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Transcript

Con il patrocinio di
Milano Capitale del Design® 2007 (17 - 23 aprile)
CASTELLO SFORZESCO 17 aprile - 1 maggio
Cortile della Rocchetta e Corte Ducale
Attività Produttive
INSTALLAZIONI
INSTALLATIONS
• TERRA
4 punti cardinali all’architettura
di/by ETTORE SOTTSASS
con/with Boffi
DECODE ELEMENTS, 11 installations at Castello Sforzesco, in the Cortile della
Rocchetta and the Corte Ducale, presented by INTERNI from 17 April to 1 May.
• ACQUA
Beside the eclisse
di/by DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
For the centennial of the founding of the publishing house (in 1907), and for the
FuoriSalone® 2007, the Mondadori publishing group, with INTERNI, produces
a major event for Design Week in Milan (17-23 April), entitled DECODE ELEMENTS,
on Design and the theme of Reading.
• ARIA
Welcome glassblock on air
di/by FRANCESCO e/and
ALESSANDRO MENDINI
con/with Seves glassblock
• FUOCO
L’architettura astratta, ripetitiva,
standard, globalizzante è legna da ardere?
di/by GAETANO PESCE
con/with Meritalia
100 Flames for reading
di/by ODILE DECQ
con/with Kerakoll Design
• LEGNO
Sssht!
di/by MICHELE DE LUCCHI
con/with Listone Giordano
e/and Intesa Sanpaolo
Cidori
di/by KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
Water in the Southern Hemisphere
di/by RON ARAD
con/with S.Pellegrino
Le cocon doré
di/by DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
I wonder, wonder, wonder...
di/by INGO MAURER
Light tracks
di/by CASTAGNA RAVELLI Studio
con/with The Fake Factory
The Mondadori publishing group, an international leader in the fields of culture and information,
has constantly been a force for progress throughout its history, playing an
important role in the transformation of lifestyle and the evolution of knowledge, through various
sectors of publishing and communication.
INTERNI offers the international Design public that gathers in Milan for the FuoriSalone®
a special event, DECODE ELEMENTS, displaying the creative processes of a series of
Italian and international designers, in works characterized by a highly experimental,
multimedia approach, capable of transmitting design culture and expression to the “city at
large”, with all the ferment of ideas and creativity found in today’s world of design.
The designers have been invited to focus on the theme of READING, in terms of
FUNDAMENTAL ELEMENTS: Earth, Water, Air, Fire, Wood, Metal, Light.
Inside Castello Sforzesco there are also 9 reading islands, veritable “urban salons” where it
will be possible to enjoy moments of relaxation between one event and the next.
Press conference: Tuesday 17 April 2007 at 14.30
Palazzo Marino, Sala Alessi. Piazza della Scala, 2
Urban Party: Wednesday 18 April 2007 at 20.00
Cortile della Rocchetta, Corte Ducale, Piazza del Cannone
Press room: Cortile della Rocchetta, Castello Sforzesco
Meeting Point: Spazio CityLife, Piazza Cordusio 2
HARDWARE+SOFTWARE=ASINI
di/by OLIVIERO TOSCANI
con/with Festival Sete Sóis Sete Luas
e/and La Sterpaia
PRESS ROOM
Cortile della Rocchetta
con/with Nolostand,
Alias, Cassina e/and Flos
MEETING POINT
Spazio CityLife P.zza Cordusio 2
di/by SIMONE MICHELI
con/with Iris Ceramica, Hewlett-Packard
e/and my5 Power Plate
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
1
INSTALLAZIONI
INSTALLATIONS
• TERRA
con/with Boffi
• ACQUA
Beside the eclisse
di/by DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
ALESSANDRO MENDINI
• FUOCO
di/by GAETANO PESCE
con/with Meritalia
di/by ODILE DECQ
• LEGNO
Sssht!
Cidori
di/by KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
di/by RON ARAD
Le cocon doré
ARCHITECTURE
con/with GKD
• LUCE
di/by INGO MAURER
Light tracks
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
DECODE ELEMENTS
In the history of ancient philosophy the Elements were those substances considered
‘simple’, from which all the things in the universe were thought to be composed.
The Pre-Socratic philosophers of the Ionian school identified the Elements as water, air,
earth and fire. Empedocles (492-432 BC) made reference to the four fundamental
elements as the root of all things; natural elements assumed to be immutable and
eternal, mixed and separated by the two cosmic forces of Hate and Love. The theory is
developed by Plato in the Timaeus, where the elements are placed in symbolic relation to
geometric solids: “To earth, then, let us assign the cubical form; for earth is the most
immoveable of the four […] and to water we assign that one of the remaining forms which
is the least moveable (icosahedron); and the most moveable of them to fire (tetrahedron);
and to air that which is intermediate (octahedron). Also we assign the smallest body to fire,
and the greatest to water, and the intermediate in size to air; and, again, the acutest body
to fire, and the next in acuteness to air, and the third to water.” (Timaeus 55-56). While the
dodecahedron, as a complex, complete form, symbolizes the whole of the cosmos.
Aristotle adds a fifth element, aether, which became one of the mainstays of ancient
physics. Philistion of Locri (4th c. BC) would transform the Elements into powers or
primary qualities, whose pairs of opposites (dry-wet and hot-cold) become the
universal coordinates of all material, organic and inorganic substances, in infinite compositions.
But the Elements are not just the fundamental components of the physical world and the
principles governing the order of the cosmos; they are also the symbols of orientation in
space and time, and for this reason the word “element” is often placed in
relation to the cardinal points and the colors. While this was the worldview of
occidental philosophy, in ancient China, regulated by the two fundamental principles of
yin and yang, the Elements also referred to the five regions of heaven: in this case, they
are water, wood, fire, earth and metal, while air is not considered an element.
This complex of cultural traditions and ways of interpreting the world around us forms the
background for the event DECODE ELEMENTS, offering reflections on this theme in
constructed form, brining the positive message of contemporary design to the widest
possible audience.
In keeping with the tradition of the four Elements in occidental classical philosophy,
a key of interpretation of the world, combined with attention to the traditions of the
Far East, DECODE ELEMENTS focuses design on the pragmatic and symbolic value of the
elements that surround us, from antiquity to the present, and projected toward the future.
Alongside the philosophical and cultural aspects of the event, DECODE ELEMENTS
celebrates the centennial of the Mondadori publishing group, metaphorically
introducing the “element” of reading, in specially prepared spaces, as an
indispensable tool of knowledge, to understand and improve the world in which we live.
Matteo Vercelloni
Co-producers
2
INSTALLAZIONI
INSTALLATIONS
• TERRA
con/with Boffi
1907-2007
MONDADORI 100 YEARS
• ACQUA
Beside the eclisse
di/by DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
“I was offered the chance to be a typesetter’s apprentice in an old, antiquated print shop in
Ostiglia. And that’s where the great adventure began.”
• ARIA
ALESSANDRO MENDINI
• FUOCO
di/by GAETANO PESCE
con/with Meritalia
di/by ODILE DECQ
• LEGNO
Sssht!
Cidori
di/by KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
di/by RON ARAD
Le cocon doré
ARCHITECTURE
con/with GKD
• LUCE
di/by INGO MAURER
Light tracks
“The great adventure” of Arnoldo Mondadori dates back to 1907, one hundred years ago,
with the publication of the periodical “Luce”, and still continues today. Across an entire century
the growth of the publishing house has coincided with the renewal and development of Italian
society. From the very first series of books, “La lampada”, created in 1911 to spread the
love of literature among young people in Italy in the early part of the century, through the Italian
Classics, the Contemporary Italian Classics, the Medusa series and Lo Specchio, milestones
of 20th-century culture, all the way to the innovative ideas of gradually launching major illustrated
magazines, the first Italian book club, the first news magazine and the first economical paperbacks,
Mondadori has continued in its role as the publishing house of “all” Italians, while constantly
expanding the popularity of books and reading in our country.
Today the Mondadori Group, with over fifty controlled and affiliate companies,
is one of the largest international corporations in the field of publishing, with activities
ranging from the creation and printing of books and periodicals to advertising, direct
marketing, retailing, radio and web initiatives.
In the year of the Centennial of its founding, the Mondadori Group celebrates this event
in the same spirit that has always characterized the company’s style: without excess, with
simplicity and concrete results.
The slogan selected as the symbol of the Centennial “The House where we grew up”
communicates the same message: Mondadori is, and will continue to be, everyone’s publishing house, a welcoming, hospitable home for any authors and any readers, a house open
to all currents of thought and all forms of expression.
In this spirit, during the year 2007 the Centennial symbol will be seen in major cultural
events like Decode Elements, events that correspond to the Mondadori mission, offering
a complete, detailed picture of the group’s activities.
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
3
INSTALLAZIONI
INSTALLATIONS
• TERRA
con/with Boffi
• ACQUA
Beside the eclisse
di/by DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
ALESSANDRO MENDINI
• FUOCO
di/by GAETANO PESCE
con/with Meritalia
di/by ODILE DECQ
• LEGNO
Sssht!
Cidori
di/by KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
di/by RON ARAD
Le cocon doré
ARCHITECTURE
con/with GKD
• LUCE
di/by INGO MAURER
Light tracks
e/and La Sterpaia
View of Castello Sforzesco (about 1894)
Sight of north side with the bridge leading to the Porta del Barchio facing
Parco Sempione.
(drawing by A. Zocchi Brogi, photograpy Firenze, Archivi Alinari)
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
4
INSTALLAZIONI
INSTALLATIONS
• TERRA
con/with Boffi
• ACQUA
Beside the eclisse
di/by DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
ALESSANDRO MENDINI
• FUOCO
di/by GAETANO PESCE
con/with Meritalia
di/by ODILE DECQ
• LEGNO
Sssht!
Cidori
di/by KENGO KUMA
con/with Bals Tokyo
e/and Motorola
View of Castello Sforzesco with the two courts on spot
• METALLO
di/by RON ARAD
Le cocon doré
ARCHITECTURE
con/with GKD
• LUCE
di/by INGO MAURER
Light tracks
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
Plan of Castello Sforzesco with Cortile della Rocchetta, Corte Ducale and
entrance from Piazza del Cannone on spot.
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
5
INSTALLAZIONI
INSTALLATIONS
• TERRA
con/with Boffi
• ACQUA
Beside the eclisse
di/by DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
ALESSANDRO MENDINI
• FUOCO
di/by GAETANO PESCE
con/with Meritalia
di/by ODILE DECQ
• LEGNO
Sssht!
Cidori
di/by KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
di/by RON ARAD
Le cocon doré
ARCHITECTURE
con/with GKD
• LUCE
di/by INGO MAURER
Light tracks
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
THE CASTLE AND THE CITY
The area of the Castello Sforzesco of Milan is a site of great importance for the city: a
place that has represented its genius loci across the centuries, a manifestation of semantic and
functional accumulations and elisions, of urban design and greenery that can now be studied in
its long-term historical dimension, as demonstrated by the research of the French school of the
Annales. Perhaps more than in any other place in Milan, the area of the Castle does not
present only its contemporary configuration for visual perception, but also a dense itinerary,
in collective memory, of formal and functional modification, projects realized or
simply ‘imagined’, in a historical period that spans a number of centuries.
The whole of its background, its transformation in different, complex urban settings, offers a
heritage to which we must refer to identify the cultural and civil traces that can indicate
useful points and reflections for the development of new proposals of environmental
intervention, whether in terms of urban design, new permanent architecture, or temporary
installations.
The development of this specific urban landscape documents the history of a series of projects
and proposals connected with a more general idea of the city, covering both urban and
territorial solutions, and cultural and ideological factors. Projects like “Il Foro Bonaparte” in
1801, conceived by the architect Giovanni Antonio Antolini as new and utopian, like a
precociously ‘modern’ administrative center of the city, or the proposal of Luigi
Broggi for a new Park on a territorial scale that, comparable to the Bois de Boulogne
in Paris, projected a new system of urban greenery along the axis of Corso Sempione,
are of great importance in spite of the fact that they were never constructed.
In the chronological series of events, documents, maps, drawings and images that chronicle
the history of the Castle, one fundamental feature is the node connecting Corso
Sempione, Arco della Pace and Parco Sempione, a sequence of urban elements
forming a rigorously symmetrical layout, suggesting solutions for a new organization of the area
today. The long perspective axis that virtually starts at Piazza del Duomo to extend –along
Via Dante and Largo Cairoli- below the ‘Torre del Filarete’ re-constructed by Luca
Beltrami in the restoration of 1905, continues through the Cortile della Rocchetta
and emerges in Piazza del Cannone, then crosses Parco Sempione all the way to the
Arco della Pace and beyond.
This is the context for the event Decode Elements, which reinterprets the tradition of
celebrations and temporary installations that have punctuated, in past centuries, the
historical phases of the Castle and its environs. The event takes its place, then, in a long-term
history, making a contemporary approach to one of the most characteristic places in the city.
Matteo Vercelloni
Co-producers
6
INSTALLAZIONI
INSTALLATIONS
• TERRA
con/with Boffi
• ACQUA
Beside the eclisse
di/by DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
ALESSANDRO MENDINI
• FUOCO
di/by GAETANO PESCE
con/with Meritalia
di/by ODILE DECQ
• LEGNO
Sssht!
Cidori
di/by KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
di/by RON ARAD
Le cocon doré
ARCHITECTURE
con/with GKD
• LUCE
di/by INGO MAURER
Light tracks
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
THE CASTLE OF MILAN: AN URBAN HISTORY
Though it is called Castello Sforzesco in honor of its period of greatest splendor, from the
mid-1400s to the beginning of the following century, the Castle of Milan actually has
more ancient origins. The first version of the structure was built in 1368 by Galeazzo
Visconti, as a mere fortification beyond the walls, between Porta Giovia and Porta Comacina,
without any courtly aspirations. This original nucleus was located at what is now the
courtyard known as Cortile della Rocchetta.
In 1450 Francesco Sforza commissioned the military engineer Giovanni da Milano and others to
construct the castle after the destruction that took place in the period of the Ambrosian Republic
(1447), on the original site, making partial use of the existing foundations. The idea was to create a
large construction that would be “the most superb and strong in all the universe”. This program
called for the contribution of Antonio Averlino, il Filarete, who starting in 1452 concentrated
on the design of the front facing the city, with two circular towers and a taller central
clocktower, which collapsed in 1521. The central tower was conceived as an observation point
overlooking the city, and a military watchtower. Filarete eventually abandoned the job, turning it
over to the military engineer Bartolomeo Gadio who erected, in 1455, the two massive towers
facing the city. At the same time, he consolidated the layout of the Cortile della Rocchetta
and the Corte Ducale.
After the death of Francesco Sforza (1466) his son Galeazzo Maria moved from the Palazzo di
Corte beside the Duomo to the Castle, underscoring its transformation from a military fort to a
monumental residential complex. During this period (precisely in 1472) the Portico della
Corte Ducale was built, and the large garden for the ducal residence was expanded. The image
of the castle-dwelling in the age of the signoria is expressed most fully, perhaps, by the barco
ducale, the large park-garden to the north of the castle, where Leonardo da Vinci designed and
most probably constructed a series of architectural pavilions. The large park lost its specific
functions after the fall of the signoria, but traces of it remained until the end of the 17th century.
In the Corte Ducale celebrations and tournaments were held, with Leonardo as the set and
costume designer. Starting in 1499, with the French occupation, the Castle became a site of
military events, for the quartering of troops. In the first decades of the 16th century a new
fortification was added, the ‘tenaglia’ (claws) that also became the name of a gate to the city.
The Castle became one of the biggest, best-equipped military citadels in Europe,
hosting a garrison ranging from one to three thousand soldiers.
From 1550, based on a project by Vincenzo Seregni, the Castle was outfitted with a
ballistic defense system, with six bulwarks organized in the form of a star. This fortified
nucleus became the pivot of the system of the new bastions, which transformed the city of
Milan into a true piazzaforte for the mobility of the Spanish armies.
In the 1600s, in the absence of military needs, the area facing the Castle became the site of
carriage races, a social meeting point, a setting for the display of the various symbols of
prestige, a stage for the self-representation of a newly achieved social status. The republican
celebrations of the early 1800s, the new political and moral virtues necessary for the
construction of a new society, transformed the temporary architecture of the old decorations
into experimental architecture for a new, complex revolutionary monumentality. The
republican celebrations ended a few years later, and in 1805 the Emperor Napoleon Bonaparte,
already the King of Italy, entered Milan. The Castle had also performed military functions during
the Austrian administration. It was occupied by the French in 1796, taken back by the Austrians in
1799, and definitively retrieved by the French on 17 June 1800. Four days later Napoleon ordered
its demolition, which was quickly carried out for the system of the bulwarks, leaving the structure in its
15th-century form intact, almost a physical and symbolic ‘urban ruin’. Napoleon’s decision to
not completely destroy the Castle opened the way for debate on its possible reutilization.
Co-producers
7
INSTALLAZIONI
INSTALLATIONS
• TERRA
con/with Boffi
• ACQUA
Beside the eclisse
di/by DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
ALESSANDRO MENDINI
• FUOCO
di/by GAETANO PESCE
con/with Meritalia
di/by ODILE DECQ
• LEGNO
Sssht!
Cidori
di/by KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
di/by RON ARAD
Le cocon doré
ARCHITECTURE
con/with GKD
• LUCE
di/by INGO MAURER
Light tracks
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
The project by the architect Giovanni Antonio Antolini called for the formation, in the area of
the restructured Castle, of a new architectural organism: the “Foro Bonaparte” approved
by the Cisalpine government with the law dated “30 nevoso” (20 January 1801). This project
fully expressed the idea of the city held by the intellectuals at the service of the new republican
administration – perhaps the most organic and incisive in all revolutionary Europe – in the
proposal of a new pole for political and social functions, an alternative to the religious
pole represented by the Cathedral. At the end of the first decade of the 19th century the two
zones of urban renewal of Milan, the Porta Orientale and the Castello-Sempione
complex, had been implemented, though not completed, and were thus irreversible. Behind the
Castle remained the open space of the large parade grounds flanked on one side by the Arena
designed by the architect Luigi Canonica, and to the north by the Sempione Arch by the
architect Luigi Cagnola, later known as “Arco della Pace”, following the completion of the work
by the Austrian Emperor Francis I to commemorate the peace treaty of 1815. The arch faces
outward toward the tree-lined avenue of the “Strada del Sempione”, and urban and territorial
axis pointing toward France.
After the Unification of Italy (1871), between the Castle and the city the Giardini del Foro
remained, still utilized assiduously by the population, with almost one century of botanical growth
composed of tall trees planted in keeping with the urban layout envisioned in the otherwise
unimplemented project by Luigi Canonica. With the administrative incorporation of the “Corpi
Santi” in 1873, the walls lost their function as customs barriers. In 1885 their demolition began:
the first part to be destroyed was between the Castle and Porta Ticinese. The debate on the new
development for the area of the Castle prompted the city administration to prepare a “Project for
a Master Plan of the City”, to ensure that future urban interventions would be decided on by
representatives of the populace rather than private real estate developers. The engineer Cesare
Beruto, author of the Plan, proposed a solution that had widespread support: intensive edification
in the area for the interests of public property, together with partial conservation of the Castle and
the Giardini del Foro. The Castle was conserved (also thanks to the cultural campaign in its
defense conducted by the architect Luca Beltrami, who oversaw its restoration and restructuring),
while the system of streets and buildings of Foro Bonaparte (with the destruction of the Giardini del
Foro) was organized, along with edification around the vast rectangle set aside for the formation
of a large urban park extending from the Castle to Arco della Pace. In 1888 the architect Emilio
Alemagna presented, as a consultant to the municipal administration, his project for the
organization of the parade grounds and Foro Bonaparte as a public park: Parco Sempione.
In 1893 the military authorities abandoned the Castle, ceding it to the City of Milan.
The administration decided on a new function for the complex, as the home of the municipal
museums of archaeology, art and the Risorgimento, as well as the Civic Archives and art
schools. That same year restoration work began, with the project by Luca Beltrami,
completed by the construction of the so-called Torre del Filarete in 1905.
In 1931 the architect Giovanni Muzio completed the design for the Palazzo dell'Arte, the
home of today’s Triennale, adding a new urban fulcrum to the axis of the Castello-Arco
della Pace.
The use of the spaces of the Castle for museums, with important renovations made in the
postwar era, also involving the Milanese architecture studio BBPR, has continued into the
present, with the international design competition for the organization of all the museum areas
of the complex, conducted by the City of Milan in 2004. The competition was won by Studio
aMDL and Michele De Lucchi with David Chipperfield Architects, and their designs
are now in the development phase or the early construction phase, while the municipal
administration is supervising renovation of the physical plant systems of the complex, and the
reconstruction of the pavement of the Corte delle Armi. Matteo Vercelloni
Co-producers
8
INSTALLATIONS
TERRA
project by ETTORE SOTTSASS
4 punti cardinali all’architettura with BOFFI
ACQUA
project by DORIANA and MASSIMILIANO FUKSAS
Beside the eclisse with RANGER
ARIA
project by ALESSANDRO and FRANCESCO MENDINI
Welcome glassblock on air with SEVES GLASSBLOCK
FUOCO
project by GAETANO PESCE
L’architettura astratta, ripetitiva, standard, globalizzante
è legna da ardere? with MERITALIA
project by ODILE DECQ
100 Flames for reading with KERAKOLL DESIGN
LEGNO
project by MICHELE DE LUCCHI
Sssht! with LISTONE GIORDANO and INTESA SANPAOLO
project by KENGO KUMA
Cidori with BALS TOKYO and MOTOROLA
METALLO
project by RON ARAD
Water in the Southern Hemisphere with S.PELLEGRINO
project by DOMINIQUE PERRAULT ARCHITECTURE
Le cocon doré with GKD
LUCE
project by INGO MAURER
project by CASTAGNA RAVELLI Studio
Light tracks with THE FAKE FACTORY
e/and La Sterpaia
PRESS ROOM
Cortile della Rocchetta with NOLOSTAND, ALIAS, CASSINA and FLOS
MEETING POINT
project by SIMONE MICHELI
Spazio CityLife P.zza Cordusio 2,
with IRIS CERAMICA, HEWLETT-PACKARD and MY5 POWER PLATE
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
9
installazione/installation
Hardware + Software = Asini
con/with FESTIVAL SETE SÓIS SETE LUAS/LA STERPAIA
(cm. 300x200h.)
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
HARDWARE + SOFTWARE = ASINI
e/and La Sterpaia
Concept
Humans think they live in a privileged background,
where everything seems accordingly beautiful and
almost perfect. New technologies and any kind of
possible software excite them, this is the way they
justify their idleness.
Humans are obsessed by any kind of technology; they
dully think it will save the planet.
But all their technologies are only a way of keeping
them busy, with no chance of thinking seriously about
anything.
Human beings are getting very idle. And still they call us
donkeys. They are the absolute donkeys!
We Donkeys
MEETING POINT
SIMONE MICHELI
OLIVIERO TOSCANI, son of a photo-journalist of the Corriere Della Sera, born in Milan,
Italy, studied photography and design at the Hochschule für Gestaltung in Zurich from
1961 through 1965. He is internationally renowned as the creatice force behind some of
the world's most successful magazines and brands, including corporate images and
advertising campaigns through the years, for Esprit, Valentino, Chanel, Fiorucci, Prenatal,
and many more. His work has appeared as fashion photographer in the pages of
magazines like: Elle, Vogue, Uomo Vogue, GQ, Harper's Bazaar, Esquire, Stern etc. From
1982 to 2000, (18 years), he built United Colors of Benetton into one of the world's most
recognized brand, giving the company its corporate image, identity and communication
strategy, and developing its online presence.
In 1990 he conceived, created and directed Colors, the world's first global magazine,
making of it a cult magazine, which did set a trend for all new editorial and
communications projects all over the world; in 1993, he invented, founded, and directed
Fabrica, the international center for research in the arts of modern communication, and
commissioned to the japanese architect Tadao Ando to design its headquarter; Fabrica
produced editorial projects, books, television programs and exhibitions for the United
Nations, UNHCR, La Repubblica, ARTE, MTV, RAI, and movies which have won 3 jury
prices at Cannes and Venice film festivals. Toscani's work has been exhibited at the
Biennale of Venice, San Paolo, Triennale of Milan, Lausanne, Mexico City, Helsinky, Rome
and a couple of dozen other museums around the world. He has won numerous awards,
including 4 Lions d'Or at Cannes Festival, the Unesco Grand Prix, twice the Grand Prix
d'affichage and several Art Directors Club such as New York, Tokyo, Berlin, Milan etc.. He
has been teaching at two Universities, and has written several books on communication.
From 1999 to the end of 2000 Toscani was the creative director at Talk Miramax in New
York. He created the image of several films and television projects, directed short films on
social problems like anorexia, osteoporosis and juvenile violence. In 2003 he edited and
directed a pubblication of over 500 pages about the last thirty years of history for the
French newspaper Libération. After more than three decades of innovation in editorial,
advertising, film and television, he is now focusing his creative and communication
experience to find new languages for the different medias and he is creating with La
Regione Toscana a new research center for modern communication called La Sterpaia. He
lives in Tuscany, producing olive oil and breeding horses.
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
CASTAGNA RAVELLI Studio
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
Cortile della Rocchetta and Corte Ducale: plan
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
10
Piazza del Cannone
TERRA
4 punti cardinali all’architettura (cm. 900x700x400h.)
progetto di/project by ETTORE SOTTSASS
realizzazione/with BOFFI
mosaico/mosaic BISAZZA
11
Piazza del Cannone
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
TERRA
di/by Ettore Sottsass
realizzazione/with Boffi
Project
The entrance to the exhibition is built in front of the northern gate of Castello
Sforzesco, on the axis of Arco della Pace and Corso Sempione. It is composed of four
columns with square bases, four meters in height, that support two pairs of beams in lamellar
wood, respectively seven and nine meters in length. Each column faces toward its
corresponding compass point, indicated by a different color: black (north), green
(east), red (south) and white (west).
Between the two pairs of columns two “little houses”, covered with Bissazza mosaic (2x2 cm.)
in a lively shade of yellow, contain succulent plants.
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
12
Piazza del Cannone
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
ETTORE SOTTSASS was born in Innsbruck, Austria, in
1917. He received his degree in Architecture at the Politecnico
of Turin in 1939. In 1947, he opened a studio in Milan where
he worked on architectural and design projects. Parallel to his
project output, he developed his cultural work. Ettore Sottsass
has participated in various editions of the Milan Triennale
and has exhibited in both group and individual shows in Italy
and abroad. In 1958, he began his collaboration with
Olivetti as design consultant, a collaboration that would
last for over thirty years and that would win him three
Compasso d’Oro awards for design. He designed among
other things, in 1959, the first Italian electronic calculator,
and later on various devices and electric and portable
typewriting machines such as the Praxis, Tekne and Valentine.
After a long tour of conferences at British universities, in 1976
he was awarded the laurea honoris from the Royal
College of Art in London. In 1981, he initiated, with
collaborators, friends and internationally acclaimed architects,
the Memphis Group that shortly became the symbol of
“new design” and a reference for contemporary avant-garde. A year later, he founded
the office of Sottsass Associati where he continues his activity as architect and designer. His
works and projects are part of the permanent collections of important museums
in numerous countries, such as: Museum of Modern Art in New York, Metropolitan Museum
in New York, Centre Georges Pompidou in Paris, Musée des Arts Décoratifs in Paris, Victoria
& Albert Museum in London, Musée des Arts Décoratifs in Montreal, Israel Museum in
Jerusalem, National Museum in Stockholm, etc. Among his most recent recognitions are:
in 1992 the nomination as Officier de l'Ordre des Arts et des Lettres of the French Republic,
in 1993 the laurea honoris causa from the Rhode Island School of Design in the United States,
in 1994 the IF Award Design from the Industrie Forum Design of Hanover, in 1996 the
nomination as Honorary Doctor to the Royal College of Art in London and the Award Prize from
the Brooklyn Museum of New York, in 1997 the Oribe Award from the city of Gifu in Japan, in
1999 the laurea ad honorem from the Glasgow School of Art, in 2001 two laurea
ad honorem one from the London Institute of Art and another from the
Politecnico of Milan. Still in 2001, he was nominated Grande Ufficiale of the Ordine
al Merito by the President of the Italian Republic. In 2003, he was nominated
Commandeur de l’Ordre des Arts et des Lettres by the Minister of Culture to the French Republic.
On May 17, 2005, he received the Gold Medal (Medaglia d'oro) from the President of the
Republic with Class I Diploma, bestowed on well-deserving citizens of the Culture and the Arts.
Co-producers
13
ACQUA
Beside the eclisse (diametro/diameter cm. 800x40h.)
progetto di/project by DORIANA e/and MASSIMILIANO FUKSAS
realizzazione/with RANGER
superficie interattiva/interactive surface B.LAB
14
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
ACQUA
Beside the eclisse
di/by Doriana e/and Massimiliano Fuksas
realizzazione/with Ranger
Concept
Reading as geology and future.
A stroll on the earth, the blue planet.
A rocking platform to remind us of the uncertainty of our condition, a dream of
transparency, to finally see to the heart of things. To get to the center, for a second,
without passing through the surface.
The spectacle we were waiting for is something you can’t know in advance, a surprise.
Responsibility, ours, in the form of an abyss. Poetry has lost its rose petals and been
transformed into an event. Into action.
The earth-prisoner that suffocates, we are heavy, we make the difference, we deform its
crust, exploit it and reconstitute it.
A window on the smooth curve of glass, a trap door, a secret.
It hides a story, perhaps a voice, a disaster, a small mystery.
It could be anything: a volcano, an ocean, a city, your city, its eyes, a voyage in time… or
maybe just smoke and ashes.
The illusion that truth is really the deepest depth of things.
Tautologies notwithstanding, to see the difference, as the premise for any form of
knowledge.
The underground spaces of our soul, a planet that is evaporating.
Progetto
The installation is composed of a circular platform, eight meters in diameter, on which a
platform covered with glass rotates and rolls. Beneath the surface by B.Lab, colored
liquids are enclosed, that move with the weight of the person walking, creating
constantly changing forms. At the center of the installation a transparent bubble
conceals a compartment lined with reflecting material and filled with a colored liquid
that generates dense smoke when the lid is raised.
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
15
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
MASSIMILIANO FUKSAS, of Lithuanian origin, was born
in Rome in 1944. He took a degree in architecture in 1969 at
the Università La Sapienza of Rome. He opened his studio
in Rome in 1967. He has been a visiting professor at
many international universities, including Columbia University
in New York. He opened a studio in Paris in 1989, and
in Vienna in 1993. He pays particular attention to the
study of urban planning and urban peripheries. He
lives and works in Rome and Paris. Fuksas has been a
member of the Senatsver-waltung fuer Stadtenwichlung und
Umweltschutz of Berlin, and of the Magistrat der
Landeshaupt-stadt Salzburg, municipal urban planning
commissions; he was director of the Venice
Architecture Biennial 1998-2000. He has received
many honors, including: Grand Prix d’Architecture, Paris,
1999; Commandeur de l’Ordre des Arts et des Lettres,
France, 2000; National Honor Award of the American Institute
Ph. Moreno Maggi
of Architecture, 2002, and the ULI – Urban Land Institute
Prize for the design of the new Milan Fair, 2006. Important
works include: restructuring of the Seine riverfront at Cliché, Paris; the Ilôt Candie SaintBernard residential center, Paris; the Maximilien Perret Center of Training and Research on
Construction, Alfortville, Paris; the Centre Ville University, Brest; the Maison des Arts, Bordeaux;
two office towers, Wienerberger headquarters, Vienna; the Peace Center in Jaffa,
commissioned by Simon Peres and Yasser Arafat; the Centro Congressi Italia, EUR, Rome
(1999-2004); the Piedmont Region Building in Turin; the new Ferrari Research Center at
Maranello; the Italian Space Agency, Rome; the flagship store for Emporio Armani, Hong Kong
(2004). He is presently working on the African Institute of Science and Technology, Abuja,
Nigeria (after winning the competition), 2006/2010.
DORIANA MANDRELLI FUKSAS was born in Rome in
1955. She took a degree in History of Modern and
Contemporary Architecture, and since 1985 has worked
with Massimiliano Fuksas as a senior partner of the studio,
directing the section Fuksas Design. In 1998-2000 she
was curator of the special section of the 7th
Venice Architecture Biennial, Less Aesthetics More
Ethics, on Jean Prouvé. Since 1997 she has been the
head of Massimiliano & Doriana Fuksas Design.
Ph. Carlo Gavazzeni
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
16
ARIA
Welcome glassblock on air (diametro/diameter cm. 400x600h.)
progetto di/project by ALESSANDRO e/and FRANCESCO MENDINI
realizzazione/with SEVES GLASSBLOCK
17
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
ARIA
di/by Alessandro e/and Francesco Mendini
realizzazione/with Seves glassblock
Concept
This tall construction is entirely made with glass blocks. It is a glass tower. It represents a
metaphor of the transparency of knowledge. In fact it is designed, in abstract
terms, to contain books: it is like a tall library. Where the books must be highly visible.
It has a lobate form, to gather knowledge in welcoming niches. To convey this
sense of and desire for lightness, Seves glassblock are used: a historic and now
also innovative and magical architectural component.
Project
On a platform made of six-meter cement slabs rest semitransparent lobate walls, eight
meters in height. They are made with a new type of large, curved glass block. The
new technique used to join one piece of glass to the next makes the cement that supports
the wall invisible. To underline the semi-transparency and airiness of the object, vertical
luminous strips have been placed inside the installation, from top to bottom, where the
different lobes meet.
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
18
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
ALESSANDRO MENDINI, architect, born in Milan in 1931.
Former editor of the magazines "Casabella", "Modo" and
"Domus". Monographic volumes in several languages have
been published on his work and that of Studio Alchimia.
He makes objects, furniture, spaces, paintings,
installations, architecture. He works with
international companies like Alessi, Philips, Cartier,
Swatch, Hermès, Venini, and as an industrial consultant, also in
the Far East, on problems of image and design. He is an
honorary member of the Bezalel Academy of Arts and Design
of Jerusalem. In 1979 and 1981 he won the Compasso
d'oro for design. He is a "Chevalier des Arts et des Lettres"
in France, has been honored by the Architectural League of
New York, and received an honorary degree from the Milan
Polytechnic. He has been a professor of design at the
Hochschule für Angewandte Kunst in Vienna, and honorary
professor at the Academic Council of Guangzhou Academy of
Fine Arts in China. His works are included in private and
museum collections. In 1989 he opened, together
with his brother, the architect Francesco, Atelier Mendini in Milan, designing
the Alessi factories in Omegna, the new Olympic swimming pool in Trieste, some subway stations
and the restoration of the Villa Comunale in Naples, the Byblos Art Hotel-Villa Amistà in Verona,
the new offices of Trend Group in Vicenza, in Italy; a tower in Hiroshima, Japan; the Museum of
Groningen, Holland; an estate in Lugano, Switzerland; the Madsack office building in Hanover and
a commercial building in Lörrach, Germany; other buildings in Europe and the U.S.
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
FRANCESCO MENDINI, architect, born in Milan in 1939.
He began his career at Nizzoli Associati, working on
architectural projects including housing, new offices, and the
social center for Italsider in Taranto, and then other complexes
in Europe and Africa. He also concentrates on
industrialization and engineering for construction.
He is a consultant for building research institutes. In the Atelier
he works on architecture and exhibition design,
including the development of shops for Swatch and Alessi.
ATELIER MENDINI in Milan is formed by about fifteen
architects, graphic artists and designers, and has a section
for research and experimentation in the field of design and
materials. Associates, since 2000, include Andrea Balzari,
Bruno Gregori, Alex Mocika, Emanuela Morra. Atelier Mendini
has received the “Medaglia d'oro all'architettura
italiana 2003” at the Milan Triennale for the Naples
subway project, and the Villegiature Awards 2006 in Paris for
the Byblos Art Hotel in Verona, as “Best Hotel Architecture and Interior Design in Europe”. The
studio has worked in many different countries, including urban planning consulting for several
cities in Korea.
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
19
FUOCO
L’architettura astratta, ripetitiva, standard, globalizzante è legna da ardere?
(casetta/small house cm. 2,75x3x4,25h. - struttura/structure cm. 477x300x452h.)
progetto di/project by GAETANO PESCE
realizzazione/with MERITALIA
20
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
FUOCO
L’architettura astratta, ripetitiva, standard, globalizzante è legna da
ardere?
di/by Gaetano Pesce
realizzazione/with Meritalia
Concept
The installation expresses Gaetano Pesce’s opinion of contemporary architecture (or as he
likes to call it "contemporary building"). It is an accusation of the art of
construction, which has become academic, repetitive and backward with respect to
other forms of artistic expression and today’s currents of thought. Thus the title and theme
of the installation: "is abstract, repetitive, standardized, globalized architecture just
firewood?". Gaetano Pesce starts with an observation: “We are faced with increasingly
standardized, uniform architecture. Buildings are all the same, whether you’re in Stockholm
or Buenos Aires; they have lost the capacity to express and interpret the identity of places.
Architecture has also abandoned its mission of innovation, its capacity to express new
languages, to experiment with contemporary techniques and materials. What we are seeing
are just ‘constructions’ that continue to ape the Modern Movement, or function only to
promote the image and communications of some fashion brand; formal exercises based on
this or that irrelevant, abstract, obsolete geometry. Powerful vehicles of globalization, a bit
obtuse, cynical, useless for the identity of the places they inhabit… That’s why this
little house ‘burns’: like the wood of architecture that has become useless,
and finds some ultimate utility by generating fire”.
Project
Made in soft plastic with a light bulb inside to reproduce the flicker of fire, the little
houses form a large ‘burning’ pile. A thousand little resin houses contain 3
watt bulbs and bear the project title on their roofs: "is abstract, repetitive, standardized,
globalized architecture just firewood?" The houses are suspended from a metal structure
and create the luminous profile of a large house in the air (small house: 275x300x425h cm;
structure: 477x300x452h cm).
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
21
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
GAETANO PESCE, an architect-designer based in New
York City, has undertaken diverse commissions in
architecture, urban planning, interior and
exhibition design, industrial design and
publishing. In more than forty years of practice, Pesce
has conceived public and private projects in the United
States, Europe, Latin America and Asia, from residences
to gardens and corporate offices. Pesce's extensive body
of work - recognized for its emotive and tactile qualities,
unrestrained use of color, and insistence upon
innovative building materials developed through
new technologies - has been described by prominent
architecture critic Herbert Muschamp as "the architectural
equivalent of a brainstorm". Born in La Spezia, Italy, in
1939, Gaetano Pesce was trained at the University of
Venice Faculty of Architecture. He has lived in Padova,
Venice, London, Helsinki, Paris and, since 1980, New
York. Pesce has served as a visiting lecturer and professor
at many prestigious institutions in America and abroad,
including the Cooper Union in New York. During 26 years, he has been a faculty member at
the Institut d'Architecture et d'Etudes Urbaines in Strasbourg, France. Gaetano Pesce has also
worked in Italy, Germany, Belgium, Japan, the United States, and Brazil, which has influenced
the internationalism of his approach. His multidisciplinary work, that encompasses
art making and performance, has been the subject of numerous publications and
exhibitions and is currently displayed in the permanent collections of museums in France,
Finland, Italy, Portugal, England and the United States. In 1996, he was honored with both a
comprehensive career retrospective at the Centre Georges Pompidou in Paris and publication
of the catalogue Gaetano Pesce: Le temps des questions. In 1993, Gaetano Pesce was the
recipient of the influential Chrysler Award for Innovation and Design. A distinctly figurative
aspect and a hand-crafted quality characterize Pesce's most well-known commissions.
Among these are proposed projects for Les Halles (1979) in Paris and the converted Lingotto
Fiat Factory in Turin (1983); the Children's House for the Parc de la Villette in Paris (1985); the
Hubin's Apartment in Paris (1986); the Organic Building in Osaka (1989-1993); the Art Gallery
in Knokke-le-Zoute, Belgium (1994); and the Shuman residence in New York (1994). Pesce's
Manhattan office for the advertising agency TWBA/Chiat Day, completed in 1995, was hailed
by the New York Times as "a remarkable work of art… that bears no resemblance to the sleek,
hard-edged esthetic we have come to associate with the modern world". In this project, as in
all Pesce initiatives, the architect expressed his guiding principle: that modernism is less a
style than a method for interpreting the present and prescribing a future in which
individuality is preserved and celebrated. More generally, Pesce's work is characterized by the
"diversified series", the double functionality of objects and architecture, the creative use of
colors, the political dimension of his projects, the theory and practice of the "poorly made", the
provocation, the use and improvement of synthetic materials, the theory of "femininity" in the
architectural projects and, lastly, the culture of objects. On the subject of his work, Pesce
recently said: "For the past 30 years, I have been trying to give architecture back its
capacity to be "useful", by quoting recognizable, figurative images commonly associated
with street life and popular culture, and by generating new typologies. I strive to seek new
materials that fit into the logic of construction, while performing services appropriate to real
needs. Architecture of the recent past has mostly produced cold, anonymous, monolithic,
antiseptic, standardized results that are uninspiring. I have tried to communicate feelings
of surprise, discovery, optimism, stimulation and originality."
Co-producers
22
Corte Ducale
FUOCO
100 Flames for reading (m. 39x5x3,5h. max.)
progetto di/project by ODILE DECQ
realizzazione/with KERAKOLL DESIGN
luce/light LUCEPLAN
23
Corte Ducale
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
FUOCO
di/by Odile Decq
realizzazione/with Kerakoll Design
Concept
‘100 candles to light up
100 flames to celebrate
100 fires to flame up
100 friends to love
100 years to continue
Red as light
Red as fire
Red as flying love
Red as blood of life
but……………………
it’s not enough
but… but… but…
………………
we need more
we want more
………………
over the black water on fire’
Project
The installation that symbolizes the 100th anniversary of Mondadori. Positioned inside the
Corte Ducale of Castello Sforzesco, it occupies the entire space of the pool (40 m
x 6 m) and offers designers an example of the great expressive potential of resin. The 240
square meters of the area of the pool become a continuous surface made with an original
combination of fabric, plastic and transparent crystallizing resins that create
an evocative “black water” effect. All along the pool are inserted 100 steel candles
–with heights varying from 150 to 350 cm and a diameter of 15 cm- covered with a
translucent resin. The candles also form the support for a crossing structure made with
panels of steel and red resin, individually characterized as a tribute to the various magazines Mondadori has published over the course of this century of existence. Once again, the
resin takes on life, demonstrating its artistic qualities, becoming a medium to express
something: in this case, a message of congratulations.
Co-producers
24
Corte Ducale
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
ODILE DECQ, was born in France in 1955. She
received her degree in architecture in 1976 from the U.P.6
in Paris. The following year she continued her studies with
a specialisation course in city planning at the Institute of
Political Studies. During that same year she founded her
own office where she worked until 1998 together with
Benoît Cornette, who graduated in 1985 from U.P.6 after
earning a degree in medicine. In 1990, they signed
their first significant project, the headquarters of
the Banque Populaire de l’Ouest in Rennes, a building
that received several awards and opened the doors of
international fame for them. They participated afterwards
in a long series of public contests receiving numerous
acknowledgements. They received, as a result, the job of
planning the Nanterre viaduct and motorway, the Limoge’s
Cnasea, the grandstand of the Orléans stadium, the
Faculty of Economic Science and library of Nantes, and
the Gennevilliers harbour along the Seine. Their research
was crowned with the Leone d’Oro at the Venice
Biennale for architecture in 1996. In 1998, they won the contest to build the third harbour
for the city of Rotterdam. Following the tragic death of Benoît Cornette in 1998, Odile Decq led the
studio ODBC on her own. Her position in the international scene was further consolidated with the
success gained in the contest for the museum of contemporary art of the city of
Rome, Macro, inaugurated in 2006. Among her most recent works, the plan for a third city bridge
in Rotterdam, the Assindustria headquarters in Terni, the Liaunig Collection Museum in Neuhaus,
Austria, a residential complex of thirty apartments in Florence, and a 44 metre long sailboat for
Wally shipbuilders. Currently, she is working on a residential complex of 60 apartments with offices
and city area in Pesaro. From 2000, the year in which she won the contest to create the
furnishings for the hall of the conference room of the Unesco headquarters in Paris, ODBC
developed an important activity in the field of design. Simultaneously, Odile Decq
dedicated herself to teaching. She manages a course at the École Spéciale d’Architecture in Paris
and is a visiting professor to various foreign universities. Nominated Commandeur des Arts et
Lettres, she is also a member of the Académie Française d’Architecture as well as Chevalier
Legion d’Honneur.
Co-producers
25
LEGNO
Sssth! (diametro/diameter cm. 290x615h.)
progetto di/project by MICHELE DE LUCCHI
realizzazione/with LISTONE GIORDANO e/and INTESA SANPAOLO
luce/light IGUZZINI ILLUMINAZIONE
26
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
LEGNO
Sssth!
di/by Michele De Lucchi
realizzazione/with Listone Giordano e/and Intesa Sanpaolo
Concept
They all say my little houses are very nice. Everyone feels their warmth and simplicity, an
indefinable sense of naturalness and respect for the past, a bygone serenity. I’ve been
making them for years and every now and then I hold them in my lap to feel the effect of
the solid volume, imagining a beautiful work of architecture to admire and to live.
But my little houses would be impossible to build. Not due to technological limits
(today you can make much more daring structures with wood), but due to a very simple
problem of proportions: because the little houses are beautiful when they are
little, to imagine in a world that doesn’t exist, or perhaps only exists in each person’s
imagination. Envisioning them in the everyday world doesn’t work, because if they were big
they wouldn’t be beautiful, they would be shacks or henhouses and no one would even
consider going to live in them. The one I’ve thought up for the Corte della Rocchetta is a
really special little house, a tower with impossible proportions, that can even be
entered by people. The cylindrical form is given by the “bricks”, which are blocks of
solid wood, stacked in a circle for a height of 6 meters. The surface of the inside wall of the
tower has sinuous protrusions. Light and the sounds of footsteps and voices bounce off
them. The tower has a tall, narrow door, and inside a hanging lamp illuminates a lectern
with a sheet of paper and a few words. The tower has no roof. In its place there is a
window looking toward the sky: an escape route to make noise and bad thoughts fly away.
The first thing I’ll do when I can enter will be to raise my eyes skyward to see what’s up
there, and maybe to discover what the future holds in store for me. Because looking up at
the sky is the only thing I can do to seek my tomorrow!!
Project
Technical description of the Sssht! tower
Height: 650 cm; outer diameter 290 cm; inner diameter 220 cm; floor area: 60 x 60 cm
material: Douglas fir
- Platform: in wood size: cm 60x60x40h with 3 steps.
- Tower: outer diameter: 290 cm; inner diameter: 220 cm; height above platform: 615 cm
Composed of: Bricks of solid lamellar Douglas fir: cm 90x30x15h
8 bricks per level x 41 levels = 328 bricks
- Internal structure: 16 metal pipes cm 630, attached to a metal structure concealed under
the platform.
- Lighting: 8 spotlights built into the platform (type: Light Up Walk by IGuzzini 70 Watt/lamp:
total 560 W, direction-adjustable light), 1 Flora & Fauna lamp by Produzione Privata with
PAR / 80 Watt bulb, hung at the center of the tower
- Lectern: in metal, attached at the center of the tower corresponding to the position of the
Produzione Privata lamp.
Co-producers
27
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
MICHELE DE LUCCHI was born in 1951 in Ferrara.
He took a degree in architecture in Florence.
In the years of radical and experimental architecture he
was a leading figure in avant-garde movements like
Cavart, Alchimia and Memphis. He has designed
lamps and furnishings for many well-known Italian
and European companies, including Artemide,
Belux, Kartell, Mandarina Duck, Rosenthal, Sambonet,
Alias, Caimi Brevetti, Unifor, Bieffe, Consonni, Dada,
Moroso and Poltrona Frau. He was Design Director of
Olivetti from 1992 to 2002, and developed personal
theoretical reflections on the evolution of the
work environment, creating experimental projects
for Compaq Computers, Philips, Siemens, Vitra.
His professional practice has always been accompanied
by personal research on the themes of design, drawing,
technology and crafts. The studio aMDL S.r.l. has
offices in Milan and Rome. In 1990 he created
Produzione Privata, a small company where Michele
De Lucchi designs products, independently produced utilizing the knowledge and skills of
crafts. In the field of architecture he has designed and restructured office buildings in Japan
for NTT, in Germany for Deutsche Bank, in Switzerland for Novartis, and in Italy for Enel,
Telecom Italia, Piaggio. Since 1999 he has been in charge of the renovation of certain
power stations of Enel Produzione. For Deutsche Bank, Deutsche Bundesbahn, Enel, Poste
Italiane, Telecom Italia, Banca Popolare di Lodi, Banca 121, Banca Intesa and other Italian
and foreign institutes, he has worked on image evolution, introducing technical and
aesthetic innovations.
He has designed the installations of many art and design exhibitions, and
created buildings and exhibit designs for museums like the Groninger in Holland, the Milan
Triennale, the Permanente in Milan, Palazzo delle Esposizioni in Rome, the Neues Museum
in Berlin. He is presently working on Fondazione Cini of Venice, the renewal of the
museums of Castello Sforzesco in Milan, with David Chipperfield, and the restructuring of
Teatro Franco Parenti, including the performance spaces, offices, dressing rooms and foyer.
Some of his objects are featured in the exhibits of important museums in
Europe, the United States and Japan: in 2003 Centre Georges Pompidou of Paris
acquired many of his works, which were shown for one year in two rooms of the
permanent collection. He has received many international honors. In 2000 he was named
“Ufficiale della Repubblica Italiana” by President Ciampi for his work in design and
architecture. In 2001 he was appointed Professor at the Dept. of Design and Arts of the
Istituto Universitario di Architettura in Venice. In 2005, for the event’s 20th anniversary, he
received the prize “Abitare il Tempo” for protagonists of Italian design of recent decades. In
2006 he was given an honorary degree by Kingston University for his contribution
to the “quality of life”.
Co-producers
28
LEGNO
Cidori (cm. 500x500x400h.)
progetto di/project by KENGO KUMA
realizzazione/with BALS TOKYO e/and MOTOROLA
luce/light TARGETTI
29
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
LEGNO
Cidori
di/by Kengo Kuma
realizzazione/with Bals Tokyo e/and Motorola
Concept
Cidori, the literal translation being 1000 birds, does not express how material is dense,
but rather the state of birds flying through the sky like particles. This Cidori Koshi, or Cidori
Lattice, is a traditional Japanise technique lacing thin rectangular wood into a lattice
by making a special notch in the wood. By using this technique, a strong structure can be
created without using any nails, and at the same time, it is possible to dismantle the
structure at once. For this project, we have applied the Cidori Koshi in a three-dimensional
space, attempting to create an open and transparent “house”.
This structure has not used any adhesives, and is easy to dismantle.
The “house” created by Cidori Koshi, is similar to a sentence composed of words. A
sentence does not need any nails or adhesives. If carefully composed, a firm, solid
sentence can be made. Furthermore, the words can be easily disassembled, creating a
new sentence. In this way, words should be a free and eternally-open element.
The wood in Cidori has acquired such infinite liberty.
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Project
The construction makes use of ancient oriental techniques of architecture in wood,
involving complex interlocking parts. Each modular element of the Cidori is thus a formal synthesis that establishes a relation with an ancient tradition that is unfortunately now
being lost in contemporary Japan. The constructive experimentation of this temporary
architecture thus goes beyond the temporal aspect connected with the event, to indicate
possible paths to follow in the design of 'permanent' architecture of the contemporary city
and landscape. In terms of its construction the small pavilion in the Corte della Rocchetta is
also playful, reflecting the dimension of a very popular game of interlocking pieces,
interpreted in design expression. The growth of the structure, from this perspective, could
continue infinitely in new aggregations and additions, establishing a dialogue with the
ancient courtyard, but also seeking a link with the riverstone pavement, connecting stone
and wood in a new materic and figurative synthesis.
Co-producers
30
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
KENGO KUMA, born in Kanagawa in 1954, following
the degree earned in 1979 at the University of Tokyo,
continued his studies at Columbia University in New York.
In 1987, he founded the Spatial Design Studio, in 1990
Kengo Kuma & Associates in Tokyo. His is poetry in
design with a very specific policy: “Why do I like to
parcel out materials to the point of reducing them to small
pieces? Why do I break rocks, bamboo and rice paper
into small strips? Why do I bore infinite holes into wood?
The answer is that I like the tactile quality of materials. And
only in this way am I able to appreciate them fully, to feel
them vibrate.” This is how he explains his
architectural language and his passion for
materials. Even before the building takes shape, in fact,
he seems to choose the material and define a technical
principle for its use. Once this element has been identified,
all the rest seems to work itself out on its own: the shape,
the structural technique, the light, the atmosphere, sense
of sound, sense of permanence. He doesn’t like to put
different materials together, because his buildings are experiments on the theme of
mono-materialism, pushed to its extreme. He is every careful with details, in
the sense of transparency and space, the ability to put nature and artifice together.
For Kuma, architecture should never have to be coercive, but it should resemble a garden,
“Because a garden doesn’t have walls or windows, but it is only made of horizontal surfaces.
By definition, it shouldn’t have boundaries.” The point of departure is always the
relationship between architecture and nature: he works on the continuous
variations of things and signs that, once coded and built, stimulate our visual, tactile, auditory
and even olfactory perceptions, because every material has its own scent. Light is, for Kengo
Kuma, physical matter. To obtain this result, he suppresses, in many projects, both the
essence of the wall as well as that of the window, substituting them with something hybrid,
able to offer the necessary protection and light. The atmosphere that is inhaled is very
important. The opportunity of seeing things clearly and unequivocally is never offered. Among
thousands of nuances, illusion creates reality. Among his most representative works we
mention the Kyodo Grating (Tokyo, 1988), the Water/Glass House (Shizuoka, 1995), the
Takayanagi Community Centre (Takayanagi, 2000), the Nasu History Museum (Nasu, 2000),
the Institute of Disaster Prevention (Fujishiro, 2001), the Great Bamboo Wall (Peking, 2002),
the Murai Masanari Art Museum (Tokyo, 2004), the LVMH Osaka (2004), the Lotus House
(Hayama, 2005), Nagasaki Prefectural Art Museum (2005), Y-Hutte House (East Japan, 2006),
Ginzan Onsen Fujiya (Yamagata, 2006), Z58 showroom and offices (Shanghai, 2006),
Chokkura Plaza (Tochigi, 2006), He is currently working on the Asahi Broadcasting Corporation,
the Suntory Museum, the Dellis Cay Spa Resort, a living complex project in Suzhou, the Art
Barn, a project for a modern tea house in Frankfurt and the Sunlitun Project-N1 Boutique
Hotel. He has received numerous acknowledgements among which the Good
Design Architecture for the “Yusuhara Visitor’s Center” chosen by the Japanese Ministry of
Industry and Trade (1994), AIA DuPONT Benedictus for “Water/ Glass” (1997), he received
honourable mention from the Boston Society of Architecture for the Unbuilt Architecture Design
2000 (1999), and Spirit of Nature Wood Architecture, Finland (2002).
Co-producers
31
Corte Ducale
METALLO
Water in the Southern Hemisphere (diametro/diameter cm. 160)
progetto di/project by RON ARAD
realizzazione/with S.PELLEGRINO
32
Corte Ducale
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
METALLO
di/by Ron Arad
realizzazione/with S.Pellegrino
Concept
When Interni asked us to do a project for the event Decode Elements we were working
with Ernest Mourmans on certain very challenging pieces of blown aluminium that take the
material to the limits of its potential. The first, instinctive choice was to design
something, on a bigger scale, to stretch those limits even further. It was a project with a
practically impossible starting point, but longer experimentation revealed that it was
possible. The idea was a return to the one already developed in 2005 for the event
OpenairDesign, also organized by Interni. On that occasion we made the form of a seat
previously developed with rotation moulding, using stainless steel rods. The rods took
on the form of deformed rings that could be combined to make the body of the chair,
creating a dynamic, unpredictable design on its structured surface. That work tested the
abilities and limits of Roberto Travaglia of Marzorati Ronchetti, who supervised the making
of the piece. This time we have raised the level of difficulty even further: we have stacked
the rings of stainless steel on a skeleton, to form a closed chassis; ideally, a sphere
deformed by the effect of compression on half its surface. We have constantly
monitored the evolution of this piece, made in Italy, thanks to photos sent to us every day.
The images of the ‘work in progress’ were incredibly beautiful and bore witness to the
evolution of a project that is a hymn to difficulty. The computer renderings of Yuki Tango
provided a fantastic preview of the design of lines that would emerge in the completed
project; because the structure of the piece is asymmetrical, the result was already
surprising on this virtual level. We hope that it is even more surprising, now that this
seat-sculpture can be seen and touched inside the Castello Sforzesco of Milan.
Project
A large sculptural rocking chair with a sinuous form, geometrically inserted in a
sphere with a diameter of 160 cm. It is made by bending bundles of shiny 10 mm
stainless steel tubing, a technique already applied for the walls of the Opera Hall of Tel
Aviv (1994) and in the Ripple Chair made for the event OpenairDesign (Milan, April 2005).
The particular construction solution, permitting creation of three-dimensional volumes
of great complexity, has been developed in collaboration with Roberto Travaglia of
Marzorati Ronchetti, with whom Ron Arad has worked for over a decade to produce his
metal creations.
Co-producers
33
Corte Ducale
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
RON ARAD, born in Tel Aviv 1951, studied at Jerusalem
Academy of Art. In 1973 moved to London.
In 1979 graduated at the Architectural Association School of Architecture and studied under Peter Cook and
Bernard Tschumi. In 1981 established One Off
Ltd. with Caroline Thorman in Covent Garden,
London, a design studio, workshop and
showroom. First success came with a range of furniture
and interior structures in tube and cast iron fittings. Well
known pieces include the ‘Rover Chair’, the vacuumpacked ‘Transformer’ chair and the remote controlled
‘Aerial’ light. Later work explored the use of tempered
steel, first in the ‘Well-Tempered Chair’ and later in the
popular ‘Bookworm’. In 1989 he founded Ron
Arad Associates, Architecture and Design practice
with Caroline Thorman in Chalk Farm, London. ‘Ron Arad
Studio’ was established in Como in 1994 to continue and
expand on the production studio pieces as previously
produced in the London workshops. The facilities of
the Ron Arad Studio hugely expanded the possibilities in regard to
materials, technique and engineering, allowing for such pieces as ‘Box in 4
Movements’ (with a torsion sprung ratchet mechanism) and ‘R.T.W.’, (a free-rolling large wheel
with inner shelving that always remains parallel to the floor) to be produced. Installations for
‘L’Esprit du Nomade’, Fondation Cartier, Paris and The Domus Totem for the Triennale in Milan.
Ron Arad was Professor of Product Design at the Hochschule für Angewandte Kunst in
Vienna, of Furniture Design at the Royal College of Art in London and is currently Professor of
Design Product at the RCA. He was guest Editor of 1994 International Design Yearbook and
Designer of the Year, 1994. His work has been widely featured in many design/architectural
books and magazines worldwide. Ron Arad has run several design workshops for students,
including those at the Vitra Design Museum in Weil am Rhein, Germany, Vitra Farm in France
and Ravenna in Italy. He works for many important companies like Alessi, Allia, Artemide,
Bonaldo, Cappellini, Cassina, Driade, Fiam, Kartell, Magis, Moroso, Poltronova, the Rug
Company, Serralunga, Swarovski. He does a lot of limited edition hand-made pieces for Gallery
Mourmans for example ‘Acrylic Oh Voids’ – rocking chairs and chaise longue made of slabs of
clear acrylic. In Architecture his most well-known projects are Zion Square Sculpture,
Jerusalem, Israel 2005; Battersea Power Station; The Boiler House, London 2005; Magis’
Headquarters, Motta di Livenza, Treviso 2004; Design Museum, Holon, Israel, 2004; Hotel
Puerta America, Madrid, 2003-2005; Hotel Duomo, Rimini, Italy 2003-06; Mercedes Benz AG,
Birmingham 1996; Louisiana Museum of Modern Art, Denmark 1996; Adidas/Kronenbourg
Sports Cafés, France 1996; The New Tel Aviv Opera, Israel, Foyer Architecture 1989-1994. He
has designed Public Art works like Evergreen!, Zone Roppongi Building, Tokyo, Japan
2002-3, a sculpture located in Roppongi Hills as an integral part of Mori Building’s mixed use
development. He has received many prizes, amongst them the 2006 Visionary Award,
presented by the Museum of Arts & Design, New York (2006); The Jerusalem Prize for Arts and
Letters, awarded by Bezalel Academy of Arts and Design, Israel 2006; Primavera International
Award for Design (2001); Designer of the Year, Salon du Meuble, Paris (1994). He teaches in
different international schools. Now is professor of product design at RCA. He was the
director of different workshop for students, including Vitra Design Museum a Weil am Rhein,
Germany, Vitra Farm in France and in Ravenna, Italy.
Co-producers
34
METALLO
Le cocon doré (cm. 740x350x210h.)
progetto di/project by DOMINIQUE PERRAULT ARCHITECTURE
realizzazione/with GKD
35
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
METALLO
Le cocon doré
di/by Dominique Perrault Architecture
realizzazione/with GKD
Concept
The gilded cocoon or “cocon doré” imagined by Dominique Perrault is an installation
made entirely with gold anodized aluminium screen.
The creative process is represented here as a cocoon, a chrysalis, symbol of all
possibilities. This almost animal-like object, alive, organic, imperfect but graceful,
establishes a dialogue with the Castello Sforzesco, a centuries-old structure, which
becomes a place of coexistence of the past and contemporary creation.
This historic edifice will be the perfect place in which to watch the opening of this nascent
mini-architecture, a thing in a state of becoming, the essence of any form of creation…
Project
The project “Cocon doré” is a metal tunnel, 7.40 meters long and 3.50 meters wide,
by a height of 2.10 meters. It is made with metal screen of the “Canisse” type
produced by GKD, supported by a mixed structure of stainless steel cables (diameter 3.5
mm) and gold anodized aluminium rods (diameter 3 mm). The installation rests on a
wooden platform made with 33 industrial pallets.
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
36
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
DOMINIQUE PERRAULT, born in Clermont-Ferrand,
France, in 1953, enters the school of architecture in 1973.
He graduates in architecture in 1978, in town planning in
1979 and had a postgraduate degree in history in the
EHESS in 1980. In 1981 he opened his office in
Paris and realized his first built works. Dominique Perrault,
architect and urban designer, rapidly earned himself
an international reputation by winning competitions to
design the French National Library in 1989 and the
Olympic velodrome and swimming pool in Berlin in 1992.
He is currently working on a number of large urban
projects all over the world, including the expansion of
the European Court of Justice in Luxembourg, the creation
of the Olympic tennis stadium in Manzanares Park in
Madrid, the masterplan for the centre of Donau-City and
two 200 metres towers in Vienna; the new auditorium for St.
Petersburg's Mariinsky Theatre, and the EWHA women's
university campus in Seoul, Korea. As well as these large
prestigious projects, Dominique Perrault works on smaller
projects too. In France he built the Hotel Industrial Jean-Baptiste Berlier in Paris, the Aplix factory
near Nantes and a multimedia library in Vénissieux. He is now working on various housing and
offices projects in Lille, Boulogne-Billancourt and on Sports Complex of Rouen. In Austria he has
transformed the skyline in Innsbruck's historic city centre by creating a genuine urban island
comprising the town hall, shops and a hotel. In Italy, following his redesign of the Piazza Gramsci
in Cinisello Balsamo near Milan, he is currently redesigning Piazza Garibaldi for the Metropolitana
di Napoli and renovating the library and reception spaces of the A. Cardarelli Hospital in Naples.
In Palermo, he’s building a pedestrian bridge and twelve metropolitan stations. In April 2006 he
won the international competition for two hotels at the new Rho-Pero fair facility of
Milan, to be completed in 2008. The design of the two hotels is based on an idea that in recent
years has developed in architectural research all over the world: to construct buildings of limited
cost capable of ensuring a high level of comfort with low energy consumption. In aesthetic terms
the project reflects the clean forms of the new fair: two pure geometric figures, two white and
black parallelepipeds, with a square plan, sixty meters high, placed side by side and inclined,
emerging from the landscape. He has recently won numerous competitions in France, Italy,
Spain and Japan. He works in design for companies as Fontana Arte, Sawaya&Moroni, Alessi
and Martin Stoll and on scenographies for the national ballet of and various exhibitions. His work
can be seen in several itinerary exhibitions as “Morceaux choisis” recently showed in Santiago
de Chile, «Meta-Buildings» in the Architektur Zentrum of Vienna or “En cours” in Arc en rêve
architecture centre in Bordeaux. Aside from being a member of the French Legion of Honor and
a laureate of the Great National Prize for Architecture of France in 1993, Dominique Perrault has
received an impressive number of awards for his work. He was awarded the Mies van der Rohe
Award for European Architecture. in 1997 for the French National Library; he received the World
Architecture Award twice (2001 for his Aplix-Factory as the best industrial building, and 2002 for his
Media Library in Vénissieux for the best public building) and collected the AIA Maryland Best
Industrial Building Award for the GKD factory, Cambridge, Marlyand, USA, to cite but a few.
Whatever the size of the project, Dominique Perrault's buildings transform the
architectural landscape like elementary volumes in minimalist sculpture. His
work for design is an extension of his architecture, on the one hand because it comes from the
same vocabulary of simple forms, reduced to a minimum, and on the other because he
pays the same amount of attention to engineering the materials he uses, continually
experimenting to enhance their visual effects and physical emotions.
Co-producers
37
LUCE
progetto di/project by INGO MAURER
38
LUCE
Light tracks
progetto di/project by CASTAGNA RAVELLI Studio
realizzazione/with THE FAKE FACTORY
39
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
LUCE
di/by Ingo Maurer
Concept
Sometimes I wonder where my work leads to. With light, you can never 'plan' something.
You imagine moments and effects, and struggle to realize them by trying and
testing. And when you finally come up with a solution, and you wonder, what this will do?
Does it have any deeper meaning, or do you just show off, making a ‘bella figura’? If you
did it right, you make at least one person smile, and that’s good!
Project
The inscription is placed along the side of Piazza del Cannone and along the sides of
the corner towers facing toward the Triennale, on one side, and toward Teatro Strehler
on the other. On the Triennale side an inscription will be projected with a white laser
through the Jenoptik Jenias solid-state 10 watt system, with projection head and
computerized Pangolin Professional 2000 Pro system for a very clear image. On the side
toward Teatro Strehler the walls of Castello Sforzesco are lit with red light from 24
Leonardo 5000 watt spots, each with primary red 106 gel, positioned two by two in
the moat along the outer wall at regular intervals. The Leonardos work in pairs, with one
lighting the lower part of the castle wall, the other the upper part. A dimmer regulates the
light intensity. A white strobe effect is added throughout, with 6 atomic strobes,
3000 watts each.
Light tracks
di/by Castagna Ravelli Studio
realizzazione/with The Fake Factory
Concept
Light plays with elements and decodes itself in flashes, flames, reflections, shadows, fire,
incandescence, electrical discharges.
Project
Loop of specular projections on the two long walls of the Corte Ducale. Video
images from nature of seven elements, of great impact and violence, that react to light or
produce it. Amplified noises and sounds (water: falling drops, luminous reflections,
splashes; fire: lighting of a match, flame, scrape of the match head; air: mirror balloons,
reflections, bursts; earth: bone covered with soil by a dog, light that gradually vanishes,
frenetic scraping; wood: forest fire, flames, whistles and pops; metal: pouring of
incandescent liquid metal in a foundry, incandescent matter, thud of presses; light +
light: lightening bolts without clouds, electrical discharges, thunder). The images alternate
with conceptual projections featuring lists of all the words that indicate the element in
question in relation to light. On the part in the back, above the portico, projections of
inscriptions that reveal the molecular/cosmic character of the elements (chemical or
physical formulae). Duration 10 minutes. The reactions of light on the four traditional
elements (air, water, earth, fire) are represented in an ironic or “minimalist” way; while the
added elements (wood, metal, light) are represented with “stronger” images.
Co-producers
40
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
INGO MAURER, born in 1932 on the island Reichenau,
Lake of Constance, Germany. "I have always been
fascinated by the light bulb because it is the perfect union
of industry and poetry. The bulb is my inspiration"
says Ingo Maurer, outstanding poet of light and
lightness in the design world. His encounter with the
light bulb happened in 1966. By then Maurer, a
typographer and graphic designer who trained in
Switzerland and Germany, had spent several years in the
U.S. working as graphic designer. In 1966, back in
Europe, he designed and produced a few samples of a
lighting fixture. It was entitled Bulb and was a bulb within a
bulb. It was so successful he had to produce more to
match the demand. The company called Design M was
thus established. Design M later mutated into Ingo Maurer
GmbH, and the company produces to this day both
Ingo's fixtures and the work of other ingenious designers.
Many of his works are inside the collection of
New York’s Museum of Modern Art: Bulb and Gulp
(1969), Light Structure (1970 like a co-designer), Little Black Nothing and YaYaHo (1988),
Los Minimalos Dos, Lucellino Wall, Wo bist Du, Edison…? And Zettel’Z (1999), Porca Miseria
(2003). While working as a designer for his company, Maurer is often involved in installations
and architecture and "urban scenography" projects. Such projects include YaYaHo at
Center Georges Pompidou in Paris for the exhibition Lumière je pense a Vous (1985) , “Ingo
Maurer lumière aha SoSo” at Institut Français d’architecture in Paris (1986), the first noncommercial reserch at Fondation Cartier named “Ingo Maurer: Lumière hasard réflexion” (1989),
participated at (exhibition) “Identità e differenze. I racconti dell’Abitare” at Milan Triennale with
installations and unique pieces (1994), temporary installation in Deutzer Brücke (Brigde) in Köln
(1997 and 1998), lighting of Subway Station Westfriedhof, Munich (1998), collaboration with
fashion designer Issey Miyake and special effects for his fashion show (1999), exhibition of Vitra
Design Museum “Ingo Maurer - Light - Reaching for the Moon” (since 2002), partecipation at
exhibition “Brillant” at Victoria and Albert Museum in London (2004), partecipation and part of
exhibition design at exhibition “Iluminar design Da Luz 1920-2004” at Museum de Arte Brasileira
Fundacao Armando Alvares Pentendo in São Paolo (2004), Design and production of the “Unicef
Crystal Snowflake” for New York (2004 and 2005), the lighting of a Middle Ages painting exhibition
in a church in Prague, Lighting for the Kruisherenhotel in Maastricht (2005), Lighting objects for
the Atomium in Brussels (2006). He won different prizes like Design Prize of Monaco (1999),
“Lucky Strike designer Award” of Raymond Loewy Foundation (2000), Philadelphia Museum of
Art “Collab’s Design Exellence Award” in 2002, “Gorge Jensen Prize” in Copenaghen in 2003,
the Design Academy Division of Gifu (Japan) “the Fourth Oribe Award” in 2003, Conferment of
the Degree of Doctor of the Royal College of Art, London, honoris causa in
June 2006. The Cooper-Hewitt National design Museum in New York will present the
exhibition “Provoking Magic, The Lighting of Ingo Maurer” (September 17th 2007- January
24th 2008).
Co-producers
41
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
CASTAGNA RAVELLI STUDIO, founded in 1996, is
unusual because it is comprised of a theatre director
and a set designer. Paolo Castagna, director,
apprentice to the famous Polish director Jerzy
Grotowski and, for long, assistant to Luca Ronconi,
strategy and cultural events expert, is the planning and
organizational link; Gianni Ravelli, professor of
architecture at the Politecnico of Milan, student of
Marco Albini, set designer and costume designer in two
Luca Ronconi shows at Spoleto, is the aesthetic and
pictorial part of the studio, who takes care of light
design, staging, shows and events, from a
theatrical viewpoint. The studio is part of Marco
Albini’s design group (with Bob Norda for graphics,
Carlo Bertelli for artistic advice and Marcel Aubri, of the
Centre Pompidou, for organisation), winner of the
competition to reorganise the new Sabauda Art Gallery
in Turin that includes the interior and exterior lighting of
the museum and the setting of the rooms. The Studio is
currently working on stage lighting in a few European cities. For several years, the light design
activity has worked on, among others, the stage lighting for the Quadrilatero della Moda in
Milan. The first projects are from 2002, for the Teatro alla Scala: the lighting event for the
inauguration of the Teatro degli Arcimboldi, and the layout of the temporary Museo Teatrale in
Palazzo Busca. From 1966, the studio invented a series of shows and theatrical events,
taking care of the direction, scenery and costumes: among others, shows on
Giacomo Leopardi and Giuseppe Parini in historical buildings in Milan, the staging of Gluck’s
“The Chinese” at Spoleto, a show for the Italian business association Altagamma at the Teatro
Nuovo in Milan, and “The Dream of Liberty”, performed also at the Piccolo Teatro in 2003,
From 1997, they took care of numerous stage, theatrical and illumination
performances for the most prestigious labels in design and fashion.
Furthermore, from 1999, they take care of conceiving the surroundings, environments and
furnishings for stores in Milan and Florence and headquarters of the most prestigious Milan
associations. The studio collaborates with the Council Office of Culture and Fashion for the
Milan Municipality, with the Friends of La Scala, with Pirelli Real Estate, with the Associazione
Montenapoleone, the Teatro di Roma, the Teatro Lirico Sperimentale of Spoleto and the Teatro
alla Scala. Some of their clients are: Acqua di Parma, Altagamma, Bloomberg, Borbonese,
Mario Buccellati, Fay, Gianfranco Ferré, FontanaArte, Segis, Tod’s.
Co-producers
42
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
THE FAKE FACTORY is the video design group established by Stefano Fomasi and
Andrea Gnesutta, over the years joined by a number of designers with eclectic skills and
competences, ranging from videodesign to photography and illustration. Angelo Bruno,
Simona Picchi, Juri Ciani, Francesco Sonnati, Loris Giancola, Anna&Michele
Bigiotti, Mariano Zimmermann are the designers who helped to carry out the Factory,
enabling it to develop the new approaches and possibilites of visual communication related to
the new media on many platforms and in many ways. In just a few years The Fake Factory has
taken part in the carrying out of some hundreds of videodesign projects, ranging from
TV advertising to videoinstallations, video set design for theatre to fashion
shows, multisensory dvd production in glamorous contexts in the chief Italian and world
cities. For FuoriSalone 2006, it has carried out “HeavyLight", a city videoinstallation produced
by Interni with non-stop videoprojections on the historical gates of Milan.
Concept
Decoding the elements that underlie visual communication and studying its complex associations and possible evolutions. The theme is developed through an installation that
plays on more levels of experimentation: on chroma-codes, where colours and color codes are
the players of the stylistic study in videodesign, but also on form-codes or evolution-codes,
namely the creation of complex forms and new meanings based on two primary
forms of visual communication: the square and the alphabetic letter. A path that ideally
leads to speak of the book-form and literature, thus becoming a happy tribute to Mondadori’s
100 years.
5D.SIGN is the research and experimentation space, where the various disciplines are
contaminated : matter and light, design and videodesign. That comes from the wish to mould
the real and the unreal by merging them together. From the cooperation between architects
Debora Foti, Sergio A.Giordano, Cristiano Boni and video-designer Simona
Picchi Macchiavelli. The different training and education of the members of the group
allow a heterogeneous approach to making and a new 361-degree expermentation.
Concept
i-DRO the object designed for Interni Press Office as a communication medium comes from
the idea of giving shape to a water wall as modular container and natural screen of the
back-videoprojection it contains. Carried out in plastic by ATMOS, a company that manufactures and markets some exclusive lines that combine craft technique and modern technology,
synthetic materials and natural elements.
Co-producers
43
SEC di/by Alias
Utrecht di/by Cassina
PRESS ROOM
realizzazione/with NOLOSTAND con/with ALIAS, CASSINA e/and FLOS
44
MEETING POINT
Spazio CityLife Piazza Cordusio 2
progetto di/project by SIMONE MICHELI
realizzazione/with IRIS CERAMICA e/and HEWLETT-PACKARD e/and MY5 POWER PLATE
45
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
MEETING POINT
Spazio CityLife Piazza Cordusio 2
di/by Simone Micheli
realizzazione/with Iris Ceramica
e/and Hewlett-Packard e/and my5 Power Plate
Concept
Inside the prestigious space CityLife in the heart of
Milan, the Interni Meeting Point goal is to narrate a
“non-story” capable of playing multiple functions,
of revealing things, of transforming the visitor into the
emotionally engaged protagonist of a light, serene, soft
space. It is an interactive place, thanks to the Digital
Home technology by Hewlett-Packard, a design
impulse that formally and materially describes a volume
that is a meeting place, a three-dimensional setting in
which to communicate, a metropolitan house, the
materialization of one of my dreams. I believe our
contemporary condition requires us to express truth, to
build things starting with the reconstruction of ethics, love, beauty, exploring forgotten worlds of
deep perception and primordial emotion. Absolute white and fluorescent orange, together
with fluid geometries, sound and lighting effects, are the ingredients of the installation I have
created. This place represents a visual and content synthesis of our
future-present.
Project
The flooring will be in porcelainized gres from the Victoria collection by Iris Ceramiche,
installed on a suitable platform. A large tent in white screen with white textile inserts,
supported by a system of uprights and beams, will border the entire space. The furnishings
are characterized by totemic volumes that function as containers, covered in the same
gres as the flooring, with borders painted in fluo orange. The installation also features a
console-controlled sound, lighting and video system.
SIMONE MICHELI founded the homonimous architecture studio in '90 and the design
company Simone Micheli Architectural Hero in 2003. He is teacher of Industrial Design at
the Università degli Studi of Florence, and at the Scuola Politecnica di Design of Milan.
He is teacher at the Poli.Design, Domus Accademy and Iulm in Milan, Università la
Sapienza-Faculty of Architecture, Rome. Visiting professor in several international
universities and schools including the Fashion and Design Academy in Berlin, the
Hochschule fur Kunst und Design in Halle, Germany, the Hong Ik University of Seoul.
His works of architecture, contract, interior design, exhibit design, graphics
and communication are related to the world of sensory exalting. He has carried out
residential buildings, hotels and spa, restaurants and lounges, shops and showrooms,
schools, office buildings, factories, shopping malls. His work has been the subject of many
monographs and publications in international magazines.
Co-producers
46
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DIGITAL HOME by Hewlett-Packard
Designed and staged by architect Simone Micheli, it’s a real digital home the visitors are going
to see, where technology is its heart and distinctive component. In particular, the installation will
feature the sitting room and the bedroom, offering the latest new products HP in the range of
PC, notebook, press devices and digital imaging, and the innovative technological platforms Intel, that support the so-called “digital life style” both at home and on the go.
Thanks to HP products, based on Intel last generation chipsets and processors, it’s possibile
to acquire and distribuite a wide variety of digital multimedia contents inside our
homes (games, photographs, videotapes, e-mail, music, etc.). The concept underlying the
Digital Home is to enable the user to gain access to these contents through a home network,
easy and handy, by using any device.
HP and Intel technologies meet this requirement and open new ways to digital entertainment. The mobile technology Intel® Centrino® Duo, the new generation of Intel platforms for
portable PCs, that offer high performance and a longer battery life, supply cutting-edge functions
to make entertainment really mobile for travelling users. The Intel® ViivTM technology, the new
technological platform, that brings the PC into the sitting room, allows to share digital
contents, such as films, music, videotapes, photos etc. with the digital equipment of the house
and make them easily accessible just by means of a remote control.
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
47
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
CITYLIFE
The company CityLife, an initiative of Generali Properties, Gruppo Ras, Immobiliare
Lombarda (Gruppo Fondiaria-SAI) and Lamaro Appalti, is responsible for the
design of the new district at the former Milan Fair, involving the architects Zaha Hadid,
Arata Isozaki, Daniel Libeskind and Pier Paolo Maggiora. The aim of the project
is to create “a new center” for Milan, a place that is “emblematic” and “recognizable”. Apart
from the area to be transformed, appx. 255,000 sq meters, the project calls for renewal of
municipal areas outside the fair perimeter, including Piazza Giulio Cesare and the spaces
around the Vigorelli velodrome, making the total area of the operation about 366,000 sq
meters. The size and centrality of the area of transformation make this one of the
largest works of its kind in Europe, three times larger than the Potsdamer Platz in
Berlin, and a bit larger than Canary Wharf in London. The CityLife project stands out for its
mixture of public and private urban functions, generating a neighborhood that should
be active day and night, capable of offering new models for living, working, enjoying
culture and leisure time, with the dual aim of creating new values of quality of life and social
contact, and giving the city a new feature to help it compete with other European centers.
The new district is organized around a large park. Completely traffic-free, it will be the
largest pedestrian zone in Milan, and one of the largest in Europe, thanks to an original
system for circulation and underground parking (over 8500 public and private spaces) for
complete separation of vehicle flow and pedestrian movement. One distinctive feature of
the project is the high concentration of cultural, recreational, sporting and leisure
activities, including a large cultural center for children (Palazzo delle Scintille), a new design
museum and the restructuring and transformation, undertaken by the city administration, of
the historic Vigorelli velodrome. The area will have a Services Center with restaurants,
cafes and venues, quality shops, multiplex cinema, associations, post offices, banks and
business services. Working activities are contained, for the most part, in the three
towers, with high technological content and innovative materials and energy solutions,
which contribute to redesign the skyline of Milan. Five residential areas will be
placed near the park, with different typologies and sizes, designed to propose new models
of living quality in the city.
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
48
Milano
CITYLIFE
nuovo quartiere ex fiera/new development at former fairgrounds
progetti di/project by
ZAHA HADID DANIEL LIBESKIND ARATA ISOZAKI
49
MY5 POWER PLATE
meeting point Spazio CityLife
50
ISOLE DI LETTURA
READING ISLANDS
PICK CHAIR
design DROR BENSHETRIT
per/by BBB emmebonacina
HARD RELAX
design SIMONE MICHELI
per/by Iris Ceramica
TOTOTO
design HANNES WETTSTEIN
STRIPE BENCH
design GABRIELE PEZZINI
per/by Maxdesign
LA MICHETTA
design GAETANO PESCE
per/by Meritalia
BALI
design CARLO COLOMBO
per/by Poliform
THE 8th ELEMENT
per/by MINI
LOCO
design IVAN PALMINI
per/by Alluminio Sammarinese
HEAVEN COLLECTION
design JEAN-MARIE MASSAUD
per/by Emu
ROUND COLLECTION
design CHRISTOPHE PILLET
per/by Emu
WALL SYSTEM (Librerie/Bookshelves)
per/by Poliform
VIDEO INSTALLAZIONI
VIDEO INSTALLATIONS
DIGITAL FIRE
di/by TOSHIYUKI KITA
realizzazione/with SHARP
L’ARCHIVIO DELLA MEMORIA
di/by FEDERICA MARANGONI
realizzazione/with Reflex
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
READING LOUNGES
As the great Argentine writer Jorge Luis Borges said: “the book is one of the possibilities
of happiness available to us human beings”.
This perception lies behind the event DECODE ELEMENTS that INTERNI has
organized for the FuoriSalone 2007. The theme of “the elements” in the Design project
joins that of Reading to celebrate the centennial of the Mondadori publishing group,
one of the Italian leaders in the field, and a protagonist of international culture and
information. During one century of history the group has been a force for continuing
progress, the transformation of lifestyles and the evolution of knowledge, working through
the various sectors of communication.
Reading is a solitary, silent and extraordinarily vital act shared by all civilizations, since the
beginning of history, and capable of surviving wars and persecution, social and electronic
revolutions. Reading has always been a part of the private universe, but it has also existed
in many collective expressions; from liturgical reading, still practiced today in the Catholic
church, to the readings that used to be held in factories and other public settings. Toward
the end of the 1800s the lector was a very widespread figure in settings like tobacco mills,
for example. Among the books read out loud to alleviate the boredom of repetitive labor,
we know that one of the favorites was The Count of Monte Cristo by Alexandre Dumas,
so much so that a group of cigar makers wrote to the author shortly before his death
(1870), asking him if they could name their products after the Count; Dumas consented,
and “Montecristo” is still a brand name found on the market today.
For Reading, seen as a necessary, indispensable moment connected with knowledge,
relaxation and recreation, the event DECODE ELEMENTS provides special ‘outposts’
at the Cortile della Rocchetta of the Castello Sforzesco, with projects by Italian
and international designers that form the core of the overall installation. These are
the reading lounges, a series of comfortable places for encounters, relaxation and,
above all, for reading, which in a ‘surreal’ way organize, in a public place, situations that
would normally belong in a domestic setting. With the collaboration of leading companies
in the furniture design sector, the reading lounges offer the varied design public, and all
visitors, the possibility of taking a break on comfortable divans and armchairs, leafing
through books and magazines, like a contemporary living room placed below the
porticoes of Cortile della Rocchetta, in the awareness that, as Italo Calvino wrote,
“reading means approaching something that is just coming into being”.
Matteo Vercelloni
Co-producers
51
READING LOUNGES - FURNITURE
CORTILE DELLA ROCCHETTA
Pick Chair design Dror Benshetrit
for BBB EMMEBONACINA
Hard Relax design Simone Micheli
for IRIS CERAMICA
Tototo design Hannes Wettstein
Stripe Bench design Gabriele Pezzini
for MAXDESIGN
Michetta design Gaetano Pesce
for MERITALIA
Bali design Carlo Colombo
for POLIFORM
The 8th element
by MINI
Loco design Ivan Palmini
for ALLUMINIO SAMMARINESE
Bookshelves Wall System
for POLIFORM
CORTE DUCALE
Heaven Collection design Jean-Marie Massaud
for EMU
Round Collection design Christophe Pillet
for EMU
VIDEO INSTALLAZIONI
Digital Fire project by Toshiyuki Kita
with SHARP
L’Archivio della memoria project by Federica Marangoni
with REFLEX
PRESS ROOM
with NOLOSTAND, ALIAS, CASSINA and FLOS
MEETING POINT
by Simone Micheli
with IRIS CERAMICA, HEWLETT-PACKARD and MY5 POWER PLATE
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
52
Dror Benshetrit
ISOLA DI LETTURA/READING ISLAND
Pick Chair
design di/by Dror Benshetrit
produzione/production BBB EMMEBONACINA
53
Simone Micheli
Hard Relax
design di/by Simone Micheli
realizzazione/with IRIS CERAMICA
54
Hannes Wettstein
Gabriele Pezzini
Tototo
design di/by Hannes Wettstein
Stripe Bench
design di/by Gabriele Pezzini
produzione/production MAXDESIGN
55
Gaetano Pesce
Michetta
design di/by Gaetano Pesce
produzione/production Meritalia
56
Carlo Colombo
Bali
design di/by Carlo Colombo
Wall System (librerie/bookshelves)
produzione/production POLIFORM
57
The 8th Element
produzione/production MINI
58
Ivan Palmini
Loco
design di/by Ivan Palmini
produzione/production ALLUMINIO SAMMARINESE
59
Jean-Marie Massaud
Christophe Pillet
ISOLE DI LETTURA/READING ISLANDS
Heaven Collection
design di/by Jean-Marie Massaud
Round Collection
design di/by Christophe Pillet
produzione/production EMU
60
VIDEO INSTALLAZIONE
VIDEO INSTALLATION
Digital Fire
progetto di/project by TOSHIYUKI KITA
61
ISOLE DI LETTURA
READING ISLANDS
PICK CHAIR
HARD RELAX
TOTOTO
STRIPE BENCH
per/by Maxdesign
LA MICHETTA
per/by Meritalia
BALI
per/by Poliform
THE 8th ELEMENT
per/by MINI
LOCO
design IVAN PALMINI
HEAVEN COLLECTION
per/by Emu
ROUND COLLECTION
per/by Emu
per/by Poliform
VIDEO INSTALLAZIONI
VIDEO INSTALLATIONS
DIGITAL FIRE
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
INSTALLAZIONI VIDEO
VIDEO INSTALLATIONS
DIGITAL FIRE
progetto di/project by TOSHIYUKI KITA
Concept
Until a short time ago people lived side-by-side with fire.
In the installation at Castello Sforzesco I have decided
to use the most advanced technology, with highdefinition screens, to evoke the light of the
Middle Ages. The idea is that when reading a book
beside these ‘digital flames’, one can go back in time
and rediscover the sensations of a life lived in
the presence of fire.
Project
The installation consists in the positioning, along one side of the portico of the Corte della
Rocchetta, of large 52" Sharp high-definition monitors. Each monitor will be
supported by a specially designed element that presents the television as a sort of
contemporary 'torch', like the medieval torches that once were used to light the way
in Castello Sforzesco. The monitor supports, in painted iron, also contain the remote controls
for the high-definition playback, a contemporary reinterpretation of the bases utilized many
centuries ago. The series of 'digital torches' offers a clear sign on one side of the
courtyard, integrated with the presence of furnishings and bookcases to form reading islands.
TOSHIYUKI KITA, born in Osaka, Japan in 1942, earned his degree in industrial design at
Naniwa College in 1964. In 1969 he began his career as designer in Italy, in Milan, and in
Japan, working in particular in the environmental design and product design
sectors. Already in 1975, he received the prestigious Japan Interior
Designers Association Awards, the first of a long series. In 1981, he designed the Wink
chair for Cassina that became part of the permanent collection of the MoMA in New York. In
1984, the Kick table also became part of the famous collection. In 1986, he participated as a
member of the jury in the 19th Premio Smau for industrial design in Italy. After having staged
two personal shows in Vienna and Barcelona, he established the Tenjin Baroa
Committee and organised a symposium with designers from Osaka and Milan. In 1990, he
received in Spain the Delta de Oro award and in 1992 he designed the interior and the seating
for the rotating theatre at the Japanese Pavilion for the Seville Expo.
Co-producers
62
VIDEO INSTALLAZIONE
VIDEO INSTALLATION
L’archivio della memoria
progetto di/project by FEDERICA MARANGONI
realizzazione/with REFLEX
63
ISOLE DI LETTURA
READING ISLANDS
PICK CHAIR
HARD RELAX
TOTOTO
STRIPE BENCH
per/by Maxdesign
LA MICHETTA
per/by Meritalia
BALI
per/by Poliform
THE 8th ELEMENT
per/by MINI
LOCO
design IVAN PALMINI
HEAVEN COLLECTION
per/by Emu
ROUND COLLECTION
per/by Emu
per/by Poliform
VIDEO INSTALLAZIONI
VIDEO INSTALLATIONS
DIGITAL FIRE
PRESS ROOM
con/with Nolostand,
MEETING POINT
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
INSTALLAZIONI VIDEO
VIDEO INSTALLATIONS
progetto di/project by FEDERICA MARANGONI
realizzazione/with REFLEX
Concept
A large object with an ephemeral image: an open book.
A monument to the concept of writing and communication,
to the words layered in memory. The work in glass is a
presence without a definite dimension, a simulacrum,
where symbolic words appear here and there on the
surface, surfacing from the depths of the open pages as
if evoked from the most profound recesses of the mind.
Electronic words, not written but projected, in
movement, words of memory. This work can speak any
language, and any word can be written here: an endless
archive. It is the formal monument to the book, but also a
fragile monument that does not impose itself, but offers
itself as a form profoundly linked to culture and the very evolution of man. The installation
prompts important reflection on our relationship with reading today, in the age of media, when
computers and TV seem to have changed values and habits. But the book will live forever,
sustaining our spirit, and this one in particular can serve as a symbolic presence, a surface for
every text that can be projected on its always open pages.
Project
Large media sculpture in curved glass. The cover is in layered glass, the lectern in iron.
The central page in frosted glass functions as a screen for the video back-projection.
FEDERICA MARANGONI, a multimedia artist, works internationally and lives in Venice.
In her sculptures and installations she mixes lights, glass and moving images, creating
the illusion of a dynamic dimension of the work. The vibrant light of screens, neon and
LEDs represents, in her work, the vitality of our contemporary age, giving her sculptures
–mutant, virtual presences- an anti-monumental spirit. From 1976 to 1990 she was an
Assistant Professor at New York University in the Art department. She has conducted many
lectures, including “Art, Arts & Crafts, Design: analysis, comparison and interaction”,
“Electronic light and the movement of the image: new dimensions of contemporary art”.
Her works have been shown in many museums and galleries around the world, including
MoMA New York, The Venice Biennale, the Casa de Vacas Parque del Retiro in Madrid,
the Hara Museum in Tokyo, the CIAC in Montreal, the Holly Solomon Gallery in New York,
Ernsting Stiftung at Coefeld-Lette-DE, Sculpturen Glaskasten Museum in Marl, Peggy
Guggenheim Foundation in Venice, “Me Design” Genoa 2004, Remy Toledo Gallery, New
York, Circolo de Bellas Artes, Madrid. She has made many works of public art for cities
and sculpture parks in Italy and Spain.
Co-producers
64
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
MINI
Besides being a car, MINI is a world made of emotions, passion and fun. Now at the first
generational change, the MINI by BMW Group is ready for further challenges. Available as
from November 2006, the new MINI stands out for the design evolution of the body
and the driver’s cabin and also for a real revolution concerning the engine.
Among the first available models, MINI Cooper S with 128 kW/175 CV turbine engine and
MINI Cooper with 88 kW/120 CV engine. In addition, the new MINI One, supplied with a
four-cylinder 1,4 lt petrol engine 70 kW/95 CV, and the new MINI Cooper D, with a fourcylinder 1,6 lt turbodiesel and 80 kW/110 CV. Presented in a world preview at the international
car show in Geneva on March 8th 2007, they will be marketed in Italy as from April 2007.
In September 2000, over 40 years from its revolutionary debut, the ingenious car designed by
Alec Issigonis passed the baton to the new MINI of BMW Group.The result of the work
carried out by a team of international designers, the new look of the MINI was displayed at
the Frankfurt Show in 1997 for the very first time. After working at the setting up of the cabin,
motorization and output planning for many years, the presentation of the new MINI to the world
market occurred at the Paris Car Show in September 2000. The distinctive feature of the MINI,
both the one designed by Issigonis and the one manufactured by BMW Group, is its marked
personality. Devotedly guarded by its admirers, it is still integral in its genuine heir. A lot has
changed in technology, creative languages and daily life from August 1959, when the car was
designed by Issigonis and with the arrival of the real heir ‘made by BMW Group’ the MINI world
has also evolved. The MINI by BMW Group keeps the chic, sporting and gritty look of the
historical MINI. It extols the performance and fun in driving offered by the original, yet it’s
completely renewed in design, comfort and safety. Relying on its history and personality, it feels
at its ease in the new millenium. In Italy, besides some market-oriented events, MINI is now
connecting with students and recent university graduates by extending its
presence in the world of creativity, school and training and promoting safedriving projects. Furthermore, it was the player of cultural and custom events that helped in
meeting musicians, artists, actors, movie-makers and their audience.
MINI Clubman and The 8th element
During FuoriSalone MINI renders the eighth element of DecodeElements with “motion” and a
number of events inspired by the new MINI Clubman, on the market by the end of
the year. In physics, the word “motion”defines a process where a body or an object change
their position, conditioned by the time factor. From the psychological viewpoint, the concept
of “motion” may refer also to the capability of arousing sensation, emotion, feelings, what may
be defined as “excitement” as regards the MINI. By combining “elements” and
“excitement” you can interpret the theme of the show from a different prospect, “the
other MINI”, the new model that will be added to the range next autumn, the MINI
Clubman. Under the arcades of Cortile della Rocchetta, MINI carries out its own Reading
Island called "The 8th element", with installations on “Motion”. MINI has devised MotionLounge – to be completed with several Excitement Zones – Zones of feelings that explain and
convey the various aspects of Motion and present the lines of the MINI Clubman.
Co-producers
65
Co-producers
MINI
66
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
NASTRO AZZURRO
Launched in 1963 as the top-quality beer of Gruppo Peroni, Nastro Azzurro is now the
Italian premium beer most popular in the world. At first, tied up with Peroni, both
as communication and packaging, over time Nastro Azzurro has built its own identity on
the most positive and winning values of being Italian: creativity, talent, energy, irony,
winning attitude, capability of going beyond the obvious and social conventions. The
history of communication tells the evolution of the brand, once tied up with the Italian and
Mediterranean images (sea, sailing, sports) and now the player of an increasingly
international context, where one can proudly state “C’è più gusto a essere italiani”.
2005 marks the turning point for the brand. Nastro Azzurro attacks the premium market
segment, where foreign brands are prevailing, and relaunches a new image through a new
packaging, new advertising campaigns, valuable events like MAD (Fashion, Art, Design),
the London and NY City Guides, the campaign to celebrate Valentino Rossi’s seventh
world title, Formentera. The challenge of Nastro Azzurro proves to be winning: the brand
has been gaining market shares for two years, it is more and more popular among the
young and gets also an official recognition, the 35th Key Award of communication for the
commercial Mike NYC. The success on the Italian market persuades the Group SABMiller,
that grasps the high potential of Nastro Azzurro and decides to back the brand worldwide
with considerable marketing investments. Nastro Azzurro crosses the domestic borders and
becomes an international brand, successfully launched on major markets for the beer,
like United States, UK, South Africa, South America, East Europe. And this bet, too, proves
to be winning: two years later, Nastro Azzurro is the most popular Italian premium beer and
features very positive growth indexes, that help to the launching on other leading markets.
So "Italians have more fun " isn’t just an advertising pay off but a reality supported by the
international success of the brand.
Nastro Azzurro and Design
Pure energy, contamination of styles, open-mindedness and breaking of rules are values
that link Nastro Azzurro to the design community: two areas of Italian excellence
consciously chosen by people all over the world. “Made in Italy” products have always been
a guarantee of value, uniqueness and undisputed qualities… just as Nastro Azzurro is the
Italian lager par excellence, guarantee of quality, style and Italian character. And just from
the passion for creativity and Italian character comes the project NADA, Nastro Azzurro
Design Attitude, an event taking place during FuoriSalone and meant to offer a new point
of view on Design, to find out what makes Italian Design so unique and special.
Co-producers
67
Co-producers
NASTRO AZZURRO
68
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
SEDICI
The works for the renovation project of SEDICI, a former industrial shed that accomodated
some production units of the Gruppo Ansaldo in the early twentieth century, were started
at the beginning of 2006. Located opposite the contemporary art showroom Hangar
Bicocca and behind the entertainment center Bicocca Village, SEDICI offers bespoke
factory-lofts, that suit special requirements. An artist quarter inside a building. The name
is the number that marked this section of industrial archaeology, that is going to be revived.
The project will preserve the historical features of the building by extolling the
architectural components, such as the red brick front, the iron fastenings and the shed
covering. 65 units (ranging from 160 and 600 m2, for a total area of about 18.000 m2),
distributed on two above ground levels. The highest standards of safety and
comfort will assure the future users the best conditions to live these spaces with creativity
inside the renovated property. A suitable number of private pits will be obtained in a threestorey garage. Each factory-loft is to be customized, with inside heights up to 7 m, perfect
for mezzanine floors. All that in a place full of energy, as it is situated in a cultural-artistic
centre (Teatro Arcimboldi is quite close). The delivery of the first-factory lofts of SEDICI
is planned for September 2007. It is promoted by Spazio Industriale, a real estate trust
specializing in light industrial/logistics run by Pirelli RE SGR and owned by Spazio
Investment NV, a company quoted on the Alternative Investment Market of the London
Stock Exchange. SEDICI falls within the Grande Bicocca project, an upgrading plan
of some one million square metres – the development on about 800.000 m2 was
completed so far– located in the Milan metropolitan area, taking up the area of the former,
early twentieth-century Pirelli plants for the production of tyres, electric cables and other
rubber articles and most of the plants of Gruppo Ansaldo. Over seven years, the Bicocca
has changed into a new central position of Milan with a strong cultural vocation, where art,
design and cinema meet, thanks also to the presence of the Università degli Studi di
Milano-Bicocca, Teatro Arcimboldi, Hangar Bicocca.
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
Co-producers
69
Co-producers
SEDICI
Bicocca-Milano
70
INSTALLAZIONI
INSTALLATIONS
• TERRA
ETTORE SOTTSASS
con/with Boffi
• ACQUA
DORIANA e/and
MASSIMILIANO FUKSAS
con/with Ranger
• ARIA
FRANCESCO e/and
ALESSANDRO MENDINI
• FUOCO
GAETANO PESCE
con/with Meritalia
ODILE DECQ
• LEGNO
MICHELE DE LUCCHI
KENGO KUMA
con/with Bals Tokyo
e/and Motorola
• METALLO
RON ARAD
DOMINIQUE PERRAULT
ARCHITECTURE
con/with GKD
• LUCE
INGO MAURER
e/and La Sterpaia
PRESS ROOM
con/with Nolostand,
MEETING POINT
SIMONE MICHELI
Via Trentacoste 7
20134 Milano
tel 02 21 56 3-319/237/320
[email protected]
The name of the most popular department store in Italy was chosen by Gabriele D´Annunzio
in 1917. The idea was to celebrate with this name the reconstruction of the building on Piazza
Duomo in Milan, burnt into flames. The Borletti family, the purchaser and as from that year
the new owner, wants to give it a special mark and establishes a business strategy that would
prove to be winnning: top quality products yet without giving up the “price scale”, thus
accepting the challenge of meeting high-end and medium-end requirements. In the fifties,
it is a real, modern-oriented institution, confirmed also by the professionals, who work
for this by now renowned brand (Gio Ponti, Max Huber, Bruno Munari, just to mention a few
of them) so that La Rinascente acts as go-between for the new international, cultural
trends, capable of recognizing and producing artistic value. As proved by the founding of the
award Compasso D’Oro, which still exists, conceived to be a credit to those, who can
combine technical requirements and aesthetic qualities in the planning and carrying out of
everyday objects. La Rinascente was sold to Ifil in 1969. In 1997 the French Group Auchan
takes over 49% and so Gruppo Rinascente is established with different lines of business,
food and more, with the following brands: La Rinascente, Upim, Auchan, Cityper, Sma, and
Bricocenter. In the spring of 2005 the brand La Rinascente is sold to a group of investors,
formed by Investitori Associati, Pirelli Re, Deutsche Bank and the Borletti family.
The purpose is to upgrade the company’s position and make it the best showcase of
Italian and international brands. At the helm, Vittorio Radice, who comes from a
consolidated experience with foreign department stores like Habitat UK and Selfridges.
The aim is clear: to double the turnover within 2012 through three strategic change processes:
the renovation of all stores, the opening of new points of sale in the chief Italian cities, a richer
supply by adding some prestigious fashion, design and life style brands, domestic and
international, and a total and qualified customer-service, in order to change the store into
a real magnet, that amazes for its beauty but also for the non-stop presentation of new
products. The flagship store Milano Piazza Duomo has celebrated the end of the first step
of a huge global revamp involving great international names of design and architecture, such
as Studio Cibic & Partners and India Mahdavi. The former has carried out the project
of the front of windows, the latter has renovated the ground floor and mezzanine, meant for
perfumes and accessories. Together, they are the authors of an actual metamorphosis, so the
windows have now a contemporary and international look and design and style are dominant
in the interiors. In addition, the outside front was entrusted to architect Andrea Grilletto,
who has a consolidated experience in the restoration of artistic and architectural properties.
The brands are among the most prestigious ones: Burberry, Chloé, Dior, Louis Vuitton,
Salvatore Ferragamo, Valentino, Yves Saint Laurent for the accessories, Bulgari, Cartier,
Chaumet, Pisa Orologeria for the jewels. And also Jo Malone, Kiehl´s, Molton Brown, Shu
Uemura, Creed and many more, to add glamour to the perfumes department. In the years
to come, all points of sales are going to be renovated according to the same principle.
In the meantime, as far as the flagship store Milano Piazza Duomo is concerned, 2007 will see
the renovation of the 3rd floor, dedicated to the women’s fashion. The project will be carried
out by Vincent Van Duysen, known for his minimalist and refined interior design.
At the same time, also the fifth, children’s wear, will be refurbished by the London-based
HMKM, as well as the seventh floor, to house a food hall. The catering concept will be
developed by The Ford McDonald Consultancy and the interior design by the group
Lifschutz Davidson Sandilands. Three designers, who follow a living-in philosophy based
on technology and creativity, that was awarded many times.
Co-producers
71
Michele De Lucchi
Alessandro e Francesco Mendini
Gaetano Pesce
Odile Decq
LA RINASCENTE
8 vetrine interpretate da 8 architetti/8 windows interpreted by 8 architects
72
Dominique Perrault
Massimiliano e Doriana Fuksas
Ron Arad
Kengo Kuma
LA RINASCENTE
8 vetrine interpretate da 8 architetti/8 windows interpreted by 8 architects
73
OUTDOOR LUXURY DISPLAY (cm. 200x300h.)
impianto pubblicitario/advertising display
progetto di/project by PAOLO CASTI
realizzazione/with CLEAR CHANNEL ITALY OUTDOOR
74

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Mercatini di Natale di Verona Comunicato Stampa Ufficiale

catalogo - Art Slide Design