AR Gallery Vol. 02

MARCELLO NIZZOLI

Marcello Nizzoli was born in Boretto in 1887, the Italian designer Marcello Nizzoli attended the Scuola di Belle Arti in Parma from
1910 to 1913. As a painter, Marcello Nizzoli was committed to Futurism. In 1918 Marcello Nizzoli opened a studio in Milan and
designed silk scarves featuring patterns in the Art déco style, which he showed at the Monza Biennale in 1923 and in Paris in
1925. In addition, Marcello Nizzoli designed posters for Campari, Maga, and OM as a graphic designer in the 1920’s. Marcello
Nizzoli also worked for Olivetti as a graphic designer from the 1930s. Olivetti established an advertising division in 1932 and
strove to create a uniform corporate image accompanied by a characteristically functional approach to product design. With
their products and consistent advertising by means of striking posters and other customized advertising materials, Olivetti was
soon successful worldwide. In 1936 Marcello Nizzoli became head product-design consultant for Olivetti. Marcellos Nizzoli’s
designs for a great many Olivetti typewriters and calculating machines are especially important, including the “Summa” (1940),
“Divisumma 14” (1947), “Elettrosumma Duplex” (1954), “Audit 202” (1955), and “Tetraktys” (1956) calculators and the “Lexicon
80” (1948), “Lettery 22”, “Lexikon 80 electric” (both 1950), and “Diaspron 82” (1959) typewriters. Typical of Marcello Nizzoli’s
product design is an organic, sculptural form combined with functional machine construction optimized for industrial mass
production. Marcello Nizzoli also worked for Olivetti as an architect, designing living quarters for employees from 1948 and,
in the 1960s, office buildings. For Necchi, another Italian firm, Marcello Nizzoli designed handsome-looking, functional sewing
machines, including the “Mirella” (1957) and the “Supernova Julia” (1961).

LETTERA 22
Marcello Nizzoli, 1950

OLIVETTI

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LA SUPERLEGGERA, chair
Gio Ponti, 1955
CASSINA

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GIO PONTI

Giovanni (Gio) Ponti, an Italian designer, architect and journalist, studied architecture at the Politecnico di Milano until 1921.
After finishing his studies, Gio Ponti worked for two years for Emilio Lancia and Mino Fiocchi in their architecture practice.
In 1923 Gio Ponti became artistic director of the Richard Ginori ceramics factory. Gio Ponti’s ceramic designs are in the
Novecento style. Along with Emilio Lancia, Giovanni Muzio, and Tommaso Buzzi, Gio Ponti is a major exponent of the
Novecento style, which became established in Italy in 1926 as a countermovement to Rationalismo. Inspired by French Art Déco
as well as the Wiener Werkstätte, Novecento also owes a stylistic debt to Neo-Classicism.The designs Gio Ponti created for
Richard Ginori were awarded a Grand Prix at the 1925 “Exposition Internationale des Arts Décoratifs et Industriels Modernes”
in Paris. That same year, 1925, Gio Ponti also realized his first architecture project in building his own house in Via Randaccio in
Milan, which is in the Neo-Classical style. In the 1920’s Gio Ponti also designed furniture for the La Rinascente department store.
In 1928 Gio Ponti founded the architecture and design magazine “Domus”, remaining its editor for many years although he
interrupted his tenure between 1941 and 1947 to found “Stile”, a journal of art and architecture. From 1930 Gio Ponti designed
lighting and furniture for Fontana. In 1932 Gio Ponti and Pietro Chiesa became joint directors of the Fontana subsidiary Fontana
Arte. In 1933 Gio Ponti was a co-founder of the important Milan Triennale. From 1936 until 1961 Gio Ponti was a professor of
architecture at the Politecnico in Milan and wrote numerous books on art, design and architecture. The Pirelli Building, which has
thirty-four floors, is regarded as Gio Ponti’s architectural masterpiece (1955-1958 with Pier Luigi Nervi).
Gio Ponti also designed the Denver Art Museum (from 1971). Legendary Gio Ponti designs are his “Superleggera” (1957) chair
for Cassina, the glass and lighting he did for Venini (1946-1950), and the coffee machine he designed for La Pavoni (1948).

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LABIRINTO, carpet
Gio Ponti
AMINI

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ESPANSIONE LIBERA IN BLU
Lino Sabattini, 1973

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LINO SABATTINI

Lino Sabattini was born in Correggio (Reggio Emilia) in 1925 from unpretentious and hard-working people. While he was still a
child, his family moved to Blevio, a small group of houses on the Como Lake. He was different from the other children:
he preferred long walks in the mountains, ending with a dive into the water of the lake, to toys. He developed a passion for
music and theatre. At the age of 14 he found a work in Como, in a commonplace brass objects shop. It was no casual choice.
Soon he found a copy of Gio’ Ponti review “Domus”. It became his textbook, his Bible, his correspondence school. In the
brassware shop he earned his living, but he also learned the techniques of metal’s trade. 
In an old windmill on the lake meets Rolando Hettner, a displaced German who made beautiful works of pottery, painted and
read great numbers of books. The man in the old windmill became the exhilarating experience of his spare time, a master of
existential tension who encouraged Sabattini to seek radically new artistic solutions for his work. Now thirty, Sabattini left Blevio
for Milan, where he found basement and setup up a small laboratory with all the essential tools for his craft. His contacts with
“Domus” became more frequent. He began to meet young architects and pupils studying under Gio Ponti. On of them brought
the master a few metal objects created by the young craftsman. So, one day Ponti himself showed up in Sabattini’s basement.
He looked around, handled a few objects and gave Sabattini an idea to work on. In no more than three days Sabattini has
finished the job. Ponti was enthusiastic. This was the beginning of a long friendship marked by several fundamental landmarks:
Milan Triennials, Venice Biennials, the publication of his works and a one-man exhibition both in Italy and abroad. In 1956
Sabattini caused sensation with the prototype of the “Como” Set at the Paris Exhibition “Shapes and Ideas from Italy”. From
1958 to 1963 he worked in Paris and in Milan for Christofle, a prestigious company, trying in vain to sweep away stale and
lifeless production work.
In 1964 he moved to Bregnano, a little spot between Milan and Como. He became the entrepreneur of his own ideas, sensibility
and diversity which found no place in the contemporary world of production. This began a solitary adventure which eventually
took solid shapes in the Argenteria Sabattini, where he created beautiful silver shaped of exquisite simplicity.

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CONCERTO, candle holder CALANCO, sculpture CAVALLO
Lino Sabattini Lino Sabattini Design by Gio Ponti
1960 1978-81
Lino Sabattini

1978

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LE MANI MASCHERA CORNUTA COLA’, sculpture MADRE E FIGLIA
Design by Gio Ponti Design by Gio Ponti Lino Sabattini Design by Gio Ponti
1973
Lino Sabattini Lino Sabattini Lino Sabattini
1978
1978 1978

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CLAUDIO SALOCCHI

Italian architect and product designer Claudio Salocchi passed away at the age of 78. Salocchi has been a juror at the “red dot
award: product design” in 2004 and 2006 and incorporated his expertise into the fields of jewellery, fashion, accessories, textile
design and new materials.
Claudio Salocchi, born in Milan in 1934, graduated in architecture at the Milan Polytechnic.
He has been Vice President of ADI, Associazione per il Disegno Industriale, and teached “Interior and Product Design” at the
Università degli studi di Roma “La Sapienza”, Prima Facoltà di Architettura “Valle Giulia”. Besides he has taught at the State
Professional Institute of Furniture and Furnishings in Lissone and at the School of Architecture of Milan Polytechnic.
On an international level, Salocchi worked in the fields of architecture, interior and industrial design. A great deal of his works
and projects were chosen and exhibited through selections or invitations at the most important exhibitions, events or museums,
both in Italy and abroad.

VIVALDA, chair
Claudio Salocchi, 1965

SORMANI

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APPOGGIO, stool
Claudio Salocchi, 1973

SORMANI

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FLUO, floor lamp
Claudio Salocchi, 1967
LUMENFORM LIGHTING INC.

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SALVATI E TRESOLDI

Alberto Salvati
Born in Milan in 1935, he graduated in architecture in 1960. He was a lecturer from 1961 to 1964 at the Milan Polytechnic faculty
of engineering, and lecturer at the Milan Polytechnic faculty of architecture for the year 1962-63.
Ambrogio Tresoldi
Born in Cavenago Brianza in 1933, he graduated in architecture in 1960. From 1961 to 1964 he worked as a lecturer at the Milan
Polytechnic Faculty of Architecture.

In 1960 they began working in building, furnishing and industrial design. They designed homes, industrial complexes, shopping
malls, offices and hotels in Italy and abroad. They took part in the 12th, 14th and 15th Milan Triennale, and won awards at the UISA
competition for steel furniture in 1961, the 5th and 7th International Competition at Cantù, Trieste in 1964 and 1965, Monza in
1965 and Rome in 1964 and 1965. They were invited to the 11th International Competition at Cantù in 1975. The coordinated and
staged the Settimane Lissonese for homes in 1963, 1965 and 1966, followed by the 1970 Settimana Lissonese in collaboration
with the Milan faculty of architecture, the IACPM home furnishing experiments and the Ente del Mobile Lissone in 1971 and 1972.
In 1973 they returned to the Settimana Lissonese in collaboration with the Triennale di Milano on the theme of “Habitative space
in public buildings”. They took part in “The New Domestic Landscape” exhibition at the New York Museum of Modern Art in 1972,
the Eurodomus at Turin and Milan, the “Milano 70/70” exhibition and the 3rd, 4th, 5th and 6th Mariano Comense Biennale.They won
the SMAU prize in 1979, and first prize in the competition for a Schieder shopping centre in Germany in 1979.
In 1980 they presented their own exhibition at Milan’s Lorenzelli Gallery with the monograph Salvati and Tresoldi, Architecture
and Design, published by Electa, Milan, and in 1982 at the Il Milione gallery in Milan. In 1983 they coordinated the “Moderno-
Moderno” exhibition at the Il Milione Gallery in Milan. They were selected for the Compasso d’Oro 1984 for the Miamina armchair,
produced by Saporita Italia, and the 1985 Saint-Gobin prize. In 1985 the book Salvati e Tresoldi. Lo spazio delle interazione, was
published by Electa, Milan. They were selected for the 1987 Compasso d’Oro prize for the Strasburgo seating system, produced
by the Gruppo Industriale Busnelli. They handled the installations for the following exhibitions: Adi-Technotel in Genoa, the 1987
Compasso d’Oro at the Palazzo Reale, Sala Delle Cariatidi in Milan, the Palazzo della borsa in Amsterdam, the Milan Furniture
Show, Simal, Furniture Show Bari 1989, “Compasso d’Oro - Italian Design” in New York, Orlando, Chicago, Seattle and Düsseldorf
1989, 1990 and 1991, “Thirty architects and the quality of the home” at the Ansaldo di Milano, 1990, and the “Progetto Gallery”
at the Milan Furniture Fair. They designed objects and furniture for Airon, Applicazioni Elettrochimiche, BBB Bonacina, Brunati,
Campeggi, Cassina, Delchi, Carrier, Edwards, ELco, Feg, Gaffuri, Gamma, Gruppo Industriale Busnelli, Lotus, Luci, Maico,
Martinez, Missaglia, Möbel Italia, Noalex, Pallavisini, Polistil, Pozzi, RB Rossana, RB Styling, Santambrogio & De Berti, Saporiti
Italia, Schieder, Teknomeli, Tetrapak-Euroceramics, Vigorelli and Vismara Farmaceutica. Collaborators: architects Lono Arosio,
Marcello Festa, Michele Fabris, Claudio Zoppetti, Stefano Minelli, Bellino Galante, Nicoletta Gugliemi, Massimo Pedrazzini, Marisa
Fumi, Silvano Ferrarese, Silvia Ballabio and Cinzia Zammataro.

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Armchair
Salvati e Tresoldi, 1960
GAFFURI ELIGIO & FIGLI SNC

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Monobloc environment
Salvati e Tresoldi, 1975
GAFFURI ELIGIO & FIGLI SNC

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SORIANA, armchair
Afra e Tobia Scarpa, 1970
CASSINA

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AFRA E TOBIA SCARPA

The son of architect Carlo Scarpa, Tobia Scarpa, was born and has spent his career in Italy. He collaborated with his wife, Afra,
on designs for nearly every major international company, including Flos, Cassina, Knoll and B&B Italia. Together, they developed a
vocabulary for accessible luxury design based on expandingtechnology and a wide variety of materials.
Tobia and Afra both went to school at the Instituto Universitario di Architettura in Venice. In the late 1950’s they began their joint
career, working with the Venini glassworks. In 1960 they went on to open their own design office in Montebelluna.
The furniture that they began designing, like Chair Model 917, manufactured by Cassina in the early 1960’s and produced in
walnut or ash with leather or fabric upholstery, was built on an appreciation for sumptuous materials and understanding of the
need for the comfortable yet elegant designs that were becoming popular during that period in Italy. These designs, simpler and
perhaps classical than some of their contemporary counterparts although they utilized entirely modern materials and methods of
construction. They attracted people who needed modern furniture that could coexist with the antiques that still decorated their
homes. Their “Bastiano” set - couch, lounge chair, tables - designed for Gavina and later reissued by Knoll is an icon of this design
philosophy and became one of the best selling pieces of its time. The chairs and sofa were built of wood with leather upholstered
cushions and could be completely taken apart. In 1966 Scarpa designed the “Coronado” series of armchairs for B&B Italia that
were wildly successful. This was some of the first padded furniture to use the new cold-molded foaming process in which a
metal structure could be sunk within the polyurethane padding. Scarpa’s work for Cassina, where he collaborated with Gio Ponti,
included the 1968 “Ciprea” armchair, which features a fabric slip-cover to give support to the frameless foam structure. Scarpa’s
1970 “Soriana” armchair, on the other hand, had an external metal frame and an organic foam cushion. These two chairs were
shown at theNew Domestic Landscape show at the MoMA in 1972 as representations his recent work.
Scarpa was commissioned, along with Pier Castiglioni, to design the first models for the lighting company Flos started by Dino
Gavina. His later “Papillion” lamp for Flos (1973) was one of the first designs to use the newhalogen technology.
Tobia and Afra Scarpa also worked in commercial architecture and interior design, especially later in their career. Some of their
best-known work was for the Benetton clothing company. They are credited with several interiors for them and for their prototype
store in Italy. Tobia has also been a lecturer at the School of Industrial Design in Venice. Throughout his career he worked with the
motto that design “is a profession without a rule book...that which remains (and is worth talking about) is that final and concrete
result: the object.”

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AFRICA, chair
Afra e Tobia Scarpa, 1975

B&B ITALIA

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VANILLA, lamp
Afra e Tobia Scarpa, 1979/1980

FLOS

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ETTORE SOTTSASS

Sottsass was born on 14 September 1917 in Innsbruck, Austria, and grew up in Milan, where his father was an architect.
He was educated at the Politecnico di Torino in Turin and graduated in 1939 with a degree in architecture. He served in the Italian
military and spent much of World War II in a concentration camp in Yugoslavia. After returning home in 1948, he set up his own
architectural and industrial design studio in Milan.
In 1956, Ettore Sottsass began working as a design consultant for Olivetti, designing office equipment, typewriters, and furniture.
Sottsass was hired by Adriano Olivetti, the founder, to work alongside his son, Roberto. There Sottsass made his name as a
designer who, through color, form and styling, managed to bring office equipment into the realm of popular culture. Sottsass,
Mario Tchou, and Roberto Olivetti won the prestigious 1960 Compasso d’Oro with the Elea 9003, the first Italian mainframe
computer. In 1968, the Royal College of Art in London granted Sottsass an honorary doctoral degree.
Throughout the 1960s, Sottsass traveled in the US and India and designed more products for Olivetti, culminating in the bright
red plastic portable Valentine typewriter in 1970, which became a fashion accessory. Sotsass described the Valentine as “a brio
among typewriters.” Compared with the typical drab typewriters of the day, the Valentine was more of a design statement item
than an office machine.
While continuing to design for Olivetti in the 1960’s, Sottsass developed a range of objects which were expressions of his
personal experiences traveling in the United States and India. These objects included large altar-like ceramic sculptures and his
“Superboxes”, radical sculptural gestures presented within a context of consumer product, as conceptual statement. Covered
in bold and colorful, simulated custom laminates, they were precursors to Memphis, a movement which came more than a
decade later. Around this time, Sottsass said: “I didn’t want to do any more consumerist products, because it was clear that the
consumerist attitude was quite dangerous.” The feeling that his creativity was being stifled by corporate work is documented in
his 1973 essay “When I was a Very Small Boy”.As a result, his work from the late 60’s to the 70’s was defined by experimental
collaborations with younger designers such as Superstudio and Archizoom Associati, and association with the Radical movement,
culminating in the foundation of Memphis at the turn of the decade.

VALENTINE
Ettore Sottsass, 1968

OLIVETTI

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CUBO, radio
Marco Zanuso, 1964

BRIONVEGA

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MARCO ZANUSO

Marco Zanuso, Italian architect and designer, studied architecture from 1935 until 1939 at Milan Polytechnic. From 1945 Marco
Zanuso had a practice in Milan and worked as an architect, urban planner and designer. Marco Zanuso is regarded as a leading
light in postwar Italian design. In 1946-47 Marco Zanuso was editor of “Domus”, then until 1949 editor of “Casabella”. In 1948
Marco Zanuso experimented on foam latex as seat upholstery material for Pirelli. In the process, Marco Zanuso designed several
pieces of furniture, which were made by Arflex, including the “Antropus” armchair (1949), “Lady”, another armchair, and the
“Triennale” sofa (both 1951). From 1958 until 1977, the German designer Richard Sapper worked in Marco Zanuso’s practice and
the two collaborated on a great many extremely imaginative and original designs for furniture, lamps, and electrical appliances.
For Gavina, Zanuso and Sapper designed the “Lambda” chair of diecast steel (1959-64). For Kartell, Marco Zanuso and Richard
Sapper 1961-64 designed the “4999/S” (1961-64), a stackable children’s chair of injection-molded polyethelene. In 1964 Zanuso
and Sapper created the world-famous, block-like “TS502” radio that opens out for Brionvega, as well as the “Doney” (1964),
“Algol” (1965), and “Black Box” (1969) portable televisions. In 1966 Marco Zanuso and Richard Sapper designed the “Grillo” for
Siemens. In 1956 Marco Zanuso co-founded the Associazione per il Disegno Industriale (ADI), of which he was president from
1966 until 1969. Marco Zanuso’s most important architectural projects include the Olivetti factory buildings in Buenos Aires and
São Paulo (1955-57), and the Necchi office building in Pavia (1961-62), as well as IBM factory buildings in Segrate, Milan, and
Palomba between 1974 and 1982.

K1340, small chair
Marco Zanuso, 1964
KARTELL

GRILLO, telephone
Marco Zanuso, 1967

SIEMENS

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BRANDS

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Amini Amini is an exciting business in the carpet making industry that was born from the vision of the Amini Brothers Company, the
Artemide long-standing company set up in 1962 by Sultan Amini, and renowned international market leader. At the heart of the project
is the desire to offer a highly elaborate selection of carpets, in tune with a contemporary dimension of interior design. This
collection boats a strong stylistic identity, even though it is declined in a complex and heterogeneous aesthetic assortment:
from the most decorative proposal, based on the expressive qualities of the material used, to the more decorative proposal
that reinterpret traditional designs in a contemporary feel, to the reissues of Gio Ponti’s artistic genius, over which Amini holds
exclusive right. Amini is based in Italy, but an international vision and manufacturing facilities established in geographical areas
where carpet-making is traditionally a typical expression of local culture. Amini is a unique company driven by a deep-rooted
passion, and whose philosophy is inspired by the pursuit of quality at all levels.

The Artemide Group is one of the global leaders of the residential illumination sector and high end professionals. Situated
at Pregnana Milanese, the Artemide Group has an ample international distribution presence in which the single brand
showrooms sprouts in the most important cities in the world and the «shop in shop» in the most prestigious illumination and
furniture shops. Founded in 1960s, Artemide is one of the most know illumination brands in the world. Known for its
«The Human Light» philosophy, Artemide is nowadays synonym with design, innovation and made in Italy.

B & B Italia Founded in 1966 as the result of the entrepreneurial farsightedness of Piero Ambrogio Busnelli, B&B Italia is a leading italian
B-Line company in the international scene of design furnishing for both home and contract purposes. The firm distinguished itself
from the onset for its industrial calling by introducing a managerial approach to corporate organisation, thus going against
the handcrafting, family-run rationale typical of the sector. Based in the noth of milan, the firm’s prestigious headquarters
were designed by R. Piano and R. Rogers in 1972 its products have contributed to wrinting the history of italian design, the
adventurous history of the success of taste, technologies and creativity that have made italy famous throughout the world and
distributed the «made in Italy» brand on international markets. The collection of B&B Italia furnishings issues from the skill to
represent contemporany culture and to promptly respond to the evolution of living habits and requirements. Modern furnishing
elements that are strongly distinctive and characterised by exceptional quality and timeless elegance are the result of the
unique union of creativity, innovation and industrial know-how.

B-LINE manufactures furnishing products for the home, office and contract since 1999.
The material we use are plastic, steel, fabric and wood and we are extremely flexible where the technologies to be deployed are
concerned. In this quest of ours for the perfect combination between versatility, originality and functionality, we involved both the
creative genius of Karim Rashid as well as the Zen essentiality of Kazuhide Takahama or perhaps the inspiration of a newcomer
at his debut: what absolutely counts for us is the quality of the design. Having singled that out, B-LINE’s team and the designers
work hand in hand through to the selection of materials, covering all technical aspects, to turn out products entirely made in Italy.

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Bartoli Design Bartoli Design is a team comprised of Carlo, Paolo, Anna Bartoli, who today continue the project that was begun by Carlo
Cappellini Bartoli in 1960 and has been made concrete through numerous collaborations woth leading companies in the field of
Cassina funishing – including Artflex, Arketipo, Bonaldo, Confalonieri, Colombo Design, Fiam International Office Concept, Jesse,
De Padova Kartell, Kristalia, Laurameroni Design Collection, Lauldi Porte, Mattteograssi, Move, Nodus, Rossi di Albizzate, Segis,
Steelcase, Tisettanta and Ycami. The studio’s research is dedicated to poetics based upon essentially and balance: both
in the initial concepts for product and communication strategies as well as their development, Bartoli’s work embraces the
complete spectrum of design services.
Bartoli Design also develops project in architecture, urban design, furniture and interior design.

Founded in 1946, Cappellini has become synonymous with contemporary, avant-garde design. Over the years it has
launched some of the world’s greatest designers, producing innovative and high quality furnishings. Cappellini’s collection
is characterized by experimentation and exploration of new ways of living, furnishing the whole domestic landscape from
the living room to the studio and bedroom, but also contract areas such as lounges, hotels and restaurants. Many of these
products have also become iconic pieces are exhibited in museums throughout the world. Cappellini also has experienced
know how in the production of modular furniture and solutions for residential and office areas. The combination of design
and advanced technologies is in line with the company’s traditional craftsmanship approach. It is particularly renowned for its
skilled lacquering processes. The collection boats a palette of 80 high gloss and matt colours which can be combined with a
selection of accessories and different sized modules.

The Amedeo Cassina company was created by brothers Cesare and Umberto Cassina in 1927 in Meda, Brianza. After the
war Cassina continued to expand in size and fame, woth products which covered a broad range of furniture including: chairs,
armchairs, tables, sofas and beds.
The company’s transformation was bolstered further by commissions for cruise ships, top end hotels and restaurants which
accounted for a grat part of the company’s activity right up to the mid-sixities and beyond.
In 1964 the Cassina I Maestri Collection was born, with the acquisition of the rights to products designed by Le Corbusier,
Pierre Jeanneret and Charlotte Perriand, the most important names of 20° century design.
The Cassina I Maestri collection was widened in 1968 with the acquisition from Bauhaus-Archiv in Berlin of reproduction
rights to some of the Bauhaus objects and in 1971 the designs of Gerrit Rietveld, Frank Lloyd Wright and of Charles Rennie
Mackintosh in 1972. In 2005 Cassina was purchased by the Poltrona Frau.

De Padova was founded in 1956, the year in which Maddalena and Fernando De Padova opened a small store on
Via Montenapoleone in Milan, and decided to import Scandinavian furniture. In the decades to follow the company grew,
producing – under license, at first - the finest American collection of furnishings for the home and office, under the trademark
Herman Miller, designed by C. Eames, G. Nelson and A. Girard. De Padova then began to produce its own collection, thanks
to collaboration with great internationally acclaimed designers.
In over 50 yeras of activity De Padova has kept faith with its original philosophy: design as a tool to spread emotion.
The De Padova collection comes from the inspiration of the great design classics, from the love if fine craftsmanship and
object of memory, from research combined with innovation. This is what makes the De Padova style so unique.

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Doreno Arte Since he was an adolescent, Doreno Pontiggia followed the footsteps of his father, trader and collector of art works and antiques.
è Luce He soon translates his passion for Design into a real job, constantly seeking for items able to raise emotions.
Gamec His collection gets enriched by unique pieces and propotypes of artists he sees great strength and expressiveness in.
He works with the most important auctions in the world, such as Phillips de Pury in London, New Jork and Paris.
I.C.F. Industrie Carnovali Over the years he collected extraordinary important artworks of Italian and foreign artists, like Gio Ponti, Ico Parisi, Ron Arad, Gianni
Joe Colombo Colombo, Lucio Fontana, Gino Sarfatti, Max INgrand. He has a constant eye on the market, thanks to the various trips to the main
European capital cities – London, Paris, Amsterdam and Copenhagen. In these very cities he attends to exhibitions and shows.
After 35 years of experience in the Art and Design environment, the passion and emotions that drive him in constantly accepting
new challenges, remain unchanged. His secret is in the fact that he has never forgotten the work as antiquarian.

E’ LUCE lighting was born in 1984 with the specific aim of selecting lighting fittings, produced by the most esteemed firms
on the market, for his own clients, pledging technical certification and a suitable alliance between refinement, design and
efficiency. Those years of activity led E’ LUCE to specialize in the sphere of illumination engineering design, solving problems
bound to the different types of places or situations to light with particular attention to lighting pollution and energy saving.
Making use of his staff of lighting engineering designers, it proposes solution suitable for the different needs of the spaces of
any destination both internal and external, being of house and operation kind or characterized by a higher and more significant
architectonic valance. Experience and professionalism allow us to face the problems of our clients: private citizens, designers,
freelancers, fitters, contract.

Gamec was founded in 1991. the building it is hosed in was formerly a convent built in the fifteenth century that has been
completely renovated by Vittorio Gregotti with financial support from the Municipality of Bergamo and the bank Credito
Bergamasco. The cultural policy proposed by the museum is diversified across its more than 1500 square metres of display
area: temporary solo and joint exhibitions by international artists, unseen project for artists tied to the local area all provide
opportunities for enjoyment to those interested in contemporary art and creativity.

I.C.F. Industrie Carnovali, with over 50 years’ experience in metal processing, develops and manucfatures exclusive furnishing
lines paying particular attention to the choice of materials and finishing, ensuring a high quality product and exclusively Italian
production. We propose modern and essential lines of bookcases, chairs, armchairs, tables and furnishings and author’s
pieces designed by internationally renowned designers. Protagonists of the collection are several original designs of Joe
Colombo that we produce and distribute upon permission by Studio Joe Colombo of Milan.

Founded in 1963 by Joe Colombo deals with design, renovation and interior design, basing its research on nwe technologies
and on the constantly evolving relationship between humans and the habitat. For eight years Joe Colombo designs object that
will become design icons.
After his premature death in 1971, the study continues the activity thanks to the architect Ignazia Favata, his assistant.
Linked to the thoughtful and thorough relationship between design and mass production, started by Joe Colombo, and with a
clear vision of the problems inherent to the spread of mass-production, the Studio Joe Colombo deals with the actualization of
the object in production, in addition to the production of new items.
The work of the studio is also characterized by intense museum activities and publications related to the work of Joe
Colombo, besides numerous exhibitions of various nature, as well as design and renovation of properties of various sizes.

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Kartell Kartell, founded in 1949 by Giulio Castelli, chemical engineer who gradueted gaining the «Nobel Natta prize», and started the
Oluce activity realizing object in plastics: at first car accessories, later household goods, articles for laboratory and lamps.
The image of Kartell and its history tells him through its products. Observing the Kartell’ objects we can undestand which has
been the development, what the strategies of the firm, what his attention toward the technology, the project, the design. The
products Ksrtells express the language and the atmosphere of the period in which they were born but at the same time they
are «contemporary object», they bring with themselves many other values and messages and it is for this that they become
parts integral of our domestic landscape. In the 1999 Kartell Museum was founded. The initiative restores to the general public
a tangible record of Kartell’s history and is a statement of the Company’s vocation for research.

Established in 1945 by the master Giuseppe Ostuni, Oluce is the oldest italian lighting design company that is still active today.
In fact, before the war there existed only Gino Sarfatti’s Arteluce, which disappeared in the late ‘90s, while 1948 saw the bith
of Azucena and Lamperti, followed by Arredoluce and Stilnovo in 1950. but for many years it was chiefly Arteluce, Azucena
and Oluce that dominated the Italian scene, creating a hub for the designers who animated the Milanese forum: Vittoriano
Vigano adn BBPR, Gigi Caccia Dominioni and Ignazio Gardella, Marco Zanuso and Joe Colombo.

Rossi Di Albizzate A company born in 1935, expressing innate talent and manufacturing ability from the beginning, took position in the high
design furnishing sector with a specialization in leather upholstery and the production of modular seating system. Among the
founders of Salone del Mobile fair, the brand is nowadays internationally well known having served VIP customers and having
won several awards during a history of over 70 years.

Sormani «[…]Here at Mr Sormani’s factoy, in Arosio, Italy, I would say that we lie in the exact middle with simple but not mondaine
furniture. No masterpiece, no royal or princely items, but no production line stereotypes. How could he do so anyway if he
wants to be faithful to his profession? If he really wants to be a furniture manufacturer? The two furniture concepts can exist
but not without representing two distinct categories. The industry produces tools, that is things to use. Interior decorating,
on the other hand, produces colour, shape, light, contrast and that is things to look at, to contemplate, from which we derive
pleasure, peace, happiness, amusement with no direct physical contact.
The industrial approach aims at the direct use of the object itself. The interior decorating approach (a humble word but so
close to art) is more detached. The beautiful things are useful but also have their autonomy. They are respectable even when
they serve no purpose in the strictest sense. And so the value of Sormani’s furniture, to take everything together, are useful but
decorative, strong but with a beautiful line, useful but worthy of affection.» [Giorgio Bocca]

131

132

CARPET SHOW

133

CARPET
SHOW

Gianpaolo Tibaldo’s project is inspired by the idea
that a carpet is a flexible object that lends itself to
many forms of communication and use.
We can walk on it, admire it in the form of a
tapestry or decorate a table with it.
It starts from the drawing, it embodies the image
as a form of art that can be used.
But it’s also a cloth, a fabric, a material that
becomes canvas and palette.
Carpets can be a collection that springs from
an idea, an inspiration, like a garment or
accessory collection. But they are also - as in this
performance, a manifestation of art and design
whose creation excites, making objects with many
different forms, to be admired and used.
The carpets that the architects and designers have
painted and will paint form a collection of unique
pieces that will be sold at a charity auction.

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135

Painted by Arch. Maurizio Favetta

136

Painted by Arch. Pierangelo Caramia

137



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