press release untold eng

9th April - 6th May 2014
13.00 - 17.45
curated
by
Rossana Orlandi
JACOPO FOGGINI - FORMAFANTASMA FOR LOBMEYR - CARLO BACH
NACHO CARBONELL - MANUELA CROTTI - MARCEL WANDERS
OS AND OOS - SALVADOR DALI EDITED BY BD BARCELONA
DYLAN DON - MAARTEN BAAS FOR CARPENTERS WORKSHOP
JAIME HAYON - HILLSIDEOUT - JAMESPLUMB - YUKIKO NAGAI
NIKA ZUPANC FOR DORMEO - GAETANO PESCE - WONMIN PARK
ROOMS - UUFIE - VON PELT - ENRICO MARONE CINZANO
NIGEL COATES - BARNABA FORNASETTI
Dialogues: silent, hence powerful. The contemporary spirit enters the museum mansion, without preambles yet as a welcome guest, peacefully occupying its spaces to
create unexpected short circuits, juxtapositions of aesthetics and materials, artisanal
knowledge and applied arts, in the name of a continuity that takes the form of graphic
contrasts. For the second consecutive year, Vionnet, in the person of Goga Ashkenazi,
sustains as main partner the exhibition curated by Rossana Orlandi at Museo Bagatti
Valsecchi. The chosen title is both a declaration of intents and a poetic statement: Untold. Untold as unspoken because you do not need to, because it is self-evident, subtle
and impalpable. Untold because the urgency to explain everything obscures and limits
freedom of thought.
Untold defines a path within the Museo Bagatti Valsecchi, revealing intervals and proximities between the world of today and the authority of history. A piece of a designer or
a contemporary artist is placed in each room, creating a soft tension with the existing
environment. At the center of this magnificent trip is the impressive installation created
by Jacopo Foggini for Vionnet using polychrome methacrylate: an accumulation of colorful signs hanging from the ceiling and protruding from the floor, leaving a huge, Vshaped empty space in the middle. The works of Formafantasma for Lobmeyr, Maarten
Baas for Carpenters Workshop, Nacho Carbonell, Marcel Wanders,Gaetano Pesce, Nika
Zupanc for Dormeo, Wonmin Park, Jacopo Foggini, Enrico Marone Cinzano, Rooms,
Carlo Bach, Nigel Coates, Barnaba Fornasetti and Nigel Coates, Liborio Capizzi, Von
Pelt, Hillside Out, Yukiko Nagai, JamesPlumb, Os and OOS, Uufie, Treluce, as well as
the reissues of original designs by Salvador Dali for Bd Barcelona occupy the other
rooms. The idea that ages-old techniques and knowledge do not limit, rather stimulate
the new, unifies the path, because only freedom from pre-set rule produces progress.
The same experimental freedom is owned by Vionnet and Audemars Piguet, additional
partner to the exhibition. In a dedicated environment, Audemars Piguet will exhibit a
series of historical styles while engaging in a captivating interaction with the audience,
showing a watchmaker at work on Royal Oak Offshore, the iconic model that twenty
years ago has revolutionized the world of watches both for its design - bold and daring - and the choice of materials. The quest for innovation in the name of beauty is the
subtle, open, non-dogmatic trait d’union crossing Untold its entirety.
All along the exhibition path the chairs of the watchmen will be substituted by a selection of contemporary chairs designed by Thomas Libertiny for Tchai, Jacopo Foggini
for Edra, Nika Zupanc for Moooi and A lot of Brasil, Philip Starck for Kartell and together with Eugeni Quittlet for Magis, Tom Dixon for Cappellini, Franco Albini for
Cassina, Maarten Baas, Marcel Wanders, Palomba e Serafini for Crassevig, Stefano
Giovannoni, Yukiko Nagai.
1) WONMIN PARK
The korean designer based in The Netherlands presents four new pieces in limited edition:
The Miami Shelves , the Bloom chair, the BW gradiation console and the Glow Mirror.
2) HILLSIDEOUT
SKYLINE CONSOLE
dimensions: cm L 135 x D 55 x H 82
Materials: handcrafted wild cherry wood,
plexiglass, lambda prints,
screws of brass, epoxy resin
unique and unlimited
2014
2. PASSAGGIO ALLA SALA DA PRANZO
Hillsideout
Babel Tower
Dimensions: L 70 cm x D 70 cm x H 235 cm
Materials: 4 old table legs, handcrafted chestnut, elm, alder
and nut wood, plexiglass, lambda print, blackboard color, 6
wheels
up]side[down Stool
cm L 27 x D 27 x H 45
handcraGed nut
wood, screws of
brass, plexiglass
unique and unlimited edition
Upsidedown reading light
cm L 25 x D 20 x H 60
handcraGed nut
wood, screws of
brass, plexiglass
unique and unlimited
2. PASSAGGIO ALLA SALA DA PRANZO
KOJITANI HIROSHI
CHAMPAGNE COOLER
DIMENSIONS: 30cm Diam x 21cm
WEIGHT: 7 Kg
MATERIALS: Glass
Piece Unique
2013
3. SALA DA PRANZO
STUDIO FORMAFANTASMA
for
STILL – Tools for purification
Charcoal, crystal and copper shaped to enjoy the most valuable drink: pure water.
4. STUDIO
VIONNET
by
JACOPO FOGGINI
the big installation conceived for Vionnet by Jacopo Foggini, a
creative personality who has already pursued extraordinary and fruitful
contaminations with the fashion industry. A V, that of Maison Vionnet, identified
by an mpty space and by the expansion of light between two plastic curtains
weaved by long canes in sea water, light blue, dark blue colours, one laid on
the floor and marked by a dramatic upward drive, the other hanging from the
ceiling. This work hints at the drapées and at the continuous desire for abstraction
which are dear to the revolutionary and absolutely modern poetry of Madeleine
Vionnet,who established the most experimental and innovative Paris fashion
housebetween the 1920s and 1930s.
5. CAMERA VERDE
NIKA ZUPANC
in collaboration with
DORMEO
LOVE ME MORE
The beauty beyond our reach and love that cannot happen. The pleasures we crave for and the
feelings we should not consume. The kisses we want, despite everything.
I tend to work with things that form our secrets and our cravings. Thinking about sleeping
and dreaming, I was inspired by the beauty and pain of loving – as it is today and as it has
been throughout history. I was moved by the strength of chemistry between two people and
by the madness of their passion. These themes formed a baseline sentiment during the Love
Me More design process.
The limited edition of Love Me More bedding was exclusively designed by Nika Zupanc for
Dormeo, one of the world’s leading choices when it comes to bedding goods and accessories.
This limited edition of 70 pieces will be sold around the world, starting in May 2014. “From
a technical point of view, the fundamental influence was the Octaspring technology and all
the possibilities that came along with it”, Nika Zupanc said about her collaborative work with
Dormeo.
FOREVER BED
Limited edition, 3 pieces, lacquered wood, brass; 140 x 200 cm (ležišče) 140 x 140 x 200 cm (closed bed)
2014
The Forever Bed is inspired by both – beds that can be folded into cabinets, and cabinets with locks. While
closed, the bed has a key that resembles and underlines the idea of a ‘credenza’ – a small, hidden sacred
place where we hide the things we love and fear at the same time. The Forever Bed opens up with a big key
that also serves as a supporting leg when the bed is open. The mattress and the cushions are made using the
Octaspring technology by Dormeo.
BED LINEN
The snow-white colour of this bed linen reinterprets the classic white version. In a grand, almost architecturelike treatment, the painstakingly tailored ruffles communicate a passionate yet carefully measured
expectation. The white pillowcases have three-layered starched ruffles and visually elevate the role of the bed
headboard. Over the duvet cover runs a detachable flow of multi-layered ruffle, a detail that enables the bed
to change its identity within a lover’s breath.
Limited edition of 70 pieces; 100% cotton/satin; 50 x 70 cm (pillowcase), 200 x 200 cm (duvet), 200 x 200 cm
(sheet)
BLANKET
A blanket? Or is it a duvet? Actually both. On the outside, low-tech boiled wool, on the inside the disciplined
formation of high-tech Octaspring springs. All around it is quilted with brass rivets and lines of grey silk
ribbons. The spot quilting, integrated with rivets and supported with Octasprings, create an impressive
pattern. With it, the iconic grey blanket is transformed into a luxurious covering, at once excitingly soft and
charmingly unique.
Boiled wool, Octaspring springs, brass rivets; 150 x 190 cm
BEDSPREAD
In this cover-it-all product, the Octaspring springs come dressed in white silk and are wrapped in a modular
leather net that is held together with brass rivets. A persuasive pattern comes to life. The result is a dynamic
surface with a great variety of uses. And, of course, it can be consumed in any given dosage.
Goveja napa, Octaspring springs, silk and brass; 240 x 72.3 cm
PILLOWCASES AND HEADBOARDS
They are slightly bigger than usual. So it’s natural that they usurp the normal hierarchy in the kingdom of
bed elements. But they have a mission – they provide generous support for dizzy mind frames and heavy
thoughts. A set of large pillows is belted and attached to the headboard. Smaller pillows of more usual
proportions use white leather jewellery to break the snow white surface into separate units.
INFINITY CLOCK
The Cradle of time by Nika Zupanc
Each Pointer carries a loop and when they both meet things become charmingly complicated.
The pointers and their loops form an intriguing visual structure that in the next moment
already disintegrates before our own eyes. But this clock has a soul of its own, even if just
an artificial one- when it senses our approach it starts to move gently. It’s swinging action
reminds us that this moment is the only one that is real and the sole one worth living for.
NAME: Infinity Clock - prototype
3 pieces (2 gold, 1 black)
DESIGNER: Nika Zupanc
MATERIAL: lacquired wood, electronic mechanism
DIMENSIONS: 410 x 130 x 280 mm
6A. CAMERA ROSSA
JAIME HAYON
GREEN CHICKEN
Edizione 8
Green Chicken 2008
138cm X 150cm x 35cm
Materiale: Lacquered fiberglass with metal base
6B. CAMERA ROSSA
DYLAN DON
NAME: BED HEADS
DESIGNER: DYLAN DON
MATERIAL: ALU DIBOND
DIMENSIONS: 80 x 70 CM
RETAIL PRICE €: 4000 EURO
7.STANZA DELLA STUFA VALTELLINESE
AUDEMARS PIGUET
8A.GALLERIA DELLA CUPOLA
VON PELT
CRYSTAL MYTH COLLECTION. BETTER THAN THE REAL THING
Art Imitates Nature
Von Pelt has journeyed this season in search of the perfect crystal.
THE LAMPS:
We aimed to reproduce, ‘improve’ and enhance what Mother Nature does so effortlessly.
The result is a psychedelic journey. Carlos Castaneda meets Brancusi.
It has been great to work with artisans and artists in Berlin. To play with high tech pigments,
crush antique glass and experiment with epoxy resins .The sourcing of vintage electrical
hardware completed the journey.
We recreated with man made methods, a mineral dream.
THE BASALT COLUMNS
The natural wonder and the fracture of the dark basalt columns on the Irish coast have been
the spark to create the three piece installation.
From the austere hexagonal pieces, arises an eruption of volcanic ash and light. Like molten
magma, gorgeous lava light beams from within the core.
The scorched and rough wooden surface on the outside is juxtaposed with the slick finish of
the‘crystal’ top.
THE BRAZIL AMETHYST CHAIR
The secret life of minerals.
Hiding inside the heart of the rough grey stone is a sensual and sparkling magic.
Protected by the outer shell of coarse ,dark fibre glass, there is a luxurious heart of soft
velvet.
The sculptural shape resting on delicate golden feet, the severe cut that has gone through the
stone, the revealing of the soft ‘natural’ interior.....The healing Amethyst.
LILA LAMP
2013
53x 18x 96cm 10.5 kg
Epoxy resin, brass,wood, glass, bulb.
EMERALD LAMP
2013
H 55,5 x W 43,5 cm 16,5kg
Epoxy resin, brass,wood, glass,
bulb.
NEBULA LAMP
2013
H 43,5 W 47cm
17,3 kg
Epoxy resin, brass,wood, glass,
bulb.
COOKIE
2013
W 15 x H 41 cm
4 kg
Epoxy resin, brass,wood,
glass, bulb.
Name: Brazil Amethyst Chair
Designer: VON PELT
Material: Glass fiber body, brass legs, cotton
velvet upholstery
Dimension: 70 x 82 x 70 cm
Weight: 29 kg
Name: Basalt Group 2013
Designer: VON PELT
Material: Wood, epoxy resin, glass, bulb
Dimension: Big 125 x 75.5 cm
Medium 98 x 52 cm
Small 70 x 43 cm
Weight: 30 kg
8B.GALLERIA DELLA CUPOLA
JAMESPLUMB
Cupboard Steps
Fragment of Medieval Oak Spiral Staircase, Georgian corner cupboard & steel
h 3210, w 1910, d 1390
“The most beautiful thing we can experience is the mysterious. It is the source of all true art and
science”
Albert Einstein
JAMESPLUMB’s latest assemblage is one that defies typical description or explanation, and is best
understood with the knowledge that at the heart of their work there lies an intuitive ‘coupling’ or
‘marrying’ of objects. This process throws up successful marriages that defy the odds. Extreme pairings that are uncanny, perplexing, ridiculous, sublime – and yet strangely settled. It is as if they have
always existed like this.
A Georgian corner cupboard has found an unexpected partnership with a fragment of a Medieval
spiral staircase. The stairs no longer serve their normal purpose as a thoroughfare or pathway, but
have an unusual half function in that they exist in their own right rather than being something to
pass through. The cupboard is all at once removed from its ordinary use and at the same time celebrated and elevated to a new and extraordinary one. It has been plucked from the shadowy obscurity
of the corner to the indulgent new heights of a pedestal. There is disorder, and yet a calm certainty
about this new pair.
This new work continues JAMESPLUMB’s interest in themes of animism - exploring the intangibles
of and our empathy with objects. In addition there are considerations on the charm of the everyday,
and overlooked - the beauty of a quiet disruption.
Height = 3.21m
Width = 1.91m
Depth = 1.23m
Weight = 300 kg
8B.GALLERIA DELLA CUPOLA
TRELUCE
PELLE CONDUCTIVO LAMP
Marcus and Monica Tremonto will be showing a series of adapted objects with intricately
patterned custom circuits. Objects only become connected and alive “on” when placed on an
array of unique conductive surfaces. In parallel to the majority of the work from the studio
Pelle Condoctivo further explores and broadens the possibilities of the function of surface;
altering what a surface can do and become through light.. As reflected in previous works;
either it be a flat surface that emits light or light embedded into a surface..it is the perception
of what the surface is transformed into that is the continuing work of the studio.
10. SALONE
JACOPO FOGGINI
BRILLI LIGHT AND GINA CHAIR FOR EDRA
Newly interpreted 1950s inspirations in the new works by Jacopo Foggini, presented on the
occasion of the Salone Internazionale del Mobile 2014, Milan.
The “Brilli” chandeliers, with their wavy and sensual forms, soft textures made up of
endless methacrylate strips placed one next to the other, compact and fluid at the same time,
generate volumes that recall big precious stones, enormous diamonds that a crazy rush in
space or along an alchemic time precipitate has softened, sweetened, worn on their surface,
making them watery and receding, without facets and any possible sharp cut. The various
morphologies conceived by Foggini on this specific theme are somehow reminiscent of
typical examples from the 1940s and 1950s, and combine rediscovered classic and sublimed
fragrances, maybe even unconscious Eastern and Venetian references, with the typical and
future-oriented features of the “bolidismo” movement, characteristic of large part of the
most advanced design expressed in those years. Colurs are distilled, precious, deep, hinged
on an opulent and blurred palette, which goes from a caramel and all-embracing gold tone,
from smoky topaz, to bronze, and to the flashing of steel and an “arpeggio” of liquid hyaline
and silvery transparences.
The “Gina” chair, designed by Jacopo Foggini for Edra, follows this twofold and
complex approach, and combines topicality and period charm. Its black lacquered legs,
slightly wide apart, can only bring back to mind many radical achievements from the
1950s and 1960s. While the lower part hints at the past, the seat plays in total freedom,
shows a rebel couture spirit, and makes up an illusionary and sophisticated textile weft.
Chain links interlace and slowly flow into a sort of fragmented and fibrillating mosaic,
into a choral and multi-shaped dynamics that sings the praises of the aesthetics of chaos.
A beehive of segments and projections clearly juxtaposed with the well arranged and
rational background of the underlying supports. Also the table centrepieces designed by
Foggini as pure fun are typically 1950s. In this case, the hints and the pieces of memory
and of the canonical middle-class rituals turn into something different and decidedly
embrace the hermeneutics of a sign which is seemingly more independent, essential,
and without constraints. Almost without reason. These are the ideograms of a lost and
disconnected language which, as if because of a spell, become geometrical orbits,
metamorphic ellipses, energetic convectors of anti-gravitational challenges.
9.GALLERIA FOTOGRAFIE
CARLO BACH
“The aphorism of Saint Agostino has been coming along with me all the
time in my life, because it perfectly expresses the difficulty of explaining
the time with words. If you substitute the word “time” with the concept
of “art” it works the same very well! Words are not my media. That´s
why I chose “sand” with all its intrinsic characteristics as a medium to
investigate a theme that I have been loving for all my life. Absolute and
parallel syntheses of my work is the poetry “Vista con granello di sabbia”
(“View with a grain of sand”) by Wislawa Szymborska”.
11. PASSAGGIO ALLA SALA DA BAGNO
ROOMS
INVISIBLE MIRROR/BRASS TABLES
The set of Invisible consoles and side table is a limited collection by ROOMS. The tables reflect and
play with the surroundings and they can be considered as “camelleons”. thats why they bring poetic
feelings with authentic yet surreal look.
Invisible tables can be used as set of consoles or they can be seperated. The structure of the table is
quite minimalistic made of timeless materials : Brass and Glass. The forms and materials create exceptional defined look.
INVISIBLE MIRROR/BRASS TABLE 1 NAME INVISIBLE MIRROR/BRASS
TABLE 2
DESIGNER Nata Janberidze/ Keti
DESIGNER Nata Janberidze/ Keti
Toloraia
Toloraia
MATERIAL Brass, Mirror
MATERIAL Brass, Mirror
DIMENSIONS 1300x420x850(h)
DIMENSIONS 1050x750x70 (h)
NAME INVISIBLE MIRROR/
BRASS TABLE 3
DESIGNER Nata Janberidze/ Keti
Toloraia
MATERIAL Brass, Mirror
DIMENSIONS 920x520x700(h)
12. SALA DA BAGNO
MAARTEN BAAS
for Carpenters Workshop
12. SALA DA BAGNO
MAARTEN BAAS
for Carpenters Workshop
GRANDMOTHER CLOCK
2013
Brass, Digital Equipment
Limited edition of 8 + 4 AP
H 200 / L 72 / W 39 (cm)
GRANDFATHER CLOCK
2013
Corten Steel, Digital Equipment
Limited edition of 8 + 4 AP
H 231 / L 65 / W 41 (cm)
13. VESTIBOLO
YUKIKO NAGAI
Marble Seats
Artist-designer Yukiko Nagai was born in Niigata, Japan, in 1981. She studied environmental
landscape design at Tama Art University, graduating with her Bachelor’s degree in 2004.
She went on to study mosaic techniques in Italy at the Accademia di Belle Arti di Ravenna,
graduating with a Bachelor’s degree in 2009. That same year, Nagai returned to Tokyo, and
began experimenting with mosaics. She established her own international studio in 2011, and
began working as a mosaic designer in both Tokyo and Ravenna, Italy.
Nagai’s work plays on established expectations, reinterpreting various materials through
marble, glass, and rock fragments. For example, with Patchwork Chair for Galleria Rossana
Orlandi (2013), she places her hard mosaics on top of chairs and stools where upholstery
normally appears, mimicking tradition but surprising and enticing viewers to touch her work.
Nagai lives and works in Tokyo and Italy.
Mosaic Bench
Dimensions: 150cm X 70cm X 80 Cm
Material: Steelm mosaic stones.
2014
Piece Unique
Sedia Patchwork
Dimensions: 48cm X 44cmX 86cm
Materials: marble stone, venetian glass, antique furniture
Piece Unique
year 2014
14. CAMERA DA LETTO DI FAUSTO
NIGEL COATES & BARNABA FORNASETTI
“BACIAMANO” chair
Beetles, dragonflies, body parts, cameos, precious stones and Roman coins - these are not
ingredients for a magic potion, but the decorative devices drawn from the Fornasetti archive
that adorn a stunning new collection of upholstered furniture, designed by British architect
and designer Nigel Coates in collaboration with Barnaba Fornasetti: the “Baciamano”
armchair and the modular sofa “Combacio”.
‘Baciamano’ is an armchair the shape of which suggests a welcoming hand. A small table
teeters on one armrest; it is decorated with one of the many anthrophomorfic variations that
are key to Fornasetti. The seat contains a double-sided cushion that can feature a variety of
outsized designs: a dragonfly and a beetle, a pair of Roman coins, the front and back of the
lower torso.
Canepa has provided Fornasetti with innovative and eco-friendly fabrics to upholster this
armchair, used for the first time in furniture.
The “Baciamano” armchair on display inside the exhibition “Untold” is covered with Canepa’s
velvet, while the seat cushion features the design of body parts. The small table is decorated
with the Fornasetti décor “Mano con moneta” (hand with coin). Together with this piece are
also shown six “Sirene” (mermaid) plates in porcelain with gold hand-painted edges and a
scarf with the décor “Peccato Originale” (original sin). A special dress-sculpture in organdy
designed by fashion designer Liborio Capizzi and decorated with the iconic Fornasetti motif
“Tema e Variazioni” (theme and variations) towers over the room.
14. CAMERA DA LETTO DI FAUSTO
NIGEL COATES & BARNABA FORNASETTI
“BACIAMANO” chair
“Baciamano” “Liborio Capizzi
per Fornasetti”
“Peccato Originale” “Sirene”
Design by Nigel Coates e Barnaba Fornasetti
DIMENSIONS:120x125x115 cm
Scarf “Peccato Originale” (original sin)
Barnaba Fornasetti
140x180 cm
“Sirene” set of plates (Mermaids)
Barnaba Fornasetti
Porcelain, gold
diam. 31 cm
A special dress-sculpture in organdy
designed by fashion designer
Liborio Capizzi and decorated with
the iconic Fornasetti motif “Tema e
Variazioni” (theme and variations)
towers over the room.
14. CAMERA DA LETTO DI FAUSTO
Leda Chair and XAI Lamb
Designed by Salvador Dali
Produced by BD Barcelona
This project is a hallmark on the long tradition of BD’s reproductions of Salvador Dali’s furniture, that started
with the Sofa in the form of lips, which was installed in the Sala Mae West of the Theatre Museum in the city
of Figueres.
Later in time, BD reproduced other furniture and lamps. Ideas were drawn from Dalí’s own drawing projects
and paintings. This is the same with the Xai. We broke up the painting, “Interpretation Project for a stablelibrary”, where there appears a characteristic Dalí drawer, made up of a little lamp-table. BD has received the
support of the exceptional expertise and capacity of Deyrolle, the taxidermist from Paris who maintained
an intense relationship with Salvador Dalí (many of Dalí’s pieces – bears, lions, lobster, swans are made by
Deyrolle). Apart from the exceptional work of the taxidermist, emphasis must be placed on the maker of little
table’s drawer and the little shoes in bronze.
With the approval of the Gala Salvador Dalí Foundation, BD has decided to launch a limited edition of
twenty white lambs, and one unique version in black. Naturally, as each piece is unique, each little table is in
reality an only piece.
Oscar Tusquets Blanca
Deyrolle certifies that the sheep skins used for the prduction of these pieces come from a slaughter house
which is a meat supplier, and no animal sacrifice has been made.
Dimensions (approximate):
87x26xH71 (head) and H59 (back)
During the ‘thirties in Paris, Salvador Dalí surrounded himself with a circle of friends involved in the
application of art to varied disciplines, above and beyond the study of pure pictorial art. Jean-Michel
Frank, a furniture maker and decorator of recognized prestige in the Paris of those years, was on very good
terms with Dalí and together they worked on several ideas. The Bracelli lamp which we present here is a
classic design after Jean-Michel’s manner of designing and working, adopted by Dalí for his house at Port
Lligat. Amongst Dalí ’s specific furnishing projects, and constituting another for his curriculum vitae as a
designer, may be counted the garden furnishings for his Port Lligat house, the complete architecture of the
Night Club (garotte-shaped) for the Hotel Presidente in Acapulco (1957) and another project for a bar in
California in the ‘forties. As shown by the small selection now produced and included in this catalogue,
Dalí ’s work was not restrictes to the traditional furnishing elements, but included tap fittings, handles,
door-pulls, printed fabrics and objets of indeterminate use. In the 1990s a group of experts, led by Oscar
Tusquets, set themselves the task of turning the furniture Dalí had drawn for Jean-Michel Frank into reality.
Amongst these items were the Leda chair and low table, taken from the painting “Femme à la tête rose”
(1935). The prototypes were made by the sculptor Joaquim Camps and Bd Barcelona design organised the
production and exclusive world marketing.
Finiture:
Structure in polished cast brass varnish.
47x60x92H.cm
15. STANZA BEVILACQUA
NACHO CARBONELL
Cumulus
This collection talking about the concept of being under pressure. The table shows a “cloud”
os worries, ideas, thoughts, duties and obligations that everybody carries with themselves
constantly.
The chair shows the feeling of being “under pressure” from society, families, business and
even yourself represent by these flexible light leds that sticks to look over our shoulders.
CUMULUS
table: (226 height x 120 depth x 110 width) cm
Chair (143 height x 54 depth x 55 width) cm
Piece Unique
2014
16. LIBRERIA
MARCEL WANDERS
Delft blue tattoed arms
EDITION: 8
MATERIAL: Porcelain
DIMENSIONS: 43 x 15 x 7 cm
YEAR: 2013
Designed for world-renown Dutch pianist Iris Hond, ‘Fragile Fingers on a Grand
Piano’ carries Wanders personal design signatures of play, poetry and fantasy.
While performing, Iris Hond’s hands and arms tattoo is to symbolize and spread
Dutch tradition and beauty to all corners of the world..
17. STANZA DELL’AFFRESCO
ENRICO MARONE CINZANO
“I continue my approach to the theme of sustainability defining it with products
that are aesthetic, well crafted and conscious. I attain my scope by using universal
rules, like the Fibonacci Sequence, the Golden Rule, age old wisdom and the
utilization of raw materials recognized through times as beneficial to our health
and respectful of Nature. A beautiful, well made and thought through product
will serve its purpose and last longer”.
17. STANZA DELL’AFFRESCO
ENRICO MARONE CINZANO
DIMENSIONS: 200cm X 57cm H X 60cm D
RECOVERED WOOD
PESO: 170kg
Piece Unique
2014
DIMENSIONS: 144cmx
85cm x 49cm
STEEL, ZINC,TITANIUM
WEIGHT 145kg
Piece Unique
2014
DIMENSIONS: 95cm X 220cm X 68cm
WOOD, IRON AND GLASS
PESO: 80kg
Piece Unique
2014
COURTYARD
OS AND OOS
Keystones
The whole is greater then the sum of it’s parts? The Keystone project began as an
investigation into just that, where loose autonomous objects create balance, which is created
through the underlying relationship of the separate elements. These parts associate with the
three basic elements of a roman bridge (which for us serves as the best example of when
loose parts come together to create a whole); the spanners (elements which connect the
bridge to the surface and ensure this foothold does not slide or move), the elemental building
blocks, and the keystone (which when inserted completes the fundamental arch shape). Our
abstracted and reassembled versions of these three elements lead to the Keystone chair, a
chair where there are no physical connections. Only it’s shear weight is what holds the whole
together.
Made from concrete (back rest), rubber (keystone) and ceramics (sit surface). By using
each other’s strengths, an independent structure is formed. The ceramic sit was made with
particular attention at the EKWC (European Ceramics Center) where 200 kg of clay was
painstakingly placed within the mold by hand and no less then 12 weeks were needed to let
the object dry before it could be place in the kiln. In its entirety the Keystone chair weights
410 kg, and despite there being no physical connections between each piece, the chair is
functional and inspires confidence even though the parts can ome loose from each other.
dimensions
CORTILE
UUFIE
PEACOCK CHAIR
“Peacock” is a chair designed by Eiri Ota and Irene Gardpoit Chan of architecture firm
UUfie. Taking the inspiration from nature. “Peacock” is an expression of trying to capture
a natural instance such as a flower blossoming or a bird’s tail fanning in a ritual courtship.
“Peacock” represents these frozen moments of beauty and happiness. The design and
fabrication process began like children playing with paper by cutting, bending and folding
it, to create a chair simply now called the “Peacock” for its resemblance. “Peacock” is made
from a type of acrylic composite that has the ability to transform, but requires a delicate
process involving manipulating a single sheet within minutes. The idea of freezing a fluid
moment is literally captured as the aterial is stretched by hand. Resulting in a lace-like
appearance of a structurally strong material. “Peacock” is produced in three versions, a large
(limited edition) and smaller small size which can be seen in white or in color for indoor and
outdoor use.