20 IID: Revised Thoughts 20 years of Istituto Italiano Design by IstitutoItalianoDesign

Revised thoughts 20 years of Istituto Italiano Design

20IID Revised thoughts 20 years of Istituto Italiano Design

[ president ]

[ exhibition design ]

AnnaMaria Russo

Monica Pioggia Marta Toni

[ scientific director ]

Walter Risolo

[ book design ]

Gianluca Sandrone [ international relations ]

Benedetta Risolo

[ text and archive material ]

[ professors ]

AnnaMaria Russo Monica Pioggia Marta Toni

Paolo Bardelli Laura Patricia Barbieri Cristina Bevilacqua Laura Biancalana Marcello Cannarsa Isabella Cascianelli Stefano Chiocchini Stefano Coviello Lorenzo Dogana Anna Fornari Andrea Frenguelli Eleonora Granieri Marco Leonbruni Serena Logozzo Francesco Lupattelli Giuseppe Marazzita Maura Moretti Daniele Pampanelli Nicola Palumbo Elisa Pietrelli Monica Pioggia Francesco Pecorari Angela Riccardi Walter Risolo Nella Rosi Gianluca Sandrone Walter Sbicca Simone Spaccia Marta Toni Adriana Velazquez

[ communication ]

Nicola Palumbo [ print ]

Skill press, Portogruaro (VE) Italy

[ patronage ]

Istituto Italiano Design via G. Alessi 3/A C.F. 02589670757 P.I. 02453910545 www.istitutoitalianodesign.it

© Istituto Italiano Design, 2020 All Rights reserved. © The Cover image is kindly granted by Galleria Nazionale dell’Umbria Pietro Vannucci. The Adoration of the Magi, Galleria Nazionale dell’Umbria Pietro Vannucci, around 1476

20ďż˝ďż˝D Revised thoughts 20 years of Istituto Italiano Design

QUALITY OF TEACHING — The quality of teaching, values and professionalism of the professors, which avoid commonness over uniqueness, creativity and the sensitivity of each individual student. [ annamaria russo & walter risolo ]

Human needs are the primary condition for Design. From this concept arises the idea to create “study centres” and to transform creativity into services for companies, the territory and being strategic. This has always been the foundation that guides my design interpretation, as well as, its meaning. After 20 years, which in many respects has been my own individual dream, Istituto Italiano Design has become a reality shared with many professionals who have contributed immensely to its growth. The quality of teaching, values and professionalism of the professors, which avoid commonness over uniqueness, creativity and the sensitivity of each individual student. The choice to open, listen and experiment are the fundamental keys to our educational programs. I believe in order to be a good designer, it’s important to be a good person, that is, putting one’s talent to work for society. Design is never a static concept, society is constantly evolving and changing. We are encompassed by progress which evolves around us, or is it better to say “exchanges”. There are new solutions at lower costs that translate into active and changeable design. Therefore, a designer must always be immersed in the social and technological contexts of the moment. They must understand new technologies to the point of being able to interpret and utilize them. Also, they must be attentive towards new social conditions of the urban fabric, seizing the needs, expectations and dreams that surround us. Absorbing technological progress, combining it with soft organic forms and offering it to users, allows designers to reinvent. It allows us to reinvent old objects, in which a new and actual technological soul has been added. It opens news functions for its use, possibly at controlled costs and with low consumption of natural resources. Objects become “smart” or rather “intelligent”, useful for all, especially for the more needy and more fragile. New technologies always produce

4 — 5 faster processors, that is, they make them more complex, smaller, consuming only a drop of energy and above all able to connect via Wi-Fi, Bluetooth and internet. Thus, the multiplication of apps, taking advantage of old but wonderful algorithms, which have been abandoned for their lack of adequate processors: neural networks, fuzzy logic, artificial intelligence, identification and speech synthesis, artificial vision. Having the possibility to transfer data to a distant server with fast internet connection arises «IoT» or in other words the “Internet of Things”. Voice assistants, autonomous driving, drones, domestic robots, household appliances, all controlled by voice “home-automation” rise and multiply rapidly. Smartphones are powerful computers and available to a wide public, they have become terminals for interaction with the objects that surround us. The new Designer is the ‘Leonardo’ of our times: absorbing, brainstorming, proposing, reinventing forms and performances. Their knowledge is horizontal, in contrast with world trends of the superspecialised. They understand a little bit of everything: mechanics, technology, materials, ergonomics, psychology, art and markets. Its power doesn’t lie in acute and monochromatic knowledge, but in the strength of links between diverse knowledge, in “connecting” and become polymorphic, but above all multi-spectral, like the colours of the rainbow. The designer assumes economic responsibility because they can move mountains of money, contribute significantly to the GDP of a country and social responsibility by promoting well-being for everyone, respect for the environment and nature with more recycling and less waste. Now, the designer is the protagonist, “Deux ex machina”, working while having fun, believing their job is the best in the world, while looking at us with a bit of sympathy from their golden Olympus! How can you blame them? Anna Maria Russo & Walter Risolo

INDUSTRIAL DESIGN COURSE

Birra in fermento......16

Bench........................18

Bocchette..................20

Building Light.........22

Canyon......................24

Cristal Plant.............26

Concetti....................28

Ettore.......................30

HiNature...................32

Infradito...................34

Jewell Collection.......36

Moby..........................38

Nest to me.................40

Perla Nera.................42

Tappi.........................44

Terminator4......,......46

Wonderchef...............48

Zed............................50

Zumthor....................52

Attic.........................60

BBBeer......................62

Casa Cantoniera........68

Casina Rossa............70

Landscape.................76

Leroy Merlin.............78

INTERIOR DESIGN COURSE

12 Doghe....................54

Best Before................64

Burrasca...................66

03/ RENDER "PONTE"

Ecoproduction..........72

Formula....................74

DIANA FULGA Istituto Italiano Design Tesi di Laurea Corso: Progettazione Architettonica A.A. 2017/2018

Riqualificazione e Riconversione di uno Stabile Adibito ad Autorimessa e Sistemazione dell'Area Urbana Adiacente

Disegno n.

D300

Light House...............80

Fontebella Palace.....82

Monteluce.................84

One57.........................86

Perugia Brewery........88

Private House............90

Safety Lounge...........92

Sibilla.......................94

FASHION DESIGN COURSE

Sibilla.......................96

Umbria Nature..........98

Charm of a Greek...108

Image......................110

Dulcis in Dress........104

Dandy Sport............114

Val rio.....................116

Like a Dandy............118

Another Man............120

Vegetables................124

Rennaissance..........126

Collezione Ice...........130

Natural Rustic.........132

Japanese Dress.........134

3D Clothing..............136

Sweet Rebel.............138

Raffaello..................140

London Calling........142

3D Clothing..............144

COMMUNICATION DESIGN COURSE

Sweet Rebel.............146

Feel Free.................148

Feel Free..................150

CIOCCOLATO FONDENTE PEPERONCINO

160 mm

211 mm

124

Van personalizzato per catering

CIOCCOLATO FONDENTE PEPERONCINO

SII BOP, SII RIBELLE, RIVOLUZIONARIO. LASCIATI ANDARE ALLA TUA ISTINTIVA PARTE CREATIVA. ATTINGI A TE STESSO, IL CANTO DI TE STESSO. SOFFIA!

JACK KEROUAC

My packaging portfolio

A. Naming

E. Idea

H. Progetto

B. Logotipo

I. Mockup

Elisabetta Enrietti

C. Fustelle

G. Mockup

Acron Wars...............156

Fustelle

D. Mockup

BEBOP

Bebop.......................158 DIZZY GILLESPIE

Best Before..............160

Dulcinea..................162

le icone merceologiche TAVOLETTA DI CIOCCOLATO FONDENTE E PEPERONCINO Peso netto confezione: 100g

È stato studiato un sistema iconologico ad hoc per identificare le sei attività che faranno parte del progetto “Mercato Coperto”. Il segno esprime i concetti di semplicità, artigianalità e familiarità. Etichette d’Autore...164 Etichette d’Autore...166

. La scelta

Informazioni nutrizionali per 100g di prodotto: Energia 2350KJ / 563Kcal (VNR* 28%) tot Grassi 36g (VNR* 51%) di cui saturi 19g (VNR* 97%) Carboidrati 51g (VNR* 20%) di cui zuccheri 49g (VNR* 54%) Proteine 9g (VRN* 17%) Sale 0g (VNR* 0% ) VNR*: Assunzione giornaliera di riferimento di un adulto. Medio 8400KJ / 2000Kcal

Ingredienti: cioccolato al latte (zucchero, burro di cacao, LATTE in povere, pasta di cacao, siero di LATTE in polvere, emulsionante: lecitina di SOIA.), 6% NOCCIOLE intere tostate. Solidi del cacao: 31% minimo.

Lost inDI ALTRA Woods...........170 Euřibio.....................168 Avvertenze: PUÒ CONTENERE TRACCE FRUTTA A GUSCIO. DULCINEA PERUGIA srl via togliatti 73B, 06073 Corciano (PG) IT www.dulcinea.it

La pasta Euribio è pensata per il mondo dei bambini, che adorano giocare e viaggiare con la mente. Per questo motivo ogni pack è accompagnato dall’illustrazione di un personaggio (marinaio, aviatore, astronauta) accompagnato con dei motivi del relativo mondo. La scatola è pensata per poter essere riutilizzata come astuccio per le matite, come segnalato sul fondo della confezione. Lotto: 130419 Da consumare pref. entro: OTT - 19

Moonlight................172

Nero Fumo...............174

NYC Pride 19............176

Non Voglio una.........178

Packaging Communication design II

Pasta biologica

Celeste Stellini

Olimpiadi del Mare..180

Pathos.....................182

Series.......................184

SopraMercato..........186

bra

METAPONTO

o3.

presentazione logo

Ă&#x2C6; UN Soprattutto.............188

Proposta di rebranding Terrazza del Mercato Coperto

Comune di Perugia

Trasimeno Future....190

Bench.......................192

Connubio..................194

Tav. 43

Andrea Rasca at IID

Bagno del Futuro

Bagno le Iene

Forest for Fashion

Green Hear Quality

Premio video 2000k

Mercato coperto

Dulcis in Dress

Fashion & Music

Rinascimento

Targa Bonetto

Un poâ&#x20AC;&#x2122; di Noi

�NDU STR� AL DE S�GN A CONVERSTION WITH MARCELLO CANARSA — I will start by reading you a quote, taken from a book by Robert Maynard Pirsig, Zen and the Art of Motorcycle Maintenance. [ MC ]

Perhaps the director was a ‘technician’, a word with which Phaedrus indicated an author so immersed in its own matter to have lost the ability to communicate with those outside it.

12 — 13

There is no project without a client, the client profoundly determines both the goals and language of the outcome, aside from the techniques and materials. During my course, one starts by designing for themselves, searching to explore their inner world and trying to bring it out. As a phase, I try to make the students individualise the distinctive signs of certain companies or a specific product process. These identified languages mix with those of the designer. For this reason, I believe it’s essential the two worlds intertwine, even if with different modalities and timelines from real work. However, it’s true that the Italian panorama has a gap between the world of business and education. This difference holds its weight in many areas and attributes to the shock students may experience when going out into the work field. The biggest differences which I try to transmit to my students are tied to project deadlines or to an idea and to the fundamental technical skills. One point which I try to insist on with my students, is that in today’s world they must always be up to date in every field. Certain sectors always find more obstacles in the world of design, except for those in high levels and very specific areas. On the other hand, it’s important to know as much as possible and go in depth, in case it’s necessary to tackle a project. [ MC ]

Converstion with Marcello Canarsa

This quote is taken out of context, but in my opinion, it provides many insights on the theme of this meeting. Perhaps, in a more general sense, on the figure of the designer as a person because it completely captures all the difficulties that are encountered upon leaving university and entering the profession. Translating this concept into our profession, namely to the field of applied arts, did you also encounter difficulties of this kind? Or on a matter of communicative nature, linked to an excess of academic technicality? [ MC ] In design theory, one moves forward in a rational and scientific manner, all stages lead to the creation of a product. This rational course tends to regulate the creative process that is influenced by many external factors and is a mixture of reasoning and chance. Inevitably, there’s a tendency towards academic technicality in teaching design, which is balanced by the practical part of the student in facing the start of a new idea. In product design, I deal with design methods made by important designers and then apply them to real projects. From theory to practice, the leap from one to the other is often traumatic. One finds themselves in a crisis with a blank sheet and most of all, with the instinct to find a solution. Instead, it’s important to transmit the idea that an initial phase exists, to open points of view by building a wealth of experience and knowledge, which will then focus on those more convincing and important points. Once they’ve tackled this path of research and errors, the answers from which the projects will arise will be identified. This process of settling thought, will make it easier in the designer’s life to design.

is an incentive for the user to produce the objects they need. It’s in itself one of the first design projects, a design that isn’t expressed by objects but by communication and furnishing the means to develop it. With the arrival of the internet a new trend started, the new-DIY, where the instructions for assembling or producing products became simpler. The most important thing in this area, as per the Hacker Ikea movement is the raw materials are no longer wood or metal or semi-finished materials, but finished products to be used as ornaments or lamps that can be assembled, taken apart or reinterpreted. In a world full of objects, this evolutionary design phase is in a way natural. On the other hand, self-production is a very different matter, where an unrecognised creator tries to produce a very small series of projects and they encounter three obstacles that I think they cannot overcome: distribution, advertisement and final cost. Out of the several attempts of self-production in Italy and abroad, none have had a long life, this is due to the fact that big brands are still more important and one is willing to spend large sums in exchange for even the simplest brand name, in fashion, as well as, in other products. If the transition from academia and profession collide with the issues of a commission and self-referentiality, it’s also true that they share a fundamental step, research and the production of the contents. Therefore, we can understand the needs of the schools, which seek to provide students with “exponentially” universal tools to address the profession in an “authorial” way and not with the attitude of a problem solver. In this perspective, research plays an essential role in the profession; obligating each designer to constantly being up-to-date and to continue the process of learning, which seems to never end. Just think about the evolution of technology, media and the means of diffusing visual communication. In your opinion, what are the fundamental tools to confront the search for a new project? Can we consider them equal to the two areas? [ MC ] Research is the phase immediately following clarifications on the scope. It must answer all the questions that divide the brief’s creation to the solution.

Some technical knowledge must be acquired on materials; the type of production, finishes, durability and use of the product. Also, knowledge of market analysis, of existing products or what already has been made and why. As well as, stylistic and aesthetic knowledge given by the target type to which the product will address. In regards to the past, speed and interconnecting ideas mean that every new style is quickly stamped out, but at the same time the lamp Arco, which has been around for more than 60 years, is still considered a modern lamp. If you notice in the last decade, few products have become archetypes, this same trend, is found in so many other areas, such as music. Finally, if on the one side, the internet permits us to be influenced by a myriad of information in real time, it risks flattening out personal experiences that become shared so much, they seem identical. I’m sure that whoever manages to create new languages will win the challenge. In conclusion, I would like to make a final reflection on a more general level, on the purpose of teaching visual communication. Going completely into today’s reality, which unfortunately must deal with the statistical increased rate of youth unemployment. Is it right to continue training students by reducing them into a single professional sector or is it right to provide them with abilities on a strategic level, obligating them to receiving an earlier and greater awareness during their studies? [ MC ] In the wonderful TED presentation “Do schools kill creativity?”, Ken Robinson claims that there are more graduates alive now than in all of history and discusses giving a purpose to these graduates who have a specialisation, masters, doctorate, postdoctorate and so on. This should make us reflect on the purpose of studying, which is going back to the basic idea of sharing knowledge. The purpose of university is to give shape to the mind, even more so in design, which can provide a method to explore the world and invent new jobs, or face traditional jobs in an innovative way. This doesn’t mean that we can save the world with design, but certainly it’s a tool in opening our minds and can provide new and unexplored points of view.

14 — 15 1 - Enzo Mari, Autoprogettazione?, Corraini, Design & designers, Mantova, 2002 2 - Hacker Ikea (www.ikeahackers.net) 3 - Sir Ken Robinson, Do schools kill creativity?, TED Conference, 2006

Converstion with Marcello Canarsa

Freelance Industrial Designer deals with everything that revolves around the Project. Studied at ISIA of Rome, and for an extended period of time in Barcelona, Milan, and Rome. Also, has collaborated with important international studios and companies. Works include product design in electronics and ‘furniture’ confronting new production technologies and new design techniques. He has held various roles in the production process, from market research to application of new materials, colors and finishes, as well as, sketches and 3Ds, up to the final product.

BIRRA IN FERMENTO Design in ferment is a line of beer bottles which through form, color and identity is meant to represent the contemporary values and relationship with the Umbrian region. The project also includes the visual identity of the brand, labeling and packaging.

Design in ferment was included by the Centro Estero Umbria (Chamber of Commerce) with a high coefficient for innovative projects through Casa Umbria, testimony to the value and excellence of Umbria in the world, presented at Milan Expo 2015.

[ professor ]

Industrial Design

Marta Toni - Monica Pioggia

[ course ]

[ academic year ]

Exhibit

2015

R. Angeletti F. Capuano G. Ciannavei C. Costanza D. Disperati A. Korolkova J.P. Modaffari G. Santocchi M. Stucchi

[ department ]

16 — 17

BENCH

Study for the application of wooden and composite materials in a bathroom environment.

18 — 19 [ professor ]

Industrial Design

Elisabetta Furin

[ course ]

[ academic year ]

Rendering

2015

Damiano Disperati

[ department ]

BOCCHETTE Starting from the Citroen C3 optical unit and repeating the shape of the same circular base, the project for a bioethanol stove was designed, characterized by a modern and functional design. The peculiarity of this piece of furniture – it’s capacity

to spread heat 360°. Air circulation guaranteed by the ellipsoidal vents placed at the base of the stove, which take advantage of the natural convective motions of the air heated by the lamps, allowing for a rapid diffusion into the space.

20 — 21 [ professor ]

Industrial Design

Fabrizio Carloncelli

[ course ]

[ academic year ]

Competition Young & Design

2007

Maurizio Barabani

[ department ]

BUILDING LIGHT

Stefano Chiocchini

[ course ]

[ academic year ]

Furniture Complements

2011

Building Light is a light that originates from the idea to reproduce the charm of skyscrapers during the night. Despite the complex and intersecting design, the assembly of the light is very simple thanks to the

various shaped bases that determine the interlocking of the various blocks. The lamp is modular, just like city buildings, in fact it is enough to add a module or a level to build up its height.

22 — 23

[ professor ]

Industrial Design

Noemi Bardelli

[ department ]

CANYON

Elisabetta Furin

[ course ]

[ academic year ]

Render per il progetto

2011

The project is inspired by the Grand Canyon gorges and becomes a material sculpture that finds its placement in luxury accommodations.

24 — 25

[ professor ]

Industrial Design

Mattia Trinari

[ department ]

CRISTALPLANT CONTEST A design series for tubs for the competition launched by CRISTALPLANT. The company specializes in producing synthetic marble.

The project foresees two different bathtub types; the first inspired by marine forms and the second the form of a woman.

26 — 27 [ professor ]

Industrial Design

Marcello Canarsa

[ course ]

[ academic year ]

Design Methodology

2017

Carlo Perra

[ department ]

CONCETTI STAND

28 — 29

The design study for Concetti's company stand which focused on creating a functional and aesthetically attractive structure, which could be reused by recycling parts of the structure designed for Ipack Ima 2018 Milan.

[ department ]

[ professor ]

Industrial Design

Marta Toni

[ course ]

[ academic year ]

Design methodology

2018

Michal Dembiski

The project met the budget and allowed for the reuse of most of the material.

ETTORE “Ettore” is an object from ironic philosophy. Its story tells us how the old push-button switch, “rebelling” against the bulb, is always the protagonist of the bulb, decided to become a luminous protagonist itself, lighting up from

within. Ettore alludes to the awakening of human resources and abilities to search within and not outside oneself. The origin of the idea, therefore, foresees that the mean becomes the “end” and the object becomes “subject”.

30 — 31 [ professor ]

Industrial Design

Sandro Gonnella

[ course ]

[ academic year ]

Lucky Strike Designer Award Italy

2007

Jacopo Begani Enrico De Candia

[ department ]

HI-NATURE The bathroom, a space where technology and nature should coexist in balance and harmony to ensure a familiar environment. Using this dichotomy as a strength, we designed a habitat where one lives immersed

in a relaxing and fresh environment, thanks to natural materials, integrating innovative technologies that facilitate the practice and use, a routine of gestures, every day.

32 — 33 [ professor ]

Industrial Design

Francesco Pecorari

[ course ]

[ academic year ]

Leroy Merlin Contest

2018

Alfredo Fuschiotto Giulia Murru Carlo Perra

[ department ]

INFRADITO

Marta Toni

[ course ]

[ academic year ]

Object Use Design

2010

An ergonomic design, as well as, fashion for an object that is purely about comfort and rest, almost a challenge for the company Sensi, which consciously takes it on.

34 — 35

[ professor ]

Industrial Design

Mario Sisillo

[ department ]

JEWELL COLLECTION

Marta Toni

[ course ]

[ year ]

Object Use Design

2017

The study of clean shapes but with attention to detail that enhances the precious material. Designed for a young Roman jewellery business.

36 — 37

[ professor ]

Industrial Design

Michal Dembiski

[ department ]

MOBY Helmet design for firefighters, in collaboration with the company CMD in Terni. The industrialised version was purchased by various entities on an international level.

38 — 39 [ professor ]

Industrial Design

Francesco Guarino

[ course ]

[ academic year ]

Object Use Design

2004

Maurizio Barabani

[ department ]

NEST TO ME â&#x20AC;&#x153;Nest to meâ&#x20AC;? is a product able to perform five basic functions fundamental for the growth of a baby, through three modules and a single

base. An embracing and comfortable nest for a newborn, constantly changing to accompany them during their stages of growth.

40 — 41 [ professor ]

Industrial Design

Marcello Canarsa

[ course ]

[ academic year ]

Thesis Project

2019

Giulia Murru

[ department ]

PERLA NERA The bookcase created and designed for the company Calligaris, is called the â&#x20AC;&#x153;PERLA NERAâ&#x20AC;? (Black Pearl). The shelves are movable thanks to the fastening of wire ropes, conceptually based on the sails of a ship.

The frame is travertine wood to recall the tree on which the pirate flag was posted. The base in black stone, homage to the master Achille Castiglioni, who consequently gave the name to the bookcase.

42 — 43 47 210 10

140 159 191

[ department ]

[ professor ]

Industrial Design

Marcello Canarsa

140

[ course ]

[ academic year ]

Design methodology

2018

SCALA 1:5

140 159 191

Alberto Fuschiotto

SCALA 1:5

TAPPI Even caps can become objects of design: the project is in collaboration with a local company.

44 — 45 [ professor ]

Industrial Design

Marta Toni

[ course ]

[ academic year ]

Object Use Design

2018

Federico Russo Carlo Perra

[ department ]

TERMINATOR 4 Terminator 4 is a multiple, articulate, configurable chair. Its materials range from steel to leather to nylon. Able to assume the FUNCTIONS and forms that serve to capture man. Padded and stitched in nylon covered in

leather with steel legs. Hypnotic and multiperforming, inevitably attracting a human being who ends up sitting.

46 — 47 [ professor ]

Industrial Design

Fabrizio Carloncelli

[ course ]

[ academic year ]

Furniture Design

2004

Rayan Al-Hidari

[ department ]

WONDERCHEF The project designed for the company WONDERCHEF is the search for a balance between shapes and colors. This is the result of Italian style, attractive and appealing, combined with the world of nature.

The project is based on ergonomic and functional studies where the forms are designed for man and are adapted in a naturally intuitive way. The elements put together create a coherent â&#x20AC;&#x153;ecosystemâ&#x20AC;?.

48 — 49 [ professor ]

Industrial Design

Marta Toni

[ course ]

[ academic year ]

Object Use Design

2019

Alfredo Fuschiotto Giulia Murru Carlo Perra

[ department ]

ZED per carrello e lettino con due cassetti scala 1:5

560

A comparison with Bioservice (an equipment company for wellness centers) revealed a lack of design coherence. Bringing forward the thesis research, which involves the design of a new â&#x20AC;&#x153;sensory experienceâ&#x20AC;? for their customers

by creating pleasant treatments and welcoming places. All of this, results in the modular design of some products for setting up the environments.

50 — 51 [ professor ]

Industrial Design

Elisabetta Furin

[ course ]

[ academic year ]

Design methodology

2013

Domenico D’Amico Adriana Sgaramella

[ department ]

ZUMTHOR Cristalplant, in fact is a material that perfectly follows the design lines and perfectly interprets forms. Zumthor is a project named

after the architect who gave its inspiration. Even with its material and sensorial shape, the project is linear and almost minimalist.

52 — 53 [ professor ]

Industrial Design

Elisabetta Furin

[ course ]

[ academic year ]

Design methodology

2011

Benedetta Moretti

[ department ]

12 DOGHE

Marta Toni

[ course ]

[ academic year ]

Object Use Design

2011

Table designed with the use of curved wood coming from a wine barrel which reached the end of its use. The table is composed of two structures composed by 6 curved oak slats joined together by a steel tube and tempered glass. The arrangement of the slats, are devised by

54 — 55

[ professor ]

Industrial Design

moving away from the classic concept of a table, emphasizing the elegance and strength of curved wood. The table is made for Camera Cantina: furniture for a hotel wine bar for wine tasting. The prototype is visible in one of the suites

Mattia Trinari

[ department ]

�NTE R�OR DE S�GN ABOUT ZEN AND MOTORCYCLE REFLECTION BY LAURA BIANCALANA — The best road always connects nowhere with nowhere and have an alternative that gets you there quicker. [ lb ]

Many times, university projects are discussed face to face between the student and professor, or with the thesis committee between the student and a group of professors, but always between people who have similar goals or simply share a common language. In this sense, does the relationship with the client represent the missing piece to the puzzle between university and profession? For you, do university courses and profession need to travel on parallel tracks, or is it possible that these two worlds intertwine? In your course, how do you confront or introduce the theme of the client? [ lb ] The interplay between the two worlds of academics and the work field is always desirable, not only from a preparatory perspective towards

If the problem of a lack of getting commissions lingers during university design courses and sectoral design courses (such as editorial design), is this issue emphasised even more? It’s not only in recent years, in Italy that we have witnessed the birth of various fairs around the theme of self-design or independent design. In fact, there is a trend around self-production or “DIY” that can’t find an audience of buyers, interested parties or others, not unless within the students themselves or former students. How do you interpret this phenomenon in many ways self- referential? [ lb ] In fact, if on the one hand a project seems to struggle to emerge from a restricted circle, on the other hand it looks like an outlet that needs consideration, it is always positive when a student decides to move with initiative towards the “do it yourself”. It goes without saying that this cannot always be a valid scheme and it’s valid to judge case by case. Nevertheless, it deals with patterns to encourage the purpose of sharing the most widespread experience of this kind. Not only, in the field of independent design it has represented for many years an extraordinary supply from which some of the most brilliant talents of today have emerged. All made possible by these kinds of situations: a public of not only professionals but also journalists and enthusiasts capable of feeding it in a continuous virtuous circle.

56 — 57

the profession, but also in the context of increasing exchanges and collaborations between entities with different scopes but with similar backgrounds. In my experience, I was fortunate to have had countless mutual support, which meant there was a double advantage: on the one hand allowing students a firsthand approach in the work field and the daily problems and on the other to the professors, a continuous and constant update on what are the “hot” topics of the profession. A beneficial exchange, as long as, one remembers and keeps at the centre point the importance of an education that is not only practical, but is able to train the student to have a flexible mindset that can accompany them in their professional future in different ways.

Conversation with Laura Biancalana

This quote is taken out of context, but in my opinion, it provides many insights on the theme of this meeting. Perhaps, in a more general sense, on the figure of the designer as a person because it completely captures all the difficulties that are encountered upon leaving university and entering the profession. Translating this concept into our profession, namely to the field of applied arts, did you also encounter difficulties of this kind? Or on a matter of communicative nature, linked to an excess of academic technicality? [ lb ] The question I think goes beyond the field of applied arts and definitely focuses on the entire professional world. The discrepancy that often lies between academic technicality and “real life”, is one of the main issues in which professionals stumble on once they enter the work field. A world in many ways that is new, made up of practices and customs that in most cases have never been addressed on an academic level. At the same time, this is a good thing, preparation and university background for many students gives them a strong approach to problem solving, enabling them to go beyond the single issue. Another great quote by Pirsig recalls this aspect: “The best road always connects nowhere with nowhere and have an alternative that gets you there quicker.” It is this exact ability, usually deriving from a humanistic approach, that allows those involved in applied arts to sustain tests that aren’t directly related to their path and to face every challenge with the best attitude.

If the transition from academia and profession collide with the issues of a commission and self-referentiality, it’s also true that they share a fundamental step, research and the production of the contents. Therefore, we can understand the needs of the schools, which seek to provide students with “exponentially” universal tools to address the profession in an “authorial” way and not with the attitude of a problem solver. In this perspective, research plays an essential role in the profession; obligating each designer to constantly being up-to-date and to continue the process of learning, which seems to never end. Just think about the evolution of technology, media and the means of diffusing visual communication. In your opinion, what are the fundamental tools to confront the search for a new project? Can we consider them equal to the two areas? [ lb ] First of all, a strong curiosity. Throughout the years, I have noticed that only those who present themselves in front of a new challenge with this kind of attitude tend to go further, not only with ease but also with enthusiasm, overcoming the most difficult obstacles without difficulty. Naturally, we aren’t dealing with just one single fundamental, but it’s a condition that’s at the basis of all subsequent knowledge. Moreover, solid preparation is always necessary, a reason why I always insist on the theoretical approach, even in the most practical disciplines. Two horizontal tools that could be stimulating, if we consider them as diagonals are the attitudes that must coexist in order to confront any issue from the best point of view. In conclusion, I would like to make a final reflection on a more general level, on the purpose of teaching visual communication. Going completely into today’s reality, which unfortunately must deal with the statistical increased rate of youth unemployment. Is it right to continue training students by reducing them into a single professional sector or is it right to provide them with abilities on a strategic level, obligating them to receiving an earlier and greater awareness during their studies? [ lb ] A multidisciplinary approach is always necessary, however not without a vertical in-depth analysis of the subjects being studied. The aim of

each course, I believe should be to provide the best possible background in an open and constructive atmosphere that is able to explain the past through a continuous interpretation of the present. A certain strategic ability then becomes part of the individual’s attitude, a feature which isn’t always possible to transmit in the same way to all students. It is interesting to note that a certain awareness is more or less always present, especially towards the end of one’s academic goals, demonstrating how much the students, regardless of expertise, know how to embrace the atmosphere that awaits them once they have completed their journey of studies.

58 — 59 Conversation with Laura Biancalana

Graduated in 2009 in Architecture at the University of Florence, a freelance architect collaborating with different Umbrian, Italian and international realities. She is particularly interested in interior architecture, in which most of her work is focused on. Alongside her profession she does intensive promotional activities for Umbrian companies abroad, often being the spokesperson for the world of Made in Umbria and its territory. She is a Professor of History of Architecture, History of Furniture, Anthropology of Living and Design.

ATTIC Study of residential environments in 3D.

60 — 61 [ professor ]

Interior Design

Silvia Capoccia

[ course ]

[ academic year ]

Residential design

2010

Francesca Montalboldi

[ department ]

BBBEER The format ‘Bbbeer – Restaurant & Market’ arises from the desire to create a place where the entire production process of beer is visible. Topics such as the short supply chain and the consequent conscious consumption are

the basis of the project, which starts from the redevelopment of an old industrial plant. A large space allowing for two macro areas dedicated to retail and food service.

62 — 63 [ professors ]

Interior Design

Marta Toni - Monica Pioggia

[ course ]

[ academic year ]

Commercial Design

2016

Roberta Libertella

[ department ]

BEST BEFORE BEST BEFORE â&#x20AC;&#x201C; save good food. Design and planning for a franchise to recycle and reuse fruits and vegetable close their expiration and/or their non-conformity to aesthetic

standards. Designed spaces designated for the consumption of these products which would otherwise go to waste, with a focus on the awareness campaign.

64 — 65 [ professor ]

Interior Design

Marta Toni - Monica Pioggia

[ course ]

[ academic year ]

Design Workshop

2018

Francesca Fausti

[ department ]

BURRASCA The underlying philosophy behind this franchising project is linked to the reintroduction of hemp in the maritime world. A product which may seem foreign to this world, but in reality, is used for the production

of ropes and sails for ships. Therefore, the goal of the project is to communicate this bond, rediscovering it both at the culinary level and in designed environments.

66 — 67 [ professor ]

Interior Design

Marta Toni - Monica Pioggia

[ course ]

[ academic year ]

Commercial Design

2018

Federico Russo

[ department ]

CASA CANTONIERA The thesis project is inspired by a call for tender launched in 2018 by Anas on the requalification of the Case Cantoniere. More precisely, the restoration of the Case Cantoniera in Pian di Massiano, with

annexes converted into Bed & Breakfast. The concept that guided the requalification and development of the project’s key points are contemporary themes such as “slow travel” and “wellness experience”.

68 — 69 [ professors ]

Interior Design

Francesco Pecorari - Simone Spaccia

[ course ]

[ academic year ]

Thesis Project

2018

Ilaria Loiaco

[ department ]

CASINA ROSSA The project “La Casina Rossa” (Red Cottage) was classified 3rd in the third edition of the competition “La Casa di Domani” (House of Tomorrow) organized by Leroy Merlin (2017). In order to preserve the historical identity of the factory, we decided that all new additions would have a steel finish. By connecting the production of ropes and weights typical of historic Sturla, we decided to direct

our choices towards a “maritime” style. In addition, this provided inspiration for a pleasant atmosphere (see the use of creative bricolage), it also has to do with the need to arrive to an architectural identity able to be positively absorbed by a community of users not rooted and in constant transit. The “ship” is a symbol of travel, thus transience, but also of safety and hope.

70 — 71 [ professor ]

Interior Design

Francesco Pecorari

[ course ]

[ academic year ]

Residential Design

2016

Aa.Vv.

[ department ]

ECOPRODUCTION

02/ PROSPETTO NORD 1:200

The project aims to expand and transform the of the facades and the development for a green site of Ponte Rio to a new center, in which the educational area for children. The entire theme of sustainability becomes the driving project evolved around the theme of ecoforce for promoting and manifesting business sustainability, shared awareness and respect values that have always characterized Gesenu for nature. S.p.A. The project foresees the requalification

72â&#x20AC;&#x2030;â&#x20AC;&#x201D;â&#x20AC;&#x2030;73

03/ RENDER "PONTE"

[â&#x20AC;&#x2030;departmentâ&#x20AC;&#x2030;]

[â&#x20AC;&#x2030;professorâ&#x20AC;&#x2030;]

Interior Design

Marta Toni

[â&#x20AC;&#x2030;courseâ&#x20AC;&#x2030;]

[â&#x20AC;&#x2030;academic yearâ&#x20AC;&#x2030;]

Thesis Project

2017

Arianna Egidi

300

275

Soffione RGB

220

Regolazione Temperatura Ambiente

342

141

MusicLight

48 0.0

210 300

275 220

141

342

La perfezione e la bellezza delle figure regolari, sia bidimensionali che tridimensionali, ha sempre stimolato suggestioni e fantasie. Mentre la filosofia tentava di attribuire un significato a queste affascinanti forme, la scienza e la tecnica cercavano i metodi per riprodurre questi solidi nella maniera più corretta possibile. Esiste una grande differenza tra le figure regolari e i solidi regolari. Le figure regolari sono bidimensionali (triangolo, quadrato, pentagono, esagono, ecc) e sono infinite. E’ quindi possibile costruire una figura piana regolare con infiniti lati, a patto di rispettare la regola che tutti i lati e gli angoli che la compongano siano uguali. Aumentando progressivamente il numero dei lati, ci si avvicinerà sempre più a al cerchio. Per costruire un solido regolare (tridimensionale) la regola consiste nell’utilizzare come facce di questo solido figure piane regolari uguali tra loro (triangolo, quadrato, pentagono, esagono,ecc), e fare in modo che tutti gli angoli formati da queste facce siano uguali. Rispettando questa regola si possono costruire solamente cinque poliedri rego210 lari: il tetraedro, il cubo, l’ottaedro, l’icosaedro e il dodecaedro. Quindi la differenza tra le figure piane regolari e i solidi regolari è che, mentre le prime sono infinite, i solidi regolari invece possono essere solamente cinque. I matematici greci erano già al corrente di questa limitazione. Platone (427-348 a. C.) si occupò in larga misura dei solidi regolari, attribuendo loro un significato preciso, e mettendoli in relazione con l’ordine dell’universo. Il Timeo è il libro di Platone, volume che contiene la più antica descrizione dei solidi regolari che, per questo motivo, sono conosciuti oggi come solidi platonici. L’ Icosaedro per Platone è il simbolo dell’acqua. Esso è composto da 20 facce, 30 spigoli e 12 vertici.Le facce che lo compongono sono triangoli equilateri.

342

FORMULA

ne e la bellezza delle figure resionali che tridimensionali, ha uggestioni e fantasie. Mentre la attribuire un significato a queme, la scienza e la tecnica cerer riprodurre questi solidi nella ta possibile. Esiste una grande gure regolari e i solidi regolari. sono bidimensionali (triangolo, no, esagono, ecc) e sono infinite. costruire una figura piana rego, a patto di rispettare la regola ngoli che la compongano siano o progressivamente il numero inerà sempre più a al cerchio. olido regolare (tridimensionate nell’utilizzare come facce di e piane regolari uguali tra loro o, pentagono, esagono,ecc), e utti gli angoli formati da queste Rispettando questa regola si olamente cinque poliedri regocubo, l’ottaedro, l’icosaedro e il i la differenza tra le figure piane egolari è che, mentre le prime di regolari invece possono essee. I matematici greci erano già ta limitazione. Platone (427-348 larga misura dei solidi regolari, n significato preciso, e mettenn l’ordine dell’universo. Il Timeo volume che contiene la più ansolidi regolari che, per questo ciuti oggi come solidi platonici. atone è il simbolo dell’acqua.

210

La perfezione e la bellezza delle figure regolari, sia bidimensionali che tridimensionali, ha sempre stimolato suggestioni e fantasie. Mentre la filosofia tentava di attribuire un significato a queste affascinanti forme, la scienza e la tecnica cercavano i metodi per riprodurre questi solidi nella maniera più corretta possibile. Esiste una grande 300 tra le figure regolari e i solidi regolari. differenza Le figure regolari sono bidimensionali (triangolo, quadrato, pentagono, esagono, ecc) e sono infinite. 275 Soffione RGB E’ quindi possibile costruire una figura piana rego220 lare con infiniti lati, a patto di rispettare la regola che tutti i lati e gli angoli che la compongano siano Regolazione Temperatura uguali. 141 Aumentando progressivamente ilAmbiente numero dei lati, ci si avvicinerà sempre più a al cerchio. Per costruire un solido regolare (tridimensionale) la regola consiste nell’utilizzare come facce di questo 60 solido figure piane regolari uguali tra loro (triangolo, quadrato, pentagono, esagono,ecc), e 48 fare in modo che tutti gli angoli formati da queste 0.0 facce siano uguali. Rispettando questa regola si possono costruire solamente cinque poliedri regolari: il tetraedro, il cubo, l’ottaedro, l’icosaedro e il dodecaedro. Quindi la differenza tra le figure piane regolari e i solidi regolari è che, mentre le prime sono infinite, i solidi regolari invece possono essere solamente cinque. I matematici greci erano già al corrente di questa limitazione. Platone (427-348 a. C.) si occupò in larga misura dei solidi regolari, attribuendo loro un significato preciso, e mettendoli in relazione con l’ordine dell’universo. Il Timeo è il libro di Platone, volume che contiene la più antica descrizione dei solidi regolari che, per questo motivo, sono conosciuti oggi come solidi platonici. L’ Icosaedro per Platone è il simbolo dell’acqua. Esso è composto da 20 facce, 30 spigoli e 12 vertici.Le facce che lo compongono sono triangoli equilateri.

Study for a shower “Design for All”.

AromaLight

MusicLight

180

114

0.0

74 — 75 [ professor ]

Interior Design

Marta Toni

[ course ]

[ academic year ]

Thesis Project

2015

Roberta Libertella

[ department ]

LANDSCAPE

06/03 01/41

02/05

03/04

02/07 07/06

04/10 08/01

10/08

09/03

08/05

07/09

06/06

05/11

LEGENDA ALBERI

CODICE

ESSENZA

OLEA EUROPAEA

LIRIODENDRON

HALESIA TETRAPTERA

ALTEZZA (CM) 2000

NR. 41

CHIONANTHUS VIRGINICUS

1000-1100

PRUNUS AVIUM

1500-3200

3000 1000

13 4

FICUS CARICA

1000

PYRUS CALLERYANA

500-800

PYRUS COMMUNIS

07 09

PRUNUS DULCIS

500

ACER PLATANOIDES

2000-3000

CODICE

ESSENZA

ALTEZZA (CM)

NR.

AZALEA

150

BUDDLEJA DAVIDII

200-400

CEANOTHUS THYRSIFLORUS

02 03 04 05 06 07 08 09 10 11 12 13 14 15

SPIRAEA

PHILADELPHUS CORONARIUS

2000

200 300

8 8

600

VIBURNUM OPULUS

400

WEIGELA

100-500

HYDRANGEA PANICULATA

100-500 100

HYDRANGEA MACROPHYLLA

200-250

THYMUS VULGARIS

15-30

LONICERA NITIDA JASMINUM

IBERIS SEMPERVIRENS

SANTOLINA CHAMAECYPARISSUS ROSMARINUS officinalis

The skills of an Interior Designer, also expand to outdoor spaces, such as small terraces or extensive gardens. The exterior must communicate harmoniously with the spaces of the house.

700 250

150

67 14 24

76 — 77 [ professor ]

Interior Design

Stefano Chiocchini

[ course ]

[ academic year ]

Landscape Design

2016

Eline Versonnen

[ department ]

CONTEST LEROY MERLIN

PLANIMETRIA

INGRESSO B C

B C

The project follows the philosophy of “Design for All” by using the teachings of master Enzo Mari, who claimed that the functional aspect of an object must be essential.

The project is based on creating new pieces of furniture with different uses that meet every need and user.

78 — 79 [ professor ]

Interior Design

Francesco Pecorari

[ course ]

[ academic year ]

Concourse LeRoy Merlin

2018

Leila Rampa Ilaria loiacono Federico Russo

[ department ]

LIGHTHOUSE Deciding to design a lighthouse in order to introduce a new suggestive house concept. A summer timeshared residence capable of making guests remain excited. The design is characterized by a Nordic-style, in total

contrast with the territory; glass ceilings to observe the stars and the majestic lighthouse; a space studied in detail so as not to modify the internal morphology of the building.

80 — 81 [ professor ]

Interior Design

Francesco Pecorari - Simone Spaccia

[ course ]

[ academic year ]

Thesis Project

2018

Leila Rampa

[ department ]

FONTEBELLA PALACE Fontebella Palace Hotel in Assisi is a thesis project for an existing hotel. It dates back to the 16th century, situated in the historic center of Assisi. The main goal was to recreate

a family atmosphere, using furniture and colors that recall history and tradition, but at the same time entirely modern.

82 — 83 [ professor ]

Interior Design

Marta Toni

[ course ]

[ academic year ]

Commercial Design

2018

Federico Russo

[ department ]

MONTELUCE DIANA FULGA Istituto Italiano Design Tesi di Laurea

[ department ]

[ professors ]

Interior Design

Laura Biancalana - Mario Solinas

[ course ]

[ year ]

Thesis Project

2018

Riqualificazione e Riconversione di uno Stabile Adibito ad Autorimessa e Sistemazione

Disegno n.

D300

84 — 85

The area of Monteluce, thus gradually emptied out making it possible for its urban requalification. In this area, the restoration and conversion into housing units and urban parks takes shape.

Prospetto 1, Viste Frontali

C001

Sol.1

C200

Diana Fulga

With the construction of the new complex, the hospital functions of Monteluce have been transferred to the new hospital in San Sisto in the outskirts of the city.

ONE57 SEZIONE A - A

SEZIONE A - A

SEZIONE B - B

One57 isSEZIONE anCinterior project for Carnegie Tower -C 57 in Manhattan, NY, designed by architect Christian de SEZIONE C - CPortzamparc together with designer Thomas Juul Hansen.

The client, a NY couple in their forties with a very intense social life. The style clearly defined: a meeting between minimal and industrial, but at the same time welcoming.

SEZIONE D - D SCALA 1:100

86 — 87 [ professor ]

Interior Design

Francesco Pecorari

[ course ]

[ academic year ]

Thesis Project

2017

Irene Patricia Minguillón Gala

[ department ]

PERUGIA BREWERY “Tap Room” design for a local company Birra Perugia. A space/showcase for the Birrificio Artiginale (craft brewery) which could create an “experiential marketing”.

88 — 89 [ professor ]

Interior Design

Laura Biancalana

[ course ]

[ academic year ]

Thesis Project

2018

Delia Simona Drilea

[ department ]

PRIVATE HOUSE Study of residential spaces.

90 — 91 [ professor ]

Interior Design

Simone Spaccia

[ course ]

[ academic year ]

Project rendering

2019

Giulia Campisi Arbi Delishi Beatrice Fedeli Denny Palazzi

[ department ]

SAFETY LOUNGER

Laura Biancalana

[ course ]

[ academic year ]

Anthropology

2017

Safety Lounger is a seat conceived for all those who want to relax without having to worry constantly about their luggage. Safety Lounger with its soft and undulating lines, has in the lower part two openings which can

comfortably hold hand luggage eliminating this problem. The openings can be closed from one side to the other, depending on the different compositions that can be created.

92 — 93

[ professor ]

Interior Design

Federico Russo Giulia Murru

[ department ]

SHELLY The first armchair appeared in France in the 16th century, a universal symbol of comfort and relaxation. Likewise, the Proust armchair designed by Alessandro Mendini; Shelly is the re-edition of one of the most iconic pieces of

Italian design, updated in a contemporary style using colored fabric and plastic materials (polycarbonate â&#x20AC;&#x201C; velvet â&#x20AC;&#x201C; textile). Many elements remained the same, such as the seat and the structure.

94 — 95 [ professor ]

Interior Design

Laura Biancalana

[ course ]

[ academic year ]

Furniture History

2018

Ester Pruiti

[ department ]

SIBILLA â&#x20AC;&#x153;Norcia a destination far from common places, to be discovered and experienced to be appreciated. A franchise that is based on the desire to re-launch the territory of Norcia, based on the culture, on its origins. From this, follows a seasonal product that

lends itself to the need of the land, giving life to a location that creates its richness from simplicity. Present in the menu â&#x20AC;&#x2DC;norcineriaâ&#x20AC;&#x2122; and wood oven baked bread, following seasonal mixed legume soups, truffles, craft beer and wine.

96 — 97 [ professors ]

Interior Design

Marta Toni - Monica Pioggia

[ course ]

[ academic year ]

Thesis Project

2018

Arianna Egidi

[ department ]

UMBRIAN MALGA Design sketches for the restoration and renovation of an apartment for residential use located at high altitude. The architectural

project focuses on the faรงade facelift, that permits the continuity between the external landscape and the warm indoor environments.

98 — 99 [ professor ]

Interior Design

Fabrizio Carloncelli

[ course ]

[ academic year ]

Furniture History

2005

Andrea De Luca

[ department ]

FAS H�ON DE S�GN ABOUT ZEN AND THE MOTORCYCLE REFLECTION BY SERENA LONGOZZO — Reproposed here below. [ SL ]

100 — 101

you, do university courses and profession need to travel on parallel tracks, or is it possible that these two worlds intertwine? In your course, how do you confront or introduce the theme of the client? [ sl ] The university path appears evident, if not oriented towards a profession, it would result in a path of mere self-knowledge, rather sterile and highly limiting. In a specific course like modelling, it’s essential to know how to combine competence and professionalism. It’s fundamental to adapt knowledge and experience, in order to pinpoint in a more transparent way the range of job opportunities. During training the new designers and professionals working in fashion must always focus their attention on the potential marketability, in a constantly evolving work scenario of skills obtained in the field of content research and acquiring technical/ methodological skills. Modelling is a sector that communicates between design and packaging, therefore, it’s very important to encourage the student to establish interdisciplinary connections. The course permits improving the ability to adapt to changes and problem solving, qualities much sought out after in the workplace. Each project proposed to the student is always discussed as if it were commissioned by a third party, in which the economic factor and customer satisfaction are combined to develop appropriate and effective professional services, as well as, create excellent points on ethical/business behaviour.

Conversation with Serena Longozzo

This quote is taken out of context, but in my opinion, it provides many insights on the theme of this meeting. Perhaps, in a more general sense, on the figure of the designer as a person because it completely captures all the difficulties that are encountered upon leaving university and entering the profession. Translating this concept into our profession, namely to the field of applied arts, did you also encounter difficulties of this kind? Or on a matter of communicative nature, linked to an excess of academic technicality? [ sl ] Confronting a misunderstanding between a producer and consumer is common in every work environment, especially in creative settings. As in the medical field, one needs to approach a patient with simple language, even for the designer it is important to develop an awareness of what is a very specific notion and that which is instead a concept of public domain. In the case of production in the eclectic world of fashion, especially in the consultations concerning startups operating in the textile and clothing industry, I have often found a real communicative language barrier between language vs culture and technical vs operational. Such limits are often caused by the lack of knowledge on behalf of these new businesses and the production procedure of this sector. The simplicity and the synthesis, as well as, an excellent descriptive exhibition are the winning keys to minimizing these communicative barriers. In fact, even with approaching consumers, one of the competitive advantages that I have had to focus on over the years has been precisely to “educate” the client in a simple and demonstrative manner at an understandable level. In teaching, I always distinguish technical language in the conveyance of concepts and specific notions to my students from that used in respect to third parties, that may in the near future target professionals we train every day.

foundations of information in society. With the evolution of online platforms for information and its diffusion increasingly more specific and sectorial, the concept of knowledge and understanding has been completely restructured. One of the main parameters that characterize the professor in the new digital era is certainly experience, that also gives them a unique and reliable value. The school of thought linked to “DIY” derives from this availability of free information. In the field of fashion, this phenomenon is widely diffused through amateur and professional video tutorials. It has created a genuine lineage of “professional amateurs” who neither have to protect corporate image or safeguard funds from possible bankruptcy and they turn out to be freer in experimentation. On the other hand, the idea that anyone may become a professional without any academic preparation is unheard of. In fact, the work field is demanding, especially in times of severe economic stress like the one we are currently experiencing and it always requires more “experienced” and trained people. It’s an essential combination. Another reflection is dictated by the distinction between Artist/Designer and Craftsperson. In the creative world of fashion, the needs of the client are paired with the designer’s need to express their art, channelling it into what the buyer desires. Expression, is an exclusive talent, authentic and characteristic feature of every artist and it constitutes an added value to each commission, making a difference in the global market. The simple but yet perfect execution of the commission remains in an environment of artisans, not secondary in the artist world but certainly different. For this reason, independent design in many cases, is the place in which artistic power is able to express its best and many times with a discrete outcome in the market. If the transition from academia and profession collide with the issues of a commission and self-referentiality, it’s also true that they share a fundamental step, research and the production of the contents. Therefore, we can understand the needs of the schools, which seek to provide students with “exponentially” universal tools to address the profession

in an “authorial” way and not with the attitude of a problem solver. In this perspective, research plays an essential role in the profession; obligating each designer to constantly being up-to-date and to continue the process of learning, which seems to never end. Just think about the evolution of technology, media and the means of diffusing visual communication. In your opinion, what are the fundamental tools to confront the search for a new project? Can we consider them equal to the two areas? [ sl ] “Moulage” is a modelling technique used for prototyping and experimentation. It can be considered as one of the most utilised tools during the research phase in fashion. As a professor and professional in the sector, I find it essential to address the topic of research on two fronts: teaching methods and its’ application. In regards to research tools, in teaching it is important to remember that teaching and communication methods are in constant evolution. Knowing the development is crucial in the process of transmitting typical skills from the professor to the student. For example, self-correction is one of the new frontiers of teaching. Its basis is the possibility to make mistakes and learn from them. It’s a strategy that activates the process of control on one's learning ability. Through this teaching method, I have found that the organization of teamwork helps a lot in creating the “team” as a point of strength, between worker and student transmitting a sense of belonging and therefore, in terms of productivity increasing the quality and quantity. In regards to research tools in the field of content and applications, these range from technological tools to more traditional tools (specific trade publications, B2B sector magazines, participation in targeted trade fairs, focus, etc.). Being constantly immersed in an atmosphere of creative young minds can only be a further stimulus for research. Finally, it’s always necessary to be up to date on new work opportunities that evolve at a fast pace, along with new technologies and methods. In conclusion, I would like to make a final reflection on a more general level, on the purpose of teaching visual communication. Going completely into

Serena Longozzo

1 - Rossi Desirèe, 10° Convegno internazionale “La qualità dell’integrazione scolastica e sociale” 13 – 14 – 15 Novembre 2015

102 — 103 Fashion Designer Product Manager, graduated from the International Academy of Haute Couture and Art of Costume Koefia in Rome and participated in exhibitions and fashion shows in Italy and abroad. In 2013 she debuted as an emerging designer with the collection “pink flamingos” and founded the brand ‘Recidiva Spose’. Currently, a consultant for the prototyping of new collections and a professor of Moulage modelling at Istituto Italiano Design.

Conversation with Serena Longozzo

today’s reality, which unfortunately must deal with the statistical increased rate of youth unemployment. Is it right to continue training students by reducing them into a single professional sector or is it right to provide them with abilities on a strategic level, obligating them to receiving an earlier and greater awareness during their studies? [ sl ] As already expressed earlier, one of the foundations in teaching my course is precisely interdisciplinary. The modelling sector is highly specific but its study offers students a highly strategic competence in the work field. In this regard, I often say to my students: “if you know how to make it, you know how to design and develop it better. At the same time, if you don’t know how to design it, you can experiment directly in 3D and the answer will be immediate and obvious”. During the course, students experience some intense moments, in which the creative high point is represented by the final design phase of their “Final Work”. The runway at the end of the course. The final result, in the future will be an excellent business card for potential professional candidates. During this “teamwork” an extraordinary synergy is activated between students who approach different sectors with a professional attitude. This experience inevitably leads them to juggle the “steps” of the various stages from the graphic project of a garment to the final product. The scarce availability of jobs in Italy is a problem that future professionals will inevitably need to face. However, fashion is a global phenomenon in constant expansion and although Italy is still considered an excellence in this sector, it would be reductive to contemplate only our country as an opportunity for our students. The final goal lies in forming a new generation of professionals who are humbly aware of their references and in control of their power, courageous in facing any barrier put in front through valid and universal tools to succeed professionally.

DULCIS IN DRESS

104 — 105 [ location ]

Fashion Design

Loggiate, Palazzo della Provincia di Perugia

[ professors ]

Eleonora Granieri, Marika Bruni

[ academic year ]

2015

Carmen Cellini

[ department ]

106 — 107

In the magical scenery under the galleries of Palazzo della Provincia, garments are worn from the fashion project “Dulcis in Dress” from the Fashion Design course of Istituto Italiano Design. A runway with a unique backdrop of the historical palace within the walls of Perugia. Marie Antoine Careme, French chef and writer who lived between the late 1700s and early 1800s, said that “the fine arts are five: painting, sculpture, poetry, music and architecture, whose main branch is the patisserie”. Volumes, forms, colors, space that become décor and refined temptations for the palate. The project inherent in the world of patisserie, inspired the 2016 fashion show created by the Fashion Design course at Istituto Italiano Design.

Altea Cadri

“Dulcis in Dress” focuses on the teaching method at Istituto Italiano Design. The aesthetic of dessert in all its forms and colors. The main protagonist of the collection designed by the students in Fashion Design. Each of them is inspired by a different aspect of this world: French macarons of the Maison Ladurée, caramel decorations that adorn desserts, the world of wedding cakes and cupcakes.

CHARM OF ANCIENT GREEK Study of fashion accessories.

108 — 109 [ professor ]

Fashion Design

Isabella Cascianelli

[ course ]

[ academic year ]

Accessories

2019

Alice Mariotti

[ department ]

IMMAGE

110 — 111 [ professors ]

Fashion Design

Eleonora Granieri - Francesco Lupattelli

[ course ]

[ academic year ]

Thesis Project

2018

Maria Rosaria Franco

[ department ]

112 — 113 Winter opens the door to cold and snow; white, ethereal and silent. While Spring closes the door to cold and marks a rebirth. Colors explode, the rhythm of the notes increase and images come to life.

Maria Rosaria Franco

The collection created a bond between two art forms: music and fashion. Every season brings with it a unique and different story. The winter and spring are the stars of this collection.

DANDY SPORT [ department ]

[ professor ]

Fashion Design

Eleonora Granieri

[ course ]

[ year ]

Men's Collection

2014

114 — 115 with fleece insides, black leather biker jackets. Hoodies, sweatshirts, jumpers have leather details, as well as, technological textiles in neoprene as in scuba gear.

Francesca Loreto

An elegant transformation of garments with an evening sophistication given by a street look, creates a strong sporty collection. Offering jackets with printed lining and variations on the collars, vests

116 — 117 [ professor ]

Fashion Design

Eleonora Granieri - Francesco Luppattelli

[ course ]

[ academic year ]

Thesis Project

2018

Valerio Mercurii

[ department ]

LIKE A DANDY [ department ]

[ professor ]

Fashion Design

Eleonora Granieri

[ course ]

[ year ]

Men’s Collection

2014

118 — 119 Ivana Salemi

“Like a Dandy” is the new collection inspired for men who pay attention to details. Never dull or predictable, a line that manages to be trendy in any occasion, from work to leisure.

ANOTHER MAN

120 — 121 [ professors ]

Fashion Design

Elonora Granieri - Francesco Lupattelli

[ course ]

[ academic year ]

Thesis Project

2018

Marco Rossi

[ department ]

122 — 123

Listening to classical music can move the most intimate and hidden part of human intellect. If we mix the aesthetic perfection of Michelangelo’s David to the material distortion of Burri’s paintings, the result is unusual and unique. Another Man is an image that comes to life by the power of the elegance of the male figure in figurative art. The new vision of man, post-digital conserves raw nature in a direct and ancestral relationship with Earth.

Marco Rossi

The collection was inspired by two famous artists who express the classical and avantgarde.

VEGETABLES

124 — 125 [ professor ]

Fashion Design

Isabella Cascianelli

[ course ]

[ academic year ]

Shoe design

2015

Marco Rossi

[ department ]

RENAISSANCE The Renaissance collection is inspired by great female figures of the Renaissance. The forms and details of the outfits openly refer to the shape of costumes in vogue during the Elizabethan court. The strong personality

of Elizabeth I who was a woman, warrior and queen, is the common denominator of the collection. Characterized by a great formal purity capable of expressing an idea of prestige, strength and elegance.

126 — 127 [ professors ]

Fashion Design

Eleonora Granieri - Morena Fanny Raimondo

[ course ]

[ academic year ]

Thesis Project

2015

Marta Valigi

[ department ]

Marta Valigi

128 — 129

COLLEZIONE ICE Design of a collection inspired by the most important contemporary designers.

130 — 131 [ professors ]

Fashion Design

Eleonora Granieri - Morena Fanny Raimondo

[ course ]

[ academic year ]

Thesis Project

2014

Altea Cadri

[ department ]

NEUTRAL RUSTIC Neutral Rustic combines childhood carefreeness and feminine elegance, all coordinated by comfortable garments for all ages and at the same time elegant.

132 — 133 [ professor ]

Fashio Design

Eleonora Granieri

[ course ]

[ academic year ]

Children’s Collection

2018

Alice Mariotti

[ department ]

JAPANESE DRESS Womenâ&#x20AC;&#x2122;s collection inspired by the Orient.

134 — 135 [ professor ]

Fashion Design

Eleonora Granieri

[ course ]

[ academic year ]

Women’s Collection

2017

Lavinia Aretusi

[ department ]

3D CLOTHING 3D simulation study for fashion garments.

136 — 137 [ professor ]

Fashion Design

Simone Spaccia

[ course ]

[ academic year ]

3d Clothing

2018

Francesca Gagliardini

[ department ]

SWEET REBEL The collection â&#x20AC;&#x153;Sweet Rebelâ&#x20AC;? is inspired by the Rock style: bold, loud and strong with naiveness, sweetness and the carelessness of children.

138 — 139 [ professor ]

Fashion Design

Eleonora Granieri

[ course ]

[ academic year ]

Children’s Collection

2018

Helga Raspa

[ department ]

RAFFAELLO

140 — 141 [ professor ]

Fashion Design

Eleonora Granieri

[ course ]

[ academic year ]

Women’s Collection

2017

Silvia Mandaloni

[ department ]

LONDON CALLING

142 — 143 [ professor ]

Fashion Design

Eleonora Granieri

[ course ]

[ academic year ]

Men's Collection

2019

Francesca Gagliardini

[ department ]

3D CLOTHING 3D simulation study for fashion garments.

144 — 145 [ professor ]

Fashion Design

Simone Spaccia

[ course ]

[ academic year ]

3d Clothing

2018

Helga Raspa

[ department ]

GREY Strictness and purity of grey tones for the collection “Grey”, Spring-Summer 2016. Characterized by references of natural earth elements to reshape today’s woman;

dynamic and contemporary, who dresses with lightness and simplicity, while remaining faithful to the style and philosophy of life.

146 — 147 [ professor ]

Fashion Design

Eleonora Granieri

[ course ]

[ academic year ]

Women’s Collection

2014

Marta Valigi

[ department ]

FEEL FREE

Alessandra Stasi

148 — 149

FEEL FREE

150 — 151 [ professor ]

Fashion Design

Eleonora Granieri

[ course ]

[ academic year ]

Women’s Collection

2018

Alessandra Stasi

[ department ]

COMm UN�CA T�on D ES�GN ABOUT ZEN AND THE MOTORCYCLE — Reflection by Marco Leombruni [ male ]

PROPOSED HERE BELOW

Many times, university projects are discussed face to face between the student and professor, or with the thesis committee between the student and a group of professors, but always between people who have similar goals or simply share a common language. In this sense, does the relationship with the client represent the missing piece to the puzzle between university and profession? For you, do university courses and profession need to travel on parallel tracks, or is it possible that these two worlds intertwine? In your course, how do you confront or introduce the theme of the client? [ male ] In approaching projects, I use various professional examples, even my own, as a method to analyse the way in which one approaches a real commission. When it’s possible to produce something that isn’t finalised exclusively to passing an exam, but that can be connected to a real client and in some way,

If the problem of a lack of getting commissions lingers during university design courses and sectoral design courses (such as editorial design), is this issue emphasised even more? It’s not only in recent years, in Italy that we have witnessed the birth of various fairs around the theme of self-design or independent design. In fact, there is a trend around self-production or “DIY” that can’t find an audience of buyers, interested parties or others, not unless within the students themselves or former students. How do you interpret this phenomenon in many ways self- referential? [ male ] I find it to be an expression of a system where the market is already saturated or basically closed for reasons that can be linked to the country’s economy, therefore its economic and productive model. As well as to its’ cultural issues, which often leads to always using the same mechanics, the same professionals and visions. Italy, for example, a country in recession, is often culturally backwards and struggles to find a normal bond with the production sector. Nonetheless, we live in a globalised world, where the enthusiasts can immediately get in contact with all kinds of professionals and professions, expand their vision and extend their horizons towards the avantgarde of the moment. In such a context, self-production can be interpreted as the need for personal fulfilment despite the restrictions imposed by society, but that’s not all. The increase of professionals made by schools, creates more competition and hence the need to express themselves with more and more energy to emerge. In the end, self-production is there to improve oneself and to become known, coming into contact with professionals in the industry,

152 — 153

create a connection between the student and productive reality (whatever it be), it’s a step forward towards the professional world and that is a good thing. A path of vocational studies must always take into account the relationship with the client and the professional world, in general the same concept goes for a student who must be understood as a professional in the making. Where possible, I try to connect student’s projects to external subjects, in order to have a comparison with the client, at other times they are only hypothesised.

Conversation with Marco Leombruni

This quote is taken out of context, but in my opinion, it provides many insights on the theme of this meeting. Perhaps, in a more general sense, on the figure of the designer as a person because it completely captures all the difficulties that are encountered upon leaving university and entering the profession. Translating this concept into our profession, namely to the field of applied arts, did you also encounter difficulties of this kind? Or on a matter of communicative nature, linked to an excess of academic technicality? [ male ] No, not usually. In my field, I tend to address technical issues only with those able to understand, in order for us both to have an interesting conversation. Instead, with client relationships I address technical matters only if I’m forced to and in such a circumstance, I tend to keep it simple. Generally, in relationships with people, this super-specialised society tends to make us more and more technical in a specific sector, though such tension drifts one another further away, often transforming work into something allencompassing, so much as, to arrive at defining ourselves. Since my profession already lends itself to isolation, as well as, considering myself a curious person, I find it tedious and counterproductive on a creative and human level to restrict myself within a community of enthusiasts.

although not earning directly, except when a self-produced project initially becomes noticed and purchased. In my mind, it’s a passage that can be useful when one cannot find a job after their studies. If the transition from academia and profession collide with the issues of a commission and self-referentiality, it’s also true that they share a fundamental step, research and the production of the contents. Therefore, we can understand the needs of the schools, which seek to provide students with “exponentially” universal tools to address the profession in an “authorial” way and not with the attitude of a problem solver. In this perspective, research plays an essential role in the profession; obligating each designer to constantly being up-to-date and to continue the process of learning, which seems to never end. Just think about the evolution of technology, media and the means of diffusing visual communication. In your opinion, what are the fundamental tools to confront the search for a new project? Can we consider them equal to the two areas? [ male ] A smartphone is the most obvious tool to use to search for images and information on the internet, but it’s absolutely inadequate to use for work. Instead, a computer allows us to connect with the entire world, giving us precise information, sound, images and video. In this sea of information, we must learn to move and use the right mechanics, key words and tools. This may give us the illusion of easily being able to get any result, though it’s not so, from the moment after experimenting what interests us in order to use it better, it must be mastered. Therefore, the authors need to be researched, known, appreciate the references, putting foundations down, like stars in the sky orientated and with a traceable route. Having good cultural baggage and experience is also fundamental. Having reflected on a given topic, having touched, known, been excited by something and living it, will surely be our fundamental tool of research and redevelopment from which to draw heavily upon with both hands. In conclusion, I would like to make a final reflection on a more general level, on the purpose of teaching visual communication. Going completely into

today’s reality, which unfortunately must deal with the statistical increased rate of youth unemployment. Is it right to continue training students by reducing them into a single professional sector or is it right to provide them with abilities on a strategic level, obligating them to receiving an earlier and greater awareness during their studies? [ male ] I don’t see there being a moral function in vocational schools, nor an in-depth analysis of some areas, but often they respond to a system of requests and offers that are almost never connected to the real capacity of the market. They exist because a certain number of people decided to invest in a given path. Teaching faces two significantly conflicting characteristics that are now fundamental for new professionals; flexibility and super-sectorisation. In my opinion, during the study phase it is necessary to help personal research when its visible in a student, stimulating them in the direction they’re looking for. At the same time, an overview of possibilities must be provided acting as a base, where one can free themselves from a phase, almost always following their studies. In this point of view, strategic skills are something more, in respect to professional competences that need to be provided. As for a greater consciousness in the broadest sense, it will be the students themselves taking shape according to their own experiences and abilities to get involved, during their studies but, especially after which seems the only visible way to do so.

154 — 155 Conversation with Marco Leombruni

Born in 1984. Studied Illustration and Multimedia Animation at the IED in Rome, followed by a Master’s degree in digital coloring at the International Comics Academy. A freelance illustrator, having worked with an animation studio, various advertising agencies and publishing houses, agencies and companies. Continuously praticin illustration, comics, storyboard and character design.

ACRON WARS Illustration study for a game composed of picture cards.

156 — 157 [ professor ]

Communication Design

Marco Leonbruni

[ course ]

[ academic year ]

Illustration

2018

Simone Fucchi

[ department ]

BE_BOP

SII BOP, SII RIBELLE, RIVOLUZIONARIO. LASCIATI ANDARE ALLA TUA ISTINTIVA PARTE CREATIVA. ATTINGI A TE STESSO, IL CANTO DI TE STESSO. SOFFIA!

CORPORAT JACK KEROUAC

FRANCESCO CAPUANO

IDENTIT

VIA DEL GRILLO 6, 06121 PERUGIA, ITALY +39 333 1826929 www.studiobebop.it francesco.bebop@gmail.com

BEBOP DIZZY GILLESPIE

FRANCESCO CAPUANO VIA DEL GRILLO 6, 06121 PERUGIA, ITALY +39 333 1826929 www.studiobebop.it francesco.bebop@gmail.com

BE_BOP VIA DEL GRILLO 6 06121, PERUGIA

The underlying theme of this brand is Jazz, contemporary music by definition. Of which improvisation is its key feature. In particular, Bebop represents its most

extreme variant, rhythm and technique. Inspired by these pressing rhythms, arises the project of visual identity.

Personal brand: Be_Bop

_02.

Craft branding 2010 - 20

_03.

Illustrazioni

_04.

Grafica

_05.

Packaging

_06.

Fotografia

_07.

Video

_08.

Web

158 — 159

_01.

CORPORA

IDENTI CORPORATE

IDENTITY

FRANCESCO CAPUANO VIA DEL GRILLO 6, 06121 PERUGIA, ITALY +39 333 1826929 www.studiobebop.it francesco.bebop@gmail.com

FRANCESCO CAPUANO

[ department ]

[ professor ]

Communication Design

Luca Gradassi

BE_BOP VIA DEL GRILLO 6 [ course ] 06121, PERUGIA

[ academic year ]

Package Design

BE_BOP VIA DEL GRILLO 6 06121, PERUGIA

2015

Francesco Capuano

VIA DEL GRILLO 6, 06121 PERUGIA, ITALY +39 333 1826929 www.studiobebop.it francesco.bebop@gmail.com

BEST BEFORE

124

save a good food

Van personalizzato Van personalizzato per catering per catering

Log con

with a “Every ird of uits way

BestBefore is a visual project that begins with a fundamental reflection of the present day. “Every year about 1.3 billion tons of food, nearly a third of the world’s production, is not consumed.” Fruits and vegetables, in particular, are thrown away more than other foods.

Easily perishable and vulnerable to temperature changes that they encounter along the way; from the farm to the table, also being the first in homes, to end up in the garbage.

BRAND IDENTITY

Abbigliamento da lavoro BOTTIGLIA E BAG

123

160 — 161

120

away

125

[ department ]

[ professor ]

Communication Design

Monica Pioggia

[ course ]

[ academic year ]

Thesis Project

2018

Francesco Magi

125

DULCINEA

Il Palazzo dei Priori o comunale

sorge nella centrale Piazza IV Novembre a Perugia e si estende lungo Corso Vannucci fino a via Boncampi

Il Palazzo dei Priori o comunale

sorge nella centrale Piazza IV Novembre a Perugia e si estende lungo Corso Vannucci fino a via Boncampi

La Fontana Maggiore

uno dei principali monumenti di Perugia, Ă¨ situata al centro di piazza IV Novembre.

Tavolette di cioccolato al latte

La Fontana Maggiore

uno dei principali monumenti di Perugia, Ă¨ situata al centro di piazza IV Novembre.

NOCCIOLA

The packages are formed with different patterns for every type of chocolate (dark chocolate, milk chocolate, white chocolate and sugarfree chocolate) by using some of

LATTE

CAFFĂ&#x2C6;

the most important motifs from monuments in Perugia, such as: Palazzo dei Priori, Fontana Maggiore and San Lorenzo Cathedral.

CIOCCOLATO FONDENTE PEPERONCINO

162 — 163

CIOCCOLATO FONDENTE PEPERONCINO

TAVOLETTA DI CIOCCOLATO FONDENTE E PEPERONCINO Peso netto confezione: 100g Informazioni nutrizionali per 100g di prodotto: Energia 2350KJ / 563Kcal (VNR* 28%) tot Grassi 36g (VNR* 51%) di cui saturi 19g (VNR* 97%) Carboidrati 51g (VNR* 20%) di cui zuccheri 49g (VNR* 54%) Proteine 9g (VRN* 17%) Sale 0g (VNR* 0% ) VNR*: Assunzione giornaliera di riferimento di un adulto. Medio 8400KJ / 2000Kcal Ingredienti: cioccolato al latte (zucchero, burro di cacao, LATTE in povere, pasta di cacao, siero di LATTE in polvere, emulsionante: lecitina di SOIA.), 6% NOCCIOLE intere tostate. Solidi del cacao: 31% minimo. Avvertenze: PUÒ CONTENERE TRACCE DI ALTRA FRUTTA A GUSCIO. DULCINEA PERUGIA srl via togliatti 73B, 06073 Corciano (PG) IT www.dulcinea.it

Lotto: 130419 Da consumare pref. entro: OTT - 19

[ department ]

[ professor ]

Communication Design

Monica Pioggia

[ course ]

[ academic year ]

Package Design

2018

Giada Lapi

160 mm

211 mm

182 mm

ETICHETTA D’AUTORE Drawing Studio for the competition “Etichetta d’autore”, Sagrantino di Montefalco.

164 — 165 [ professor ]

Communication Design

Marco Leonbruni

[ course ]

[ academic year ]

Illustration

2018

Alberto Girardi

[ department ]

ETICHETTA D’AUTORE Drawing Studio for the competition “Etichetta d’autore”, Sagrantino di Montefalco.

166 — 167 [ professor ]

Communication Design

Marco Leonbruni

[ course ]

[ academic year ]

Concourse etichetta d’autore

2018

Francesco Agnello Ludovica Cappelletti Arianna Egidi Roberta Libertella Celeste Stellini Elena Ricci

[ department ]

EUĹ&#x2DC;IBIO * Pasta lunga

Euribio pasta is designed for the world of children, who love to play and fantasise with the mind. For this reason, each pack, is accompanied by the illustration of a character (sailor, pilot, astronaut, etc.) together with

the motifs for the imaginary scene. The box is designed to be reused as a pencil case, as indicated on the bottom of the package.

ackaging portfolio

a Enrietti

B. Logotipo

C. Fustelle

G. Mockup

Fustelle

I. Mockup

D. Mockup

168 — 169

ng o

My packaging portfolio

A. Naming

E. Idea

H. Progetto

B. Logotipo

I. Mockup

Elisabetta Enrietti

C. Fustelle

G. Mockup

My packaging portfolio

A. Naming

D. E. Idea

B. Logotipo

Elisabetta Enrietti

C. Fustelle

G. Mockup

Mockup

Fustelle

H. Progetto I. Mockup

D. Mockup

* Pasta corta

. La scelta

[ department ]

[ professor ]

Communication Design

Monica Pioggia

[ course ]

[ academic year ]

Package Design

2018

Elisabetta Enrietti

LOST IN THE WOODS

170 — 171 [ professor ]

Communication design

Lorenzo Dogana

[ course ]

[ academic year ]

Photography

2018

Luca Ciabatta

[ department ]

MOONLIGHT AFFICHE Design of a series of posters for the promotion of a Music Festival.

172 — 173 [ professor ]

Communication Design

Marco Leonbruni

[ course ]

[ academic year ]

Illustration

2018

Marianna Poggioni

[ department ]

NEROFUMO This thesis does not speak of commercial communication. It doesnâ&#x20AC;&#x2122;t even talk about how to capture an image more appealing against a specific target.

Instead, its design is about designing with sustainability, to make public property truly common with the aim of bringing reading into everyoneâ&#x20AC;&#x2122;s hearts.

174 — 175

-0109

-069

VARIABILE N.3

NEROFUMO

Dialogo

Amore

Educazione

Architettura

NEROFUMO

Letteratura

[ department ]

[ professor ]

In base al focus dell’evento Daniele Pampanelli viene inserita la terza Graphic Design 2017 decorazione del capolettera. Communication Design [ course ]

[ academic year ]

Orientamento

Condivisione

Donne

Geografia

Pamela Santi

Vita / pace

NYC PRIDE 19 Design of a series of posters, inspired by contemporary social issues and gender equality.

176 — 177 [ professor ]

Communication Design

Daniele Pampanelli

[ course ]

[ academic year ]

Graphic Design

2018

Elisabetta Enrietti

[ department ]

NON VOGLIO UNA GALLINA A packaging line for Easter eggs produced and sold by a small chocolate factory in Perugia. A laboratory that packages artisan products of high quality by combining the best cocoa with

the most famous excellences of the Umbrian tradition. The packaging must be appealing to children and as requested by the client, needs to be eye-catching but not overly expensive.

178 — 179

FUSTELLA UOVO DI CIOCCOLATO AL LATTE

non voglio UNA GALLINA DOMANI!

MEGLIO UN UOVO OGGI!

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis.

CONTENUTO Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. INGREDIENTI Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. QUANTITÀ Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie

UOVO DI CIOCCOLATO AL LATTE

INGREDIENTI Valore energetico Proteine Carboidrati Grassi saturi monosaturi polinsaturi Colesterolo Sodio

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie

dalla fattoria del cioccolato di perugia

FRONTE scala 1:2

TELLA

1 Dulcinea | Fustella uovo di struzzo

Pamela Santi

ni Merida g/m2 320

Pamela Santi

Dulcinea

Fustella uovo struzzo

Tav. 6

UOVO DI CIOCCOLATO AL LATTE

non voglio UNA GALLINA DOMANI!

Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis.

UOVO DI CIOCCOLATO AL LATTE

dalla fattoria del cioccolato

[ department ]

[ professor ]

Communication Design

Monica Pioggia

[ course ]

[ academic year ]

Dulcinea | Fustella uovo di gallina

Package Design Dulcinea

Ut enim ad minim veniam, quis nostrud exerci tation suscipit lobortis nisl ut ex ea commodo consequat. Duis autem vel eum iriure dolor in vulputate velit. Duis autem vel eum iriure dolor in hendrerit in velit esse molestie.

Pamela Santi

MEGLIO MEGLIO UN UOVO UOVO UN OGGI! OGGI!

Pamela Santi

Tav. 5 Proposta di packaging uova di Pasqua

Tav. 5

2017 Proposta di packaging uova di Pasqua

Fustella uovo gallina

Tav. 10

OLIMPIADI DEL MARE

+7 +7

Le olimpiadi del mare

Illustration studio for a game composed of picture cards.

180 — 181 [ professor ]

Communication Design

Marco Leonbruni

[ course ]

[ academic year ]

Illustration

2018

Lisa Bernacchia

[ department ]

PATHOS

Pas

Pathos is an organic pasta brand. The choice of name is a return of this word used to describe the intensity of a particular mood and feeling. To characterize the package,

different illustrations were made which describe the various formats produced and that are applied on the sides of the box.

182 — 183

cottura 11 minuti

p a s t a

La passione in cucina

b i o

p a s t a

b i o

p a s t a

b i o

cottura 11 minuti

VALORI NUTRIZIONALI MEDI

La pasta biologica Phatos porta la passione nella tua tavola. Passione che coltiviamo fin dal primo istante di lavorazione per garantirti qualità e rispetto della natura. Phatos è un ritorno alla tradizione con ingredienti semplici e sani, come quelli di una volta.

100g

85g

1521

1293

kcal

359

305

GRASSI

2,0

di cui ACIDI GRASSI SATURI

0,5

0,4

CARBOIDRATI

70,9

60,3

di cui ZUCCHERI

3,5

3.0

FIBRE

3,0

PROTEINE

12,8

10,9

SALE

g 0.013

0,011

ENERGIA

1,7

cottura 11 minuti

2.6

iNGREDIENTI: semola di grano duro, acqua

La passione in cucina

500g

La passione in cucina

io sono carta

DA CONSUMARSI PREFERIBILMENTE ENTRO IL

500g

p a s t a

b i o

cottura 11 minuti

La passione in cucina

p a s t a

b i o

p a s t a

b i o

cottura 11 minuti

io sono carta

VALORI NUTRIZIONALI MEDI

ENERGIA

GRASSI

100g

85g

1521

1293

kcal

359

305

2,0

1,7

di cui ACIDI GRASSI SATURI

cottura 11 minuti

0,5

0,4

CARBOIDRATI

70,9

60,3

di cui ZUCCHERI

3,5

3.0

FIBRE

3,0

PROTEINE

12,8

10,9

SALE

g 0.013

0,011

2.6

iNGREDIENTI: semola di grano duro, acqua

La passione in cucina

500g

La passione in cucina

DA CONSUMARSI PREFERIBILMENTE ENTRO IL

p a s t a

b i o

[ department ]

[ professor ]

Communication Design

Monica Pioggia

[ course ]

[ academic year ]

Package Design

2017

Celeste Stellini

500g

SERIES Using rules of basic design and composition through a photo collage.

184 — 185 [ professor ]

Communication Design

Lorenzo Dogana, Elisa Pietrelli

[ course ]

[ academic year ]

Photography

2017

Eleonora Baiocco

[ department ]

SOPRAMERCATO

, positivo

le icone icone le icone merceologiche merceologiche merceologiche

o Èstudiato stato studiato un È stato sistema un studiato sistema iconologico uniconologico sistema ad hoc iconologico ad hoc ad hoc entificare per identificare le per seiidentificare attività le sei attività chelefaranno seiche attività faranno parte cheparte faranno parte ogetto del progetto “Mercato del “Mercato progetto Coperto”. Coperto”. “Mercato Coperto”.

noIl esprime segno esprime Ili segno concetti iesprime concetti di semplicità, idi concetti semplicità, di semplicità, analità artigianalità e familiarità. artigianalità e familiarità. e familiarità.

Sopramercato is the new identity for the Mercato Coperto terrace, which combines a coordinated communication system for indoor spaces. The brand Sopramercato comes from

the old name of Piazza Matteotti already called “Piazza del Sopramuro”. The prefix “sopra” (above), in conjunction with “market”, expresses the concept of “terrace” (which is above).

186 — 187

dei commercianti

entità personale.

sonalizzabile rciante, plicazioni temporanee. a praticità.

e cone ne icone merceologiche merceologiche merceologiche

diato ato n sistema studiato un sistema iconologico un sistema iconologico ad iconologico hocad hoc ad hoc care identificare sei attività le sei attività le che seifaranno attività che faranno parte che faranno parte parte o progetto cato “Mercato Coperto”. “Mercato Coperto”. Coperto”.

[ department ]

[ professor ]

Communication Design

Daniele Pampanelli

[ course ]

[ academic year ]

Graphic Design

2017

Francesco Magi

prime igno concetti esprime i concetti di semplicità, i concetti di semplicità, di semplicità, miliarità. gianalità à e familiarità. e familiarità.

SOPRATUTTO

Pamela Santi

Comune di Perugia

Proposta di rebranding Terrazza del Mercato Coperto

Playing on the double meaning of the word â&#x20AC;&#x153;sopratuttoâ&#x20AC;? (above all), the communication activates a process of valorisation to elevate the market and differentiate it from the competition of the other large retail outlets. Perugia is then described

Proposta di logo

Costruzione del font

through illustrations of strong evocative and informative vocation. These are directed at local clients to strengthen the sense of belonging to the territory; while tourists will have a complete picture of the market and its products.

Tav. 17

188 — 189

QUESTO È UN

Pamela Santi

Comune di Perugia

Proposta di rebranding Terrazza del Mercato Coperto

QUESTO È UN

Comune di Perugia

Proposta di rebranding Terrazza del Mercato Coperto

Tav. 46

Pamela Santi

[ department ]

[ professor ]

Communication Design

Daniele Pampanelli

[ course ] Pamela Santi

[ academic Propostayear ] di rebranding Terrazza del Mercato Coperto

Graphic Design

Comune di Perugia

2017

Comune di Perugia

Proposta di rebranding Terrazza del Mercato Coperto

Sistema iconografico

Tav. 42

Pamela Santi

QUESTO È UN

Pamela Santi

Tav. 43

Tav. 29

TRASIMENO FUTURELAND

o3.

presentazione logo

An epic poem Trasimenide, written by Matteo dall’Isola in the 16th century. It recites the legends of the lake and the fishing activities in those days. The Battle of Lake Trasimeno, one of the most important during the second

Roman - Punic War, was fought in 217 BC, at Tuoro sul Trasimeno. The “Trasimeno Futureland” brand is a tribute to the history and cultural heritage of the Roman era in this territory.

190 — 191

In una seconda versione è stata inserita all’intern ogni pittogramma un’immagine al setto In una seconda versione è stataspecifica inserita all’intern appartenza. ogni pittogramma un’immagine specifica al setto appartenza.

/graphic°design

In una seconda versione è stata inserita all’interno di ogni pittogramma un’immagine specifica al settore di CULTURE ENVIRONMENT CULTURE appartenza.

CULTURE ENVIRONMENT

ENV

GREEN ECONOMY

EVENTSGREEN ECONOMY

EVE

GREEN ECONOMY

EVENTSGREEN ECONOMY

EVE

CULTURE ENVIRONMENT

URE

ENV

CULTURE

ENVIRONMENT

Le quattro declinazioni del marchio, raggruppate in un sistema di declinazioni pittogrammi,del prendono spunto dalla forma Le quattro marchio, raggruppate in undel marchio stesso. sistema di pittogrammi, prendono spunto dalla forma del marchio stesso.

[ department ]

EVENTSGREEN ECONOMY

nazioni del Communication marchio, raggruppate Designin un grammi, prendono spunto dalla forma del

[ professor ]

Luca Gradassi

[ course ]

[ academic year ]

Graphic Design

2014

EVENTS

Carla Costanza

N ECONOMY

SOME KIND OF WONDERFUL

The photo project is the result of a casual encounter between the photographer student Judy Jin from China and an English girl

in Perugia for a study period abroad. The shots are brief, spontaneous and emotional.

192 — 193 [ professor ]

Communication Design

Lorenzo Dogana

[ course ]

[ academic year ]

Photography

2018

Judy Jin

[ department ]

CONNUBIO

brand guidelines

LOGO

WEB HOMEPAGE

Connubio is a project about visual identity, created by the re-evaluation of certain elements that have always characterised the company Lucania. The scope is to rediscover and contextualise the local tradition to the present day, bringing

to the table the lost flavors. An example of this in key commercial culinary appreciation is Miskiglio, a native flour. It includes four different seeds that create a unique mixture. A combination of tradition and modern.

194 — 195

brand guidelines

METAPONTO

EPISCOPIA

[ department ]

[ professor ]

Communication Design

Daniele Pampanelli

[ course ]

[ academic year ]

Graphic Design

2019

Roberta Libertella

brand guidelines

POLLINO

ILLUSTRAZIONE

MARATEA

Istituto Italiano Design via G. Alessi 3/A Perugia C.F. 02589670757 - P.I. 02453910545 www.istitutoitalianodesign.it

20IID Revised thoughts 20 years of Istituto Italiano Design

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