Light Bull charging Wall Street, The Bull of light that attacks Wall Street, freely inspired by the famous Charging Bull, "bull attack" that has adorned the Bowling Green square, near Wall Street in New York City, it repeats the massive size and the aggressive posture, twisting, however, the deeper meaning. The bronze bull was installed by the author, an Italian sculptor, with the explicit intent to symbolize strength, power and hope of the American people that had allowed the U.S. to recover after the financial crash del1987; unfortunately, today, that bull is widely regarded as the very symbol of Wall Street and what it represents in the eyes of ordinary people.
Given the current socio-economic development and the continued flourishing of peaceful protest movements, as Occupy Wall Street, created to expose abuses of finance capitalism, the work of Simone D'Auria (built by MVM Carimati) wants to stand as an aesthetic and philosophical symbol of a new and increasing confidence in the ability of nations to defeat the dark times of crisis, lighting up (literally) their own future through the power (symbolized by the form of bull) that comes from knowing how to take a common goal, and from having as objective the interest of the community and not the good of the individual. The cracking of the surface of the torus allow to the light inside, which represents the common consciousness, to seep through the armor and radiate a hope in the eyes of the beholder.
For the 80° Anniversary Camparisoda proposes for the design week the metaphor of the journey with Matteo Ragni at Camparitivo in Triennale. Journey into the future, into the space. An invitation to take life as an extraordinary discover, an invitation to rely on proper talents, to discover every day a new stage, inside and outside ourselves. The 2012 is the Year of Learning to Fly. The last step before leaving, before enjoying the freedom of our abilities and powers. Learning to fly is a wish, an hope, an act of trust for who is looking for future and work. There is no doubt: the future is in the individual skills, is in the ability to reinvent the way of living, working and growing. Everyone have a great opportunity of freedom and accomplishment. Learn to fly! All can do it.
An exhibition by Lorenzo Damiani composed by objects scattered throughout several different places, all inside La Triennale di Milano, but not “set up” in the same space, in the same place. Objects to look for. Like in a quest or in a scavenger hunt.
MINI is ready to amaze the city with a new Unconventional activity.
Just in front of the Palazzo dell’Arte MINI espresse its Energy and its inborn Creativity.
MINI presents the preview of an Italian project.
Give space to the Colour. Play the Fluo!
Joint project: installation by Alberto Pizzati Caiani
Project assistants: Elisabetta Fornara and Federica Santulli
A project by: Triennale VisionLab
Project partner: LEGO®
With a contribution from: Intesa Sanpaolo
Founding partners of Triennale VisionLab: La Triennale di Milano, Politecnico di Milano, Intesa Sanpaolo, Istituto Mario Negri, Università degli Studi di Milano, Teatro alla Scala, EuroMilano
Triennale VisionLab, in association with LEGO®, presents the "PinkVision – Art Science and Bricks" project.
The PinkVision format, the brainchild of Alberto Pizzati Caiani, coordinator of the VisionLab activities, proposes a triennial programme of initiatives to Artists and Scientists, for an in-depth study into the premise that a "female" slant on things would 'in itself' constitute an element that attributes originality and innovation for individual efforts and joint contributions, in both the artistic and the scientific fields.
Rather than being research/action in format, the Art Science and Bricks project, brings … into play the LEGO® building bricks, a game for everyone, and invites 45 women Artists and Scientists to play.
Bringing to life the collaboration between VisionLab Triennale di Milano and LEGO® where the word "construction" seems to be the best playground for this innovative collaboration between the world of Art, of Science and of Business.
The extraordinary stars of Art Science and Bricks received the kit of 7140(!) building bricks from LEGO®, and they developed – with no limits to their inspiration and creation – the 45 works that will be re-combined in the large joint project to be inaugurated at Triennale di Milano on 17 April 2012.
Costanza Algranti, Gloria Argheles, Monica Armani, Claudia Astarita e Giuditta Valentina Gentile, Marina Avitabile, Sveva Avveduto, Daniela Basso,Maria Bonsanti, Enrica Borghi, Luisa Canovi, Letizia Cariello, Steafania Carmeli, Lidia Castoldi, Cecilia Chailly, Alessandra Cherubini, Paola Coccetti, Sara Comai, Giovanna Cornelio, Paola Crepaldi, Cinzia Cristiani, Carla Crosio,Barbara Degli Esposti Fragola, Marianna D’Ovidio, Maria Silvia Fiengo e Francesca Pardi, Maria Grazia Gambardella, Elisabetta Gariboldi, Francesca Gasparini, Giuseppina Gini, Maria Crhistina Hamel, Marina Lasagni, Susanna Legrenzi, Marinella Levi,Benedetta Mori Ubaldini, Marica Moro, Michela Moro, Roberta Oioli, Margherita Palli, Francesca Penzo, Donata Pizzi, Letizia Renzini, Monica Sarsini, Piera Sassaroli, Annamaria Testa, Valentina Vannicola, Vered Zaykovsky.
Unquestioned protagonists of the city of Venice, the Briccole, the posts standing in the lagoon from time immemorial, guide boats and alert as tides rise and fall. They are periodically replaced after being carved by “little artists”, the molluscs, which have left, through a meticulous work of perfectly-round shaped holes, sign of their passage. A post sunk into the lagoon lasts approximately 5-10 years. Our concern with ecology and the environment inspired us to give this wood a new “life”. Re-using the briccole in such a way as to transform them into an object with no need to imitate or make direct references to the lagoon is not easy, since our memories of them, our symbolic capital, are so strong that they unduly threaten to influence any attempt at re-designing.
“To create a “small things design” does not mean to create a “little design”, but a universal design, easy to understand and to use.”
Some sketches and notes inspired the idea of talking about experiments, about the difficult but stimulating process of projecting.
More than an anthology, this exhibition wants to explain the effort, the mistakes, the surprise, the delusion and the satisfaction you feel while creating and trying to bring to life something which still does not exist. They are some little steps that permit to develop a thought and to have those visions without which it would not be possible the change.
The exhibition starts from a fixed point in my way of designing: the simplicity, the simplicity meant as essential, immediate and plainness, as a design which does not need names, but thoughts.
The invitation is to enter this laboratory, a creation place, open to new and careful of the past, a space through which energies, stimulations and confrontations run.
Marco Ferreri has been called to curate the exhibition because of his multisectorial experience and his ability of distinguish the concrete from the noise. The coherence, the constancy and the ethic of his work, make him an authoritative designer, able to reject the fashion and to prefer the real life with critical consciousness, typical of the today best Italian design.
The exhibition presents the new collection Lezioni di Enzo Mari for Corsi Design Factory, vases and bowls in transparent resin, exposed on backlighted cubes to stress the transparency and brilliance of colors. The exhibition is enriched with sketches and maquettes by Enzo Mari and a video showing the lessons and meetings of Designer with the Editor in the path from the projectual idea to the final product.
Encountering and collaborating with Enzo Mari has represented a significant turning point for Corsi Design Factory in its way of working and quite a revolution in the approach so far adopted in the realization of products. The path from concept to product, with Mari becomes a training process where the Artist becomes the master who leads the craftsman to an always deeper awareness of the meanings of the object, its function and its aesthetic value and, above all, stimulates the passion, the interest, orientation of the choices of how to produce the object, so to get, though the repetition, the best possible implementation. This path, started with Enzo Mari more than one year ago, has allowed us to create, under his inspired and generous guidance a series of objects in clear resin, vases and bowls - each one hand made by the young artisans of the laboratory - where the rigorous ethic and poetic aesthetic sense of the Artist is strictly combined with the maestry of the craftsmen of the Editor.
Interior design and lighting: Simone Micheli
Music and sound design: Gianmario Liuni
Qualified therapists from Lanna Area, Thailand: LANNA GAIA Rejuvenation Centre
Promoted by Boscolo Travel, Cosmoprof Worlwide Bologna
Partners Adrenalina, Altha, Ave, Cyrus Company, Del Conca, Gruppo Euromobil, Glip, Liuni, Mioblu Special Wellness, Nextworks, Progemadue
Thanks to Fili Di Luce
An oasis that meets the need to escape reality—a spa where lightness, simplicity, harmony and instinct are modeled.
“Less is more”; I cannot find a maxim better than this to represent the spirit of our present-future. These three short, crisp words, in perfect praise of that complete simplicity which makes architecture great, were the conceptual cornerstone, the load-bearing creed of the brilliant Ludwig Mies van der Rohe, one of those fine minds whose work shaped the face of modern architecture.
These three words have inspired my definition of the installation Sense is simple, the spa—a temporary, ideal three-dimensional cross-section of the world of wellness that I’ve created for the Milan Triennale. Mies van der Rohe was the father of a “skin and bones” architecture of material honesty and structural integrity. He sanctified the particular and thought God resided in the details. In details that, in his works, were never frills or stereotypical trappings, but pure essence, naked souls that brought alive the equation, simplicity = beauty.
To believe in the phrase “less is more” is to believe in the capacity of negative space to charge positive space with meaning. And for me, in these times of chameleon-like change, it means to believe in the power of simple elements to regenerate, renew and reshape matter in a way that is natural, effective and sincere. It means, for example, to believe in the good that can be done by light, images, sound, texture and color. Light is a wonderfully non-invasive entity; with its mere presence-absence it can redefine harmonies, balances, spaces, shapes and volumes.
In its basic simplicity it tells stories of truth, stories that become synonymous with intelligence and sustainability. That's exactly why, in my architecture, the revolution of space begins with the unconscious awareness of the extraordinary power of light.
To believe, as I do, in an architecture of light and matter is to give importance to gestures that are simple but never dull. It means believing that less can become more if one chooses to tell stories that are naturally synonymous with magic and wonder, and that testify to a beauty that is linear and authentic, but forever evolving.
Stories that can make history, in their turn, as those told by Mies van der Rohe have done. In Sense is simple, a place devoted to psycho-physical regeneration, the lighting systems, together with the sophisticated rhythmic sounds and the simple wraparound compositional signs, build an interactive space with a strong synaesthetic charge. In this place, with its surreal features, the visitor is immersed in an amniotic limbo that can eclipse the canonical relationship between space and time. Simone Micheli
In this place, in which dynamism and interactivity reign supreme, everything becomes at once simple and ancestral.
Sense is simple wishes to emphasize how important it is, today, to get back to simplicity through the intelligent use of the complexities that characterize our present; back to placing extreme value on the relationship between one person and another and on that between the person and the senses.
Sense is simple is a pretext to tell a multi-sensory story, connected with wellness, which shifts its horizon beyond the confines of known reality not only to seek an alteration in language and content, but to define renewed experiential models capable of helping guests perceive a message of extraordinary uniqueness.
In this sense the installation that Simone Micheli dedicates to the Triennale di Milano is the child of intense reflections on the social-behavioral “spaces” that have characterized, and continue to characterize, our past and present temporal dimension with its continuous ebb and flow; it is a three-dimensional ensemble that draws intellectual oxygen from the meaning of life, from the varied relationship between humans and their environment; it is a living fluid aggregation for and on the web; it shows an osmotic fusion of complementary stories with the intent to create a unique example of significant depth, capable of indelibly touching the hearts and minds of its audience, eager to “hear” distinctive and memorable tales filled with real innovation-evolution.
Sense is Simple is an elegant, exciting and unlikely cross-section of the wellness center, where lightness, simplicity, harmony and instinct are modeled; it is a small corner of paradise to retreat to when one wishes to escape from the chaos of daily life.
Installation by Italo Rota
First time on the stage of FuoriSalone, Repower – international electric operator – presents an exhibition related to energetic sources, territory, technological innovation, sustainable mobility, services. A visionary project, rich of new ideas, where the couple Energy and Beauty combines itself with Man and Territory, in a possible and harmonic way. From the Parco delle Quattro Acque (Park of Four Waters) to the green mobility.
The London 2012 Olympic Torch designed by Edward Barber and Jay Osgerby goes on show at La Triennale Di Milano, representing the best of British design, engineering and innovation. Sponsored by UK Trade & Investment, the exhibition also includes sketches and models of the Torch, illustrating its development and design evolution.
NewChi presents Lighter than White, a collection of exquisite porcelain by Heinrich Wang. It´s the first European solo exhibition of the artist, acknowledged in his native Taiwan and other Asian countries.
Lighter than White is an interpretation of the traditional Chinese culture and philosophy in a modern context. The unique style of the collection transcends global fashion boundaries and embraces both the confidence of a new century and the spirit of an ancient civilization. Referring in his works to Chinese philosophy, legends and symbols, Heinrich Wang raises the issues of inner peace, enlightenment and self-improvement. Using the style of "Blanc de Chine" he gives back to the porcelain art its historical role in Chinese society: to reflect the style preferences and cultural tendencies of the period to which it belongs.
NewChi is a Taiwanese porcelain brand established by Heinrich Wang in 2003. It is focused on the modernization of traditional Chinese aesthetics and the improvement of the porcelain production technique. The history of the brand began when Heinrich Wang realized that none of the existing factories in Asia could produce his designs, which are characterized by pointed bases and suspended parts unprecedented in porcelain art. The main problem was the tendency of porcelain to shrink and contract under high temperatures. NewChi overcame these problems and soon demonstrated excellent results in the innovation of porcelain production, allowing for the manufacture of objects with unique shapes. This advance in porcelain production is demonstrated by the present collection, which was made possible only after a long quest for technical perfection. www.new-chi.com
Heinrich Wang (1953, born in Indonesia, raised in Taiwan) is a ceramic and glass artist, teacher, photographer and film director. He founded the first glass workshop in Taiwan in 1988, and established a glass art company Tittot Co. in 1994. Wang also founded the first crystal glass museum in the greater China (1999). He received Martell Artist of the Year award (2004) and Ernst and Young Entrepreneur of the Year (2010). His works are in the collections of the National Museum of Chinese History and National Palace Museum (Beijing), Victoria and Albert Museum, Corning Glass Art Museum, U.S. Library of Congress, and in many important private collections, including those of the Taiwanese president Ma Ying-Jeou, the Japanese architect Tadao Ando, and Charles, Prince of Wales.
Curated by Umbrella
Exhibition design by APML-architetti
Marmomacc - the International Natural Stone, Design and Technology Exhibition promoted by VeronaFiere - presents several projects realized at Marmomacc Meets Design.
In 2011 the annual appointment focusing on stone materials and design, propose the topic Mutable Spirit: a challenge to companies and designers on become so flexible as to exalt marble as a mutating and mutable material. Make marble effectively “mutable”.
The mutability of marble
A natural yet “alchemic” material, formed and transformed, evolving through extremely slow genesis, taking on properties and characteristics typical of the environment where it originates, absorbing and representing individuality and uniqueness.
Hard-wearing and stable, marble was historically associated with durability and prestige, becoming the favoured material for architecture and sculpture in the search for immortality.
Today, increasingly advanced technologies - including digital systems - are rediscovering its intimate, unsuspected and adaptable essence.
Marble, inasmuch, is still changing. And this time is does so at a perceptive level, becoming ductile in order to welcome that flexible mirror of a world - design - experiencing continual evolution.
Modules, accessories and surfaces are reviewed thanks to the sensitivity of designers in order to refine logics that are also increasingly attentive to sustainability topics.
If, on the one hand, marble is still able to impose its personality, demanding that we should approach its characteristics with deep and specific knowledge, on the other hand it propose infinite variables - of colour, consistency and impact - that make all kinds of other interpretations possible.
It is here that the fundamental potential for experimentation and innovation offered by design intervenes.
Exhibitors: Patricia Urquiola with Budri, Pietro Ferruccio Laviani with Citco, Setsu e Shinobu Ito with Grassi Pietre, Kjetil Thorsen-Snøhetta with Pibamarmi, Marco Piva with Regione Puglia (InSpo Marmi, Petra Design, Pi.Mar., Stonemotion), Raffaello Galiotto with Solubema and Merbes-Sprimont, Philippe Nigro with Testi Fratelli.
Lasvit e Ross Lovegrove present Lasvit Liquidkristal, a large crystal pavillion.
The project wants to challenge the most advanced technology of the company in order to manufacture crystal panels that can transform the optical beauty of buildings and space at any scale.
‘A well-informed and environmentally friendly urban lifestyle’ is the concept which inspired the 16 finalists of the ‘JTI Clean City Lab’ exhibition which will be open to the public at the Triennale from April 17 to 22, 2012, during Milan’s Design Week.
The ‘JTI Clean City Lab’ exhibition has its origins in a project conceived by JTI, in which the most talented emerging designers from four prestigious European schools - Milan’s Politecnico, the Central Saint Martins College of Art and Design in London, the European Institute of Design in Barcelona and HEAD - Haute Ecole d'Art et de Design in Geneva – will place their creativity, sense of aesthetics and eco-responsibility at the service of the community to design the outdoor ashtray of the future.
The object of the contest is to transform an everyday object into a piece of design, while raising the awareness of the public to questions of environmental sustainability, communicating that all that is needed to improve the quality of the environment around us are a few simple gestures, such as using ashtrays for cigarette butts. The first edition of the contest, which was won by the project ‘Moll@’ (‘Spring’) designed by Domus Academy student Giuseppe Zappavigna, attracted 300 entrants with designs for portable ashtrays. The winning project is currently in pre-production phase.
The 16 finalists will be chosen by an jury of experts in the fields of design and sociology, together with journalists from the sector, including the editor-in-chief of an leading interior design magazine, Gilda Bojardi, the designer Elio Fiorucci, the artist and designer Jozeph Forakis, the Japanese designer Isao Hosoe, the Chairman of Future Concept Lab Francesco Morace and the President and MD of JT International Italia, PierCarlo Alessiani. Vicente Garcia Jimenez will design the set-up of the exhibition.
The three winning designs will receive a cash prize, while the winner will also have the opportunity of having his/her project produced with the support of JTI.
JTI Clean City Lab is implemented in partnership with Future Concept Lab, a strategic research and consulting institute that stands out on the international landscape as one of the most advanced centres specialized in research, marketing issues and consumer trends.
Interface, a worldwide leader in the design and manufacture of stylish, high-performance carpet tiles, has chosen Milan Design Week 2012 as the European launch pad for its latest on-trend product collection, Metropolis.
Architect and fashion designer Francesco Maria Bandini, the creative force behind The Positive Floor installation as seen at last year’s show, is currently collaborating with Interface on an exhibition that will showcase the new collection. Housed in the historic Triennale di Milano, the exhibition will echo the topical themes of apocalypse and rebirth that have influenced the design of Metropolis and present a new imaginary world.
According to Bandini, the Metropolis exhibition conjures up a make-believe place where we all dream of living and working. He describes it as a cocoon that invites us to nest and be creative and that represents man’s continuous desire for regeneration.
He explains, “When the world as we know it has gone, there is a single element that signifies renewal: pure light. Displayed throughout the installation, it is central to the creative concept behind the Metropolis exhibition. After all, at the beginning everything has its origins in light.”
Michele Iacovitti, Vice President Marketing Communication & Branding at Interface adds, “For some, the apocalypse means death and destruction. For Interface it signifies rebirth and a better, brighter, more sustainable future. It is also the inspiration for some of our most distinctive products yet and an exhibition that promises to transport visitors to a brave new world - a world of hope, beauty and light that we envisage in the aftermath of a destructive or apocalyptic event. This is flooring, but not as we know it!”
The new Metropolis product collection includes 15 striking, modern designs that symbolise the past, present and future of human civilisations and their cities. From designs inspired by the visible signs of nature taking over ruins to the surreal patterns and electric lights of futuristic cities, what these new products have in common is their resilience in even the toughest of conditions and their impressive environmental credentials.
Future Roots is a gallery of photographic portraits that celebrates, through the passion and genius of international architects and designers, the vision of a future that plants its roots in the values and traditions of the past, its constant source of inspiration.
“Future Roots” is a path to excellence: without relinquishing the best of yesterday, it modernizes, transforms, reinterprets and projects it into innovative images, structures and products that remain contemporary thanks to a perfect balance between past and future.
This balance is the essence of each style and development and represents the driving source for the future of our culture.
To underline its commitment to building a better future for all, in collaboration with “Save the Children” the Tod’s Group has pledged to make a significant contribution to a charity to benefit Japan, in addition to donating a percentage of the proceeds from the sales of this book.
A learning curve based on man’s progress over the years, as seen through a multitude of objects tracing his evolving needs and, especially, his dreams.
456 design, classic and modern objects, activated by actors, acrobats and dancers, by magical theatrical devices. All there to witness or imagine through animated pictures. A project by Michela Marelli and Francesca Molteni conceived for I Saloni 2012, Design Dance was born of a creative workshop involving authors, interpreters and technicians. Over 200 companies whose products form part of the challenge to transform the objects on stage into protagonists: flying sofas, tables that play music, lamps that dance. An hour and a quarter of ceaseless activity.
Objet Préféré/Objet Coloré is an exhibition composed of two collections designed by Fabrica, the Benetton Group’s communication research center: Objet Préféré is a series of pieces of furniture created following a workshop between Fabrica and the cultural center Grand-Hornu Images in Belgium. Objet Coloré is a system of furnishings accessories conceived to show off clothing and accessories United Colors of Benetton. Thanks to its versatility and modular structure, Objet Coloré enables customised solutions in a mixture of multicolour shapes, surfaces and geometric forms, in keeping with the brand’s distinguishing elements.
Organization : Belgium is Design
Curator: Giovanna Massoni
Project Assistant, Editor: Emma Firmin
Visual Communication and Scenography: Lofi-Studio
Belgium is Design proudly announces details of Perspectives, an exhibition that surveys the current landscape of Belgian design : 25 established and emerging Belgian designers and companies take part in the event.
In a collection of prototypes, products, services, projects and systems, Perspectives offers intriguing, thoughtful and joyful reference points from which to consider the influence and impact design has on daily lives lived in parallel, colliding, harmonious and divergent ways.
Perspectives places emphasis not only on design in the here and now, but on its prehistory and future projections. From a social perspective, design comes from a desire to change – a more or less utopian representation of something better. This motivation also traverses design’s cultural perspective, where forms, materials, technical realizations and production processes provide important anthropological indicators and evidence of the evolution of human behaviour, needs and wants.
Reflecting both local and global contexts, the narrative of the exhibition draws on five different scenarios: industrial design, self-produced design (the designer/craftsman), design art (one-off series), social design and design as an ‘open work’ (open source, rapid prototyping). From these indicative ‘perspective grids’, each strand will give a kind of inventory of perspectives, demonstrating how approaches to design merge, converge and diverge.
List of participants
BRAM BOO — for Bulo
51N4E, CHEVALIER-MASSON, JULIE VANDENBROUCKE
D’HANIS & LACHAERT
JEAN FRANÇOIS D’OR — for Deknudt Mirrors-Reflect+
MAARTEN DE CEULAER
NATHALIE DEWEZ — for Established & Sons
ALAIN GILLES — for O’Sun
XAVIER LUST — for .MGX by Materialise
NEDDA — for Demeyere
PAPILIO / PRADO RUGS
STEFAN SCHÖNING — for Sigmaplan
STRATEGIC DESIGN SCENARIOS — per Agenda 21
DANNY VENLET — for AGC Glass Europe
SYLVAIN WILLENZ — for Stattmann Neue Möbel
Design, photography, sound and film come together for a stellar Royal Oak 40th anniversary worldwide exhibition. To celebrate the 40th anniversary of Audemars Piguet’s iconic timepiece Royal Oak, the world’s first ever luxury sports timepiece which sparked a complete paradigm shift in the watch industry, the Swiss Manufacture from Le Brassus in the Vallée de Joux has put together a unique, ephemeral exhibition.
Sebastien Leon Agneessens, the creative mind behind the overall design of the exhibition, drew his inspiration from the origins of the brand in Le Brassus. Hundreds of tubular sticks of different heights symbolising the forests of the valley area are treated as organ-like sound sculptures surrounding the exhibition area, which is made to resemble a fragmented mineral rock typically found in the Vallée de Joux
The contemporary lens of photographer Dan Holdsworth captures the terrain of the Vallée de Joux and its special – cosmic – relationship to time. He documents the Valley at its stillest hours, capturing the ancient forests and glacial topography under the celestial presence of mist or moon to convey the extraordinary temporal significance vested in the landscape.
Quayola's work for Audemars Piguet 40-years exhibition is a study and celebration of ‘matter’ itself, the substance of all physical objects. The installation focuses on a continuous transformation and metamorphosis of matter: from the grace, complexity and unpredictability of geological forms, to the perfection, beauty and precision of man-made objects of art. Through a process of continuous mutation and metamorphosis it explores simultaneously classical art, 1970s sculpture and contemporary digital aesthetics.
Curated by Loredana Parmesani, Carla Berioli, Luisella Valtorta
In collaboration with Dilmos and Secondome Design Gallery
With the contribution of Arti Grafiche Parini, Designcorporate, Must Gallery, Riccardo Mantelli New Media Art and Design.
Alessandro Ciffo presents eleven silicone armchairs, entirely self-produced in unique pieces.
A collection dedicated to art Masters mentioned by their names only, but revealing themselves through the colours that marks each one of them: Anselm, Claude, Ettore, Jason, Jean Micheal, Joan, Mark, Michelangelo, Victor, Willem, and the ironic self-portrait, Ale.
The title “Iperbolica” was inspired by a series presented for the first time in 2008 by Dilmos in Milan, in a “Scaccomatto” (chequeboard-style) version.
In this new version, the air inside is replaced by elastic foam making them more functional and safer over time, and solid, soft, inviting as usual.
The exhibition project envisages 9 large panels of the Abet Laminati Parade Collection designed by Giulio Iacchetti hanging suspended from a corner and slowly rotating on their diagonal. On the walls and on the floor, large mirrored surfaces made of laminate sheets, dynamically reflect the decors creating a magical and unexpected effect.
These large panels represent on a larger scale, those Abet laminates samples that usually fill up architects and designers offices. A tribute to the famous catalogue of the Bra-based company which has been able to spread its classic product among creative teams thanks to its coloured swatches.