The Art of Living
Made in Italy for Vancouver
Magestic mountains, serene forests and countless bays, Vancouver truly is a city unlike any other. Just like nature doesn’t build in straight lines, so is the architecture of Oakridge characterized by organic fluency. Sergio Castiglia
Oakridge x Sergio Castiglia
Foreword Ian Gillespie
Ian Gillespie
We were initially introduced to Sergio through the team at B&B Italia. Over the years B&B has become one of our frequent collaborators, whether it’s establishing the design aesthetic in the lobby of our hotels, one of our furnished apartments, or even recommending their favourite suppliers in Milan. We reached out to B&B and asked them to introduce us to designers who they thought would provide a distinctive approach to the interior design of each building at Oakridge. Now nearly 40 years old as a practice, Castiglia has established itself as a boutique firm that takes on very few commissions but invests itself heavily into each one. To add further to the partnership, we brought in Michelle Biggar from the Office of McFarlane Biggar who, amongst other things, designed the lobby for our Fairmont Pacific Rim hotel. The team has produced an interior aesthetic for Building 3 that reflects the effortless sophistication and style of true Italian culture. Castiglia’s practice is known for keeping things simple and stripping away irrelevant ornamentation, while at the same time ensuring timeless luxury. From our perspective, great design is one of the primary product differentiators that is truly discernible to the homeowner. We are
convinced that a well thought out design is emblematic to the quality of a product. A badly designed product is not only not beautiful but also affects our wellbeing and as a consequence, is of less value. In the case of Sergio, he truly believes that good design is a product of understanding people, their fundamental needs and what makes them feel good about being in a space. Sergio is a humanist. All of Oakridge, from the single piano to the 10-acre park, is a response to our fundamental belief that our lives are made better by beauty. It is beauty that brings us joy and adds purpose to our lives. We must fight against thoughtless design, thoughtless production, and thoughtless consumption. We have been fighting for beauty since our first project and this fight would have been much less successful, as well as less enjoyable, if we did not have willing and talented collaborators along on the journey with us. Sergio, his team, and the folks at B&B have all been passionate collaborators. Ian Gillespie
Abbiamo conosciuto Sergio grazie alla B&B Italia, per anni un nostro collaboratore di punta. Il team di B&B non solo ci ha aiutato a definire gli elementi estetici che contraddistinguono le lobby dei nostri hotel e alcuni dei nostri appartamenti ammobiliati ma ci ha anche segnalato una serie di fornitori di fiducia a Milano. Abbiamo chiesto alla B&B di presentarci designer in grado di fornire un’impronta unica agli interni di ciascuno dei nostri edifici Oakridge.
partnership si è ulteriormente arricchita con il coinvolgimento di Michelle Biggar, dell’Office of McFarlane Biggar, che ha fra l’altro progettato la lobby del nostro albergo Fairmont Pacific Rim. Il team ha concepito l’estetica degli interni del Building 3 in modo da riflettere la raffinatezza spontanea e lo stile di un’autentica cultura italiana. Lo studio Castiglia è noto per la ricerca di un’essenzialità che pur facendo a meno d’inutili orpelli ornamentali garantisce un lusso intramontabile.
che un design accurato sia rivelatore della qualità di un prodotto. Viceversa, un prodotto mal progettato non solo è esteticamente brutto ma ha anche un impatto negativo sul nostro benessere e quindi risulta di minor valore. Quanto a Sergio, è sua profonda convinzione che un buon design derivi tanto dal comprendere le persone e i loro bisogni fondamentali quanto dall’individuare cosa ne determina il benessere all’interno di uno spazio. In poche parole, Sergio è un umanista.
Nei suoi quasi 40 anni di attività, Castiglia si è posizionato come uno studio di nicchia di altissima qualità, che accetta un numero limitato di progetti per dedicarvisi totalmente. La
Secondo noi, un design di qualità è uno degli elementi chiave nella differenziazione del prodotto ed è immediatamente percepibile dal proprietario dell’abitazione. È nostra convinzione
L’intero complesso di Oakridge, dal singolo pianoforte al parco di 10 acri, è il risultato della nostra convinzione profonda che la bellezza migliora le nostre vite. La bellezza dà gioia e conferisce
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uno scopo all’esistenza. Diventa quindi imperativo contrastare il design mal concepito, la produzione irresponsabile e il consumo non consapevole. Abbiamo combattuto in nome della bellezza sin dal nostro primo progetto. Questa battaglia sarebbe stata assai meno efficace ma anche meno entusiasmante se in questo nostro percorso non avessimo avuto accanto collaboratori volenterosi e ricchi di talento. Sergio, la sua squadra, e il personale della B&B hanno lavorato con noi con grande passione. Ian Gillespie
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Oakridge x Sergio Castiglia
Foreword Sergio Castiglia
Sergio Castiglia
In this day and age, design is a science. It is cultural anthropology. Knowing how to understand the needs of the world, its cultures, the times we live in and how to respond to them with an ethical conscience, technical knowledge and aesthetic harmony. Therefore, the role of the designer is multifaceted. It requires understanding of social and economic trends, technical innovations and stylistic movements, applying practical and cultural knowledge and thus giving life to new ways of interpreting the world around us.
Oggigiorno il design è scienza. È antropologia culturale. È saper comprendere i bisogni del mondo, le sue culture, il tempo in cui viviamo, per poi affrontarne le sfide con coscienza etica, conoscenza tecnica e armonia estetica. Di conseguenza, il ruolo del designer assume mille sfaccettature. Dar vita a nuovi modi di interpretare il mondo che ci circonda richiede tanto la capacità di applicare la conoscenza pratica e culturale quanto la comprensione degli sviluppi e delle tendenze in ambito sociale, economico, tecnologico e stilistico.
For years, there has been an operational and perceptive exchange between architecture and design: buildings are conceived as objects and objects are designed by those who design buildings. A building is an object that must be thought of in its entirety. Every constructive element, every architectural detail must be designed. And just as the individual elements refer to its fundamental idea, so does the building refer to its surrounding. The architect and the designer are in charge of connecting and contextualizing all aspects, organizing them to an organic and synergetic whole. Nowadays, design is no longer reserved to the domain of furniture alone, but also to materials, fixtures and every other component that makes up a home. Because of this integration of disciplines, architectural projects have a much greater depth of content than ever before.
Per anni si è avuto uno scambio sia operativo che percettivo fra architettura a design. Il risultato è che gli edifici sono concepiti come oggetti e gli oggetti sono ideati da chi progetta edifici. Un edificio va inteso come un oggetto da considerare nella sua interezza. La sua progettazione deve occuparsi di ogni elemento costruttivo e di ogni dettaglio architettonico. Va da sé che, proprio come i singoli elementi si rifanno all’idea fondamentale sottostante, così l’edificio si rifà all’ambiente che lo circonda. L’architetto e il designer hanno il compito di mettere in relazione e contestualizzare tutti gli aspetti, organizzandoli in un tutt’uno organico e sinergico. Oggigiorno il design non è più confinato all’ambito del mobile, ma si occupa anche di materiali, di arredi e di ogni altro componente relativo all’abitare. Grazie a questa integrazione di diversi saperi i progetti architettonici acquisiscono una profondità di contenuto come mai in passato.
This then, is the essence of Oakridge: the fundamental design, the insertion of significant objects, the attention to the spatial quality, the choice of high-end materials – all contribute to the creation of a fascinating and imaginative environment, where architecture and design interact in perfect harmony.
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Questa è l’essenza di Oakridge it: la progettazione di base, l’inserimento di elementi significativi, l’attenzione alla qualità dello spazio, la scelta di materiali pregiati – tutto questo contribuisce alla creazione di un ambiente ricercato e originale, nel quale architettura e design interagiscono in perfetta armonia.
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Oakridge x Sergio Castiglia
Foreword B&B Italia
B&B Italia
B&B Italia is a leading group in the high-end design furnishing sector. Founded in 1966 by Piero Ambrogio Busnelli, B&B Italia has always stood out for its strong orientation towards research and innovation, which has allowed it to give life, in collaboration with the masters of design, to iconic and timeless products.
B&B Italia è un gruppo leader nel settore dell’arredo di design di alta qualità. Fondata nel 1966 da Piero Ambrogio Busnelli, la B&B Italia si è costantemente distinta per un forte orientamento verso la ricerca e l’innovazione, cosa che le ha consentito di creare, in collaborazione con i grandi maestri del design, prodotti inconfondibili e intramontabili.
Headquartered in Novedrate (Como) - in a building designed by Renzo Piano and Richard Rogers in 1971 - the company has built its success on the ability to represent contemporary culture, to sense and anticipate trends, to respond to changes in taste and living needs. B&B Italia’s call to research and innovation is mirrored in its collections of furnishings that represent an essential segment of Italian design history, based on a unique union of creativity, innovation and industrial know-how, and focused on producing timeless products that last a lifetime.
B&B Italia ha sede a Novedrate (Como), in un edificio progettato nel 1971 da Renzo Piano e Richard Rogers. Il successo della società si fonda sulla sua capacità di rappresentare la cultura contemporanea, fiutare e anticipare le tendenze e rispondere all’evoluzione del gusto e dei bisogni dell’abitare. La vocazione di B&B Italia per la ricerca e l’innovazione si riflette nelle sue collezioni di arredi, rappresentative di un capitolo importante nella storia del design italiano, in cui una straordinaria convergenza di creatività, innovazione e know-how industriale è all’opera per fornire prodotti senza tempo, capaci di durare una vita intera.
The heart of the company is its internal R&D Centre, which is a real forge of cultural meetings and experiences, strongly fuelled by partnerships with international designers such as Antonio Citterio, Piero Lissoni, Mario Bellini, Gaetano Pesce, Naoto Fukasawa, Patricia Urquiola, Barber & Osgerby, Jeffrey Bernett, and many others.
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Il cuore della società è il Centro di Ricerca e Sviluppo interno, vera e propria fucina di incontri e di esperienze culturali, costantemente alimentato dalla collaborazione con designer internazionali quali Antonio Citterio, Piero Lissoni, Mario Bellini, Gaetano Pesce, Naoto Fukasawa, Patricia Urquiola, Barber & Osgerby, Jeffrey Bernett e molti altri.
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Contents
Foreword
1 2 3 4
Ian Gillespie
6
Sergio Castiglia
8
B&B Italia
10
The Complexity of Simplicity
16
Castiglia Associati
18
Open Book:
An Interview with Sergio Castiglia on Italian Design in Vancouver
Design Tale: Portfolio
20 44
Vision & Creativity:
Half a Century of Shaping the Future
82
Design Portraits:
Advertising Campaigns & Exhibitions
96
Poetry in the Shape: Portfolio
110
Made in Italy:
Form & Function
122
Cucina:
A Rich History of Italian Kitchens
140
Castiglia:
The Modern Italian Kitchen
152
Tactility & Material Palette
160
Casa Interiors & Finishings
172
Sanctuary
186
Floor Plans
192
Westbank x B&B Italia Furnishing Selections
240
Amenities
252
Derivato dal latino Designo, che significa ideare, tracciare, connotare, ma anche scegliere, decidere... Design per noi significa tracciare un percorso. Design comes from the latin word “designo�. It means conceiving, sketching, marking but also choosing, deciding... For us, designing something means sketching a route and marking a direction. Sergio Castiglia
Chapter One
Sergio Castiglia
Oakridge x Sergio Castiglia
Chapter One Sergio Castiglia
The Complexity of Simplicity
Like a great Italian dish, the secret to our philosophy is simplicity. Devoid of any unnecessary adornment, our design strives to be functional beauty in optima forma. Which isn’t always easy to achieve. The word ‘design’ comes from the Latin word ‘designare’, which means ‘to conceive’, but also ‘to decide’. For us, designing is the act of coming up with an idea and choosing a direction to make it come to life. We have an analytical approach when it comes to the design process. Whenever we start working on a theme, we understand many others have come before us. Therefore we run an extensive analysis of all components, typologies, dimensions and materials, while at the same time studying the productive qualities and capacities of the manufacturing company and its market’s needs. Strategically, we focus on identifying what sets a project apart from others and finding fresh angles. This makes every project a new challenge, even if it’s in a field in which we have significant experience. Our designs are born from a multidisciplinary mix of competences, professional knowledge and research approaches. In doing so, our projects bring different worlds together. The technical on one hand and the socio-cultural on the other. We’re in the business of designing someone’s home, someone’s office. Spaces people spend a lot of time in. Our work is successful only when someone feels good in the spaces we create for them. It is our responsibility to facilitate their wellbeing. We do so by keeping things simple. There’s already far too much distraction in the world. When you’re at home or at work, you want to be in a balanced, comfortable environment, surrounded by the highest quality materials. Anyone walking into one of our homes ideally feels one third surprise, one third instant comfort and one third
16 Sergio Castiglia
consideration. The first two are purely emotional and need to happen instantaneously. If people need to think too much about whether they like what they see, it’s no good. Everything from the layout to the materials should feel natural and evoke an instant emotion. The remaining third is rationally determined. All need to come together within the first five minutes. That’s when people are impressed by what you’ve created or not. If you have to sell it to them for longer than that, you’ve already lost. Five minutes is all you have. It was like this when we started and it’s still like that today. So in that sense, our vision has not changed. But the way we implement that vision has. We have a lot more solutions to work with now than thirty years ago. New materials, new techniques and technologies allow us to create designs that aren’t corrupted by functional necessities. These days we have things like LED lighting, infrared heating panels and doors you can’t see or feel. Modern means like these make our architectural lives easier, but not always better. Sometimes a good old-fashioned chandelier or a classic radiator is simply the most elegant solution.
Proprio come in un grande piatto tipico della cucina italiana, il segreto della nostra filosofia è la semplicità. Il nostro design non contempla orpelli ornamentali fini a sé stessi e mira invece alla bellezza funzionale allo stato puro. La qual cosa non è sempre facile da ottenere. La parola ‘design’ deriva dalla parola latina ‘designare,’ che si può tradurre come ‘concepire’ ma anche come ‘decidere’. Nel nostro caso, progettare significa proporre un’idea e poi scegliere il modo con cui realizzarla. Il nostro è un approccio analitico al processo di progettazione. Quando cominciamo a lavorare su un tema, abbiamo ben presente che molti altri si sono già cimentati in questo campo. Iniziamo quindi con l’esame approfondito di tutti i componenti, le tipologie, le dimensioni e i materiali, e allo stesso tempo studiamo la qualità e le capacità produttive dell’azienda produttrice nonché i bisogni del suo mercato di riferimento. Dal punto di vista strategico cerchiamo di identificare ciò che rende un progetto unico rispetto agli altri, e quindi trovare in esso gli aspetti di novità. Ciò rende ogni progetto una nuova sfida, anche quando riguarda un campo in cui abbiamo maturato un’esperienza significativa. I nostri progetti nascono dall’incontro multidisciplinare di competenze, conoscenze professionali e linee di ricerca. In questo modo, riusciamo a mettere insieme mondi diversi: quello tecnico da un lato e quello socio-culturale dall’altro. Il nostro compito è progettare la casa o l’ufficio di qualcuno. Ovvero spazi in cui le persone trascorrono molto tempo. Possiamo dire d’aver fatto un buon lavoro solo se le persone si trovano a proprio agio negli spazi che abbiamo creato per loro. È infatti nostra responsabilità agevolare il benessere degli individui; noi cerchiamo di farlo mantenendo le cose semplici. Ci sono già troppe cose attorno a noi che ci distraggono. Quando
una persona è a casa o al lavoro, vuole trovarsi in un ambiente equilibrato e confortevole, realizzato con materiali della migliore qualità. Chi entra in una casa disegnata da noi idealmente mostra sorpresa, piacere immediato e riflessione, in ragione di un terzo per ciascuna di queste reazioni. Le prime due sono risposte puramente emotive e devono verificarsi in modo istantaneo. Non è un buon segno quando le persone devono pensarci per capire se gradiscono ciò che vedono. Tutto, dalla disposizione degli spazi ai materiali, deve apparire naturale ed evocare un’emozione immediata. Il restante terzo è frutto di un processo razionale. Tutto deve accadere nei primi cinque minuti. È in quel lasso di tempo che la gente decide se gradisce o meno quello che avete creato. Se ci mettete di più a convincerli, avete perso. Cinque minuti è tutto ciò che avete. Era così quando abbiamo cominciato ed è così ancora oggi. Da questo punto di vista la nostra visione non è cambiata. Ciò che è cambiato è il modo in cui realizzare quella visione. Oggi abbiamo molte più soluzioni con cui lavorare rispetto a trent’anni fa. Nuovi materiali, nuove tecniche e nuove tecnologie ci permettono di creare progetti che non devono sottostare a precisi vincoli funzionali. Oggi abbiamo soluzioni come l’illuminazione LED, pannelli per il riscaldamento a infrarossi e porte invisibili alla vista e al tatto. Questo tipo di moderni espedienti rendono la vita di noi architetti assai più facile ma non necessariamente migliore. A volte la soluzione più elegante viene da un lampadario vecchio stile o da un radiatore tradizionale.
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Oakridge x Sergio Castiglia
Chapter One Sergio Castiglia
Castiglia Associati
Castiglia Associati was founded in 1982 by my wife Marinella Santarelli, our close friend Maria Tiziana Tazza and myself. The studio has since grown to an operation of ten people. As the three partners and founding architects, we form the proverbial tripod that constitutes the studio’s foundation; perfectly balanced when working together, yet unable to function without one of its legs. Tiziana is the studio’s architectural dreamer who has her head in the clouds and hasn’t come down once in 36 years. At the other end of the spectrum is my wife Marinella. She’s the finance and operations manager and the one who’s really in charge. I myself am somewhere in the middle. As both the face of the studio and the creative driving force behind our work, I come up with the ideas and fly around the world to share them with our clients. It’s also my responsibility to make sure that the designs conceived by the studio can actually be produced. I know what can and cannot be done. There’s no point in designing something beautiful if you don’t know how to build it. For me this interplay between ideation and execution is essential to the creative process. When Giorgetto Giugiaro designed the Volkswagen Golf Mk1 in 1974, not only did he design the car itself, but also the factory machines to build it. It was his way of being in total control of the entire process – from the earliest concept sketched on a blank canvas to the first production model leaving the factory. To me, this is the ultimate way of bringing your thoughts to life exactly how you intended them.
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Castiglia Associati è stata fondata nel 1982 da me, mia moglie Marinella Santarelli e dalla nostra cara amica Maria Tiziana Tazza. Nel tempo lo studio è cresciuto e conta ora dieci persone. Nella nostra veste di partner e architetti fondatori, noi tre formiamo il classico tripode che ne regge il peso – vale a dire perfettamente in equilibrio se lavoriamo insieme ma incapace di funzionare se manca una delle gambe. Tiziana è in termini architettonici la sognatrice dell’impresa: ha la testa nelle nuvole e in 36 anni non le ha mai lasciate. All’estremo opposto c’è mia moglie Marinella. È lei che gestisce le finanze e l’attività del gruppo ed è lei il vero boss. Io mi trovo in qualche modo nel mezzo. Sono al tempo stesso la faccia riconosciuta dello studio e la forza creativa dietro il nostro lavoro; sono quello che tira fuori le idee e poi va in giro per il mondo a presentarle ai nostri clienti. Ho inoltre la responsabilità di assicurarmi che i progetti che lo studio propone siano poi effettivamente realizzabili. So quello che si può e non si può fare. Non ha senso concepire qualcosa di bello se poi non sai come realizzarlo. Personalmente ritengo che quest’interazione fra il concepire e l’eseguire sia cruciale nel processo creativo. Quando nel 1974 Giorgetto Giugiaro progettò la Volkswagen Golf Mk1, non si limitò a progettare la macchina, ma disegnò anche il macchinario di fabbrica che la doveva produrre. In questo modo si garantiva il controllo totale dell’intero processo – dal concetto preliminare abbozzato su un foglio bianco al primo modello prodotto in uscita dalla fabbrica. Per me questo è l’unico modo per essere sicuri che le tue idee verranno realizzate come effettivamente le avevi intese.
Above Marinella Santarelli, Sergio Castiglia, Maria Tiziana Tazza in the Castiglia Associati Atelier in Terni, Italy, 2017.
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Sergio Castiglia
Open Book: An Interview with Sergio Castiglia on Italian Design in Vancouver
22 Sergio Castiglia 23
Open Book
Oakridge x Sergio Castiglia
Chapter One
Oakridge x Sergio Castiglia
Open Book Chapter One
Sergio Castiglia About an hour and a half’s drive north of Rome lies the Umbrian town of Terni. Known for its many ancient Roman sights, it’s also the home turf of Castiglia Associati - an architecture and design firm ten people strong that has been making a name for itself since the early eighties. From its modest office in the centre of town, the studio covers everything from industrial to architectural design, furniture to accessories, kitchens to bathrooms and lighting to corporate identity, as well as advertising, brochures and websites for hotels, showrooms, trade fair stands, private homes, offices, shops and banks. As such, Castiglia Associati is a full-service firm that strives to inject true Italian style into everything it touches. It should therefore come as no surprise that the studio was selected as one of eight to take on the interior design of one of Oakridge’s residential towers, for its pure Italian style and view on design and aesthetics. _____________________ What inspired you to be an architect? When I saw my first architectural drafting table at the age of seven in my father’s studio, I knew; I was going to be an architect. My mother wanted me to become a doctor, but I had other plans. To this day, I’m the only one in our studio who still uses one of those antiquated tables. My younger colleagues are all on computers. They don’t understand how I can work like this, but for me it’s the definitive tool of my trade. It has always been. It’s what triggered my fascination for this craft all those years ago when I saw a designer draw on one, creating something from nothing on that table. _____________________ So how did you go from being a fascinated boy to a renowned architect?
Years after the day that would come to define my life, I went to Rome to study architecture. When my wife and I had our first daughter, I took a job in a furniture store to support the family. In a way, that’s where my career began. In a Roman furniture shop in the late seventies. Because it was here that I met several people who inspired me to move forward. At one point I asked myself what was keeping me from going to Milan to try and make it as an industrial designer. I didn’t have a valid answer. And so there we went, leaving Rome behind and heading north to the cradle of Italian industrial design. After a few years in Milan, Castiglia Associati was founded in 1982 in the Umbrian town of Terni by my wife Marinella Santarelli, our close friend Maria Tiziana Tazza and myself. We started out doing office design. Our big break came in the late nineties, when our office products, specifically our glass dividing walls and office desk systems were selected for eight office towers in New York City, including the New York Times building, Hearst Tower and the buildings for Goldman Sachs and the Bank of America. Imagine a small company from Umbria designing thirty to forty floors times eight in Manhattan. Back then, it was the first time we had ever taken on such an enormous task as such as small studio. Nowadays, it would be slightly more business as usual, even though our job is always extraordinary.
be functional beauty in optima forma. Which isn’t always easy to achieve. And it isn’t something you can learn from a book. In architecture and industrial design, there are no laws other than maybe the laws of physics. You only know if your idea works when it’s done. When we designed the New York Times tower, I was there when the journalists entered their new office for the first time, wearing hardhats because things were still under construction. That moment, when the people you’ve designed a space for walk in, that’s when you know whether you have succeeded or failed.
_____________________ What was your philosophy taking on that project?
_____________________ We’re in the business of designing someone’s home, someone’s office. Spaces people spend a lot of time in. Our work is successful only when someone feels good in the spaces we create for them. It is our responsibility to facilitate their wellbeing. We do so by keeping things simple. Like a great Italian dish, the secret to our philosophy is simplicity. Devoid of any unnecessary adornment, our design strives to
Above Sergio Castiglia at B&B Italia factory, Novedrate, Italy, July 2018 Previous Page Third Beach Jennilee Marigomen Stanley Park, Vancouver 2013
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Sergio Castiglia
we start working on a theme, we understand many others have come before us. Therefore, we run an extensive analysis of all components, typologies, dimensions and materials, while at the same time studying the productive qualities and capacities of the manufacturing company and its market’s needs. Strategically, we focus on identifying what sets a project apart from others and finding fresh angles. This makes every project a new challenge, even if it’s in a field in which we have significant experience. Our designs are born from a multidisciplinary mix of competences, professional knowledge and research approaches. In doing so, our projects bring different worlds together. The technical on the one hand and the socio-cultural on the other.
How do you make sure you pass the test? _____________________ The word ‘design’ comes from the Latin word ‘designo’, which means ‘to conceive’, but also ‘to decide’. For us, designing is the act of coming up with an idea and choosing a direction to make it come to life. We have an analytical approach when it comes to the design process. Whenever
What does that mean in practice? When you’re at home or at work, you want to be in a balanced, comfortable environment, surrounded by the highest quality materials. Anyone walking into
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Oakridge x Sergio Castiglia
Open Book Chapter One
a space we have designed ideally feels one third surprise, one third instant comfort and one third consideration. The first two are purely emotional and need to happen instantaneously. If people need to think too much about whether they like what they see, it’s no good. Everything from the layout to the materials should feel natural and evoke an instant emotion. The remaining third is rationally determined. All three factors need to come together within the first five minutes. That’s when people are impressed by what you’ve created or not. Going back to the example of the New York Times tower, if we’d had to sell it to them for longer than that, we’d already have lost. Five minutes is all you have. _____________________ Is this a timeless principle? I think it is. It was like this when we started back in the eighties and it’s still like that today. So, in that sense, our vision has not changed. But the way we implement that vision has. We have a lot more solutions to work with now than we had thirty years ago. New materials, new techniques and technologies allow us to create designs that aren’t corrupted by functional necessities. These days we
26
have things like LED lighting, infrared heating panels and doors you can’t see or feel. Modern means like these make our architectural lives easier, but not always better. Sometimes a good old-fashioned chandelier or a classic radiator is simply the most elegant solution. _____________________ But surely times have changed in other respects? Absolutely. Especially in our fields of expertise - the kitchen and office space – it’s a different world today than it was say fifteen years ago. A paradigm shift in the way we work has fundamentally affected office design in both commercial buildings and private homes. It’s no longer a given that employees come into the offices five days a week. Major corporations like Microsoft and Apple were among the first companies to recognize that working from home could benefit both corporate productivity and personal wellbeing. People started dividing their working hours over the office and home. For interior architects and interior designers that meant changing the way you looked at both those spaces. On the one hand, office floors became flexible and dynamic areas whereas demand for work space at
Sergio Castiglia
home went up at the other end of the spectrum. In the kitchen we’ve seen another evolution take place. Ten years ago, people didn’t cook very much. They ate out or ordered. In any case, they didn’t spend a lot of time in the kitchen. But five years ago, our lifestyles started to change, and with them the design of the kitchen. Driven by a rediscovered appreciation of social interaction and a growing consciousness of what we eat, we started taking the time to cook again. As we did, the kitchen became more than a place where you prepared food. It became an occasion to spend time together with friends and family. Kitchen design adapted accordingly. Nowadays every kitchen has an island, which is great for your guests to hang around as you’re preparing dinner. This is something we have consistently applied in the homes in Oakridge Building No.3. _____________________ Speaking of Oakridge, what was your initial reaction when you were asked to be part of the project? We’re moving into a very good neighbourhood! I mean, with illustrious designers in the creative lead over in the other towers, you could say we found ourselves in the presence of greatness. But
Oakridge building No. 3 is an exciting and ambitious project for us to be part of in more ways than one. The architecture of the buildings in Oakridge is one of a kind, with its organic shapes that just seem to rise from the landscape. _____________________ Your style is characterized by linearity though. How did you manage to align the interior design with the exterior? We took the fluid lines of the towers and extended them into the interior design. But as our signature is indeed quite linear compared to the unique and highly outspoken exterior design of Oakridge, we needed to reinvent ourselves to a certain extent. During the ideation process, we found inspiration in the shape of the building itself. The dynamics of the walls formed a natural guideline through the space, laying the foundation for the floorplan and interior decoration. With the curvature taking centre stage, we could design the surrounding elements in straighter lines, with rounded details wherever applicable. _____________________
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Above & Left Sergio Castiglia B&B Italia factory Novedrate, Italy 2018 Opposite Page Sergio Castiglia with Lukas Dong at B&B Italia, 2018
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Left Reflections in Pitt River Jennilee Marigomen Pitt Lake, Pitt Meadows 2013 Opposite Page On Top Jennilee Marigomen San Juan Islands 2015
_____________________ What about the surroundings? Is the character of Vancouver something you transposed inside?
Talking more specifically about the individual spaces, walk us through the design of the homes.
When designing a building or its interior in Vancouver it’s impossible to ignore the incredible natural splendour that encapsulates the city. With its majestic mountains, serene forests and countless bays, it truly is a city unlike any other. Just like nature doesn’t build in straight lines, so is Oakridge’s architecture characterized by organic fluency. Curved and skewed buildings that rise up to the skies from the green below blend in seamlessly in their natural surroundings. We continued this signature of nature inside by exclusively using natural materials like marble, stone and wood.
Stepping into a home in Building No.3 is in a way much like stepping into a natural oasis in the middle of the city. Every surface breathes raw natural beauty. Natural wooden floors are offset by dark wooden panels and accents. Stone and marble walls pay homage to the rugged mountains north of the city, while smooth white cabinets mimic the reflective surface of English Bay on an early Sunday morning. And rich fabrics bring warmth and comfort to the furniture, creating an instant feeling of coming home in every unit.
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As said before, the kitchens we have designed are a social gathering place. People have started taking time to cook again rather than just prepare meals. Until not so long ago, the kitchen served a strictly functional purpose. But more and more, the act of cooking is becoming a moment to spend together. A similar trend is happening in the bathroom, which is no longer seen as merely a place to wash up, but as a comfortable space to spend time in. In Italy, the first thing people look for in a house is a good bathroom. We’ve taken this mentality and applied it to the design of the Building No.3 bathrooms. _____________________ Starting with the one-bedroom. What can you tell us about that? Upon entering their one-bedroom home, you step into a haven of natural tranquility. Oak wood flooring throughout the home creates a sensation of calmness in the living room and bedroom. Smooth white kitchen doors surround a dark grey cove that houses the Miele electric cooking top, forming a stark contrast between light and dark. A
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cooking island with a work surface made of quartz is as durable as it is elegant. The island accommodates a Miele dishwasher, steam oven and conventional oven on the kitchen side, while serving as a bar on the living room side. Two Crinoline stools offer casual seating at the counter for entertaining guests while preparing dinner. Moving into the living room, a round Fiore table with four Crinoline chairs is the perfect place for sitdown dinners, softly lit by an elegant Twiggy floor lamp. Right by the sliding doors that open up onto the balcony, a comfortable Ray sofa faces a Pab System cabinet, perfect for housing the television, books and personal memorabilia. Between the sofa and cabinet is a trinity of Fat-Fat coffee tables on a grey TIMO carpet that brings warmth on cooler Vancouver days. The same carpet decorates the floor in the bedroom, where a built-in Backstage closet offers ample wardrobe space. FLOS light cones are suspended over Awa tables on either side of the lavish Bauci Ovidio bed that looks out over the city below. In the bathroom, adjacent to the bathtub is the
Sergio Castiglia
shower cabin of clear glass, while an elegantly simple medicine cabinet hangs over the singlebasin counter. ____________________ What characterizes the two-bedroom units? Building no.3’s two-bedroom homes are characterized by a curved glass façade offering unobstructed views of the city. The light floor runs from the living room to the balcony, creating a natural extension of the living space inside to the deck outside. Following the organic shape of the window, a curved Arne sofa is a standing invitation for long movie nights or catching up on your reading. A large Superarchimoon floor lamp looms over the round Cratis carpet, creating an intimate atmosphere with the flick of a switch. Open the sliding doors and step out onto the spacious balcony, where the unspoiled Vancouver views can be enjoyed from comfortable Canasta chairs. Or gather round the Tobi-Ishi table with foldup Mirto chairs when unexpected company knocks at the door.
More white dominates the kitchen in the form of panels and cabinet doors. A dark grey cove that houses the counter and cooking top breaks the bright surface. Across the aisle is a cooking island in the same dark colour with an adjacent dinner table made of contrasting light oak. Six Charlotte chairs line the table for long dinner parties with friends, with three sleek suspension lamps overhead further adding to the atmosphere. The same oak floor that lies in the living room sets an intimate tone in the master bedroom. Next to the Afrodite bed is a minimalist Arne desk with a Mini Papilio chair. With a split-level design it serves both as dressing table and bedside table. On the other side of the bed is a small Cosmos table. Across the room is a large Backstage wardrobe closet with a Captain Flint floor lamp creating a source of soft indirect light. Floor to ceiling windows add an extra sense of spaciousness to the large room. The slightly smaller secondary bedroom makes for the ideal guestroom. It comes with a Filemone Ovidio bed with two stylish Frank bedside tables. Here too, a Backstage closet provides all the necessary wardrobe space with a Captain Flint floor lamp that creates the same soft light effect that can be found
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in the master bedroom. Late night reading becomes a delight under the two string light cones hanging over the bed. And with glass doors opening up onto the balcony, there really is nothing secondary about this bedroom. _____________________ Moving up and onto the penthouse. What is special about this most luxurious of units? The penthouse is the culmination of lavish luxury and sophisticated design and abundant space. Covering half of the top floor and boasting floor to ceiling windows across its entire length, the three-bedroom home feels even larger than it already is. Dark oak wood flooring seamlessly connects the rooms, white quartz walls dividing up the unit in multiple compartments. The kitchen opens up into the living room with its glass façade, offering unobstructed views while cooking. A large cooking island forms a natural barrier between the kitchen and dining area beyond, with four Lazy stools for your guests to enjoy a drink and a snack while you are preparing dinner. The main course is served at the Mirto table just behind the island, lined with eight Lazy ’05 Chairs. Adjacent to the table is a column that houses
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a Backstage wardrobe closet on the kitchen side and a bioethanol fuelled fireplace on the living room side. Three irregularly positioned AIM Suspension lamps complete the atmosphere for intimate dinner parties with friends and family. In the living room, an Arne sofa and two Harbor armchairs are placed around an oversized Luxo floor lamp to form a peaceful reading corner that overlooks the city beyond the glass walls. A minimalistic Jack cabinet system makes for an elegant book case to go with it. Another lounge area is created by a dark grey Otium sofa with a Mirto coffee table. The Pab wallsystem is the perfect place for the television or more books. The living room flows onto the balcony where two Ravel sofas and a Tobi-Ishi table provide an outdoor seating area with unparalleled views. In the master bedroom, the Alcova bed takes centre stage with two Loto bedside tables on either side and a Desalto TV stand for late night binge-watching. A leather wall behind the bed separates the bedroom from the Backstage walk-in closet and black Sahara Noir open bathroom. The bathroom comes with a large shower enclosure and a freestanding circular In-Out bathtub on the border of the bedroom and the bathroom, right by the window. On the deck outside,
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Right B&B Italia Mini Papilio chair designed by Naoto Fukasawa, 2012 Opposite Page B&B Italia Crinoline armchair designed by Patricia Urquiola, 2008
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Above B&B Italia rectangular Mirto indoor table, 2016
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two Crinoline armchairs and a Ravel sofa form the perfect hangout for warm summer mornings and evenings. The rooftop is the Penthouse Pool Villa’s piece de résistance. Half of the area is taken up by the lounge and dinner section. Two Ravel sofas on a Twist carpet provide the perfect cosy corner to enjoy the sunset. Breakfasts, lunches or dinners at the Link outdoor table come with complimentary spectacular views, amplified by a Superarchimoon outdoor floor lamp. The elevated pool deck is the definitive leisure spot. Besides the pool, it has a hot tub, Overscale flame torches, an outdoor fireplace and four deck chairs to bask in the warm summer sun. Vertical greens on both sides of the terrace create a quiet piece of nature high above the bustling city below. Apart from the private homes, you have also designed the communal spaces, starting with the lobby. The lobby is a welcoming mix of warm wood and cool Basaltina stone. The dark grey back wall and floor are complemented by the lighter shades of the steel concierge desk. Vertical oak panels and an oak side wall bring further natural elements to the entrance area, with cove lighting bathing the space in a soft and soothing glow. In the middle of the reception is an organically shaped leather couch on a circular plateau for visitors to relax on.
How did you extend this natural feeling in the hallways? As you exit the elevator, you are met with the same natural colour and material palette in the hallways. Walnut wood panels and basalt flooring set a subdued atmospheric mood in the elevator lobbies, which transition into quieter anthracite carpet flooring with light grey apartment doors to restore the balance between light and dark. _____________________ Jumping ahead a few years, how would you like your building to be remembered? For anyone who creates something, the most profound compliment is to see it in real life. I remember sometime in the nineties I was watching the movie Working Girl with Sigourney Weaver. There was one scene where she was sitting in an office when I realized she was sitting in one of my P30 chairs. This was Alien’s Ripley, sitting in something I designed. I still can’t help but smile when I think about it. But to be honest, every time you come across something you have designed, it’s a special feeling. So, to be able to have an impact on something so permanent as a building is a true privilege. How I would like Oakridge No.3 to be remembered? As a textbook example of pure Italian style. But I’d already be honoured if it were remembered in association with my name at all.
Above Tie, Dame 2016
_____________________
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Above B&B Italia Fiore tables designed by Naoto Fukasawa, 2018
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Design Tale: Portfolio
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Seventy Ernestomeda 2002 Seventy is a Ernestomeda range featuring original design details and incorporating colors and materials that recall the typical colour-schemes of the ‘70s. 46 Sergio Castiglia
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Grande Cuisine Salvarani 2006 The Grande Cuisine model stands out for the use of first-rate materials, innovative details and original functional techniques. The doors of the base and wall cupboards are made from solid, slatted ash with hollow handles. 48
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PK Salvarani 2005 The energy of glass is liberated from tops, backboards and doors. Salvarani is the perfect kitchen which can be adapted to suit all environments making it universally appealling. It is characterized by the chrome profiles which give it an original touch. Essential and elegant. 50  Sergio Castiglia
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Highteak Salvarani 2005 A kitchen solution based on essential lines with a strong formal character and unique elements. The rigorous and particularly versatile design is enriched with precious material such as teak, ebony, polished lacquered, steel and corian that makes the domestic environment aristocratic. 54  Sergio Castiglia
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Longline Salvarani 2008 The Longline features a strong architectural design composition; an innovative countertop with a flush mount sink, made out of white quartz with an aluminium profile, and a special cabinet door, oversized kitchen cabinets provide character to the kitchen, made in a white glossy or mirrored finish. 58
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Indoor Cult FEG 2006 This interior project is characterised by the study of the doors, unique attributes, lacquered wood or glass, detailed workmanship and by a series of handles, external or built-in, all of which are presented on the extensive vertical surfaces, giving visible rhythm to the compositions. 62  Sergio Castiglia
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Tie, Dame DA-A 2016 Revolving strips of metal wire conceal the sculptural profiles of the base of Tie tables. The rhythmic alteration of full and empty spaces, light and shadow, give life to curvaceous, monolithic figures as shown in the Tie magnetic tables or the feminine curves of Dame tables. 64  Sergio Castiglia
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Rivo Scavolini 2012 Unique customizable multi-functional, based on the modularity concept, the Scavolini Bathrooms Rivo furnishing system, expresses an unprecedented vision with a characteristic creativity. Enhanced by quality furnishing components and accessories, the range conveys wellbeing in a thrilling ambience. 66  Sergio Castiglia
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Casta Diva Alma 2003 Casta Diva brings you well-being through refined and careful design and stands out as it makes its own statement in a precise, coherent and formal language. Designed for daily life. Made for those spaces that are part of daily life. 68  Sergio Castiglia
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Modus Rifra 2008
Short for “modus vivendi”, this project suggests a new aesthetic approach for the bathroom environment by means of exact shapes and pure geometric design. The items mark, articulate and shape the space. Character and definition are based on the use of high quality materials and craftsmanship combined with innovative technical design solutions.
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Suite Vismaravetro 2018 The refined modular system of crystal screens stands out for the sophisticated technological solutions and their easy installation. 74  Sergio Castiglia
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Over Misuraemme 2017 The freedom of composition in Over enables the design of broader spans as long as 2200 mm, asymmetrical geometries lighten the visual perception by breaking free of the concept of a pure day system and, in support, the horizontal electrified woodwork creates an integrated lighting system. Finishes give an extra special touch and true personalization: wood, tecno-marble, tecno-metal, glass and leather are combined in an exceptional balance of materials and colours that display – at every combination – a new Over. 76 Sergio Castiglia
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Chapter Two
Like a solo played by Charlie Parker: quick, sharp, visionary, just enough, but endowed with a deep soul. Byung Soo Zocchi
B&B Italia
B&B Italia
Vision & Creativity: Half a Century of Shaping the Future
Chapter One
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Chapter Two Vision & Creativity
Founding Story The Industrialization of Craft Up until the 1960s, most if not all Italian-made furnishing was designed by architects. A tradition of handmade craft and creativity. Among the many armchair manufacturers in the northern Italian province of Brianza was Piero Ambrogio Busnelli, who together with his brother Franco ran the Fratelli Busnelli company. But despite the company’s success, Piero had bigger dreams. A higher goal. A vision of industrialized design that would enable mass production and the conquest of foreign markets. Back in the 50s, Italian industry was dominated by five major corporations: Fiat, Olivetti, Pirelli, Edison and Bassetti. The furniture trade was traditionally one that couldn’t be further away from the Big Five companies in terms of scale and operation. Yet the entrepreneurial Busnelli was constantly trying to find ways to unite the craft and creativity of furniture design with the industrial capabilities of large-scale corporations. Always looking to the future, he began to experiment with new materials, in particular with alternatives to foam. Busnelli traveled the world and did his research wherever he went. It was on one of his trips to London, that he came across a machine that would have been overlooked by most on a search to revolutionize the furniture industry: a machine that created rubber ducks. Busnelli saw through the machine’s avian creations and latched onto it for the production process it enabled. The machine injected cold pressed polyurethane into a mould. A duck shaped mould in this case. Fascinated by the process, he wanted to apply the technique to creating furniture.
Top Piero Ambrogio Busnelli sitting on Mario Bellini’s Gli Scacchi, 1970 Bottom Vico Magistretti, Enrico Trabacchi and Piero Ambrogio Busnelli, New York, 1973
Polyurethane was invented in 1937 by Dr. Bayer of the German Bayer pharmaceutical company. Busnelli decided to go straight to the source. But when the Italian designer knocked on the door of Bayer’s Leverkusen headquarters, he was kindly sent away. His plans of introducing cold pressed polyurethane into the craft of furniture design weren’t supported by his brother Franco either. Convinced by his idea and determined to turn the industry on its head, on April 13th, 1966 Piero Ambrogio Busnelli left the family company and started a business of his own.
Previous Page Piero Ambrogio Busnelli presenting the Fratelli Busnelli products in the 1950s
Meanwhile, two other Brianzan brothers had made a quite the name for themselves in the furniture field. Cesare and Umberto Cassina had founded their company in 1927 and had grown to be the industry leader. It was Cesare who got wind of Busnelli’s idea and was interested in hearing more. Busnelli shared his vision of an industrialized furniture industry, explaining that all manufacturers handcrafted their furniture on a wooden frame. Now he wanted to use an iron frame fitted in a mould, injected with foam. Cassina was intrigued. So much so, the two designers decided to join forces and C&B Italia was born – a company that aimed to modernize a century-old industry, mixing Italian tradition, style and craftmanship with innovation, technology and industrial production processes. C&B mixed high-end materials with accessible ones, taking inspiration from all sorts of sources. It was Cesare Cassina who brought in several designers that included Mario Bellini and the Scarpa brothers, Afra and Tobia. Of all people who crossed Busnelli’s path, in these three especially, Busnelli found kindred spirits and partners that would help him realize how to further
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industrialize production. Afra and Tobia Scarpa had designed the Benetton factory in 1964 and were commissioned for the design of the C&B factory. Their plans for C&B were centered around facilitating production and optimal use of space. A true exercise in form following function. It would be the Scarpa brothers who would go on to design the first sofa intended entirely for industrial mass production – the Coronado. With its structure embedded in polyurethane and assembled with only two screws, it was perfect for shipping across the world. It proved to be a big hit and with it, a symbol for a new industry. Another success story was the Amanta by Mario Bellini in 1966. For the frame of this sofa chair, C&B used a 1,500-ton press where a 500-ton press would have sufficed. Essentially, the company set a whole new standard for furniture production. Over the next five years, C&B produced many iconic pieces. One of which was the Lombrico by Marco Zanuso – an infinitely modular sofa unit made for public spaces. In 1969, Gaetano Pesce designed the Up, another unique piece of furniture, revolutionary for its use of polyurethane and the way it was delivered. The Up was vacuum-packed. Once the packaging was opened, the seat took on its actual form. With the Up, Pesce made a statement against women being restricted by male prejudice. In 1972 Mario Bellini designed the Le Bambole. This wasn’t so much a sofa as it was a multiform pillow without the typical fixed structure of headrest, armrest, backrest. It was the first time a sofa was made as a padded cushion and it was a huge success at that. Every one of C&B’s product launches was supported by equally iconic advertising led by art director Enrico Trabacchi. The extraordinary mix of design, production and communication became the Busnelli creed: a continuous exchange of ideas. Even business meetings and press events were unlike any the world had ever seen, with some of them held on cruise ships. C&B’s repertoire didn’t go unnoticed, as in 1972 the company won its first Compasso d’Oro for the Le Bambole – a prestigious Italian industrial design award. It was the first time the prize went to a piece of furniture. Nineteen seventy-two was also the year Italian design went international, when the MOMA in New York ran the New Domestic Landscapes exhibition, featuring two installations by C&B. One was a work in polyurethane by Pesce, signifying the relationship between man and space. The second was the Kar-a-Sutra by Bellini, which as a single space concept vehicle and arguably the ancestor of the minivan. C&B was on a roll, growing to the point where it would soon equal the Cassina mother company in size. When it did, Busnelli bought out Cassina and changed the company’s name to B&B Italia. According to Busnelli himself, this jokingly stood for Busnelli & Bancas, as the money for the buyout was provided by the banks. Within three years, however, Busnelli paid back the loan, cutting out the banks altogether. The company now officially stood for Busnelli & Busnelli, Piero and his son Giorgio. B&B Italia was born.
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Opposite Page Piero Ambrogio Busnelli and Cesare Cassina leaving on an airplane for New York, late 1960
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Above From left: Piero Ambrogio Busnelli, Paolo Piva, Giorgio Busnelli, Rolando Gorla, Federico Busnelli at the design presentation for ‘Le Arti Industriali’ programme (first and third from the left are collaborators from invited studios), CR&S B&B Italia, 1979 Opposite Page Tobia Scarpa, Vico Magistretti, Piero Ambrogio Busnelli, Stephen Kiviat, Mario Bellini and Richard Sapper, New York, 1973
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Above Piero Ambrogio Busnelli in the factory with his sons (from left) Emanuele, Giancarlo, Giorgio and the HSP panel, 1995 Opposite Page From left: Michele Provinciali, Pier Giacomo Castiglioni, Dino Gavina and Achille Castiglioni with the Sanluca chair, on the Santuario della Madonna di San Luca steps, Bologna, 1960
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Above Giorgio Busnelli, son of B&B Italia founder Piero Busnelli, sitting in wooden Up Chair at B&B headquarters Opposite Page Antonio Citterio and Paolo Nava in their studio in Monza, 1980
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A History of Innovation B&B Italia 1973 1964
Piero Ambrogio Busnelli
The Formation of the Italian Republic, 1946
The iconic Up chair is
After a nation-wide
in response to the women’s
referendum following World War II in 1946,
1968
Italians voted in favour of
The first C&B building is
a republic, forever ousting
built in Novedrate.
marked the beginning of
2009
and the company
The Grande Papilio
transforms into B&B Italia
created by Gaetano Pesce
the monarchy. This moment
buys out Cesare Cassina
1969
1966
modern Italy as we know it.
Piero Ambrogio Busnelli
Following the birth of the
and Cesare Cassina
republic, Italy experienced a
found C&B Italia
a cheeky acronym for Busnelli & Bancas. Shortly
rights movement.
1971
after, Busnelli pays off the
something about the
Bonfire of the Bra’s is held
for Busnelli & Busnelli.
condition of women in the
in St. Tropez. Women burn
world. The chair can be
their bras as a sign of
read as the mother, and the
protest against patriarchy.
“Pesce wanted to produce
bank loans and B&B stands
stool, her child. But it could
1984
and Steve Wozniac. The
the prison she was obliged
Mac reinvents the way
to live in.”
designers work today.
rubber ducks with
War ll brings scarcity of supplies and materials. Italian craftsmen learn to be resourceful with the materials at hand. The handcrafted heritage of traditional Italian production
polyurethane technology.
1970
This approach to
A major achievement
production inspires
in feminism.
Busnelli to impart the same method in the furniture
Divorce is legalized
industry — the catalyst for a revolutionary concept which would transform the process of furniture production.
and Hadid’s research on the complexity of curved geometries. Forty years later B&B is still innovating with shape and form.
“I wanted the chair to look naturally comfortable, to have the same shape that relaxation would have if it were represented by an image.” — Naoto Fukasawa
building No.3.
C&B wins a Compasso
in London that produces
The beginning of World
inclination to experiment,
Fukasawa. Papilio is latin for butterfly.
1972
Busnelli visits a factory
1939
to create Moon System.
armchair is developed in collaboration with Naoto
Featured in the lobby of
—Maria Cristina Didero
1964
collaborates with B&B Italia
convergence of B&B Italia’s
is created by Steve Jobs
[suggesting] woman and
massive economic boom.
Architect Zaha Hadid
The sofa expresses the
The first Mac computer
also be a ball and chain
2007
1969 Neil Armstrong & Buzz Aldrin are the first men to land on the moon.
in Italy.
d’Oro (Mario Bellini) for
1973
Le Bambole sofa.
Building of B&B
Oliviero Toscani’s concept uses New York model Donna Jordan (the infamous Andy Warhol muse) topless as a nod to the Burning of the Bra’s protest. The photo campaign was met with international acclaim, was censored at Salone
headquarters is completed in Novedrate. Busnelli built what was once called the most fully automated furniture factory in the world as well as a sophisticated research-anddevelopment laboratory.
2018
del Mobile. The president
Sergio Castiglia, with
would soon be replaced by
The ad campaign for the Up
of Cosmit saw it and put a
B&B Italia, collaborate
a new industrial culture
chair series draws from the
black stripe over it.
on Sergio Castiglia X
of design.
culture of the time.
Oakridge.
B&B Italia
Advertising Campaigns: Expressions of Culture & Design
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Chapter Two  Advertising Campaigns
Left Piero Ambrogio Busnelli stands in front of a censored add for Le Bambole sofa featuring Andy Warhol model Donna Jordan. Saloni del Mobile, 1972 Previous Page Klaus Zaugg, photos of a famous ad campaign for the launch of the Up Series by Gaetano Pesce, C&B Italia, 1969
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Advertisements Art Imitates Life Unconventional. Audacious. Poignant. So much more than just beautiful typography and blocks of colour, B&B Italia’s approach to graphic design and advertising is a lesson in unmistakable wit, powerful social messaging and symbolic storytelling. Furniture brands around the world would be wise to take a page from B&B’s history book. The social narrative that painted B&B’s ad campaigns of the 1960s and 1970s became the hallmark of each product launch. Never quiet or unassuming, the rich stories of the product designers’ intent was the jumping off point for a visual dialogue that rippled through a country and garnered the attention that brought B&B to the world’s stage. Deeply ingrained in cultural context, each campaign spoke to the remarkable innovation that B&B’s team was achieving while simultaneously weaving in the significance of the socio-political state that Italy was experiencing at the time. To look at a B&B ad and simply see a sofa or a chair for sale is impossible. Unlike conventional advertising, their methodology was one born from a deep place of unrest with the world, and the desire to ignite a dialogue for change through the platform of mass communication. This visual ‘rocking the boat’ method might even be due credit for making waves in the advancement of feminism in Italy. Designed by leading figures in the world of graphic design and photography, B&B’s campaigns have animated the product creation of the most prominent product designers of our time, leaving their thumbprint throughout design history books. Most famous of them all, Enrico Trabacchi’s expressive and brash candor flawlessly channels the visionary spirit of the featured products’ ‘reason for being’. Perhaps it was the blank slate of a new company that fueled his outrageous ad concepts, or the turning of a new decade on the horizon, the 1970s — one of free-spirited selfexpression.
Opposite Page Klaus Zaugg, photos of a famous ad campaign for the launch of the UP Series by Gaetano Pesce, C&B Italia, 1969
The 1969 series for Up highlights Trabacchi’s controversial contribution, introducing the innovative genius of the Up Series by designer Gaetano Pesce (with an advertising campaign by the photographer Klaus Zaugg). Pesce, a self-proclaimed feminist, held the opinion that his only option was to unite his message of promoting women’s liberation with the performance of polyurethane (B&B’s trademark manufacturing method). Symbolically humanistic in form, round bulbous shapes merge to create the nurturing silhouette of a woman’s form, with a tethered ball- shape ottoman always close by. This iconic feminist armchair, alternately referred to as La Mamma, Big Mama, Donna (Italian, for woman), and Up chair, continues to inspire interpretation nearly 50 years after its creation. This fabricated and functional metaphor became a commercial exhortation to rise up and create an uprising. A well-balanced synthesis between the gravitas of the cultural relevance that lies behind the object and the innovation for its time is rare to achieve from the perspective of human
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To further accentuate this articulated sentiment, the chair itself is compressed into a sealed package, which upon contact with air expands to its intended form — a clear dialogue of a physical liberation and uprising — simultaneously showcasing the innovation of a frame-free, polyurethane-formed chair — light, economical to warehouse and ship, and socially impactful. The ad campaign was the vessel for this all-encompassing design-thinking to be, passionately expressed.
a new chapter for B&B with a straightforward approach in their “design portraits” series wherein furniture product is displayed in matter-a-fact style as you would see it in a home setting. The early 2000s were reigned by Saatchi & Saatchi Milan, with a suggestive nod to the origins in B&B’s campaign fiascos, though this time more subtle — the implication of relaxation of the ad titled MART and the wit displayed in the chocolate bar unwrapping in the “Tufty Time” campaign. More recently, B&B has taken a turn for the contemporary and clearly art-centric wherein Francesca Ferrari narrates the “Abstract Landscape” campaign featuring the Patricia Urquiola -designed Bend Sofa. The displaced sofas in barren landscapes almost feel more like pieces for the walls of a contemporary art gallery than an advertisement for an innovative furniture company from Italy. Culturally aware and evocative, the history of B&B’s ad campaigns has a continuous vein of approachability at first glance. One could easily bypass the meaning-laden Up chair for a fun and playful prop and costume display, or that the blond topless model in Le Bambole campaign for shock tactic only. Perhaps strategic in that the average viewer can easily follow along through the compelling compositions and use of colour and avoid the call to examine what lays just below the surface in both the campaigns and our society. It is only when one takes pause in deeper contemplation that one can feel the stir of change within.
Nineteen seventy-two brought a peak in creativity with cheeky texts and photographs centred on provocation. The campaign for Mario Bellini’s Le Bambole sofa made history with the infamous Andy Warhol muse, Donna Jordan photographed by a young, but already vocal and politically incorrect, photographer by the name of Oliviero Toscani. Le Bambole (the dolls) designed by Mario Bellini — the first ever sofa to be constructed entirely of foam and devoid of an inner frame — wins a Compasso d’Oro. It is the first time in history that a sofa wins the coveted award. Following in the spirit of Trabacchi’s ‘no holds barred’ style, it is Toscani’s idea to use this blonde New York model, bare-chested, poised in stiff doll-like poses as a nod to the significance of the Bonfire of the Bras in St. Tropez, which burned just one year earlier to the chorus of “the bra is an instrument of male dominance.” The campaign was aptly titled, “Dolls that come and go... on dolls that are here to stay”. The photo campaign was met with international acclaim and created a demand for this series. To the delight of Busnelli, it was censored at Salone del Mobile. The president of Cosmit saw it and put a black stripe put over it, and Busnelli smiled in glee as he knew they were making waves. After almost a decade of culturally significant advertising, B&B continued to make waves by being the first furniture company to advertise on TV in the early 1980s, while the 1990s marked
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emotion, environment, and production. Pesce has challenged accepted standards of abstraction, uniformity, and homogeneity his entire career. The critic Susan Slesin wrote, “For Gaetano Pesce, to be modern is to face the world squarely and use design as a means to comment on it after. His ability to connect art and society to design through organic form is succinctly expressed in the ad campaigns wherein the Up series is photographed on a barren rock landscape with women clad in one piece jumpsuits, and crowned with white, unmistakably futuristic wigs. Just prior to this campaign release, and for the first time in history, man stepped onto the moon. Note the irony in that, here, displayed in the ad campaign are women in futuristic costumes, metaphorically ready to step foot on the moon — a literal narrative of women (not men) rising up from oppression and an unmistakable campaign in feminism. According to curator and author of SuperDesign, Maria Cristina Didero, “Pesce wanted to produce something about the condition of women in the world. The chair can be read as the mother, and the stool her child. But it could also be a ball and chain [suggesting] woman and the prison she was obliged to live in.” Interestingly, divorce was legalized in Italy in 1970, just after the release of this infamous feminist-forward ad campaign that rippled through a nation. The power of art and design is hard to ignore.
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Chapter Two  Advertising Campaigns
Above & Left Klaus Zaugg, photos of a famous ad campaign for the launch of the Up Series by Gaetano Pesce, C&B Italia, 1969 Opposite Page Expanded Up5 armchair; it takes shape after removing the PVC wrapping and coming into contact with the air
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Above B&B Italia Tufty-time by Patricia Urquiola, agency Saatchi & Saatchi, photo by Simona Pesarini (A.D. Riccardo Gianangeli), 2006 - 2007 Opposite Page Occhiomagico, Studio Alchimia; Domus 693 magazine cover, May 1982: the backdrop for Piero Ambrogio Busnelli’s portrait is a drawing of the Città Ideale, 1982
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Above Type-based announcement for newspapers on the company’s collaboration with Honeywell, 1971 (A.D Enrico Trabacchi) Opposite Page B&B Italia institutional campaign with Mart by Antonio Citterio, agency Saatchi & Saatchi, photo by Simona Pesarini (A.D. Riccardo Gianangeli), 2006 - 2007
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Poetry in the Shape: Portfolio
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Chapter Two  Advertising Campaigns
Above Studio Kairos, different support formal sketches and tops, Abak office system, 1988 Left Naoto Fukasawa, Grande Papilio Outdoor armchair and ottoman, 2013: aluminium frame and polyethylene interlacing Opposite Page CR&S, Husk armchair development, 2011: first prototypes for frame and shell Previous Page Naoto Fukasawa, Shelf X
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Above Jeffrey Bernett, Landscape chaise lounge, 2001: first version with fixed base in painted and chromed drawn steel Left Jeffrey Bernett, Landscape Opposite Page Doshi Levien, Almora
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Above Patricia Urquiola, Bend sofa Opposite Page Barber & Osgerby, Tobi-Ishi
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Above Moon System by Zaha Hadid: the shapes created by the backrest joining with the chaise lounge and seat make this sofa look like a sculpture Opposite Page A version of the Mart chair by Antonio Citterio
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Grande Papilio by Naoto Right
Fukasawa
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B&B Italia
Made in Italy: Form & Function
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Chapter Two Made in Italy
The Art & Science of Made in Italy The words ‘Made in Italy’ carry a much deeper message than a geographical designation. They represent a rich heritage and profound love for the finer things in life. Whether it’s a simple tomato sauce or high-performance supercar, if there is one thing that characterizes Italianmade products, it’s the passion with which they are made. The passion of a people that not only appreciates craft, but essentially invented it and in doing so, share a responsibility to safeguard it generation after generation. To truly understand the value of the ‘Made in Italy’ label, one has to look beyond the exotic cars and beautiful leathers and deep within the heart of the Italian spirit. Italians have the innate ability to visualize a grand dream in an almost fantasy-like quality. Fixated on attaining the perfection of this dream, they work relentlessly and never take no for an answer. When the corporate giant Bayer ignored Piero Busnelli, the founder of B&B Italia, when he approached them to cooperate on introducing foam injection into furniture manufacturing, he simply went and figured out how to do it himself. This mentality dates back to the 1950s, when World War II left Italy a poor country with a large gap between the ‘haves’ and the ‘have-nots’. This then was the birth of the determination that has characterized the Italian way ever since. A time when scarcity fostered innovation and a burning desire to be something more. Restrictions became opportunities, passion fuelled change and a sense of unease the catalyst for progress. When in the 1970s the economy flourished and technology boomed, the ‘Made in Italy’ equity truly came into its own, as hundreds of years of ingenuity were accelerated by the desire to rebuild and the opportunity to create. If history is one contributing factor to the Italian passion for creation, upbringing is another. Many Italians grow up around artisans, instilling a profound love for craft into their minds from an early age. Imagine growing up in a country that is renowned for producing the very best fashion, food, cars and soccer, to name but a few. This omnipresent excellence ignites the ambition to be the number one in any field. It’s this inherent competitive spirit that drives the Italian quest for perfection. It’s not uncommon to find the factories of top players in a respective industry all within a few blocks of each other; the idea being that being surrounded by the best brings out the best in you.
Opposite Page Crinoline outdoor armchairs: weaving work phase by Philippine craftsmen Previous Page B&B Italia factory (ex C&B Italia) 1968
One domain that is perhaps the most indicative of Italian passion and pride is the kitchen. It’s hard to overestimate the importance of food to Italians, as it goes way beyond nourishment. Italians are deeply proud of their relationship with their cuisine. Food is memories, food is love. Food is tradition, food is family. Ask any Italian what their favourite Italian restaurant is, and chances are their response is ‘mia nona’s’ (Italian, for ‘my grandma’s house’). Italian regional food traditions and specialties are guarded with fierce pride. The care taken in preparing it is ingrained in Italian culture. The slow food movement started in Italy as a pushback against the rise of fast food, aimed at preserving and promoting traditional culinary values, such as making food with love and attention to detail and with the intent to please those who eat it. As with anything they make, Italians want their creations to evoke a powerful emotion.
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From luxury fashion labels to furniture, and super cars to kitchens, the deeply personal touch that Italian-made products have laden within each design detail simply transcends borders. For as elevated as these artisanal products are, they are equally approachable. To have a piece of Italy within your home is to truly understand the Art of Living.
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Opposite Page Storage with over 500 moulds used to make B&B Italia sofas and chairs
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Chapter One
You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete. Buckminster Fuller
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Chapter Two  Made in Italy
Above Metropolitan lounge chair by Jeffrey Bernett, study sketches, 2002 Right CR&S, Metropolitan lounge chair study models, 2002 Previous Page Architect Buckminster Fuller
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Left Husk chair by Patricia Urquiola, study sketches for cushioning/ upholstery, 2010 -2011 Opposite Page Top Husk chair by Patricia Urquiola, 2011: Hirek® rigid shell and seat with a quilted design that cites the capitonné style Opposite Page Bottom Husk chair by Patricia Urquiola, study sketches for cushioning/ upholstery, 2010 - 2011
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Above B&B Italia headquarters Opposite Page B&B Italia factory (ex C&B Italia) designed by Afra and Tobia Scarpa, 1968
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Above B&B Italia factory, manufacturing process Opposite Page B&B Italia factory, manufacturing process
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Chapter Three
Like a great Italian dish, the secret to our philosophy is simplicity. Sergio Castiglia
Cucina: The Love of Food
B&B Italia
Cucina: A Rich History of the Italian Kitchen
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Chapter Three History of the Italian Kitchen
Cucina Heart of the Italian Home If food unites, then the cucina (Italian for kitchen) is where traditions are born. It is in the cucina where the most famous of Italian recipes have been written, not by renowned chefs, but by the mama’s and nona’s of a nation. The spirit of this is simply quality before quantity in every sense of the meaning. Before the innovations of technology, the cucina did not have a freezer. This significant detail meant that one had to go to the market daily to buy fresh ingredients for the day’s meal, leaving them at the discretion of availability of the market’s haul. ‘Adatarsi’ which means to ‘make do’ or ‘reinvent and adapt’ is ingrained in the Italian way of being and doing. One might think this is a limiting lens to view the task at hand, but in true Italian spirit, this is the seed of ingenuity. The space provided by what is not available is filled by creativity. Without a pantry full of ingredients, the Italian way of cooking simply was born. The common Italian phrase, ‘cucina simplice’ directly translates to the ‘simple kitchen’. At close look, Italian cooking is in fact, straightforward and devoid of the unnecessary distractions. It is said that the best of the best Italian recipes are ones that are crafted with five ingredients or less. Those ingredients are of course only the finest quality; grown with love and handled with care. Cooking simply does not require a complicated kitchen set up. Straightforward, approachable, laden with innovation and made with the finest of materials, just like a delicious tasting Italian recipe.
Opposite Page Italian actress Sophia Loren straining spaghetti pasta, on the set of The Two Women, 1960 Previous Page Women preparing a communal meal during the grape harvest on a latifundia farm in Strada, near Chianti, Italy, November 1947
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Fresh, ripe tomatoes or 2 cups canned imported Italian plum tomatoes, cut up, with their juice Butter Medium onion, peeled and cut in half
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Tomato Sauce with Onion & Butter
2 lbs.
5 Tbsp. 1
Salt Pasta
1 – 1.5 lbs.
Freshly grated parmigiano-reggiano cheese for the table
Place either the prepared fresh tomatoes or the canned in a saucepan, add the butter, onion, and salt, and cook uncovered at a very slow, but steady simmer for 45 minutes, or until the fat floats free from the tomato. Stir from time to time, mashing any large piece of tomato in the pan with the back of a wooden spoon. Taste and correct for salt. Discard the onion before tossing the sauce with pasta. This is an unsurpassed sauce for Potato Gnocchi, but is also delicious with factory-made pasta in such shapes as spaghetti, penne, or rigatoni. Serve with grated Parmesan.
Opposite Page A little Italian girl who enjoys pasta, Sicily, January 1968
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Above Workers hanging spaghetti out to dry, February 1929 Opposite Page Tourists having lunch outside a restaurant located in a narrow street in the historical old town of Tropea, located in the province of Vibo Valentia in Southern Italy
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Above A young woman relaxes on the
Above
Next Page
harbour wall in Portofino, Italy,
American actor Dean Martin
A young boy carrying strings of
(Dino Paul Crocetti), is on board a
pasta in a macaroni factory in
Vespa with Italian born American
Naples, Italy, 1929
1951
actress and soprano Anna Maria Alberghetti while a group of children watching them curiously, Rome, 1957
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Chapter One
‘La cucina di un popolo è la sola vera testimonianza della sua civiltà.’ The cuisine of a country is the only exact attestation of its civilization. Eugène Briffault
Cucina
Castiglia: The Modern Italian Kitchen
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Chapter Three The Modern Italian Kitchen
Indoor Herb Gardens As the Italian saying goes... first we eat, then we do everything else. Fresh herbs, fruit and vegetables are the livelihood of the Italian meal. They form the foundation of a pleasurable culinary experience, taking a meal from good to memorable. This vibrancy of flavour relies on freshness. L’orto, Italian for ‘kitchen garden’, is a rich cultural tradition with the covetable duality of both culinary delights and peace of mind. Time spent caring for l’orto is an opportunity to reconnect with nature, to tend and nurture growing seedlings, and to share nature’s bounty with loved ones. Please the soul, challenge your patience and experience the joy in watching something grow. — Each kitchen at Oakridge x Sergio Castiglia is furnished with a kitchen herb garden, complete with water reservoir and LED grow lighting to grow your own fresh herbs and edibles.
Above Casa kitchen with indoor herb garden
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Above Miele Direct Select induction cooktop with onset controls Opposite Top Miele Built-In Coffee Machine, Penthouses Opposite Bottom Miele Wine Fridge, Penthouses
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Chapter Four
Stepping into a casa in Building No.3 is in a way much like stepping into a natural oasis in the middle of the city. Every surface breathes raw natural beauty. Sergio Castiglia
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Tactility & Materials Palette
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Chapter Four Tactility & Materials Palette
Grounding and stable, a visceral immersion in nature — the richness of the outdoors form the walls of your home. 162 Oakridge x Sergio Castiglia
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Tactility & Materials Palette Chapter Four
Penthouse Pool Villa Material Palette Basalt Stone Dark Stained Oak Herringbone Flooring Caesarstone Nobel Grey Quartz Counters Light Grey Lacquer Cabinets Brushed Black Oak Door Closets with Leather Interior Lavagrigia Stone
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Casa Material Palette Charcoal Lacquer Cabinets Matte White Lacquer Cabinets Light Oak Door Closets with Leather Interior Wide Plank White Oak Engineered Wood Flooring White Marble Ceramic Tile Caesarstone Raven Quartz Counters
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Casa Interiors & Finishings
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Chapter Four Casa Interiors & Finishings
Left Casa Living Room design by Sergio Castiglia Previous Page Oakridge x Sergio Castiglia Lobby Entry and Concierge
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Chapter Three The Modern Italian Kitchen
Above Casa Living Room design by Sergio Castiglia
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Right Penthouse Pool Villa, Grand Salon by Sergio Castiglia
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Left Penthouse Pool Villa, Master Bedroom and Walk-In Closet, by Sergio Castiglia
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Right Casa Master Bedroom by Sergio Castiglia
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Left Casa Master Bathroom by Sergio Castiglia
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Sanctuary
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Chapter Four Sanctuary
Reclaiming the Balcony The standard small, rectangular balcony is the residential tower’s original lost opportunity. Offered as access to the outdoors – a replacement for the suburban backyard or the urban sundeck – balconies are generally so inhospitable that, if used at all, it’s often only for storage. Whether you are in Toronto or Lisbon, New York or London, Tokyo or Vancouver (summer or winter), balconies are perpetually underutilized. Exposed and empty, they are a waste of square footage that could bring additional living space to a home and much more enjoyment – a wasted opportunity. We are working at Oakridge to create something completely different. Homes will not have a balcony, but a Sanctuary – a private cocoon, sheltered from weather yet open to the views and furnished with elegance and a beautiful functionality. With heated seating, custom lighting and audio at your fingertips, this will be the first place you will go when you want to sit back and relax – like a metaphorical tree fort or a reading nook, a place of refuge from the world, and equally, the best place to entertain. The idea for the Sanctuaries at Oakridge draw on a concept first introduced to the world in a project outside Paris in the 1960s. Designed by architect Gérard Grandval, these balcony pods cover a group of 10 cylindrical 15-storey buildings in the suburb of Créteil. The project is known as Les Choux (The Cauliflowers), taking the name from their unusual organic shape. Since discovering this idea, Westbank has been conducting years of research and development in an effort to perfect this concept, starting seven years ago with a project in Toronto in collaboration with Bjarke Ingels Group. One of the keys to unlocking the full potential of the sanctuary design was bringing Vancouver-based industrial designers Form3 onto the team. Form3 took our dual inspirations, a blend of the ergonomics and materiality of a luxury yacht with the multifunctionality and comfort of a modern first-class airline pod. They were able to decipher our feelings and thoughts into a full-fledged expression of architectural and industrial design. The result is so unique and revolutionary that we are applying for an industrial design registration and assessing the patentability of the design. Oakridge homes will feature the natural progression and elevation of Grandval’s vision. Each custom Sanctuary will feature a heated, padded, ergonomically-designed lounge and ottoman, and a removable dining table. The sweeping form will provide privacy, as well as shade against the sun and protection from the rain, while at the same time, optimal access to the spectacular views. The height, shapes and openings in the Sanctuary wall and seating maintain views from inside the suite, and the sculptural design maintains continuity of form with the organic, rippled lines of the building at the street edges. The durable, reconfigurable furniture also increases the feeling of spaciousness, expanding the useful square footage of the suite and creating an integrated
Above
environment that cannot be store bought. Details are contemporary, yet work with other pieces
Activity: to host
that homeowners may bring or introduce.
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Chapter Four  Sanctuary
With energy considerations in mind, the Sanctuaries have been designed to be thermally decoupled from the building, avoiding the heat sink concerns associated with traditional design and construction. Today, we watch TV differently than we used to, we listen to music differently, we engage and interact with the world differently. The Sanctuary is a reaction to that. Everything within it is designed to respond to our changing needs. We are creating a space that is of its own, and entirely your own. From breakfast or the first coffee of the day, to late evening, nestled against the warmth of a heated seat, wrapped in a blanket, every home will be more spacious, more comfortable, and yet more intimate, because of its Sanctuary.
Above Sanctuary interior view Left Vancouver skyline and North Shore mountains Opposite Page Activity: yoga and meditation
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Floor Plans
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Chapter Four Floor Plans
Casa 01 One Bedroom + Sanctuary 647 Total Square Feet Floors 8 — 31
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 02 Two Bedrooms + Sanctuary 1029 Total Square Feet Floors 8 — 12
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 02 Two Bedrooms + Sanctuary 1028 Total Square Feet Floors 13 — 31
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 03 One Bedroom + Sanctuary 663 Total Square Feet Floor 8 — 31
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 04 Two Bedrooms 1363 Total Square Feet Floors 8 — 31
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 05 Two Bedrooms 1322 Total Square Feet Floors 8 — 17
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four Floor Plans
Casa 05 Three Bedrooms 1961 Total Square Feet Floors 18 — 31
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 06 One Bedrooms 629 Total Square Feet Floors 8 — 17
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 06 Two Bedrooms 1420 Total Square Feet Floors 18 — 20
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 06 Two Bedrooms 1370 Total Square Feet Floors 21 — 31
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 07 Two Bedrooms 1474 Total Square Feet Floors 8 — 10
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 07 Two Bedroom 1448 Total Square Feet Floors 11 — 15
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 07 Two Bedrooms 1419 Total Square Feet Floors 16 — 17
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four Floor Plans
Casa 07 One Bedroom + Sanctuary 654 Total Square Feet Floors 18 — 20
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four Floor Plans
Casa 07 One Bedroom + Sanctuary 677 Total Square Feet Floors 21 — 25
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Casa 07 One Bedroom + Sanctuary 648 Total Square Feet Floors 26 — 32
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four Floor Plans
Casa 08 One Bedroom + Sanctuary 654 Total Square Feet Floors 8 — 17
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four  Floor Plans
Penthouse Pool Villa 01 Three Bedrooms + Sanctuary 3208 Total Square Feet Penthouse with Rooftop Level
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Penthouse Pool Villa 01 Rooftop Level
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four  Floor Plans
Penthouse Pool Villa 02 Three Bedroom 4761 Total Square Feet Penhouse with Rooftop Level
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four  Floor Plans
Penthouse Pool Villa 02 Rooftop Level
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four  Floor Plans
Penthouse Pool Villa 03 Three Bedroom 4059 Total Square Feet Penhouse with Rooftop Level
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Chapter Four  Floor Plans
Penthouse Pool Villa 03 Rooftop Level
Dimensions, sizes, specifications, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guard-rails, screens and facade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. E. & O. E.
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Westbank x B&B Italia Furnishing Selections
Oakridge x Sergio Castiglia
Chapter Four Westbank x B&B Italia
Westbank x B&B Italia Westbank has partnered with B&B Italia, the leading Italian company in the international world of designer furniture, to curate a collection of beautiful, well-crafted furnishings for each home. B&B Italia’s products have contributed to the history of Italian design. A history based on technology, creativity, and that inherent style that has made Italy famous throughout the world, establishing the “Made in Italy” brand that has been exported to international markets. The B&B Italia furniture collection has its roots in its ability to reflect contemporary culture and the capacity to respond quickly to the ever-changing lifestyles, habits and requirements. Modern furniture elements that are distinctive and characterized by exceptional quality and timeless elegance. The result of the unique union between creativity, innovation and industrial know-how. Lounge chairs, sofas and standing lights will draw on the rich tradition of Italian furniture design, including the essence of Milan’s classic modernist design era from 1960-1980, but also contemporary models, supplied and manufactured by B&B Italia.
Above B&B Atoll Collection
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The developer reserves the right to make changes, alterations, modifications and substitutions at its sole discretion. Subject to change without notice. E. & O.E.
243
Living/Dining
Bedroom
Atelier/Study
Harbor Sofa
Siena Bed
Charlotte Chair
Harbor Armchair and Stool
Pathos Table
Button Table
Charlotte Dining Chair
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Max Desk
Eucalipto Media Unit
The developer reserves the right to make changes, alterations, modifications and substitutions at its sole discretion. Subject to change without notice. E. & O.E.
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Chapter Four  Westbank x B&B Italia
Studio & One Bedroom Homes Under 600 ft.
Living/Dining
Bedroom
Atelier/Study
Tuftytoo Sofa
Richard Bed
Charlotte Chair
Do Maru Side Chair
Pathos Table (Round)
Maru Table
Mirto Dining Table (Rectangular)
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Eucalipto Media Unit
Max Desk
Charlotte Dining Chair
The developer reserves the right to make changes, alterations, modifications and substitutions at its sole discretion. Subject to change without notice. E. & O.E.
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Chapter Four  Westbank x B&B Italia
Studio & One Bedroom Homes Over 600 ft.
Living/Dining
Bedroom
Atelier/Study
Tuftytoo Sofa
Master Tufty Bed
Charlotte Chair
Second Bedroom Siena Bed
Max Desk
Tobi Iashi Coffee Table
Do Maru Side Chair
Pathos Table (Round)
Mirto Dining Table (Rectangular)
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Eucalipto Media Unit
Charlotte Dining Chair
The developer reserves the right to make changes, alterations, modifications and substitutions at its sole discretion. Subject to change without notice. E. & O.E.
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Westbank x B&B Italia Chapter Four
Two Bedroom Homes
Living/Dining
Bedroom
Atelier/Study
Andi Sofa
Master Tufty Bed
Charlotte Chair
Second Bedroom Siena Bed
Max Desk
Le Formiche Coffee Table
Do Maru Side Chair
Mirto Dining Table (Rectangular)
Eucalipto Media Unit
Charlotte Dining Chair
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The developer reserves the right to make changes, alterations, modifications and substitutions at its sole discretion. Subject to change without notice. E. & O.E.
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Chapter Four  Westbank x B&B Italia
Three Bedroom & Penthouse Homes
Oakridge x Castiglia
Amenities
Oakridge x Sergio Castiglia
Chapter Four Amenities
Amenities
In addition to the public amenities offered at Oakridge, each building will have extensive private amenity spaces. These will be fully equipped and furnished, to function as an extension of each resident’s home, forming a communal living room for the building. The amenity areas will feature flexible indoor and outdoor spaces to support a range of activities and uses, including children’s play areas, a music room, bocce ball fields, pool tables, games areas, fitness and exercise areas, and an indoor-outdoor lounge and courtyard with reflective seating areas for entertaining.
Above The communal kitchen and dining room offer spaces where residents convene for cooking classes, wine tastings and a family style meal. Previous Page The billiards and games room was designed for socialization and fun. A welcoming and familiar feeling is created throughout the space with warm, dark wood and green accents.
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Chapter Four  Amenities
Left Building 3 and 4 Amenity Level Program Sketch
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Chapter Four  Amenities
Left The screening room is one of many inviting amenities provided on-site. Here residents can curl up in front of a warm fire and watch a film with friends and neighbours.
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Chapter Four  Amenities
Right The study room provides a quiet respite with breathtaking views of Oakridge Park. Custom white stained bookshelves flank the space creating a quaint residential library.
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Chapter Four  Amenities
Left The music room walls are covered with burgundy fabric panels to construct an intimate setting for listening to a collection of vinyl records placed within wood shelving.
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Chapter Four  Amenities
Right The wellness center is clad with both light wood and stone in order to make the space feel light and ethereal.
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Chapter Four  Amenities
Left Oakridge x Sergio Castiglia Lobby Arrivals and Concierge Desk with custom Fazioli piano.
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Oakridge x Sergio Castiglia Published October 2018 by QuadReal and Westbank Interior Design: Castiglia Associati Book Design: Arithmetic Texts: Ian Gillespie Sergio Castiglia B&B Italia Renata Li Axel van Weel Margherita Porra Stefano Gulmanelli Imagery Credits: Achille Castiglioni Archivio CR&S B&B Italia Form3 Francesca Ferrari Gabriele Basilico Giorgio Lotti Giuliano Plorutti Hayes Davidson Haywood Magee Iwan Baan Jennilee Marigomen Klaus Zaugg Leo Torri Lissoni Inc Lukas Dong Mario De Biasi Oliviero Toscani Pierluigi Praturlon Rudi Frey Sergio Del Grande Simona Pesarini Thurston Hopkins Printed in Canada Printed by Metropolitan Fine Printers
Š 2018 Westbank. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior consent of the publisher, except for short passages in reviews. Although the authors and publisher have made every effort to ensure that the information in this book was correct at press time, the author and publisher do not assume and hereby disclaim any liability to any party for any loss, damage, or disruption caused by errors or omissions, whether such errors or omissions result from negligence, accident, or any other cause. This is not an offering for sale. Any such offering can only be made by way of disclosure statement. E. & O.E. Plans and renderings are not to scale and all features, dimensions, sizes, specifications, renderings, layouts and materials are approximate only and subject to change without notice. Interior square footage is combined with balcony square footage and included in total advertised square footage of the homes. Exterior walls and glazing, balcony configurations, fascia, guardrails, screens and façade panel locations are approximate and vary in area and extent depending on the home. Please ask sales representative for details. For certainty, the developer reserves the right to make changes, alterations, modifications and substitutions in its sole discretion. The developer does not guarantee that any of the items or services contemplated in this document will be provided and reserves the right, in its sole discretion, to elect not to provide any such items or services. E. & O.E.
Sources Quotation and reference materials were compiled from the following sources, in alphabetical order. Architectural Digest, September 13, 2017 Axel Van Weel and Margherita Porra, October, 2017 B&B Italia B&B Italia. Poetry in the shape. When design meets industry, April 13, 2017 Domus, January 28, 2014 Marcella Hazan, Essentials of Italian Cooking, 1992 Maria Cristina Dideo, quoted from, “Melbourne Design Week celebrates a feverish period for Italy’s radicals,” The Sydney Morning Herald, May 29, 2018 Stefano Casciani, The Long Life of Design in Italy: B&B Italia 50 Years and Beyond, 2016 Studio Castiglia Associati and Emanuela Nocentini, Racconto Progettuale: Design Tale 25 Years Castiglia Associati, 2007 Susan Slesin, quoted from “Modern Notions Of Design: The Furniture of Gaetano Pesce”, The New York Times, November 10, 1988 The New York Times, October 8, 2006