality and commercial projects in
Mexico; a club house and hotel in China; and luxury residences in several major cities.
His numerous awards include thirty National AIA Honor Awards and over fifty
regional AIA Design Awards. In 1989 Richard Meier received the Royal Gold Medal
from the Royal Institute of British Architects. In 1992, the French Government
honored him as a Commander of Arts and Letters, and in 1995 he was elected Fellow
to the American Academy of Arts and Sciences. He is currently working on his first
monograph about his sculptures, collages, drawings and paintings, with famous
graphic designer Massimo Vignelli.
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Patronage
Mutated Panels
by RICHARD MEIER ARCHITECTS
with ITALCEMENTI and STYL-COMP GROUP
lighting iGuzzini
Concept
Natural light is a fundamental element in the work of Richard Meier. Light is shaped
to give form to space, indicating the passage of time, and making the sky a presence – all
essential factors for an enhanced experience of architecture. Mutated Panels consists
of a series of walls whose geometries gradually shift the multidimensional aspect
toward a single dimension: the material with which it is built, concrete, becomes an
expression of plastic potential. Mutated Panels is positioned on the eastern side of the
Cortile d’Onore, perpendicular to the central axis of the building. Visitors approaching
from the main entrance perceive all of its enigmatic qualities. At first it looks like an
inert square of white concrete, then like a volume (formed by the plaza and a translucent
cement wall), then like a distorted sequence of the edges of panels, and finally like a
linear space enlivened by the interaction of the panels with the sunlight, on one side, and
the delicate character of the translucent wall, on the other.
Project
The installation is composed of panels of about 2-3m x 3m, in TX-Active photocatalytic
concrete by Italcementi, a self-cleaning material that reduces pollution, used in
the Jubilee Church in Rome by Richard Meier (2003), and by Styl-Comp Group’s
Molten Stones, the innovative product made of selected blends with high and multiple
functional aesthetic qualities. The panels are arranged in a 10-meter sequence, flattwisted-flat, and supported by a raised plinth. The project also displays the translucent
concrete i-Light panels by Italcementi, arranged along one wall behind the TX-Active
panels. The panels are supported by a steel structure. Visitors can walk through a
corridor adjacent to the sequence of the panels and look through the i-Light panels
behind. The sight through the translucent panels is increased by an overhanging
opaque roof. In the daytime the natural light is reflected, producing shadows along the
corridor; at night the installation, lit from within, creates an effect of brightness when
observed from the courtyard.
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Italcementi Group
The Italcementi Group is at architects’ side with its materials and know-how working
on innovative high-tech projects. The Group’s partnership with Richard Meier &
Partners dates back to the construction of Dives in Misericordia church in Rome in
the early nineties, and continues with the i.lab project: the Italcementi Group’s new
research center, due to open at the end of 2011, offering the best of “green” construction
technologies. The synthesis of this constructive professional dialogue also appears in
Mutated Panels, an installation perfected by Meier studio using new environmentally
compatible products developed by Italcementi researchers: i.light® “transparent”
cement and TX Active® “smog-eating” cement. Italcementi is the fifth world cement
producer.
Styl-Comp Group
Styl-Comp Group is a group of 3 highly specialized companies in custom precast
concrete architectural and structural elements.
Pietre Fuse is an innovative cement product that can be carefully selected and poured
to create infinite geometric forms and appealing visual and tactile effects never before
applied to structural and architectural features, freely adapting to different project
25
Cortile d’Onore
installation Mutated Panels (10 x 6 x h 3.25 m)
project by RICHARD MEIER ARCHITECTS
with ITALCEMENTI and STYL-COMP GROUP
26
Patronage
SNØHETTA, formed in 1989 and led by principals
Craig Dykers and Kjetil Thorsen, is an award-winning
international architecture, landscape architecture, and
interior design firm based in Oslo, Norway, and NewYork
City. As of 2010, the firm, which is named after one of
Norway’s highest mountain peaks, has approximately
100 staff members working on
projects in Europe, Asia, the United States and Canada.
The practice is centered on a transdisciplinary approach
where multiple professions work together to explore
differing perspectives on the conditions for each project.
A respect for diverse backgrounds and cultures is a key
feature of the practice; reflecting this value, SnØhetta is composed of designers and
professionals from around the world. The firm has completed a number of critically
acclaimed cultural
projects, including the Bibliotheca Alexandrina in Egypt; the new National Opera
and Ballet in Oslo, Norway; and the Lillehammer Art Museum, built for the 1994
Winter Olympics in Norway. Current projects include the National September 11
Memorial Museum Pavilion at the World Trade Center site, New York; the Wolfe
Center for the Arts at Bowling Green State University, Ohio; the Hunt Library and
Institute for Emerging Issues, Raleigh, North Carolina; the Mutrah Fish Market in
Muscat, Oman; the King Abdulaziz Center for World Culture in Dhahran, Saudi
Arabia; and the new Student Learning Center at Ryerson University in Toronto,
Canada. SnØhetta was also recently commissioned to reconstruct the public spaces
in and around New York City’s Times Square, and has been selected to partner with
the San Francisco Museum of Modern Art (SF MoMA) on the expansion of
the acclaimed museum. In 2004 the company received the Aga Khan Award for
Architecture, and in 2009 it was honored with the Mies van der Rohe Award.
SnØhetta is the only company to have twice won the World Architecture Award for
best cultural building, in 2002 for the Bibliotheca Alexandrina and in 2008 for the
National Opera and Ballet in 0slo.
20134 Milano
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PAOLO ARMENISE and SILVIA NERBI founded the
Zot design studio in 1996, to work mainly in the fields of
architecture, design, graphics and communication.
Besides their activities connected with architecture, with
many projects in Italy and abroad, over the years they have
collaborated with the Research Center of the European
Design Institute, developing projects of integrated
territorial communication. They have directed three
editions of the Summer Masters (ASP program) held in
Tuscany and Sicily. They are presently the art directors
of Savema, Marmi Carrara, Magti and since 2008 of
CarraraMarmotec. Since 2004 they are partners of
Bestetti Associati in Milan. They have worked, among others, for Poliform, Paola Lenti,
Disano Illuminazione, Albed and Abitare il Tempo.
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Patronage
Zero
by SNØHETTA
in collaboration with Paolo Armenise e Silvia Nerbi
Lighting Martinelli Luce
Concept
A gesture that becomes a deep sign, a subtraction that forms the basis for generation
of matter, this is marble. The act that men daily perform qwarrying marble produces
a void. Sometimes this void is more evident and looking at the mountain we see huge
holes, immense zeroes. We have thought about the ethical sense of our work, the
project is nothing but the will to represent the void smoothing its corners to make
sure that the man could feel it as his own place. Shaping a zero and representing a void
is a project non only ethical. This is the only possibile mutation, the one that man can
do by taking a raw piece of the earth and convince it to become as soft as a pillow.
Project
The project is a marble cube measuring 5 x 5 m and empty inside. The exterior has
sharp, pure edges, and a raw, unfinished surface. Inside everything softens. The
edges are smoothed, the walls polished, the lines of the floor are softened to create
seats. The result is an architecture through which to walk, lingering for a moment to
sit down and think.
CarraraMarmotec
An indispensable event for those who create and design, a promotional tool available
for companies, capable of creating ideal links between the world of design and
architecture and that of stone materials.
Located in the oldest and universally renowned industrial district of stone, where
traces still remain of the Roman system of stone cutting, CarraraMarmotec is the
trade fair of reference for natural stone, quarrying and processing. Thanks to the
organization of high-profile conferences and encounters, CarraraMarmotec is more
than just a fair; it is an event in continuous evolution, always in pursuit of new stimuli,
languages and synergies capable of communicating the very values that have led to
the success of Made in Italy around the world: tradition, culture, creativity, know-how,
taste and quality.
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28
Cortile d’Onore
installation ZERO (5 x 5 x h 5 m)
project by SNØHETTA in collaboration with Paolo Armenise and Silvia Nerbi
29
Patronage
MINI Sintesi
by ANDERS WARMING
with MINI
Concept
Created and designed by the General Manager of
MINI design Anders Warming and his team, the
installation “MINI Sintesi” in the Cortile d’Onore
of the Università degli Studi of Milan visualizes an
artistic interpretation of the MINI family principle:
“All family members derive from the same
nucleus and share the same genes, yet show
different and individual characters”.
Project
The body of the sculpture converges at one end
into a set of five different layers showing the
coloured outlines and architecture of the MINI
model range. Based upon Sir Alec Issigonis´ original Mini as the smallest innermost
structure and core of the setup – the installation follows the brand´s evolutionary
principle “from the original to the original” with the MINI Concept Coupé, the MINI
Hatchback, the MINI Clubman and culminating with the MINI Countryman in the
outer layer. Similarly every MINI car has its own characteristics and fulfills different
needs. This is expressed through the compact and stable core from which cylindrical
tubes/extruded outlines emerge in different directions and thus show the potential of
the family and its continuous and progressive evolution. The chrome appearance of
the outer shell reflects the surrounding historical architecture and the continually
changing sky and generates a fascinating juxtaposition. The open tubes of the
“MINI Sintesi” invite to playful interaction, inspiring creativity and imagination, and
results in a vision of the MINI installation unique for every visitor.
ANDERS WARMING, responsible for the complete design development of the
MINI brand since January 2011, started working for DesignworksUSA in California
in 1997. Following this, the 38-year-old Dane was employed in various positions as an
automobile designer before coming to Munich in 2005 as Team Leader, Advanced
Design, BMW Group. In 2007, he took over as head of Exterior Design, BMW
Automobiles. Under his leadership, the BMW Z4, BMW 5 Series and the BMW
Concept 6 Series Coupé, presented at the Paris Auto Show, were created.
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Cortile d’Onore
installation MINI Sintesi (6 x 6 x h 2,80 m)
project by ANDERS WARMING
with MINI
31
Patronage
JACOPO FOGGINI, describes himself as an
explorer of art and design, who crosses the
boundaries imposed by conventional disciplines.
The extraordinary evocative capability of his works
harmoniously combines a refined poetic sensitivity
with the revolutionary use in the art field of a quite
ordinary material, generally used to manufacture
the car’s eye: methacrylate. After his debut in
1997, with an installation at Romeo Gigli’s, Jacopo
Foggini’s success stages were also marked by the
opening of his own gallery, the carrying out of a
book about his artistic production and the display
of his luminous sculptures in the permanent
collections of some prestigious institutions, such
as the Haus der Musik in Vienna, the Museum
of Decorative Arts in Montreal and the Gandhi
Ph. Hugh Findlater
Museum in New Delhi. In the past few years,
Foggini’s light creations were displayed in over sixty
events at galleries and showrooms worldwide.
During FuoriSalone 2008, the sculpture Ofigea was carried out for Interni’s event,
GreenEnergyDesign: a luminous, 55 m long snake.
At FuoriSalone 2009 he presented (Re)fuse, a work made from reject items, a sort of
big ready-made car formed by residues of methacrylate resin. He designs for Edra the
table Capriccio. At FuoriSalone 2010 during the exhibition Think Tank by Interni he
made “Golden Fleece”, a golden fleece of almost 200 square meters. In the occasion of
the 2011 edition of Salone del Mobile, he realised for the 25°anniversary of Nespresso
“Twentyfivethousendcoffee”, a candlestick composed of 25.000 coffee pads with a
diameter of 3 m and a height of 6m. In the circle of collection “Edra in wonderland”,
coordinated by Massimo Morozzi, Jacopo Foggini presents the innovative pit-stall
for indoor and outdoor Alice, realised by dripping of yarn of polycarbonate that
generate self-supporting. Foggini has been working for many years with some leading
architecture practices for the carrying out of projects for the private and public sector.
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Plasteroid
by JACOPO FOGGINI
with NICE
Concept
Plasteroid is a planet, the promised land, the new dreamed world, to which land
through a deep meditation and inner consciousness. Sign of a beneficial change,
the installation means to be the result of a new explosion of transforming primeval
substance. Plasteroid attenuates the arrogance of human beings and interprets the
urgent need to save ourselves through immediate respect for and return to
Nature. The world itself, in the project’s vision, is an immense mutant architecture.
The inner structure of Plasteroid is the pivot of its outer monumental character, a
space ready to transform into a new planet. The light, the pulsing core of the work,
spreads from the bright polycarbonate walls, radiating new vital energy.
Project
The structure that supports and shapes the sphere is composed of a central pyramidshaped truss that can be divided into three sections, from which 32 posts are
arrayed, on four levels. Each post, attached to the truss and supported by a steel
cable in a reticular configuration, terminates with a split in the form of a semicircle to
double the support points of the external surface of the sphere. Every connection point
between the metal structure and the outer skin is equipped with a perforated disk
in transparent polycarbonate to permit connection by stitching, to obtain the largest
possible surface of contact. The surface is made with a double layer of 200 reclyced
polycarbonate scales, produced by M.G.M. Materie Plastiche (150cm x 150cm each)
in a transparent blue color, poured by hand and stitched together to form a single
spherical surface. The lighting system is composed of a tungsten halogen 20,000
watt bulb with dimmer, positioned in the central nucleus of the installation, screened
by an opaline pyrex structure for better light diffusion and protection of the fixtures.
Nice
The installation is made with the support of Nice, an international reference point
in the sector of Home Automation. Founded at the start of the 1990s, Nice designs,
produces and markets systems for the automation of gates, garage doors, street
barriers and parking systems, curtains and blinds, for residential, commercial
and industrial buildings, and wireless alarm system. With the recent acquisition of
FontanaArte, Nice now enters the complementary sector of lighting systems, with a
wide range of integrated solutions for the home.
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Cortile d’Onore
light installation Plasteroid (Ø 8 x h 7,6 m)
project by JACOPO FOGGINI
with NICE
34
Patronage
Con
il patrocinio di
GIULIO IACCHETTI, has worked on industrial
design since 1992, and collaborates with many
companies, including: Alessi, Danese, Foscarini,
Globo, Grom, Lavazza, Moleskine, Nodus,
Panasonic, Pandora Design, Sambonet and Skitsch.
He also works as a teacher at many universities
and design schools, in Italy and abroad. The
distinctive characteristics of his approach are
research and definition of new object typologies like
the Moscardino, the biodegradable eating utensil
for which he won, in 2001, together with Matteo
Ragni, the Compasso d’Oro prize, and a place in the
permanent design collection of MoMA New York.
With the creation and coordination of the Eureka
Coop group project for Coop Italia, he has brought
design into the world of large-scale retailing
Ph. Settimio Benedusi
while indicating the existence of a new generation
of Italian design. In 2009 this project gained him
the Prize of Prizes for innovation assigned by the President of the Italian Republic.
In May 2009 the Milan Triennale presented a show of his works, entitled “Giulio
Iacchetti. Disobedient Objects”.
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Scriba
by GIULIO IACCHETTI
with MOLESKINE
Concept
Like a playful reference to the Pop Art tradition, a gigantic Moleskine notebook
becomes a space for meeting, exchange and creative relaxation. A mutant setting,
between analog and digital, where past, present and future connect through man’s
need to communicate, by any possible means.
The heart of the installation is a robot that grips the pens of the new Writing
collection by Moleskine, the first foray of the company outside the category of
notebooks. The robot (made thanks to Kuka, ITIA – CNR Milan and CIA srl
automation and robotics for the automation and robotics performance) writes
and draws on a large white page that shows the content posted by the public via web,
with reproductions of sketches of the projects for the new Moleskine collections:
Writing, Travelling and Reading. The three collections, designed by Giulio Iacchetti,
are presented in a world debut in the exhibition Interni Mutant Architecture & Design,
alongside the white pages of the famous notebooks.
Project
The installation, in an area of about 75 m2, is a large-scale reproduction of the
Moleskine notebooks, functioning as large seats arranged to encourage conversation
and free circolation of the audience inside the installation. The fulcrum of the project is
the robot Kuka, which grasping a pen from the new Moleskine collection writes and
draws on a large white page. Special software developed by the CNR of Milan sends
the data received (texts and images) to the robot arm, which with complex but very
precise movements writes and draws on the page.
In the central Moleskine notebook there is a large table, surrounded by seats.
Under a crystal case of the table top are exhibited the notebooks of renowned
designers, coming from the Detour archives, a Moleskine itinerant projects
curated by Raffaella Guidobono. The authors: Tord Boontje, Fernando and Humberto
Campana, Giulio Iacchetti, Setsu & Shinobu Ito, Joep van Lieshout, Julia Lohmann,
Nicolas Gwenael, Patricia Urquiola
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Moleskine
The brand Moleskine is synonymous with culture, travel, memory, imagination and
personal identity - in both the real world and the virtual world. It was started in 1997,
recreating the legendary notebook of artists and thinkers from the last two centuries
extolled in the pages of Chatwin’s books. Distributed in 62 countries, the Moleskine
brand now encompasses a family of nomadic objects: notebooks, diaries, journals,
bags, writing instruments and reading accessories, dedicated to our mobile identity.
Objects that are able to follow us everywhere we go and represent us wherever we are
in the world becaming partners for the creative and imaginative professions of our
time. The Moleskine adventure continues beyond paper: the notebook has given rise
to new objects which naturally complement and enhance it, so the story can continue
to be told beyond its pages, with a new, modern nomadic kit of tools. No longer just
the legendary layouts of blank pages, but a collection of objects for writing, reading,
looking and moving in the distinctive rhythm of each individual.
Giulio Iacchetti has designed the new collection of Moleskine nomadic objects. His
creative journey crosses paths with the Moleskine adventure marking the beginning of
a new and exciting chapter.
36
Hall Aula Magna
installation Scriba (5 x 15 m)
project by GIULIO IACCHETTI
with MOLESKINE
37
Patronage
DESIGN ISLAND
CORTILE D’ONORE
Green Tower design CARLO COLOMBO
production ARFLEX, COMPAGNIA DEL VERDE and STRATEX
The Neighborhood design RON GILAD
production DE CASTELLI and FLOS
Buon Weekend design DIEGO GRANDI
production ROSENTHAL and SAMBONET
Lib(e)ro design SETSU and SHINOBU ITO
production ART_CONTAINER
Zig-Zag design NENDO
production LEMA
La Saetta Fotovoltaica design MASSIMO PIERATTELLI
production ARVAL with BARACLIT, ENERGY RESOURCES
and CIPRIANO COSTRUZIONI
Archetto design SYBARITE
production MARZORATI RONCHETTI
SCALONI D’ONORE
Caldia Cube design FRANCESCO LUCCHESE-CALDIA CUBE
production MARMI E GRANITI D’ITALIA SICILMARMI
LOGGIATO OVEST
Lounge Chair design PEDRO CAMPOS COSTA
production AMORIM ISOLAMENTOS
Spun (Coriolis) design THOMAS HEATHERWICK
MCM - Modulo Camparitivo Mobile design MATTEO RAGNI
production CAMPARISODA
Lavazza Piazza Italiana design LORENZO PALMERI
production LAVAZZA A MODO MIO
Luce Mutante design ETTORE CIMINI and WALTER MONICI
production LUMINA
DC10 design VINCENZO DE COTIIS
production ROSSANA
Pr-oggetto design DANIELA DI LAURO and MASSIMILIANO DELLA FOGLIA
production DO.IT DESIGN OUTLET ITALIANO
PORTICO DEL RICHINI
QuaDror for More design DROR BENSHETRIT
production MORETTI COSTRUZIONI
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Contract Italiano3 design SIMONE MICHELI
production ICE Italian Institute for Foreign Trade
PRESS ROOM
Forma Mentis design SIMONE MICHELI
production VISIONNAIRE
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Patronage
Green Tower
design CARLO COLOMBO
production ARFLEX,
COMPAGNIA DEL VERDE and STRATEX
CARLO COLOMBO, thanks to his international approach
he is well known in many countries, where he acts as an
ambassador of Italian design.
He began his career as a designer for the furniture
industry where he still works with many leading companies Ph. Caio Esteves Ribas
like Poliform, Varenna, Poltrona Frau, Cappellini, Zanotta,
Moroso, Antonio Lupi, EMU, Sabattini, Arflex, De Padova.
He curates exhibitions and cultural events on Italian design around the world, and was
artistic director of Ambiente Italia, held at the Frankfurt Fair in June 2009.
Colombo has received many prizes and honors all over the world, including the
Designer of the Year award in Japan in 2004.
He was a university professor in Italy from 1999 to 2001. Today he teaches architecture
at the University of Beijing. He has held lectures and conferences in China, Australia,
Israel, South Africa, the Arab Emirates, Russia, America, Japan and all over Europe.
Today his studio works on large-scale projects of interior design and architecture around
the world. In 2010 he developed, for the well known brand Massimo Bonini, a fashione
concept store for men and women, which forms the basis for an important franchising
project in Jakarta and Hong Kong.
He is presently working on a new footwear collection for Levi’s.
The studio’s commissions include private and public initiatives, residential and office
buildings, hospitals, production facilities, urban planning and infrastructures, schools
and subway stations, resorts, stadiums, airports and tourism ports.
Concept
The project represents the concept of an architecture that constantly evolves and
changes; a process that is also linked to changing ways of living, interpreted by the
architect in terms of figures and typologies to respond to concrete needs.
The tower, composed of stacked quadrangular rings, creates an ongoing play of
perspectives. A simple module that mutates. A work of architecture that grows, like a
tree, to receive more light. An ecocompatible tower built entirely in wood by Stratex,
a company operating successfully in the sector of ecocompatible architecture. Inside,
there is a secret garden, a place for reflection, paced by the outdoor project done
for Arflex by Carlo Colombo, furnishings with clean, essential lines. A blossoming
vertical garden created thanks to a greenery system used by Compagnia del Verde by
Zelari. A sheltered space for thinking, isolated from the outside world; a modern hortus
conclusus, part of our humanistic tradition. The light, an essential component in all the
spaces of human beings, is treated in collaboration with iGuzzini; like a precious chest,
at night the tower lights up from the inside, through off-axis openings, coming alive in a
dynamic way.
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Cortile d’Onore
design island Green Tower (6 x 6 x h 9 m)
design CARLO COLOMBO
production ARFLEX, COMPAGNIA DEL VERDE and STRATEX
40
Patronage
The Neighborhood
design RON GILAD
RON GILAD, Born in 1972 in Tel Aviv, lives and works in
New York City. Ron Gilad’s hybrid objects combine material
wit with aesthetic play and they are positioned on the thin
line between the abstract and the functional. His works
varying from one-offs to limited editions and production
pieces, the works have no “expiration date” and reside in
Ph. Monica Castiglioni
both public and private collections worldwide. Gilad asks
unceasing questions in 3D form and fabricates answers that
propose new stimulus. Metaphorically, Gilad is a linguist, creating his own language. He
learns the origins of “words” and develops new “synonyms”. Gilad has taught conceptual
3D design at Shenkar Academy in Israel and the Pratt Institute in NY. He works with
companies like Flos, Driade, Zani&Zani, Moooi, Dilmos Milano and Cibone Japan.
Concept
Gilad began conceiving house-based forms in 2008. They were initially realized as
tables, ashtrays, and tabletop sculptures. These pieces dominated his exhibition at the
Wright Gallery in Chicago: “Spaces Etc. / an exercise in utility”. In late 2009, he initiated
a related project: 20 houses for 20 friends. The plan was straightforward: he would
make 20 house sculptures in an edition of 2. Only his friends could buy the first 20. This
way he brought his friends from around the glob into one virtual neighborhood.“The
neighborhood” is an adaptation of this project into an outdoor installation. The
installation is ideological. A circle indicates no hierarchy, no entrance, and no exit.
Communal ideas about houses and homes are embedded in our language and the ways
we think about ourselves. What words are more resonant than “house” and “home”? Ron
Gilad stripped his houses of verbal associations. His simple lines in three-dimensional
space allude to the most basic concepts of the house, the home. Gilad’s spare lines echo
the pattern language of architecture. Here are doors and windows positioned at
90% angles from the walls and the ground. Here is the sloped roof, the eaves, the wall,
occasionally a chimney. Gilad employs the generic architectural tropes that suggest and
indicate a house, what he calls “taking a line on a journey.” The materials -steel covered
by black enamel- are unobtrusively and completely in service to his idea. He
reveals the house in his perversely pure essentialist manner, lines in three-dimensional
space. That’s all. No texture, no furnishing, no people, no furniture. These houses are
vulnerable spaces; they provide no protection, the usual sheltering function of a home.
Even those with roofs offer no protection; the walls are permeable. “The Neighborhood”
suggests the point where abstraction meets architecture meets sculpture meets social
meets art world commerce. The installation composed of 17 abstract house sculptures,
arranged in a 20 meter diameter circle. The sculptures are made of square steel rods
welded and finished with black paint.
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Cortile d’Onore
design island The Neighborhood (1,5 x 3 x h 2 m)
design RON GILAD
42
Patronage
Buon Weekend
design DIEGO GRANDI
tent Ferrino
seating Casamania
DIEGO GRANDI, architect and designer, lives and works in
Milan, where in 2002 he created DGO, a studio that works
on interior design, product design and consultancy. His
Ph. Helenio Barbetta
focus on surfaces and the visual aspects of design has led to
research on the “skin value” of materials and their possible
alterations and contaminations. The two-dimensional results of a project can also take on
three-dimensional impact, defining a new code of living that starts with observation of
everyday behavior patterns and habits. This approach leads to projects like the Mapper
carpets and the Le Module wallpapers for Jannelli & Volpi: shown for the first time
at the International Design Biennial of Saint Etienne and selected for the collection
of the Victoria & Albert Museum in London. Since then, projects and collaborations
with companies like Abet Laminati, DuPont Corian, Guzzini, Lea Ceramiche and Skitsch
have alternated with participation in important international events and exhibitions, like
the Salon du Meuble of Paris and the Milan Triennale, as well as teaching activities
in Italian design schools. Grandi’s work has received international awards and honors,
including inclusion in the ADI Design Index of the City project for Lea Ceramiche,
while the Oppiacei table designed for Skitsch was selected, in 2010, for the interpretation
of the Design Museum at the Milan Triennale.
Concept
The project considers the objects and interprets the architectural spaces of the State
University of Milan in terms of their use, where the term ‘mutant’ refers to what is
flexible, adaptable and mobile. This idea is expressed through a reinterpretation of the
archetype of the tent, which becomes the fulcrum of the installation. A light structure
composed of four large colored sheets wraps an existing tree to suggest places for
lingering, socializing, relaxing inside the green zone of the garden. A convivial moment in
which Sambonet and Rosenthal provide the indispensable linkage. In a new take on the
picnic, and activating a readymade procedure, cutlery, trays and dishes leave the table to
enter a more informal setting, defining the topography of an artificial landscape that offers
more intimate areas for sitting, dining and spending time on the much-awaited weekend.
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Cortile d’Onore
design island Buon Weekend (1,68 x 1,24 x h 3,3 m)
design DIEGO GRANDI
44
Patronage
Milano Capitale del Design® 2011 (11-17 aprile 2011)
Università degli Studi di Milano Via Festa del Perdono 7, Milano (11-21 aprile 2011)
Lib(e)ro
design SETSU E SHINOBU ITO
SETSU E SHINOBU ITO, both designers and architects.
They took degrees in Japan, Setsu at the University of
Tsukuba and Shinobu at the Tama Art University of
Tokyo. They live in Milan. They act as consultants in
Milan and Tokyo for many companies, including Canon,
Casio, DePadova, DuPont, Edra, Fiam Italia, Fornasarig,
Fujifilm, Fujitsu, Guzzini, Hitachi, Lavazza, Mitsubishi,
Nava, Nissan, Panasonic, PoltronaFrau, Reggiani, Richard Ginori, Sharp, Toshiba,
Yamagiwa, Yamaha. Their works have been published and exhibited all over the world,
receiving many prizes and honors. Some are included in the permanent collections
of leading art museums. Though they work on design in the fullest sense of the term,
from products to interiors to exhibit design, all their works come from a shared
idea that attempts to find the right balance between the diversities of oriental
and occidental culture. Shinobu is also an expert in design & marketing, thanks
to extensive experience gained over the years working with CBS Sony / Sony Music
Entertainment. Setsu also works as a professor at many Italian and international
institutes and universities.
Concept
To regenerate seagoing freight containers at the end of their life cycle, enabling them to
perform new functions, making use of their structural and architectural potential, is the
task of Art_Container, a company that is a pioneer in this field in Italy. First of all, there is
the desire to send a message: to use what is usually overlooked, to take advantage of
an immense trove of products that are seen as refuse, transforming them from cold
containers into welcoming, lively settings for stories as yet to be experienced.
At the center of the installation stands Lib(e)ro, a modular outdoor urban furnishing
system capable of creating micro-environments, meeting points in the city, starting
with one container “slice”, a single module of identical size and production that can
be applied in many different variations. A project that reminds us, in its approach
and component system, of the famous installation created by Ettore Sottsass in 1972
at MoMA NY for the exhibition “Italy: the New Domestic Landscape”. In that case,
vertical modules connected to each other formed an infinite range of domestic functions,
offering the possibility of having a ‘home’ anywhere. In the project “Lib(e)ro” the various
modules, connected and organized on wheels for easy transport, can be assembled to recreate the original form of the standard shipping containers from which they are made.
Based on the infinite possible configurations, the installation underlines their mutable
character. A system, an urban accessory capable of creating a meeting point between
different stories: for stopping, reading, enjoying an outdoor snack.
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Cortile d’Onore
design island Lib(e)ro (11.9 x 2.1 x h 2,4 m)
design SETSU E SHINOBU ITO
46
Patronage
Zig-Zag
design NENDO
production LEMA
NENDO, is a design studio founded in Tokyo in 2002
by Oki Sato (born in Canada in 1977, Masters degree in
Architecture in 2002 at Waseda University in Tokyo).
The aim of the studio is to create projects that surprise
people, using different disciplines, from architecture to
interior design, industrial products to graphics. Since 2005
Ph. Xxxxxxxx Xxxxxxxxx
the Tokyo office has been joined by an office in Milan. Nendo
works for Kartell, Arketipo, Cappellini, DePadova and
Issey Miyake. During Milan Design Week 2011 they will present, for Lema, the Zigzag
bookcase and the Shift partition system. Their pieces have been shown in museums
and galleries around the world (MoMA, Museum of Art and Design, Saatchi Gallery),
underscoring the crossover character of their style and their output.
Concept
Zigzag comes from a vision shared by Nendo and the manufacturer, Lema: a vision of
malleability. In Japanese, Nendo means clay, the epitome of malleable substance.
This is also the distinctive characteristic of the Lema compositions, which give rise
to a series of products to adapt to all needs.
Zigzag is a bookcase formed by elegant, simple modules in painted wood that can
be assembled in a wide range of ways, but it is also a sculptural element to occupy
different spaces. These furnishing components, reminders of the historic Lema systems,
lend themselves to different modulations precisely in order to provide a maximum of
versatility and personalization.
In the Cortile d’Onore of the Università degli Studi of Milan, a compositizon of ten
Zigzag bookcases creates a sculptural, almost totemic line that is delicate, rigorous and
ironic at the same time. The modular design and versatility of Zigzag make it a perfect
symbol of the mutant, flexible design that is the theme of the exhibition.
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Cortile d’Onore
design island Zig-Zag
design NENDO
production LEMA
48
Patronage
La saetta fotovoltaica
design MASSIMO PIERATTELLI
production ARVAL, BARACLIT,
ENERGY RESOURCES and CIPRIANO COSTRUZIONI
MASSIMO PIERATTELLI, was born in Florence in 1954,
opened his own studio in 1980, and then the design office
Pierattelli Architetture in 2004. His career has always
been linked to technological and creative innovation,
used as a valid approach to the design and restructuring
of major banking facilities, commercial and industrial
buildings, hospitality structures, hospitals and residences, with the main objective of
supplying complete project services, to solve any type of problem.
In 2004, with the project “Flows of water and wind – the invisible train” he won the
competition for the underground facilities of the Montecatini Terme railway station,
also honored in 2005 in Milan as the best project-action of territorial marketing in the
context of Expo Italia Real Estate.
The latest projects point to a growing focus on the use of materials that adapt to the
form of the building, taking on the character of sculpture in movement, with the
goal of “doing architecture” by using innovative technological solutions, also in terms
of environmental sustainability. The results include “the Ferrari spirit”, the new
managerial headquarters of Hera, the nursery, offices and service building for GE Oil
& Gas – Nuovo Pignone, and the Arval headquarters in Scandicci.
Concept
The installation is conceived as an icon of the building designed for the new
headquarters of Arval in Scandicci (Florence), a structure that is self-sufficient
in terms of energy. A sustainable project that makes maximum use of sunlight while
drastically reducing energy loss, a model for a new type of ecological construction
based on the use of renewable resources (solar, geothermal, wind). The result is the
Saetta Fotovoltaica, generated by an explosion of energy, in the Cortile d’Onore, like a
sort of dynamic steel and glass ribbon.
The structure is composed of one part clad in mirror-finish steel that forms the
load-bearing framework, and a suspended glass element in the form of a lightning
bolt, in which photovoltaic panels are inserted to produce energy for the lighting.
To bring out the effect of an electrical discharge, a continuous luminous passage
reaches the ground and is then immediately recreated in the upper part of the “bolt”.
The earthward end of the bolt features a steel tip grafted into a hollow filled with lavic
stone to represent a virtual point of return to the earth. Monitors placed in a lateral
position, toward the porticoes, make it possible to observe the evolution of the project
from the initial idea to the detailing.
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Cortile d’Onore
design island La saetta fotovoltaica (15 x 12 x h 7 m)
design MASSIMO PIERATTELLI
production ARVAL with BARACLIT, ENERGY RESOURCES
and CIPRIANO COSTRUZIONI
50
Patronage
Archetto
design SYBARITE
SYBARITE, is an architecture and design practice drawing
its passion and inspiration from organic forms in nature
as well as technologies transferred from other industries,
creating a distinctive style that is both fluid and timeless. The
word ‘Sybarite’ encapsulates the philosophy - voluptuous,
luxurious and pleasurable. The practice was established
Ph. Xxxxxxxx Xxxxxxxxx
in 2002 by Simon Mitchell and Torquil McIntosh who
met at Future Systems. The experience they gained there
working on award-winning projects such as the Lords Media Centre and Selfridges
in Birmingham, as well as prestigious competitions such as the one for the Musée de
Quai Branly in Paris, has stood them in good stead when forming their own practice.
Since 2002 Sybarite has grown year after year, supported by a diverse and talented
team of architects and technicians. The practice has a large portfolio of completed work,
having executed over 300 projects in diverse locations worldwide. They have a growing
reputation as experts in the field of retail architecture, from one-off destination boutiques
to large department stores. They to strive to continually innovate and experiment
with design and materials. As a Chartered RIBA practice (Royal Institute of British
Architects), Sybarite has 95% of its clients based outside of the UK. The studio has
extensive experience putting together teams in a multitude of locations worldwide.
Torquil studied at the University of Edinburgh and the Beaux-Arts in Paris, gaining
fluency in French and graduating in 1998. His practice experience includes Denis Laming
Architectes in Paris and Future Systems in London. Simon studied at the University of
Greenwich in London, gaining his RIBA Part III qualification in 1998. He has a range
of practice experience, most notably with Terry Farrell & Partners and Future Systems
where he was Associate Director for several years.
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Concept
Archetto is a double-face collective seat, initially designed to make good use of small
temporary spaces, to give substance and luxury to elements that might otherwise be
boring and indefinite. The fluid “bow” form is both aesthetic and functional: it maximizes
seating capacity while encouraging people to interact, to converse and socialize. The
back of the structure rises at a certain point above the normal height, forming a screen
that offers a situation of relative privacy without creating barriers. Avoiding edges that
might convey a sense of closure, the seat turns and wraps back on itself, inviting those
who approach to sit down and join the conversation. Due to its size and its sculptural
form, and the complete value of the whole, Archetto adapts to all kinds of environments,
from a Medici palace to the Guggenheim Museum in New York, as well as modern offices.
Archetto is a seat made with high-density foam, shaped by numerically controlled
machines starting with a CAD-CAM file for maximum cutting precision; it is finished
with a layer of liquid material, a particular type of fiberglass similar to that used for
yachts, making it suitable for outdoor use; it is light and composed of five parts that are
easy to assemble and transport; the presence of different electrical outlets built into the
stainless steel base makes it possible to connect laptop computers and chargers for small
electronic tools. The padded cushions are in PVC.
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51
Cortile d’Onore
design island Archetto (5 x 3,5 x h 1,5 m)
design SYBARITE
52
Patronage
Calidia Cube
design FRANCESCO LUCCHESE-CALDIACUBE
production MARMI E GRANITI D’ITALIA
FRANCESCO LUCCHESE, from Sicily, took a degree in
Architecture at the Milan Polytechnic in 1985. He received
the first ADI prize for the design of a folding chair,
Traslazione, for Gruppo Industriale Busnelli. Always starts
with historic materials examples and then develops products
and projects in keeping with a corporate strategy. Adding
functional quality and emotional impact to aesthetics,
connected with the use of an object, are the ingredients of his
method. He pays special attention to color, to establish a dialogue both with the object
and the user. His activity as an architect involves: the restructuring of a agricultural
museum, a project of a kindergarten, many urban furnishings projects, the Cineplex
cinema and the Hotel Les Fleurs in Sofia, Bulgaria. He has done works of interior
design in Italy and abroad, including showrooms in Moscow, Sao Paulo and Shanghai
completed in 2010. He taught at the Fine Arts Academy of Brera and the Polytechnic
in Milan. The studio coordinates projects of corporate positioning and brand image for
Grohe, OI Europe, TOTO Indonesia, with events for communication and exibition design
in MOscow, Dubai, Orlando and Sao Paulo. The design activity covers in Italy: Cappellini,
Foscarini, Swan, FontanaArte, Egoluce, FIR Italia, Inda, Hatria, Rapsel, Fabbian, Molteni,
Antrax, Mosaico+, Venini and abroad: Villeroy & Boch and TOTO Indonesia.
WOLF GUENTER THIEL is an arthistorian philosopher
and curator, publisher and editor of different magazines
as “Fair economics” and “Fair arts Vienna/Berlin”. He lives
and works in Berlin and Vienna. After finishing his studies
he was involved in international culture projects and started
to work as an Art Curator and a Business Consultant in the
field of Corporate Culture. During this time he has consulted
companies like Intel, HVB, Duales System, Montana, Heller,
Moroso, Koziol, Zumtobel Staff and others. Thiel worked on
exhibitions with artists like Isa Genzken, Christopher Doyle,
Heinrich Nicolaus, Carlo Fei, Christian Boltanski, Michele
Chiossi, Hofstetter Kurt, Oliviero Toscani, Kristian Hornsleth
and with designers and architects like Ron Arad, Heidulf
Gerngross, Baer+Knell, Gianni Sinni, Karim Rashid and others. From the 90ies on he
curated around 80 one-person shows and another 40 groupshows. He was Curator
of a collateral shows at the last Venice Biennale 2008 and the Shanghai Biennale
in 2006, at the Bienal Internacional de Arte Contemporáneo ULA 2010 in Venezuela,
Tirana Biennale 2001, Albania, and the Mediations Biennale in Poznan 2006, Poland.
Between 2006 and 2008 Thiel worked as one of the directors of the Beijing Royal Art
Museum in Beijing. In 2010 he curated a show with Chinese artist Yang Maoyuan at the
Palazzo Medici Riccardi in Florence.
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Concept
The Caldia Cube project is the result of the need to adapt a product like the marble
Caldia to a growing demand for natural, ecosustainable materials. The lightness of
the works proposed encounters the heaviness of the material, creating a sensation
of movement underscored by the range of interpretations seen in the works of the
architects, designers and artists involved in the project. The project has been conceived
and developed by Gabriele Braglia and Stefano Pesce for Marmi e Graniti d’Italia
with the precious contribution of Studio Lucchese for the exhibit design, which has
been adapted for the spaces of the University. Participants: Michele Chiossi, Francesco
Lucchese, Davide Macullo, Giuseppe Silvestri, Karim Rashid, Alessia Garibaldi and
Giorgio Piliego, Kurt Hofstetter, Leonard Theosabrata and Eugenia Vanni.
53
Scaloni d’Onore
design island Caldia Cube
design FRANCESCO LUCCHESE-CALDIA CUBE
production MARMI E GRANITI D’ITALIA SICILMARMI
54
Patronage
Lounge Chair
design PEDRO CAMPOS COSTA
PEDRO CAMPOS COSTA, took a degree at the Faculdade
de Arquitectura da Universidade do Porto, in Portugal, nel
1997. In 2005 he completed his Masters in “Sustainable
Construction and Planning” at the Faculdade de
Engenharia of Lisbon. He has worked for UNStudio –
Van Berkel & Bos, Amsterdam and for Promontório
Arquitectos, Lisbon. Since November 2007 he has been a
founding partner of Campos Costa Arquitectos. Recent
projects include: the waterfront and municipal market of Quarteira (Algarve), the
extension of the Lisbon Aquarium and of the Portuguese Environmental Agency.
He has also done many art projects and set designs. He presently works with D’ARS,
the periodical of culture and visual communications, in Milan. He has won the Next
Generation prize organized by the magazine Metropolis in New York, with the project
Casa no Casa (a new housing concept featuring solar energy systems) in 2006.
Concept
The chair was one of the first sophisticated objects imagined by man. Maybe the first was
the stool, but more archaic and functional than the chair, which was closer to an idea of
power and comfort. The natural mutation led, at first, toward a “long chair”, now known
as a chaise longue. Then the initial gene of the chair vanished, transforming to the sofà,
the hassock, organic objects. The installation sets the goal of recovering the primitive
gene and crossing it with the present. The repetition and juxtaposition transform
the installation into a large dynamic playground for a collective approach to relaxation
and rest. The material utilized is cork, which though it has somehow been overlooked
and seldom used in construction and design, has exceptional characteristics that make
it possible to think of it as the new mutation of materials in response to the needs of
ecology and ease of recycling. The installation is composed of a series of chaises
longues with different forms, made of cork and connected with a tubular steel
structure that keeps them together while permitting them to rock independently, to be
used by the public during the exhibition.
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Loggiato Ovest
design island Lounge Chair (7 x 1,8 x h 0,96/1,3 m)
design PEDRO CAMPOS COSTA
56
Patronage
Spun (Coriolis)
design THOMAS HEATHERWICK
THOMAS HEATHERWICK, was born in 1970 and
founded the Heatherwick Studio in London in 1994,
after graduating from the Royal College of Art. Today, the
practice operates from a combined studio and workshop in
King’s Cross, London where a team of architects, designers
and makers work on projects ranging from buildings
Ph. Xxxxxxxx
Markn Ogue
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and bridges to products and large scale works of art. The
studio’s work includes La Maison Unique, the flagship
store for luxury French brand, in New York Longchamp, multi-award winning East
Beach Café, Littlehampton, and bridge, Paddington. Recent projects include a
monastic building in Sussex and the British Pavilion for the Shanghai Expo which
opened in May 2010. Heatherwick’s most recent solo exhibition was at Haunch of
Venison, London (2009) in which his extruded aluminium furniture was shown for
the first time.
20134 Milano
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Concept
Thomas Heatherwick has created a surprising, original interpretation of traditional
furnishings design: a functional chair formed by a single profile rotated 360
degrees. Spun (Coriolis)’ is named after the scientific term ‘the Coriolis effect’ which
is an apparent deflection of moving objects when they are viewed from a rotating
reference frame. The chair transforms domestic seating into a rotating plane, with
excellent aesthetic results. The idea of this new project came from Heatherwick’s love of
traditional production techniques used for the creation of large timpani: metal spinning
is a deeply rooted skill seldom used to make furnishings, and usually applied, instead,
to construct industrial products like pneumatic cylinders or urns. As prototypes of
the highly finished metal spun chair were being crafted in England the spun chair was
shown to Magis. The Italian producer made a mass production version in rotational
moulded polyethylene. The 7 metal prototypes of ‘Spun (Coriolis)’ were first shown in
London in March 2010 and the more widely available version ‘Spun (Magis)’ by Magis
was launched in Milan a few weeks later. Following on from producing the 7 prototypes
in a smooth finish, Heatherwick has embarked on making limited editions of the chair
with Marzorati Ronchetti in Italy. The border and foot of the seat are covered in leather
to protect the floor. Each chair is composed of six metal spinnings, welded together
and polished to create a uniform surface. The chairs are handmade. The chairs have
a horizontal “rippled” effect on the surface that enhances the rotation effect, like a big
spinning top, of the furnishing object. Spun (Coriolis) demonstrates Heatherwick’s
interest in two directions, defying rules and playing with the idea of a sculpture that
becomes an enjoyable design object: in a vertical position Spun is a shiny sculpture,
but when leaned on its side the playful factor comes to the fore, the brilliant game offered
by the possibilities of its form. The seated person can rock from side to side, or even spin
round in a complete circle.
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Loggiato Ovest
design island Spun (Coriolis) (3,6 x 5,75 x h 1,2 m)
design THOMAS HEATHERWICK
58
Patronage
MCM - Modulo Camparitivo Mobile
design MATTEO RAGNI
MATTEO RAGNI, graduated in Architecture at Politecnico
di Milano. In 2001, together with Giulio Iacchetti, won the
Compasso d’Oro Award with the multiuse biodegradable
sporck “Moscardino” produced by Pandora Design, now
part of the permanent design collection at the MoMA in New
York City. In 2008 won the Wallpaper Design Award’08
Ph. Max Rommel
with the table lamp/book end “Leti”, produced by Danese.
Also in 2008 he created TobeUs, a brand for wooden
car toys handcrafted in Italy. Besides his design practice he teaches in international
universities, he’s art-director and architect. Recently was edited the book “Camparisoda.
L’aperitivo dell’arte veloce futurista. Da Fortunato Depero a Matteo Ragni”, published by
Corraini Editorial, to celebrate 100 years of Futurism.
Among his clients: Andreoli, Arthema, Bialetti, Biò Fireplace, Caimi Brevetti, Campari,
Coop, Corian Dupont, Danese, Desalto, De Vecchi, Fiam, Gammadue, Guzzini, JVC,
Lavazza, Lorenz, Mandarina Duck, MA-wood, Nodus, Pandora Design, Pinetti,
Piquadro, Plust Collection, Poltrona Frau.
Concept
Like a satellite of the project at the Triennale, the Camparitivo at the Università degli
Studi is a new projection of the famous Italian brand in the city of Milan, during it most
lively moment: the week of the FuoriSalone.
The nuances of Campari red, the angular conical form that is a reminder of the famous
Camparisoda bottle, the mirrors that create a surreal dimension in which the works of
architecture are multiplied and enlarged.
During the FuoriSalone Camparisoda celebrates its relationship with design and the
international design audience.
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Loggiato Ovest
design island MCM - Modulo Camparitivo Mobile (3,30 x 3 x h 3 m)
design MATTEO RAGNI
60
Patronage
Lavazza Piazza Italiana
design LORENZO PALMERI
LORENZO PALMERI, architect, is active in the fields
of design, interior architecture, teaching, and musical
composition and production. His mentors include Bruno
Munari and Isao Hosoe, and he worked with the latter
for many years. He has been a teacher since 1997, acting
as a professor or lecturer at well known national and
international schools of design. In the role of art director
he has worked on the exhibition Milanosoundesign with
Giulio Iacchetti; 16 designers for Invicta; Lefel (the design project of the publishing
house Feltrinelli); Arthemagroup 2011. His projects have received and been nominated
for important international prizes. His clients include: Discoteca Le Cinema in Milan,
Fieramilano, Fumagalli componenti, Valenti Luce, Losa, Arthemagroup, Korg, Noah
guitar, Andreoli, Guzzini, Invicta, Caffè River, De Vecchi, Nissan, Lefel, Napapijri,
Pandora design. In the field of music he has created soundtracks for theater pieces and
installations. In 2009 his album “preparativi per la piogga” was released, his first
collection of songs, with the collaboration of outstanding guests like Saturnino on bass
and Franco Battiato.
Concept
The Lavazza cafe for Interni Mutant Architecture is a large Italian square. The square is
the place par excellence of encounters and exchanges, multiformal by nature, because
it takes on the colors and essence of those who inhabit it in any given moment.
The Lavazza piazza has two spirits, one of hospitality, with the bar counter, open to the
public like the three-dimensional wings of a theater, revealing an Italian skyline, and one
of attraction, encouraging the public to enter for the experience of a coffee enjoyed in a
cafe where the surrounding landscape blends with the aroma of the coffee.
Lavazza, with this project by Lorenzo Palmeri, wants to emphasize its utterly Italian
roots and to pay homage, during the week devoted to creativity and design, to new
trends in the sphere of decor and architecture, a tribute to the areas in which our country
excels.
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Loggiato Ovest
design island Lavazza Piazza Italiana (12 x 3,8 m)
design LORENZO PALMERI
62
Patronage
Luce Mutante
design ETTORE CIMINI and WALTER MONICI
production LUMINA
ETTORE CIMINI, in the family company Lumina, has
absorbed on an everyday basis the passion, creativity, experience
and attention to craftsmanship that led Tommaso Cimini, his
father, to create Daphine, the lamp that is the company’s icon.
When his father passed away, Ettore left school and took over
the management of the company. His passion for hands-on
involvement has prompted to him to also work on production processes, so besides being
managing director and president of the firm, he is also one of its creative talents. He
has designed many of the objects presently in the catalogue, including Perla Garden.
WALTER MONICI, with a degree in Architecture taken in
1974, has taught design and art history in Milan for almost 20
years. His long collaboration with Lumina and with Tommaso
Cimini has led to the creation of products like Opus, Zelig,
Tangram, Ayla, Marlene, still in the company catalogue, in
which he develops his sober, elegant style and creates innovative,
patented technical solutions for lamps with two arms. Today,
after the Perla lamp created with Ettore Cimini, he focuses on
projects in the fields of furnishings, swimming accessories, doit-yourself boat kits, urban furnishings and bicycle paths, with
the association Ciclobby.
Concept
A lighting system that adapts perfectly to the surrounding environment, without
installation limits. Perla Garden is a lighting method that blends in, changes and
mutates to adapt to different needs, in perfect harmony with the host space. A game of
luminous, ecocompatible and ecosustainable spheres, to create magical atmospheres
for living. A cascade of light for low energy consumption that protects the environment.
The installation presented here is just one of the infinite possibilities offered by this
lamp; the particular architecture of the loggias of the University has suggested the idea
of inserting a modern, innovative lighting system in a setting that conveys the full sense
of centuries of history. The resulting contrast is evocative, offering nourishment for the
imagination.
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Loggiato Ovest
design island Luce mutante
design ETTORE CIMINI e WALTER MONICI
produzione LUMINA
64
Patronage
DC10
design VINCENZO DE COTIIS
production ROSSANA
VINCENZO DE COTIIS, born in Mantua, studied at the
Istituto d’Arte and then took a degree in Architecture at
the Milan Polytechnic. Already in his early experiences, it
is possible to see the focus that would later emerge in his
work as an architect, designer and stylist: highly malleable
materials, recovery of period pieces and fabrics, granted
a new life through unusual reassemblage, colors that fuse
with materials. Two fundamental characteristics stand out in
the works of De Cotiis: the large scale, and the signs of the passage of time. He is fascinated
by the past and its sensations that also stimulate a desire to intervene with new, personal
signs in already established, and in some cases even decadent contexts. This approach has
led to the project created for Rossana: the DC10 in burnished brass and stone, a kitchen
only to be used at the center of the room, with an original volumetric design, a “work
center” that renews and rethinks the tradition. His spaces are environments that contain
a few elements of great impact. De Cotiis personally makes all the objects and decorative
parts, which always call for manual intervention and assembly. An interior designer for
the Straf Hotel in Milan opened in 2004, De Cotiis has also created many boutiques,
including Antonia in Milan, Folli Follie in Brescia, Vinicio in Lissone, Pozzi Lei in Monza
and Treviglio, Tessabit in Como, Hotel in Bologna, Sugar in Arezzo, Joffre in Barcelona,
the “PBox” multilabel spaces, Vertice in Turin, and the format of the new Alberta Ferretti
boutiques.
Concept
The project presented by Rossana symbolically addresses the theme of the kitchen
of the future. It starts with a real project, the DC10 kitchen designed by Vincenzo
De Cotiis, which undergoes a sort of genetic mutation inside: it starts as DC10 in
burnished brass and becomes a pure volume of mirror glass, a simple silhouette
that metaphorically alludes to the kitchen that will be. Like a chrysalis, the kitchen of
today becomes something else, that of tomorrow, reminding us that the evolution of the
kitchen-species has already passed through mutation/contamination with the living
room, taking on its forms and features. The artistic installation created by Vincenzo
De Cotiis is projected toward the “thought of the kitchen to come”. Without offering
solutions, it lets every person, seeing their reflection in these volumes, imagine the
kitchen that will most resemble them in 2050. A Rossana kitchen, of course.
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Loggiato Ovest
design island DC10 (6 x 1 m)
design VINCENZO DE COTIIS
production ROSSANA
66
Patronage
Pr-oggetto
design DANIELA DI LAURO and
MASSIMILIANO DELLA FOGLIA
DANIELA DI LAURO, born in Milan, took a degree in
Industrial Design at the Milan Polytechnic. Works on the
restructuring of private homes, shops, contract furnishings,
exhibit design and graphics. Her passion for art and
photography has also led her to work on one-off projects that
transform and complete spaces. She thinks that even “accessories” and art pieces, if
well considered, can transform spaces and become fundamental features.
MASSIMILIANO DELLA FOGLIA, born in Milan, took a
degree in Architecture at the Milan Polytechnic. Works on
architecture and urban planning, and as artistic director for a
furniture company. His design approach interprets the needs
of contemporary living, attempting to combine innovation and
technical-formal experimentation with tradition, durability and
a balanced price-quality ratio in products.
After gaining professional experience abroad, they met
six years ago in a large studio in Milan, where they worked,
respectively, as architect and interior designer. For one year now they have worked
together in their own studio-workshop, where different professional skills interact in
the development of projects of architecture, interior and industrial design.
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Concept
The house, in the widest sense of the term, as living space, always comes from a set
of ideas that take concrete form. Every user has his or her own vision of the habitat,
and tries to implement it in the everyday relationship with spaces. Everyone becomes
the primary maker of their living environment. Design Outlet Italiano offers design
excellence, as a center of reference for people who want to implement their own
models of residential space. Design Outlet Italiano provides a multitude of products
that become a habitat project only when they enter a specific domestic sphere, thus
contributing to achieve a personal idea of the home. The object becomes project only
when the user manages to organize and articulate ideas, making them reality. A
tool-archetype that is certainly useful in this process is the pencil, like a hinge between
the idea, the design product and the project. This is why the pencil, in the installation
for the Design Island, is ideally placed at the heart of the design product, intentionally
accentuating the product itself. It is no coincidence that the motto of Design Outlet
Italiano is “design makes a bullseye”. PR-OGGETTO tells its story by means of a
house with garden, a universal model of residential space. The house of Design Outlet
Italiano contains a multitude of design pieces ready to become an inhabitable project,
through their encounter with the user. 18000 colored pencils, available to visitors,
are transformed from inanimate pieces of wood into words, graphic signs, drawings
and projects, mutating in terms of form and nature to become written and drawn ideas.
In the garden, the flowers are represented by post-its of Design Outlet Italiano
that, like petals in the wind, separate and travel to become, together with the pencils,
the generators of new residential experiences.
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Loggiato Ovest
design island Pr-oggetto (8,3 x 3,75 x h 4,5 m)
design DANIELA DI LAURO E MASSIMILIANO DELLA FOGLIA
68
Patronage
QuaDror for More
design DROR BENSHETRIT
production TERRA MORETTI
DROR BENSHETRIT, since 2002, has developed an
interdisciplinary practice specializing in innovative design
projects. His approach to design has shown breadth and
depth through the completion of projects varying in
scales and nature. His portfolio encompasses product
design, architecture projects, interior design, graphic
design, and art direction. Dror has long been interested
in the complexity of the manifold meanings and uses
that intersect at a single object. Rooted in a rigorous approach and methodology of
movement, every project is driven with the desire to unleash the mutable and non-static
nature of objects. Dror observes the world from an inquisitive eye, seeking responses
to the needs of our modern lifestyle. Each project starts with questions and triggers an
immersive investigation. In collaboration with a team of experts, Benshetrit conducts
research on materials, technology and geometry. Based in New York, he works with
clients including Alessi, Bentley, Boffi, Bombay Sapphire, Cappellini, Kiehl’s, Levi’s,
Lualdi, Material ConneXion, Maya Romanoff, Marithé + François Girbaud, Puma,
Rosenthal, Skins Footwear, Yigal Azrouël, Shvo, Swarovski and Target. He’s lectured
internationally and has received numerous design awards including the GE Plastics
Competition “Merging Boundaries” (2001), iF Product Design Award (2006) and
the Good Design Award (2008). His work is included in permanent collections of major
museums in North America, Europe and the Middle East.
Concept
QuaDror is a new structural support system. Its uses and applications include
structural frames for Architecture, space trusses and trestles, as well as panels for
dividing walls. The latter is the application that was explored and implemented in the
installation built in collaboration with More, Terra Moretti Group for Interni Mutant
Architecture and Design. The QuaDror system unfolds various panel applications
including sound barriers, retaining walls for highways, and other various types of
dividers. Some applications take advantage of its load bearing capacity, while others
capitalize on its acoustic properties, structural integrity, or ease of assembly. The
units are made of four identical L shaped pieces connected to one another with no
additional mechanical joints. The collaboration with Terra Moretti highlights the
simplicity of aggregating the identical QuaDror units and the structural strength of
the system. The form of the QuaDror geometry gives the facade of the wall a unique 3
dimensional aesthetic.
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Portico del Richini
design island QuaDror for More (19,26 x 0,63 x h 2,89 m)
design DROR BENSHETRIT
production MORETTI COSTRUZIONI
70
Patronage
PRESS ROOM
Forma Mentis
project by SIMONE MICHELI ARCHITETTO
for VISIONNAIRE
SIMONE MICHELI, named Interior Designer of the
Year in 2008 in Los Angeles, founded his own architecture
practice in 1990, and the design office “Simone Micheli
Architectural Hero” in 2003. The latter company, with
facilities in Florence and Milan, focuses on architecture,
Ph. Maurizio Marcato
interior design, product design, visual design, communication
for collective spaces, and more. Micheli’s creations are
sustainable, with a particular focus on the environment, and have a strong identity. His
works have been shown at the most important architecture and design events in the
world. Many books and articles have been published about his work, including features in
international magazines. In 2010 he won the Best of Year award in New York and the
International Media Prize at Shenzhen for the project Atomic Spa Suisse.
Concept
The Interni Press Room stands out for its very elastic design, thanks to the use of variable
linear and structural parts that spontaneously interact with each other, becoming hybrid
subjects capable of creating a series of allusions that completely alter perceived reality.
Two zones, two living systems produced by Visionnaire, conceived as a clear visual
manifesto of the contemporary world, through white, linear structural white elements:
bright tables, seats, two “humanoid vases”, a carpet marked by graphic geometries
connected with the theme of metamorphosis. The possible transformation of each
component inside the space is completed by two totem-mirrors, allusive irregular figures
that observe and reflect. Activating their own alteration, they transform into TV screens.
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PRESS ROOM
Forma Mentis
project by SIMONE MICHELI ARCHITETTO
for VISIONNAIRE
72
ZAHA HADID
RICHARD MEIER
SNØHETTA
SETSU and SHINOBU ITO
DIEGO GRANDI
NICOLAS GWENAEL
MARIO BOTTA
INGO MAURER
LA RINASCENTE MUTANT VITRINES - PIAZZA DUOMO, MILAN
8 vitrines interpreted by 8 architects
71
Patronage
20134 Milano
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LA RINASCENTE
A department store with a cosmopolitan, international tone, laRinascente is the ideal
place to discover the latest shopping trends and to find the best Italian and foreign
brands. A dynamic store, surprising not only due to the variety and exclusive quality
of the products offered, but also for the continuous transformation of the spaces, with
an eye on design, under the guidance of important names in architecture famous for
having created prestigious collections and trend-setting retail facilities all over the
world. The flagship store in Milan, on Piazza Duomo, is constantly evolving. This year
the spotlight is on men’s fashions, with the renovation of the first floor and insertion
of the most important brands. The range includes the designers brands alongside a
selection of contemporary brands and premium denim, with an area for smart casual
and a prestigious footwear department. Offerings that form the ideal complement
for the formal and upper casual collections for men on the second floor, renovated in
2008 by Dordoni Architetti. The new first floor is by Mumbai Studio and reflects all
the creative excellence for which the Indian studio is internationally renowned. The
objective is to encourage a personal, not anonymous approach to shopping, through an
elegant layout and welcoming atmosphere, beased on warm materials and furnishings
full of appealing details. The opening is planned for September 2011. Last year was
the turn of the sixth floor, restructured by Studio Cibic & Partners and immediately
hailed as a showcase in the heart of Milan for exclusive products, including a
wide selection of the best of Made in Italy and all the classic leaders in the fields of
crystal, elegant and everyday tableware, furnishing complements, kitchenware and
textile collections for bed, bath and table. 2000 m2 that make the home offerings of
laRinascente even more versatile and eclectic, in addition to the Design Supermarket
on the basement level, installed in 2009 by Studio 1+1=1 Claudio Silvestrin Giuliana
Salmaso Architects. A continuously evolving space for design, with many ideas for
the table, kitchen, microelectronics, lighting, small furnishings, technological gadgets,
accessories for the office, books. A place that welcomes the best of creativity and
innovation, not only in terms of products, but also in terms of exhibitions and events,
making it a must to visit during important moments like the Salone del Mobile. The
other levels of the flagship store on Piazza Duomo have also gone through a process
of overall restructuring, still in the hands of outstanding design names: Andrea
Griletto has handled the restoration of the facade, Studio Cibic & Partners did the
shop windows and the 5th floor children’s deparment, India Mahdavi the ground floor
and mezzanine for beauty products and accessories, Vincent Van Duysen the third
floor for contemporary womenswear, the London-based studio HMKM the renovation
of the spaces for the lingerie collection on the fifth floor. The Lifschutz Davidson
Sandilands group has designed the seventh floor, entirely set aside for taste: an
absolute novelty for the Italian market, with a variety of dining proposals and a
gourmet food market. The process of transformation has also involved the other stores:
Rome, Florence, Cagliari and Padua have all been restructured, based on the Milan
Piazza Duomo format. The most important project is undoubtedly the one for the
creation of a new, first-class department store in Palermo, opened in February 2010.
Flavio Albanese, Studio Cibic & Partners, Studio Dordoni Architetti and Vincent Van
Duysen have restructured a large building in the historical center to create five floors
of fashion, accessories, beauty, home and design, and a food hall. The merchandise
selection has also been completely updated to include high-end brands, first in Milan
and then gradually in the other cities, with the goal of offering customers the widest
possible range of choices, positioning laRinascente as a true “house of brands”.
Co-Producer
74
Pilot plant for carbon capture and sequestration of CO2
in the central Federico II, City Tuturano (Brindisi)
Coal storage, location Tuturano (Brindisi)
New geothermal power plant San Martino, Larderello (Pisa)
Co-Producer
ENEL
75
Patronage
ENEL
Enel is an international corporation that produces and distributes electricity and
gas in 40 countries on 4 continents. A utility quoted in Europe, Enel is the second
largest for installed capacity and one of the largest in terms of number of stockholders,
with 1.2 million investors.
Enel produces 289 TWh of electricity each year, from a balanced mixture of
fuels. The power plants reach a level of 94.869 MW, using over one third renewable
energy sources, in constant growth above all in North, Central and South America.
The Group distributes energy through 1.7 million km of electrical lines, selling
electricity to 57.2 million clients and gas to 4 million families and companies. Enel’s
capital is held by the Italian Ministry of Economics and Finance, which has a 13.88%
share and, indirectly, another 17.36% through the Cassa Depositi e Prestiti; by major
international investment funds, insurance companies, pension funds and ethical
funds, as well as 1.2 million individuals.
Enel, energy and innovation
Enel invests in the growth of the sector by making electricity a commodity that
becomes more like a service with added value, focusing on the needs of people.
The domestic environment changes and evolves to meet the needs of an intelligent,
responsible, aware consumer ready to embrace innovations.
Thanks to the technological applications Enel has developed in recent years, the home
becomes an intelligent place that responds to the needs of its inhabitants: it is the
place of recharging of electric cars for zero-emission mobility, the “control room” from
which to monitor energy consumption and reduce waste, and a small “power plant”
that with solar and wind technologies can generate its own energy, as a “node” of a
modern smart grids that distributes energy according to a logic similar to that of the
Internet.
The opportunities offered to consumers reflect the attitude of a company that focses
on innovation and research, that believes in change, while still conserving the
important values of the past and present.
20134 Milano
tel 02 21 56 3-319/237/320
Application iPhone
Co-Producer
76
MINI Rocketman Concept
Co-Producer
MINI
77
Patronage
MINI
Besides being a car, for many people MINI is a world made of emotions, passion and
fun. Innovative design and the aesthetic solutions, that have always winked at
the fabulous sixties, make MINI a definitely unconventional car and a unique and
desirable model. The creation of innovative concepts for urban mobility has seen
MINI grow into the successful brand we know today. A constant stream of new
ideas from its beginnings more than 50 years ago to the present day have ensured
that driving fun has continued to grow even though space on our roads has become
ever tighter. Underpinning this success has been the creative use of space, a principle
that enters new territory with the MINI Rocketman Concept. The study car,
which will be revealed to the public worldwide for the first time at the International
Geneva Motor Show (3 – 13 March 2011), harks back to the classic Mini in terms
of its exterior dimensions, while its technology points to the future of automotive
design. A 3+1-seater with 3 doors and a length of just over 3 metres (approx. 10
ft.), the MINI Rocketman Concept responds to the fundamental requirements of
mobile lifestyles in the big cities of the future by pooling the brand’s core values in
concentrated form. Ingenious functionality, smile-inducing agility, exceptional
efficiency and irresistible design come together into an extraordinarily attractive
and groundbreaking, yet typically MINI, subcompact car concept for the premium
segment. Since August 1959, when the first Mini was designed by Issigonis, until now,
a lot has changed in the field of technology, creative languages and daily life. Presented
to the world market at the Paris Motor Show in September 2000, the real heir “made
by BMW Group” is a natural evolution of the MINI world, however keeping its original
spirit and marked personality. Over 50 years from its debut, the MINI by BMW Group
has the same chic yet gritty and sporting look as the renowned MINI. Relying on
its history and aware to “be unique”, MINI has always been concerned with design
culture and whatis part and expression of it. In Italy and worldwide, beyond marketoriented initiatives, MINI has started to connect with people sharing the same passion
for creativity and stylistic research and, through the launching of MINI Space, has
created a virtual meeting place for a whole community of MINI lovers and not only,
with the well-defined purpose of fostering the contact among creative people.
MINI and design
Since 2004 MINI is partner of Interni on the occasion of the Milan Design week
and this year, too, it takes part in Interni Mutant Architetcture&Design, the event
organized for FuoriSalone 2011. In 2010 it was co-producer of Interni Think Thank,
the event-show staged in the courts of Università degli Studi in Milan, to which MINI
contributed with the installation dedicated to the creative process, that led to the
project of MINI Countryman.
MINI & Triennale Creative Set is a space for creativity and experimentation opened
in March 2009 to enrich the supply of the Triennale Design Museum, an institution
MINI is an Exhibition Partner of since the beginning.
20134 Milano
tel 02 21 56 3-319/237/320
About MINI
The MINI brand is represented by 1,300 dealers in more than 80 countries.
Since 2001, over 1.8 million MINI, MINI Convertible, MINI Clubman and MINI
Countryman models have been sold.
Application iPhone
Co-Producer
78
Sofa Grand Plié,
design LUDOVICA +
ROBERTO PALOMBA
production DRIADE
Chair Sunny,
design TORD BOONTJE
production MOROSO
Pouf Sushi,
design EDWARD VAN VLIET
production MOROSO
Chair Bella Rifatta,
design WILLIAM SAWAYA
production SAWAYA&MORONI
TV LCD Aquos LE925 E 60”,
production SHARP
Vase Ming,
design RODOLFO DORDONI
production SERRALUNGA
THANKS TO
Cortile d’Onore and Loggiato Ovest 1° Piano
79

Press Kit ENG

Transcription

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