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3_BeOpen Book_004_005_INTRO_About_all.indd 5

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H F OFP 1SBHNB5JTNP INSTALLAZIONE DI MARIO NANNI PER VIABIZZUNO IN VIA SAN MARCO A MILANO DURANTE IL FUORISALONE 2012.

PROGETTO GIÃ&#x20AC; VINCITORE DEL CONCORSO DI IDEE YAP MAXXI-MOMA, ROMA 2011.

MARIO NANNI INSTALLATION FOR VIABIZZUNO, VIA SAN MARCO, MILAN, DURING FUORISALONE 2012.

THIS PROJECT PREVIOUSLY WON THE MAXXI-MOMA IDEAS CONTEST YAP, ROME 2011

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â&#x20AC;&#x153;I HAVE A DREAMâ&#x20AC;? (HO UN SOGNO) Ă&#x2C6; LA FRASE CON CUI VIENE IDENTIFICATO IL DISCORSO TENUTO DA MARTIN LUTHER KING IL 28 AGOSTO DEL 1963 DAVANTI AL LINCOLN MEMORIAL DI WASHINGTON AL TERMINE DI UNA MARCIA DI PROTESTA PER I DIRITTI CIVILI. SE MARTIN LUTHER KING AI SUOI TEMPI AVESSE DETTO: â&#x20AC;&#x153;HO AVUTO UN INCUBO!â&#x20AC;? CHI SI SAREBBE MOSSO? â&#x20AC;&#x153;I HAVE A DREAMâ&#x20AC;? IS THE PHRASE THAT IDENTIFIES THE SPEECH GIVEN BY MARTIN LUTHER KING ON 28 AUGUST 1963 IN FRONT OF THE LINCOLN MEMORIAL IN WASHINGTON, AT THE CONCLUSION OF A CIVIL RIGHTS MARCH. IF MARTIN LUTHER KING HAD SAID â&#x20AC;&#x153;I HAVE A NIGHTMAREâ&#x20AC;? WHAT IMPACT WOULD IT HAVE HAD?

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AL ROYAL COLLEGE OF ART IL DIPARTIMENTO SUSTAIN, DEDICATO ALLA SOSTENIBILITÀ, È DIRETTO DA CLARE BRASS. LÌ NASCONO PROGETTI COME IL LABORATORIO PER RIPARARE BICICLETTE NELLA CAMPAGNA O URBAN HONEY, PER INCORAGGIARE L’APICOLTURA IN CITTÀ.

AT THE ROYAL COLLEGE OF ART THE SUSTAIN DEPARTMENT, DIRECTED BY CLARE BRASS, WORKS ON PROJECTS LIKE A BICYCLE REPAIR SHOP IN THE COUNTRY, OR THE URBAN HONEY PROJECT, TO ENCOURAGE BEEKEEPING IN THE CITY.

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UN ESEMPIO DI COME SI POTREBBE LAVORARE APPLICANDO IL DESIGN THINKING ALLA SOTENIBILITÀ: CON IL NOSTRO PROGETTO FOOD LOOP VORREMMO CHE OGNI CONDOMINIO IN GRAN BRETAGNA TRASFORMASSE IN COMPOST I PROPRI AVANZI DI CIBO SUL POSTO, COSÌ DA POTER COLTIVARE FRUTTA E VERDURA VICINO ALLE PROPRIE CASE. ORGANIZZANDO UN SERVIZIO CHE SE NE POSSA OCCUPARE. POTREBBE DIVENTARE UN NUOVO MODELLO DI BUSINESS, SOSTENIBILE DAL PUNTO DI VISTA FINANZIARIO, RIPETIBILE OVUNQUE. UNA VOLTA TROVATA LA GIUSTA FORMULA PER UN CONDOMINIO, ALLORA POTREMMO RIPETERE L’ESPERIENZA IN MODO VIRTUOSO CREANDO APPUNTO UN FOOD LOOP. AN EXAMPLE OF HOW IT IS POSSIBLE TO WORK BY APPLYING DESIGN THINKING TO SUSTAINABILITY: WITH OUR FOOD LOOP PROJECT WE WANT EVERY APARTMENT BUILDING IN GREAT BRITAIN TO TRANSFORM FOOD WASTE INTO COMPOST, FOR THE CULTIVATION OF FRUIT AND VEGETABLES CLOSE TO HOME. THE IDEA IS TO ORGANIZE A SERVICE TO FACILITATE ALL THIS. IT COULD BECOME A NEW BUSINESS MODEL, SUSTAINABLE IN FINANCIAL TERMS AND REPEATED ANYWHERE. ONCE THE RIGHT FORMULA FOR AN APARTMENT BUILDING HAS BEEN FOUND, WE CAN REPEAT THE EXPERIENCE IN A VIRTUOUS WAY, CREATING A FOOD LOOP.

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IL LIBRO ”ECO MODA” SCRITTO DA SASS BROWN AFFRONTA IL TEMA DEL DESIGN SOSTENIBILE APPLICATO ALLA MODA. LA DESIGNER È ANCHE SCRITTRICE ATTIVA NEL MONDO ECOSOCIALE. THE BOOK ECO FASHION WRITTEN BY THE FASHION DESIGNER APPROACHES THE THEME OF SUSTAINABLE DESIGN APPLIED TO FASHION. SASS BROWN IS ALSO AN ACTIVE WRITER IN THE ECOSOCIAL WORLD.

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GREEN CAMPING ON THE EDGE OF THE CITY, WORKSHOP - ALDO CIBIC, TOMASO CORÀ - SCUOLA DEL DESIGN, POLITECNICO DI MILANO, NOVEMBRE 2009/ DESIGN SCHOOL, POLITECNICO DI MILANO, NOVEMBER 2009.

ARCIPELAGO: FRANCESCO D’ONGHIA, CATERINA ROSA , SILVIA SALA, ILARIA SALVATORE, DARIA SVIDIR.

GREEN CAMPING ON THE EDGE OF THE CITY, WORKSHOP - ALDO CIBIC, TOMASO CORÀ - SCUOLA DEL DESIGN, POLITECNICO DI MILANO, NOVEMBRE 2009/ DESIGN SCHOOL, POLITECNICO DI MILANO, NOVEMBER 2009.

GREEN CAMPING: LORENZO BITTO, LUCA COZZI, HYE YOUNG KIM, M.AMIN DANESHGAR, ANNALISA LEVER, DENISE LIGUORI.

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LA CARTA, I LIBRI, SONO GLI OGGETTI CHE HANNO CONSERVATO LA MEMORIA STORICA DELL’UMANITÀ, LE PAGINE BIANCHE SONO IL LUOGO DOVE QUESTA MEMORIA SI È POSATA E I TACCUINI SONO OGGETTI PER ORGANIZZARE PENSIERI, PER CONCEPIRE PROGETTI, PER DISPIEGARE CREATIVITÀ; SONO IL LUOGO DELLO SCHIZZO MA ANCHE DELL’OPERA, E SONO SOPRATTUTTO DESTINATI A NON ESSERE GETTATI, PERCHÉ SONO LORO CHE RACCONTANO LA NOSTRA STESSA STORIA. SONO PROGETTI PROFONDAMENTE INTIMI E IDENTITARI, ACCUMULATORI DI EMOZIONI CHE LIBERANO LA LORO CARICA NEL TEMPO, DA CUI DIFFICILMENTE CI SEPARIAMO. PAPER AND BOOKS ARE OBJECTS THAT HAVE CONSERVED THE HISTORICAL MEMORY OF HUMANKIND. THE WHITE PAGES ARE THE PLACE WHERE THIS MEMORY IS STORED, AND THE NOTEBOOKS ARE OBJECTS TO ORGANIZE THOUGHTS, TO INVENT PROJECTS, TO UNFOLD CREATIVITY. THE PLACE OF THE SKETCH BUT ALSO OF THE WORK. ABOVE ALL, THEY ARE NOT MADE TO BE DISCARDED, BECAUSE THEY NARRATE OUR HISTORY. THEY ARE VERY INTIMATE, IDENTITARY PROJECTS, ACCUMULATING EMOTIONS THAT CAN BE FREED UP AT A LATER DATE, FROM WHICH WE DO NOT WANT TO SEPARATE.

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LO SFORZO DI MOLESKINE È SEMPRE QUELLO DI UN PACKAGING CHE PUÒ ESSERE RIUTILIZZATO TROVANDO FUNZIONI D’USO CHE DI NUOVO RE-INNESCANO UN CIRCOLO DI PENSIERO E DI SIGNIFICATO CHE DÀ PROFONDITÀ ALLE SINGOLE ESPERIENZE; SCATOLE CHE POSSONO DIVENTARE CONTENITORI DI TANTI ALTRI OGGETTI, FASCETTE CHE DIVENTANO SEGNALIBRI O PORTATRICI DI MESSAGGI CHE ACCOMPAGNANO IL NOSTRO QUOTIDIANO, NOTEBOOK CHE SONO ESSI STESSI DELLE BUSTE PRONTE A ESSERE SPEDITE, E COME NEL MONDO DELLA NATURA, TENDENZIALMENTE I NOSTRI OGGETTI VANNO IN GIRO PER IL MONDO ABBASTANZA NUDI. THE EFFORT IS ALWAYS TO MAKE PACKAGING THAT CAN BE REUSED, FINDING NEW FUNCTIONS, RE-TRIGGERING A CIRCUIT OF THOUGHT AND MEANING THAT GIVES DEPTH TO EXPERIENCE; FOR EXAMPLE, BOXES THAT CAN BECOME CONTAINERS FOR MANY OTHER OBJECTS, BANDS THAT BECOME BOOKMARKS, OR CARRY MESSAGES IN EVERYDAY LIFE, NOTEBOOKS THAT ARE THEIR OWN ENVELOPES, READY FOR MAILING. AS IN NATURE, OUR OBJECTS TEND TO MOVE AROUND THE WORLD IN A STATE OF RELATIVE NUDITY.

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FRAN GIFFARD, ARTISTA INGLESE, DISEGNA E DIPINGE CON MATITE E ACQUARELLI SULLE PAGINE DELLE AGENDE MOLESKINE. CHIAMA QUESTE SERIE “OLD PAPER ALPHABET”.

FRAN GIFFARD, AN ENGLISH ARTIST, DRAWS AND PAINTS WITH PENCILS AND WATERCOLORS ON THE PAGES OF MOLESKINE NOTEBOOKS. SHE CALLS THIS SERIES “OLD PAPER ALPHABET”.

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“IO LAVORO MAGARI PARTENDO DALLA FRUTTA O DALLA VERDURA ESSICCATA. VERDURA BANALE COME CAROTE, PATATE, ZUCCHINE, ASPARAGI, TUTTO QUELLO CHE C’È. ESSICCATE PERCHÉ IL CONCETTO È QUELLO DELLA CHIPS”.

“I MIGHT WORK BY STARTING WITH DRIED FRUITS OR VEGETABLES, BANAL VEGETABLES, CARROTS, POTATOES, ZUCCHINE, ASPARAGUS, WHATEVER IS AVAILABLE, DRIED BECAUSE THE CONCEPT IS THAT OF CHIPS”.

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“NOI CHEF IN REALTÀ SIAMO DEI DISPENSATORI DI FELICITÀ. LE PERSONE, ATTRAVERSO I NOSTRI PIATTI, RITROVANO DELLE SENSAZIONI O DELLE EMOZIONI CHE MAGARI POCO C’ENTRANO CON I CONTENUTI SPECIFICI DEL PIATTO IN QUESTIONE, MA CHE SOLLECITANO UNA SERIE DI RICORDI, CHE FANNO SENTIRE VERAMENTE BENE. LA SODDISFAZIONE PIÙ GRANDE È QUANDO IL CLIENTE VA VIA, E LO VEDI FELICE. WE ARE ACTUALLY SUPPLIERS OF HAPPINESS. THROUGH OUR DISHES PEOPLE HAVE REDISCOVERED SENSATIONS OR EMOTION THAT MAY NOT HAVE MUCH TO DO WITH THE SPECIFIC CONTENT OF THE DISHES THEMSELVES, BUT STIMULATE A SERIES OF MEMORIES THAT MAKE YOU FEEL REALLY GOOD. THE BIGGEST SATISFACTION IS WHEN THE CLIENT GOES AWAY AND YOU SEE THAT HE IS HAPPY”.

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COMUNICAZIONE DELLA COLLEZIONE LOVE THERAPY DI ELIO FIORUCCI. COMMUNICATION FOR THE LOVE THERAPY COLLECTION OF ELIO FIORUCCI.

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COMUNICAZIONE PER IL PRIMO ANNIVERSARIO DELLA COLLEZIONE LOVE THERAPY DI ELIO FIORUCCI. COMMUNICATION FOR THE FIRST ANNIVERSARY OF THE LOVE THERAPY COLLECTION OF ELIO FIORUCCI.

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ELIO FIORUCCI: DECORO PER L’EDIZIONE LIMITATA 2005 DELLA BOTTIGLIA CONTOUR DI COCA COLA LIGHT. ELIO FIORUCCI: DECORATION FOR THE 2005 LIMITED EDITION CONTOUR BOTTLE OF COCA COLA LIGHT.

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10/08/12 20.38

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MELISSA GALLERY DI SAN PAOLO E NEW YORK. SI TRATTA DI CONCEPT E SPAZI TOTALMENTE DIVERSI TRA LORO, PERCHĂ&#x2030; UNO STESSO BRAND NON SIGNIFICA FRANCHISING E RIPETITIVITĂ&#x20AC;.

THE MELISSA GALLERY IN NEW YORK IS NOT EQUAL OR EVEN SIMILAR TO THE ONE IN DI SAO PAULO, BECAUSE ONE BRAND DOES NOT MEAN FRANCHISING AND REPETITION.

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10/08/12 20.39

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10/08/12 11.40

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“IL COLTELLINO SVIZZERO, QUELLO BASICO ERA SEMPLICE ED EFFICACE. MA QUANTO PIÙ LE COSE DIVENTANO COMPLICATE, TANTO MENO SONO EFFICACI. POCHI PER ESEMPIO SANNO CHE, DENTRO UN AEREO MODERNO, CI SONO CIRCA 700 KM DI CAVI E IN UN BOEING CI SONO CIRCA 350MILA PARTI CERTIFICATE”.

“THE SWISS ARMY KNIFE, THE BASIC MODEL, WAS SIMPLE AND EFFECTIVE. BUT THE MORE COMPLICATED THINGS GET, THE LESS EFFECTIVE THEY ARE. FEW PEOPLE KNOW, FOR EXAMPLE, THAT INSIDE A MODERN AIRPLANE THERE ARE ABOUT 700 KM OF WIRES, AND IN A BOEING THERE ARE ABOUT 350,000 CERTIFIED PARTS”.

BeOpen Book_060_065_DailyHappy_Pirojkov.indd 61

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10/08/12 11.40

7MBEJNJS 1JSPKLPW

“PER QUANTO RIGUARDA I TRASPORTI SIAMO ANCORA LEGATI ALLE STRADE E LE STRADE SONO VINCOLANTI: SIAMO LEGATI ALLA RETE STRADALE, E POSSIAMO ANDARE SOLO DOVE CI SONO LE STRADE. NIENTE STRADA, NON CI ARRIVI! E QUANDO LA STRADA C’È SI RESTA INCASTRATI NEL TRAFFICO”.

“WHERE TRANSPORTATION IS CONCERNED WE ARE STILL TIED TO ROADS AND ROADS ARE A LIMITATION: WE ARE TIED TO THE STREET NETWORK, AND WE CAN ONLY GO WHERE THERE ARE STREETS. IF THERE IS NO STREET YOU CAN’T GET THERE. BUT THEN YOU

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i\Xck~ efe cf jfef% @ddX^`eXk\ leËXlkfdfY`c\# le m\`Zfcf X hlXkkif gfjk`# Z_\ gl mfcXi\# Zfe `c gi\qqf [` leËXlkf% GiXk`ZXd\ek\ ZË klkkf `e lef1 cX m\cfZ`k~ [\c Ylfe \ ZXif X\i\f# [\Zfccf \ Xkk\iiX^^`f m\ik`ZXc`# gi\qqf \ Zfd]fik [\ccËXlkf \ `eÔe\ le dfkfi\ Zfe [`m\ij` k`g` [` ZfdYljk`Y`c\1 hlXcj`Xj` ZfjX gl \jj\i\ YilZ`XkX e\c j\iYXkf`f# dX `c gifjj`df gXjjX^^`f jXi~ gXjjXi\ [X hl\jkf df[\ccf `Yi`[f X le df[\ccf \c\kki`Zf% Hl\jkf gXjjX^^`f jXi~ `e\m`kXY`c\ \ efe j`Xdf Z\ikf ^c` le`Z` X cXmfiXiZ`% :fdlehl\ XYY`Xdf kifmXkf le dfkfi\ [`\j\c Z_\ j` gi\jkX X hl\jkX `dgi\jX \ hl`e[` j` gfki~ ]Xi\ Y\eq`eX gi\jjf hlXcj`Xj` [`jki`Ylkfi\ Xc dfe[f% CX ZfjX g` `ek\i\jjXek\ cX jlX m\cfZ`k~1 Z`iZX ,'' Z_`cfd\ki` fiXi` \ m`X^^`X X leX Xck\qqX [` Z`iZX / Z_`cfd\ki`# Xii`mX X leX [`jkXeqX [` )%'''# hl`e[` dfckf cfekXef# gfikXe[f Ôef X , g\ijfe\ \ *'' Z_`c` [` g\jf# Zfd\ leX efidXc\ XlkfdfY`c\% @e ZfeZclj`fe\ cf jZfgf [\c efjkif k\Xd Zi\Xi\ le [`jgfj`k`mf Z_\ k` g\id\kkX [` mfcXi\ j\dgi\ \ fmlehl\# gifgfe\e[f lef jkild\ekf [` c`Y\ik~1 cX c`Y\ik~ [` dlfm\ij`% “LO SCOPO DEL NOSTRO TEAM È CREARE UN DISPOSITIVO CHE TI PERMETTA DI VOLARE SEMPRE E OVUNQUE, PROPONENDO UNO STRUMENTO DI LIBERTÀ: LA LIBERTÀ DI MUOVERSI”.

“THE PURPOSE OF OUR TEAM IS TO CREATE A DEVICE THAT WILL PERMIT YOU TO FLY ALWAYS AND EVERYWHERE, OFFERING A TOOL FOR FREEDOM: FREEDOM OF MOVEMENT”.

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“DOPO COSÌ TANTI ANNI DI DESIGN DI AUTOMOBILI STIAMO FINALMENTE DICENDO: BASTA AUTO, DIMENTICHIAMOLE! E STIAMO LAVORANDO A STRANI OGGETTI CHE ASSOMIGLIANO AD AEROPLANI, MA IN REALTÀ NON LO SONO”.

“AFTER SO MANY YEARS OF CAR DESIGN, WE ARE FINALLY SAYING: ENOUGH CARS! LET’S FORGET THEM! AND WE ARE WORKING ON STRANGE OBJECTS THAT RESEMBLE AIRPLANES, BUT ACTUALLY ARE NOT AIRPLANES”.

XlkfdfY`c\# X m\_`Zc\ n`k_ ]fli j\Xkj# k_Xk ZXe Õp# n`k_ k_\ jXd\ gi`Z\ Xj X ZXi% @k giXZk`ZXccp _Xj Xcc `e fe\1 k_\ jg\\[ f] X ^ff[ fc[ X`igcXe\# m\ik`ZXc kXb\f]] Xe[ cXe[`e^# k_\ gi`Z\ Xe[ Zfd]fik f] X ZXi Xe[# ÔeXccp# X dfkfi k_Xk lj\j [`]]\i\ek kpg\j f] ]l\c1 Xepk_`e^ ZXe Y\ Ylie\[ `ej`[\ `k% 9lk k_\ e\ok jk\g n`cc Y\ kf j_`]k ]ifd k_`j _pYi`[ df[\c kf Xe \c\Zki`Z df[\c% K_`j gXjjX^\ n`cc Y\ `e\m`kXYc\# Xe[ n\ Xi\ Z\ikX`ecp efk k_\ fecp fe\j nfib`e^ fe `k N\ _Xm\ ]fle[ X [`\j\c dfkfi k_Xk c\e[j `kj\c] kf k_`j Z_Xe^\# jf pfl ZXe Ôcc lg fe ]l\c Xk Xep j\im`Z\ jkXk`fe `e k_\ nfic[% K_\ dfjk `ek\i\jk`e^ k_`e^ `j `kj jg\\[1 XYflk ,''bd&_# kiXm\c`e^ Xk X _\`^_k f] XYflk / bd# ]fi X [`jkXeZ\ f] lg kf )''' bd# ZXiip`e^ lg kf , g\ijfej Xe[ *'' b^# c`b\ X efidXc XlkfdfY`c\% @e ZfeZclj`fe# k_\ gligfj\ f] fli k\Xd `j kf Zi\Xk\ X [\m`Z\ k_Xk n`cc g\id`k pfl kf Õp XcnXpj Xe[ \m\ipn_\i\# f]]\i`e^ X kffc ]fi ]i\\[fd1 ]i\\[fd f] dfm\d\ek%

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“IL PAZIENTE E IL DOTTORE”, 1978. OLIO, PIATTI E BONDO SU LEGNO. A DESTRA, ALCUNI PANNELLI CON PIATTI, ROTTI DOPO AVERLI DIPINTI “THE PATIENT AND THE DOCTOR”, 1978. OIL, PLATES, BONDO ON WOOD. RIGHT, SOME PANELS WITH DISHES, BROKEN AFTER HAVING PAINTED.

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JULIAN SCHNABEL ALL’OPERA ALL’APERTO, 1981 JULIAN SCHNABEL PAINTING OPENAIR, 1981

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SOTTO E SOPRA. “QUANDO ERO IN EGITTO HO ACQUISTATO DELLE VELE DAI MARINAI DI FALUKA E HO PENSATO: PERCHÈ DOVREI FARE DEI CLASSICI QUADRI FACENDONE DEI RETTANGOLI QUANDO INVECE POTREI SFRUTTARE QUESTE VELE PER FARE DEI QUADRI A FORMA DI VELA? UNA DELLE BARCHE SI CHIAMAVA JANE. DOVRESTE CONSIDERARE LE DIMENSIONI DI QUESTO QUADRO, LE DOVRESTE PERCEPIRE E POI VEDIAMO COME GLI STESSI QUADRI SONO STATI INSERITI IN UN ALTRO SPAZIO, IN QUESTO CASO PALAZZO VENEZIA A ROMA”.

BELOW AND ABOVE. “WHEN I WAS IN EGYPT, I PURCHASED SAILS FROM THE FALUKA SAILORS AND I THOUGHT: WHY SHOULD I MAKE CLASSIC PAINTINGS CUTTING THEM IN RECTANGULAR SHAPES WHEN I COULD USE THOSE SAILS TO MAKE PAINTINGS IN THE SHAPE OF A SAIL? ONE OF THE BOATS WAS CALLED JANE. YOU SHOULD CONSIDER THE SIZE OF THIS PAINTING, YOU SHOULD PERCEIVE IT AND THEN LET US SEE HOW THE SAME PAINTINGS HAVE BEEN PLACED IN A DIFFERENT SPACE, IN THIS CASE PALAZZO VENEZIA IN ROME”.

A DESTRA. “QUESTO È SOLO IL DISEGNO DELLA SEDIA CHE HO FATTO L’ALTRO GIORNO CON LEGNO, GESSO E POI RICOPERTA DI BRONZO AL QUALE POI HO ATTACCATO DEI PON PON E INFINE L’HO DIPINTA CON DEI COLORI DI CIRCA SESSANTA ANNI FA RECUPERATI DAL MERCATO DI FALUKA”.

RIGHT. “THIS IS JUST THE DRAWING OF THE CHAIR I MADE THE OTHER DAY WITH WOOD, GYPSUM AND THEN I COVERED IT WITH BRONZE ON WHICH I THEN HUNG POMPOMS AND FINALLY I PAINTED IT WITH SOME COLOURS THAT DATE BACK TO SIXTY YEARS AGO, WHICH I FOUND AT THE FALUKA MARKET”.

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PAGINA A LATO. “IL LETTO CHE HO CREATO UN BEL PO’ DI TEMPO FA, MI SEMBRA PER GIANNI VERSACE. È FATTO DI BRONZO E DI UN ACCIAIO PARTICOLARMENTE DURO E LA CASA DI CAMPAGNA IN CUI VIVO. ANCHE LÌ FUORI DIPINGO” (MONTAUK, LONG ISLAND).

OPPOSITE PAGE. “THE BED I CREATED A LONG TIME AGO, I GUESS IT WAS FOR GIANNI VERSACE. IT IS MADE OF BRONZE AND A PARTICULARLY HARD STEEL AND THE COUNTRYHOUSE WHERE I LIVE. I ALSO PAINT OUT THERE” (MONTAUK, LONG ISLAND).

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DISEGNO LA CONICA DI ALDO ROSSI, ARCHIVIO ALESSI. LA CONICA DEL 1984 È UNA CAFFETTIERA ESPRESSO PRODOTTA DA ALESSI IN ACCIAIO INOSSIDABILE CON FONDO IN RAME. LA CONICA DRAWING BY ALDO ROSSI, ALESSI ARCHIVE. LA CONICA, 1984, IS AN EXPRESSO COFFEE MAKER IN STAINLESS STEEL WITH COPPER BASE, PRODUCED BY ALESSI.

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FIAT PANDA ALESSI, DESIGN STEFANO GIOVANNONI, 2004.

PHOTO ALESSI ARCHIVE.

HOT BERTAA, DESIGN PHILIPPE STARCK, 1990.

BOLLITORE/KETTLE.

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BANANA FAMILY, ARCHIVIO ALESSI. “BANANA FAMILY”, DESIGN DI STEFANO GIOVANNONI CON LA COLLABORAZIONE DI RUMIKO TAKEDA, 2009.

PROGETTO IN COLLABORAZIONE CON IL NATIONAL PALACE MUSEUM DI TAIWAN. LA SCIMMIA, CHE È UNO DEGLI ANIMALI PIÙ AMATI NELLA CULTURA CINESE E ORIENTALE, CELEBRATO SIA NELLE OPERE ARTISTICHE CHE NEGLI OGGETTI LEGATI ALL’IMMAGINARIO POPOLARE, DIVENTA UN’ ICONA CARATTERIZZANTE. BANANA FAMILY, ALESSI ARCHIVE. “BANANA FAMILY”, DESIGN BY STEFANO GIOVANNONI WITH THE COLLABORATION OF RUMIKO TAKEDA, 2009. PROJECT IN PARTNERSHIP WITH THE NATIONAL PALACE MUSEUM, TAIWAN. THE MONKEY IS ONE OF THE MOST BELOVED ANIMALS IN CHINESE AND EASTERN CULTURE, CELEBRATED IN WORKS OF ART AND IN POPULAR OBJECTS. HERE IT BECOMES A CHARACTERIZING ICON.

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“ANNA G.-PROUST” DESIGN ALESSANDRO MENDINI, 2003 (1994). CAVATAPPI IN POLIAMMIDE E ZAMA CROMATA, DECORO “PROUST.” ARCHIVIO ALESSI. “ANNA G.-PROUST” DESIGN ALESSANDRO MENDINI, 2003 (1994). CORCKSCREW IN PA AND CHROME-PLATED ZAMAK, “PROUST” DECORATION. ALESSI ARCHIVE.

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SCHIZZO LA CUCINA ALESSI BY VALCUCINE, ORAS. DI ALESSANDRO MENDINI. ARCHIVIO ALESSI.LA CUCINA ALESSI BY VALCUCINE, ORAS. DESIGN ALESSANDRO MENDINI CON GABRIELE CENTAZZO. SKETCH LA CUCINA ALESSI KITCHEN BY VALCUCINE, ORAS. BY ALESSANDRO MENDINI. ALESSI ARCHIVE.LA CUCINA ALESSI KITCHEN BY VALCUCINE, ORAS. DESIGN ALESSANDRO MENDINI WITH GABRIELE CENTAZZO

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MISTER MEUMEU, DESIGN PHILIPPE STARCK, 1992. FORMAGGIERA CON GRATTUGIA/PARMESAN CHEESE CELLAR WITH GRATER.

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ALESSIWATCHES. PHOTO FABRIZIO BERGAMO. UNA DELLE PRIME OPERAZIONI DI LICENSING REALIZZATE DA ALESSI È STATA LA CREAZIONE DEL MARCHIO ALESSIWATCHES CON IL LANCIO DELLA PRIMA COLLEZIONE NEL 2002.

ONE OF THE FIRST LICENSING OPERATIONS BY ALESSI WAS THE CREATION OF THE ALESSIWATCHES BRAND AND THE LAUNCH OF ITS FIRST COLLECTION IN 2002.

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LA PANETTERIA. POSTER DIDATTICO, STAMPA A COLORI, D. LORDEY. ST. GERMAINEN-LAYE (EDIZ. M.D.I.) 1964.

THE BAKER. EDUCATIONAL POSTER, COLOUR PRINT D. LORDEY. ST. GERMAINEN-LAYE (EDITIONS M.D.I.) 1964.

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UN PICCOLO CONTRIBUTO CHE ARRIVA DAL MONDO DELLA COMUNICAZIONE PUBBLICITARIA: I PERSONAGGI DI UN PAESINO SICILIANO DI POCHE MIGLIAIA DI ABITANTI DIVENTANO POSSIBILI PORTATORI DI FASHION TREND NEL MONDO. A SMALL CONTRIBUTION THAT ARRIVES FROM THE WORLD OF ADVERTISING COMMUNICATIONS: THE PERSONALITIES OF A SMALL TOWN IN SICILY BECOME POSSIBLE CARRIERS OF FASHION TRENDS IN THE WORLD.

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_Xm\ j\\e k_\ ]lkli\ Xe[ `k `j aljk c`b\ k_\ gi\j\ek# fecp cfe^\iÉ# Xe[ k_`j j\\dj kf Y\ k_\ hl\jk`fe1 g\fgc\ f]k\e k_`eb XYflk k_\ ]lkli\ Xj jfd\k_`e^ m\ip [`]]\i\ek# Xe[ Xk k`d\j `k `j# Y\ZXlj\ k_\i\ Xi\ k_`e^j k_Xk ZXe Y\ [`]]\i\ek Xe[ k_Xk n\ ZXeefk Zfekifc% 9lk dXep f] k_\ k_`e^j n\ [f kf[Xp n\ n`cc Zfek`el\ kf [f `e k_\ ]lkli\% Dp XggifXZ_ kf [\j`^e `j kf j\\ Yl`c[`e^j Xe[ k_\`i `ek\i`fij Xj Xe fe^f`e^ \o`jk\eZ\1 k_\p _Xm\ X gXjk# X gi\j\ek Xe[ X ]lkli\# k_\p le[flYk\[cp _Xm\ X c`]\% K_`j Yi`e^j lj YXZb kf k_\ hlfk\ ]ifd C\ :fiYlj`\i @ d\ek`fe\[ Xk k_\ Y\^`ee`e^% @ Xd efk efjkXc^`Z# Ylk @ Xcjf k_`eb k_\ gi\j\ek Xci\X[p f]]\ij lj Xcc k_\ Xejn\ij% N\ Xi\ `dd\ij\[ `e X gifZ\jj f] fe^f`e^ Z_Xe^\ Xe[ @ Y\c`\m\ `k `j `ek\i\jk`e^ kf ZfejkilZk n_Xk @ ZXcc X c`]\ ]iXd\1 `%\% jfd\k_`e^ g\fgc\ ZXe `e_XY`k# Ylk k_Xk

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“QUESTA È UNA CASA CHE ABBIAMO COSTRUITO QUASI 10 ANNI FA: ERA RIVOLTA A RAGAZZI CHE LAVORAVANO NEL MONDO DEI MEDIA, DELLA PUBBLICITÀ E DEL CINEMA. ABBIAMO COSTRUITO PER LORO UNA CLUB-HOUSE E UN HOTEL COSÌ CHE POTESSERO SENTIRSI A LORO AGIO. È DIVENTATO UN LUOGO QUASI LEGGENDARIO, CON LA SUA DIVERTENTE PISCINA SUL TETTO. C’ERANO STANZE IN CUI POTEVI PORTARE I BAMBINI, ALTRE IN CUI PORTARE LA TUA RAGAZZA, ALTRE ANCORA DOVE FARE DELLE RIUNIONIE POI, VELOCEMENTE, CHIUDERE UNA PARTE DELLO SPAZIO CON LE TENDE E DIVERTIRTI”.

“THIS IS A HOUSE WE BUILT ABOUT TEN YEARS AGO: IT WAS FOR YOUNG PEOPLE WORKING IN THE WORLD OF MEDIA, ADVERTISING AND CINEMA. WE BUILT THEM A CLUBHOUSE AND A HOTEL WHERE THEY WOULD FEEL COMFORTABLE. IT BECAME AN ALMOST LEGENDARY PLACE, WITH ITS AMUSING ROOFTOP POOL. THERE WERE ROOMS WHERE YOU COULD BRING KIDS, OTHERS WHERE YOU COULD BRING YOUR GIRL, OR ROOMS WHERE YOU COULD HAVE A MEETING AND THEN QUICKLY CLOSE PART OF THE SPACE WITH CURTAINS TO HAVE FUN”. © MARTYN THOMPSON

g\iZ_ Z` jfef Zfj\ Z_\ gfjjfef \jj\i\ [`m\ij\ \ Z_\ efe gfjj`Xdf ZfekifccXi\# dX dfck\ [\cc\ Zfj\ Z_\ ]XZZ`Xdf f^^` Zfek`el\i\df X ]Xic\ `e ]lklif% @c d`f XggifZZ`f Xc [\j`^e hl\ccf [` m\[\i\ ^c` \[`ÔZ` \ ` cfif `ek\ie` Zfd\ leË\j`jk\eqX Zfek`elX1 _Xeef le gXjjXkf# le gi\j\ek\ \ le ]lklif \ j`ZliXd\ek\ _Xeef leX m`kX% < hl` i`kfieX cX Z`kXq`fe\ [` C\ :fiYlj`\i Z_\ _f i`Zfi[Xkf `e Xg\ikliX% Efe jfef efjkXc^`ZX# dX g\ejf XeZ_\ Z_\ `c gi\j\ek\ Z` f]]iX klkk\ c\ i`jgfjk\% J`Xdf `dd\ij` `e le gifZ\jjf [` Zfek`elf ZXdY`Xd\ekf \ `f Zi\[f j`X `ek\i\jjXek\ Zfjkil`i\ hl\ccX Z_\ `f Z_`Xdf leX Zfie`Z\ g\i cX m`kX1 Z`f hlXcZfjX Z_\ cX ^\ek\ gfjjX XY`kXi\# dX Z_\ gfjjX XeZ_\ kiXj]fidXij`# \mfcm\e[fj` XeZ_\ j\eqX `c efjkif `ek\im\ekf% 8ccX Ôe\ Y`jf^eX Zfdgi\e[\i\ Z_\ ^c` \[`ÔZ` jfef ` gfjk` `e Zl` m`m`Xdf# dX Xc k\dgf jk\jjf jfef c\^Xk` XccX k\iiX# hl`e[`# hlXe[f gXicf © MARTYN THOMPSON

© MARTYN THOMPSON

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© LISA COHEN

[` leX Zfie`Z\ g\i cX m`kX# g\ejf X hlXcZfjX Z_\ i`jg\kk` ^c` \[`ÔZ`# c\ ZXiXkk\i`jk`Z_\ [\c clf^f# cX ]leq`feXc`k~ [Ëljf% Hl\jkf Z` Z_\ [fmi\YY\ Xdgc`ÔZXi\ cX m`kX Z_\ j` jmfc^\ XccË`ek\ief [` le \[`ÔZ`f# XZZ\eklXe[f \ [Xe[f ]fidX Xc ^\e`lj cfZ`% @c [\j`^e Zfd\ le c`e^lX^^`f `e *[# Xii`mX XccX Ôe\ [\c efjkif gifZ\jjf# efe XccË`e`q`f1 i\Xc`qq`Xdf j\dgi\ leX ^iXe i`Z\iZX gifg\[\lk`ZX gi`dX [` `ddX^`eXi\ leX Zfjkilq`fe\ \ hl\jkf j`^e`ÔZX \jj\i\ Xg\ik`1 ljXi\ ` efjki` j\ej`% @f [`Zf j\dgi\ Z_\ XYY`Xdf [l\ fZZ_`# [l\ fi\ZZ_`\ \ leX YfZZX \ [fmi\ddf ljXic` `e hl\ccX jk\jjX gifgfiq`fe\1 ^lXi[Xk\ \ XjZfckXk\ gi`dX [` jXckXi\ Xcc\ ZfeZclj`fe`% J\ Z` g\ejXk\ Y\e\ hlXcZfjX Z_\ gl \j`jk\i\ Xc [` c~ [\ccf jk`c\1 \j`jkfef gj`Zfcf^`X \ dXib\k`e^# dX XeZ_\ cËXe`dX [` le clf^f% HlXe[f g\ejf Xc [\j`^e [\^c` f^^\kk` `em\Z\ Z_\ [\^c` jgXq`# d` dlfmf e\ccX jk\jjX [`i\q`fe\# dX fmm`Xd\ek\ Zfe hlXcZ_\ [`]]\i\eqX1 efe _X` le clf^f jl Zl` cXmfiXi\# dX _X` Zfdlehl\ cX ZlckliX [\ccËXq`\e[X# ZfefjZ` `c Zfek\jkf `e Zl` m\ii~ `ej\i`kf \ fmm`Xd\ek\ cX ZlckliX jk\jjX [\ccËf^^\kkf# Z`f `c df[f `e Zl` ljXkf \ X ZfjX j\im\% < XeZ_\ hl\jkX [`m\ekX leX jÔ[X \ZZ`kXek\1 j\dgi\ jlc Ôcf [\ccËle`Zf \ [\ccËle`m\ijXc\%

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STOCCOLMA. PROGETTO PER MATHIAS DAHLGREN, CHEF SVEDESE REALIZZATO INTERPRETANDO LA SUA PERSONA, LA SUA STORIA E LA SUA FILOSOFIA RIGUARDO AL CIBO. LO SPAZIO NON ESISTE INDIPENDENTEMENTE DA LUI E SOPRATTUTTO ESPRIME I SUOI VALORI E PUÒ EVOLVERSI. STOCKHOLM. PROJECT FOR MATHIAS DAHLGREN, THE SWEDISH CHEF, DONE BY INTERPRETING HIS PERSONALITY, HIS HISTORY AND HIS PHILOSOPHY OF FOOD. THE SPACE DOES NOT EXIST APART FROM HIM. ABOVE ALL, IT EXPRESSES HIS VALUES AND CAN EVOLVE.

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© F. MANTOVANI

4JNQMJDJUZ &7&3:%": -*'& "3$)&5:1"- '03.4 6/%06#5&%-: '03. 5)& #"4*4 0' 063 803, 4*.1-*$*5: *4 7&3: 3*$) *5 $0/5"*/4 "/ FYUSBPSEJOBSZ RVBMJUZ *5 3&41&$54 "/% $"3&4 '03 5)*/(4 '03 -*'& 45"35*/( '30. )&3& *5 *4 1044*#-& 50 EFTJHO TPNFUIJOH VOJRVF BOE VOJWFSTBM #&$"64& 4*.1-*$*5: )"4 5)& "%7"/5"(& 0' #&*/( VOEFSTUPPE JO BMM DVMUVSFT GXfcX EXmfe\# XiZ_`k\kkf&XiZ_`k\Zk \&Xe[ [\j`^e\i ;Xe`\c Ifq\ejqkifZ_# Xik [`i\Zkfi [`&f] D\iZ` GXi`j

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POSATE DA INSALATA IN LEGNO LACCATO SU VASSOIO IN ARGENTO MARTELLATO. DESIGN PAOLA NAVONE. SALAD SERVING SET, MADE OF LAQUERED WOOD ON A HAMMERED SILVER TRAY. DESIGN PAOLA NAVONE.

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ALCUNE IMMAGINI DI INTERIORS. IN BASSO A SINISTRA DODO-POMELLATO SHOP, LONDON 2011. DESIGN PAOLA NAVONE. SOME INTERIORS IMAGE. BOTTOM LEFT, DODO-POMELLATO SHOP, LONDON 2011. DESIGN PAOLA NAVONE.

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COLLEZIONE DI PIATTI IN PORCELLANA DECORATA SOTTO SMALTO, BLU COBALTO CUCCHIAIO DA RISO IN ACCIAIO LUCIDO. DESIGN PAOLA NAVONE, PRODUZIONE DRIADE. PORCELAIN UNDERGLAZED DISH COLLECTION COBALT BLUE COLOR POLISHED STAINLESS STEELE RICE SPOON. DESIGN PAOLA NAVONE, MANUFACTURED BY DRIADE.

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LAPU LAPU, PRESINA A FORMA DI PESCE IN SILICONE DI PAOLA NAVONE PER HABITAT. ALCUNI OGGETTI REINTERPRETATI DA PAOLA NAVONE: “TROVO CHE SIA BELLISSIMO QUANDO UN ELEMENTO CHE APPARTIENE A UN LUOGO SI SPOSTA, VIENE RIUSATO, RIGENERATO PER DIVENTARE UN’ALTRA COSA ALTROVE”.

LAPU LAPU FISH SHAPED SILICONE MITT

BY HABITAT, DESIGN PAOLA NAVONE. A COMPOSITION OF OBJECTS CREATED

BY PAOLA NAVONE: “I LOVE IT WHEN AN ELEMENT THAT BELONGS TO ONE PLACE IS MOVED, REUSED, REGENERATED TO BECOME SOMETHING ELSE, ELSEWHERE WHEN AN OBJECT LEAVES ITS PLACE OF ORIGIN AND BECOMES A PRODUCT MADE OF MANY STORIES, RELATIONSHIPS, PATHS OF VOYAGES”.

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DALL’ALTO: DISEGNO DI MIA FIGLIA SOFIA DELLA SEDUTA “KLARA” PER MOROSO. “ACEITUNA RELLENA”. OLIVE RIPIENE DI PEPERONE. SINTESI DI DESIGN SPAGNOLO. “LA MIA PRIMA CASA DI BAMBOLE”. COMPRATA DA MIA MADRE A BARCELLONA NEGLI ANNI 60.

RAZIONALISTA E VERDE ACIDO. IL MIO PRIMO APPROCCIO ALL’ARCHITETTURA. FROM THE TOP: MY DAUGHTER DRAWING OF “KLARA” ARMCHAIR FOR MOROSO. “ACEITUNA RELLENA”. RED PEPPER FILLED OLIVES. SYNTESIS OF SPANISH DESIGN. MY FIRST DOLL HOUSE. BOUGHT BY MY MOTHER IN BARCELONA DURING THE 60’S. RATIONALIST AND ACID GREEN. MY FIRST APPROACH TO ARCHITECTURE.

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DA SINISTRA: IMMAGINE DI UNA DONNA RUMENA, COLLEZIONE TAPPETI SARDI “PIBIONES” PER MOROSO, UNA MIA FOTO A SCUOLA DI BALLO VESTITA DA SEVILLANA, A OVIEDO, NEL NORD DELLA SPAGNA. SOMIGLIANZE TRA CULTURE DIVERSE. IMAGE OF A RUMANIAN WOMEN, SARDINIAN RUGS COLLECTION “PIBIONES” BY MOROSO, A PICTURE OF MY SELF AT DANCING LESSONS, DRESSED AS A SEVILLANA, IN OVIEDO, NORTH OF SPAIN SIMILARITIES BETWEEN DIFFERENT CULTURES. .

FOTO DI OPERE DI GERHARD RICHTER ALLA NEUE NATIONALGALERIE DI BERLINO. LA POTENZA DI SAPER INTERPRETARE IL FIGURATIVO E L’ASTRATTO CON LA STESSA TENSIONE. PICTURES OF GERHARD RICHTER WORKS AT THE NEUE NATIONALGALERIE, BERLIN. THE CAPABILITY OF INTERPRETATE FIGURATIVE AND ABSTRACT WITH THE SAME TENSION.

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“LA MACCHINA DEL TEMPO – THE BUG” SITE SPECIFIC, PATRICIA URQUIOLA, ESPOSTO NELLA MOSTRA “O’CLOCK”, MUSEO DELLA TRIENNALE DI MILANO, 2011.

IN BASSO: INGRESSO DELLA MOSTRA “O’CLOCK”, MUSEO DELLA TRIENNALE DI MILANO, 2011.

IDEAZIONE E PROGETTO DI ALLESTIMENTO PATRICIA URQUIOLA. “ THE TIME MACHINE – THE BUG” SITE SPECIFIC, PATRICIA URQUIOLA, PRESENTED AT THE “O’CLOCK” EXHIBITION AT THE TRIENNALE DI MILANO MUSEUM, MILAN. 2011. BOTTOM, ENTRANCE TO “O’CLOCK” EXHIBITION AT THE TRIENNALE DI MILANO MUSEUM, MILAN. 2011.EXHIBITION LAYOUT CONCEPT AND DESIGN PATRICIA URQUIOLA.

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BOZZETTO DI SCENA E FOTO DI SCENA, SCENOGRAFIA DELL’OPERA CLASSICA “L’INCORONAZIONE DI POPPEA” DI CLAUDIO MONTEVERDI. PATRICIA URQUIOLA. PRODUZIONE DEL TEATRO ARRIAGA DI BILBAO, OPERA DI OVIEDO, TEATRO VILLAMARTA DI JEREZ E TEATRO CALDERON DI VALLADOLID. IN BASSO: INTERNI DRAWING COLLECTION. SCHIZZO DI PATRICIA URQUIOLA. SET DESIGN SKETCH AND PHOTO OF THE SCENOGRAPHY OF THE CLASSICAL OPERA “L’INCORONAZIONE DI POPPEA” BY CLAUDIO MONTEVERDI. PATRICIA URQUIOLA. PRODUCTION OF TEATRO ARRIAGA BILBAO, OPERA DE OVIEDO, TEATRO VILLAMARTA JEREZ AND TEATRO CALDERON VALLADOLID. BOTTOM, INTERNI DRAWING COLLECTION. DRAWING BY PATRICIA URQUIOLA.

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L’ ITALIA IN CROCE DI GAETANO PESCE. L’INSTALLAZIONE, ESPOSTA PRESSO IL TEATRO DELL’ARTE DI MILANO NELL’ APRILE 2011, È UN LAVORO-SIMBOLO PER SPRONARE GLI ITALIANI A RECUPERARE E VALORIZZARE QUELLA CREATIVITÀ CHE DA SEMPRE LI HA RESI FAMOSI IN TUTTO IL MONDO. “L’ITALIA IN CROCE” BY GAETANO PESCE. THE INSTALLATION, SHOWN AT THE TEATRO DELL’ARTE IN MILAN IN APRIL 2011, IS A SYMBOLIC WORK TO URGE ITALIANS TO RECOVER AND REGENERATE THAT CREATIVITY THAT HAS ALWAYS MADE THEM FAMOUS ALL OVER THE WORLD.

“QUALSIASI PASSAPORTO È ANONIMO, SENZA NESSUNA PARTICOLARITÀ, ALLORA HO PENSATO CHE OGNI PAESE DEL MONDO DOVREBBE METTERVI IN EVIDENZA I PROPRI ELEMENTI DISTINTIVI”.

“EVERY PASSPORT I’VE SEEN SO FAR IS ANONYMOUS, WITH NO DISCTINTIVE FEATURES, SO I THOUGHT THAT EVERY COUNTRY OF THE WORLD OUGHT TO DISPLAY ITS DISTINCTIVENESS THROUGH ITS PASSPORT”.

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“L’ITALIA È UN LUOGO STRAORDINARIO CHE DISPONE DEL 66% DEI BENI ARTISTICI DEL MONDO E QUESTA CARATTERISTICA DOVREBBE ESSERE RIPORTATA SUL PASSAPORTO”.

I THINK THAT ITALY IS AN EXTRAORDINARY COUNTRY, THAT CONTAINS 66% OF THE ARTISTIC ASSETS OF THE WORLD. SO I THOUGHT THAT THIS CHARACTERISTIC SHOULD BE INCLUDED ON THE ITALIAN PASSPORT.

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IN OGNI PAESE SI PRODUCONO MOTOSCAFI MA RIVA, GRAZIE AL SUO DESIGN E ALLA QUALITÀ DEI MATERIALI UTILIZZATI, HA AVUTO UN SUCCESSO UNIVERSALE: IO CREDO CHE UN MOTOSCAFO COSÌ POSSA ESSERE CONSIDERATO LA MONNALISA DEI NATANTI. QUESTO, IN PARTICOLARE, L’ANNO SCORSO È STATO RIMODELLATO DA MARK NEWSON. MARK NEWSON È UN ECLETTICO, HA SVILUPPATO UNA VARIETÀ DI CREAZIONI: SEDIE, OGGETTI, UNA BICICLETTA, RISTORANTI, UNO STUDIO DI REGISTRAZIONE E PERSINO L’INTERNO DI UN AEREO PRIVATO. OGGETTI DI VETRO PER IITTALA, ACCESSORI DA CUCINA E DA BAGNO PER ALESSI E OGGETTI PER LA CASA PER MAGIS, INCLUSO IL FAMOSO SCOLAPIATTI DISH DOCTOR (NELL’IMMAGINE) E IL BLOCCA-PORTA ROCK. MOTORBOATS ARE PRODUCED IN ALL COUNTRIES, BUT RIVA, THANKS TO ITS DESIGN AND THE QUALITY OF THE MATERIALS, HAS MET WITH UNIVERSAL SUCCESS: I BELIEVE A RIVA MOTORBOAT CAN BE CONSIDERED THE MONA LISA OF BOATS. THIS ONE, IN PARTICULAR, WAS REMODELED

BY MARK NEWSON LAST YEAR. MARK NEWSON IS ECLECTIC. HE HAS DEVELOPED A WIDE RANGE OF CREATIONS: CHAIRS, OBJECTS, A BICYCLE, RESTAURANTS, A RECORDING STUDIO, EVEN THE INTERIOR OF A PRIVATE PLANE. OBJECTS IN GLASS FOR IITTALA, KITCHEN AND BATH ACCESSORIES FOR ALESSI, OBJECTS FOR THE HOME FOR MAGIS, INCLUDING THE FAMOUS DISH DOCTOR (IN THE IMAGE) AND THE ROCK DOORSTOP.

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LA VESPA È UNO STORICO MODELLO DI SCOOTER DELLA PIAGGIO, BREVETTATO IL 23 APRILE DEL 1946.

GERRIT RIETVELD, ARCHITETTO OLANDESE, LAVORÒ INTENSAMENTE NELLA PRODUZIONE DI ARREDI E MOBILI. TRA QUESTI È CELEBRE LA SEDIA ROSSA E BLU (1918). LA SEDIA N°14 È IL PRODOTTO CHE DIEDE A THONET E ALLA SUA SOCIETÀ GRANDE FAMA E PRESTIGIO, FU MESSA IN PRODUZIONE NEL 1855.

LA SERIE UP, DISEGNATA DA GAETANO PESCE NEL 1969, È STATA ACCLAMATA COME UNA DELLE PIÙ POTENTI ESPRESSIONI DEL DESIGN ITALIANO. L’AZIENDA BRAUN ”DECOLLA” NEGLI ANNI CINQUANTA CON PRODOTTI PER LA CASA, SIMBOLI DELLA MODERNA PRODUZIONE INDUSTRIALE DEL XX SECOLO. THE VESPA IS A HISTORIC SCOOTER MODEL BY PIAGGIO, PATENTED ON 23 APRIL 1946.

GERRIT RIETVELD, THE DUTCH ARCHITECT, WORKED INTENSELY ON THE PRODUCTION OF FURNISHINGS AND FURNITURE. ONE OF HIS MOST FAMOUS PIECES IS THE RED AND BLUE CHAIR (1918). THE NO. 14 CHAIR IS THE PRODUCT THAT BROUGHT FAME AND PRESTIGE TO THONET; IT WENT INTO PRODUCTION IN 1855.

THE UP SERIES, DESIGNED BY GAETANO PESCE IN 1969, HAS BEEN PRAISED AS ONE OF THE MOST POWERFUL EXPRESSIONS OF ITALIAN DESIGN. THE BRAUN COMPANY “TOOK OFF” IN THE 1950S WITH PRODUCTS FOR THE HOME, SYMBOLS OF THE MODERN INDUSTRIAL PRODUCTION OF THE 20TH CENTURY.

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LA MONCLER FU FONDATA NEL 1952 DA RENÉ RAMILLON, FABBRICANTE DI ARTICOLI DA MONTAGNA. IL NOME MONCLER NASCE DALL’ABBREVIAZIONE DI MONESTIER DE CLERMONT, LOCALITÀ ALPINA VICINA A GRENOBLE. I PRIMI PIUMINI VENGONO IDEATI E PRODOTTI NEL 1954 PER GLI STESSI OPERAI DELLA MONCLER. LA VW TYP 1, MEGLIO CONOSCIUTA COME MAGGIOLINO, ANCHE DETTA KÄFER IN GERMANIA, COCCINELLE IN FRANCIA, BEETLE O BUG IN GRAN BRETAGNA E NEGLI STATI UNITI, FUSCA IN BRASILE E VOCHO IN MESSICO, È UN’AUTOMOBILE COMPATTA PRODOTTA DAL 1938 AL 2003. È SICURAMENTE L’AUTO TEDESCA PIÙ CONOSCIUTA AL MONDO. IPHONE È IL NOME DI UNA FAMIGLIA DI SMARTPHONE CON FUNZIONI MULTIMEDIALI PRODOTTI DA APPLE. IL PRIMO MODELLO, DISEGNATO DA JONATHAN IVE, FU DISTRIBUITO NEL 2007.

MONCLER WAS FOUNDED IN 1952 BY RENÉ RAMILLON, A MAKER OF ARTICLES FOR LIFE IN THE MOUNTAINS. THE NAME MONCLER CAME FROM A CONTRACTION OF MONESTIER DE CLERMONT, AN ALPINE TOWN NEAR GRENOBLE. THE FIRST DOWN JACKETS WERE INVENTED AND PRODUCED IN 1954 FOR THE MONCLER WORKERS THEMSELVES. THE VW TYPE 1, BETTER KNOWN IN ITALY AS THE MAGGIOLINO, ALSO KNOWN AS KÄFER IN GERMANY, COCCINELLE IN FRANCE, BEETLE OR BUG IN GREAT BRITAIN AND THE UNITED STATES, FUSCA IN BRAZIL AND VOCHO IN MEXICO, IS A COMPACT CAR THAT WAS PRODUCED FROM 1938 TO 2003. IT IS UNDOUBTEDLY THE MOST FAMOUS GERMAN CAR IN THE WORLD. THE IPHONE IS THE NAME OF A FAMILY OF SMARTPHONES WITH MULTIMEDIA FUNCTIONS PRODUCED BY APPLE. THE FIRST MODEL, DESIGNED BY JONATHAN IVE, WAS DISTRIBUTED IN 2007.

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A creaTIve THInK TanK wHose mIssIon Is To PromoTe PeoPLe anD InnovaTIve IDeas direttore responsabile editor GILDA BOJARDI bojardi@mondadori.it consulente editoriale Editorial consultant FRANCESCO MORACE art director CHRISTOPH RADL caporedattore centrale central editor-in-chief SIMONETTA FIORIO simonetta.fiorio@mondadori.it grafica layout MAURA SOLIMAN soliman@mondadori.it SIMONE CASTAGNINI simonec@mondadori.it traduzioni translations TRANSITING@MAC.COM LUCA TRENTINI - MONICA ZARDONI

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Be oPen To THe FuTur www.beopenfuture.com

ARNOLDO MONDADORI EDITORE 20090 SEGRATE - MILANO

The magazine of interiors and contemporary design via D. Trentacoste 7 - 20134 Milano Tel. +39 02 215631 Fax +39 02 26410847 interni@mondadori.it

Finito di stampare nel mese di agosto 2012 presso Printed in August 2012 by Grafica Veneta S.p.A. Via Malcanton, 2 - 35010 Trebaseleghe (PD) Tutti i diritti di proprietà letteraria e artistica sono riservati.

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