my magical attic: minotti cucine terra design by claudio silvestrin

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MY MAGICAL ATTIC: MINOTTI CUCINE TERRA DESIGN BY CLAUDIO SILVESTRIN
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ABOUT ME
MINOTTI CUCINE TERRA DESIGN BY CLAUDIO SILVESTRIN
GUL KILIC
View my
complete profile
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MINOTTI CUCINE TERRA KITCHEN DESIGN BY CLAUDIO SILVESTRIN
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I work as a freelance Architect. I
graduated Yıldız Technical
University Istanbul, Turkey. I prepare
all the presantation by myself. This
blog is my magical attic. Blog include
that I already collected and will
collect time by time past to future.
Some of them influence me with
their story , other fascinate me
charm of colour, some is bents me
differ of design. Some of them come
into my life all the fascinating contex
together that fuse different concept
with there imagination and
presantation. They all take part
enjoyable place in my memory
library to be as metaphor. Some of
them I already forgot but when I
seen them that make me in good
spirits. Other is unforgettable. Some
of them connect before to now that
make to come new people in our life
with new stories. Dream and reality
fuses in life. All of them take part in
this blog that I love.
I share all the knowledge of art,
architecture, interior design,
endustrial design, people’ s story
etc… without professional doubt.
After all this progress , my magical
attic will improve, get rich, increase
and multiply when new comer join us
day by day as our universe.
Please don’ t hesitate to contact me.
I prefer to hear your idea that you
could share with me your own work
or other' s people work. You could
contact me :
[email protected]
My twitter account :
@mymagicalattic
BLOG ARCHIVE
▼ 2013 (108)
▼ May (3)
MINOTTI CUCINE TERRA
DESIGN BY CLAUDIO
SILVESTRIN
http://mymagicalattic.blogspot.it/2013/05/minotti-cucine-terra-design-by-claudio.html
Pagina 1 di 16
06/05/13 08:38
CLAUDIO SILVESTRIN - P
APARTMENT MILAN
ANTONY GORMLEY AT
MIDDELHEIM MUSEUM
► April (24)
► March (24)
► February (26)
► January (31)
► 2012 (78)
JAUME PLENSA
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MINOTTI CUCINE TERRA KITCHEN DESIGN BY CLAUDIO SILVESTRIN
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The kitchen project terra design by Claudio Silvestrin. The earth, its waters, its forests
and its mountains is extraordinarily beautiful in itself, in its simple and bare presence.
Differently from everyday artefacts, in which their use and function are predominant,
earth is what it is, independently from what we are, what we do and what use we give
to it. Conceiving the terra kitchen i imagined an object, which, useful and functional,
presents itself with the same strength as nature: Solid, timeless and abstract. I
expressed the immense value of the earth with a rigorous geometrical shape and
natural materials - porphiry and cedar. Cooking on a porphiry worktop, which is
twenty-eight million years old, makes me feel reverent and fortunate at the same time.
The 45° edge union between the worktop and fronts, as well as the narrow vertical
and horizontal profiles, shape regular and cadenced volumes. Tall units also have a
similar module. Terra was originally designed in stone, but it is now available in wood,
high gloss or matt lacquer.
Terra in fossil noir stone, brushed waterjet finish.
Lati stained wood carcass.
AT GALERIE LELONG MARCH 7 /
MAY 4 - 2013
JEAN MICHEL BASQUIAT
ABIDIN DINO
http://www.minotticucine.it/kitchens/terra
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JACKSON POLLOCK
PICASSO & CHICAGO
Pagina 2 di 16
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ART INSTITUTE CHICAGO
FEBRUARY 20 - MAY 12 / 2013
JANNIS KOUNELLIS
PULSKA GRUPA : VENICE
BIENNALE 2012
ALAIN CLEMENT AT BAUDOIN
- LEBON GALERIE
PAUL COCKSEDGE - GUST OF
WIND
ANTONI TAPIES
NORMAN FOSTER
CANAN TOLON
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A
Pagina 3 di 16
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VON LINTEL GALLERY / APRIL 18
- MAY 25
DANIEL ARSHAM
RENZO PIANO
MOROSO MISFITS SOFA BY
RON ARAD
HAN TUMERTEKIN
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PHILIPPE STARCK
MAMA SHELTER HOTEL
ISTANBUL
MAD ARCHITECTS
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VITRAHAUS BY HERZOG & DE
MEURON
Pagina 4 di 16
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MUSEO CASA ENZO FERRARI
BAAS ARCHITECTS - MUSEO
CAN FRAMIS
JACQUES HERZOG & PIERRE
DE MEURON
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CASA DO CONTO
CAO & PERROT STUDIO
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ALBERTO GIOCOMETTI
Pagina 5 di 16
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AT BUCERIUS KUNST FORUM 26
JANUARY - 20 MAY 2013
EMILIO VEDOVA & RENZO
PIANO
DAVID CHIPPERFIELD
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TABANLIOGLU ARCHITECTS
ZAHA HADID - MAXXI MUSEUM
INAQUE CARNICERO MATADERO ART CENTER
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EMRE AROLAT - ISTANBUL
ANTREPO 5 MUSEUM
Pagina 6 di 16
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SNOHETTA
BJARKE INGELS
EMRE AROLAT - ANTAKYA
MUSEUM HOTEL
OPUS 5 ARCHITECTES
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MUSIC SCHOOL LOUVIERS
EXTENTION
SELMA GURBUZ
STUDIO GLITHERO
Pagina 7 di 16
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JOSEPH DIRAND - HABITA
MONTERREY HOTEL
PERNILLE ENOCH
STEVE HERMANN - HAYNES
HOUSE
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TOYO ITO - TAMA ART
UNIVERSITY LIBRARY
AMANDA LEVETE - TIMBER
WAVE
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NERI & HU ARCHITECT
Pagina 8 di 16
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NEVZAT SAYIN - THE SEED
SANAL ARCHITECT
PIERO LISSONI CONSERVATORIUM HOTEL
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PITSOU KEDEM
FOSCARINI TROAG LIGHT
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DESIGN BY LUCA NICHETTO
B & B ITALIA SERIE UP 2000
DESIGN BY GAETANO PESCE
MY PORTFOLIO 2009
Pagina 9 di 16
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FURNITURE SHOWROOM
MY PORTFOLIO
FRENCH EMBASSY' S
PRESENTATION
MY PORTFOLIO
KITCHEN PRESENTATION
B & B ITALIA GRANDE
PAPILIO
DESIGN BY NAOTO FUKASAWA
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MINOTTI CUCINE
FOSCARINI JAMAICA LIGHT
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Minotti cucine has always been in ponton di Sant’ambrogio di Valpolicella, in the
province of Verona. The church of San Giorgio in a closeby little borough of early
christian origin has been source of inspiration for Minotti Cucine. Its peculiar aspect
evokes three main concepts: A majestic, mono- chrome and –material ethos.
The walls and floors of this sacred building are made up of large stone slabs coming
from this area: The lessinia white stone. Its pure volumes are emphasized by the
natural light filtering from the few, long and narrow openings. At first the inside is
apparently dark, but once the visitor’s eyes get used to this half-light, it’s unavoidable
to perceive “the visual silence and spiritual peace”.
The majesty of San Giorgio church, whose main expression is the massive and
vertical presence of the bell tower, has inspired Minotti Cucine to design thick
volumes. It also influenced the architecture of Minotti Cucine seat: the perfect
proportions can be observed in the long and narrow walkway made up of large white
lessinia stone slabs.
Moreover, the surrounding areas of Minotti Cucine have always been recognized as
those where stone is treated and cut. The local culture traditionally relied on the
wisdom and high quality of crafty masters.
Since the 60s and 70s Minotti Cucine has designed kitchens with stone worktops and
then with stone sinks following an antique tradition. A further evolution has been
designing stone fronts, thus reaching a horizontal and vertical material uniqueness.
The kitchen that has been exposed for 10 years in the company’s garden is timeless
DESIGN BY MARC SADLER
KARIM RASHID
NICHOLAS ALAN COPE &
Pagina 10 di 16
06/05/13 08:38
evidence of this history.
A further valuable aspect of minotti cucine is its custom-made approach: each project
is unique, designed and manufactured to satisfy every single and exclusive need.
DUSTIN EDWARD ARNOLD
http://www.minotticucine.it/company/context
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ETERNIT DUNE
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DESIGN BY RAINER MUTSCH
DAVIDE GROPPI
ESTABLISHED & SON TORCH
LIGHT
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SYLVAIN WILLENZ
SAROLTA BAN
AZIZ SARIYER
Pagina 11 di 16
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FOSCARINI BIG BANG
ENRICO FRANZOLINI & VICENTE
GARCIA JIMENEZ
JAIME HAYON
MEHMET GUNYELI
DERVISHES
POSTER FROM MY
PORTFOLIO
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MICHAEL VINCENT MANOLA
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A
ETERNIT HOCKER STOOL
Pagina 12 di 16
06/05/13 08:38
NICOLAS LE MOIGNE
ZAHA HADID - SERAC BENCH
ELENA NUEZ
TONERICO : INC.
MY PORTFOLIO 2005-2008
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KOLEKSIYON FURNITURE
FOSCARINI APLOAD
PAOLA LUCIDI & LUCA PEVERE
PATRICIA URQUIOLA
Pagina 13 di 16
06/05/13 08:38
STUDIO ROOSEGARDE
DERIN SARIYER
ERDEM AKAN
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CLAUDIO SILVESTRIN
HOUSE OF MODERN DESIGN
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I have been educated to believe that being an architect is a vocation, just as it is a
vocation to be a priest. I have been educated to believe that architecture is the most
complete form of art, bridging man and nature, earth and sky, god and mortals. I have
believed, and still do, that architecture is composing poetry on earth in partnership
with the earth; that architecture has the role of transmitting the emotion of matter,
space, light and water. . I think the most popular contemporary construction nowadays
is the exaltation of perverse and simplistic forms, reflecting a union that is neurotic and
narcissistic, ignoring five thousand years or more of history. Modern man feels that he
is the centre of the universe; his arrogance and vanity demand constructions that are
in fact mirrors. The powerful man and the neurotic man subconsciously recognize
themselves in the high-tech style, in sensationalist and deconstructive architecture.
One must be blind or asleep not to notice: We are a materialistic civilisation of
institutionalised, perverse forms. It is a real disaster: The forms of contemporary
construction have separated from the stars. The clearest paradox, represented by
religious buildings, is the most saddening. these edifices are sensationalistic, self gratifications in reinforced concrete; they have ceased to be spaces for god and have
become places for man. It is not a matter of right or wrong but of acknowledging and
being aware of this, in order to make decisions that embody firm principles. The
contemporary architect is fortunate that he or she has the freedom of choice, a
responsible choice. One should ask: Is architecture the expression of a deepening
thought or is it a non-critical conformity? Questioning does not mean going against
evolution and progress; on the contrary, serious questioning can bring a contribution
to awaken the sensitivity of man towards an evolution that is not only technological
and materialistic but a total evolution that is simultaneously material and spiritual,
UNSTUDIO - SEATING STONES
LAMU SLENIS
Pagina 14 di 16
modern and archaic, anthropological and ecological. Religious attitude living the
profession of contemporary architect in a religious manner requires a psychological
trauma that is almost permanent. To clarify, i'm not speaking of recognised and
institutionalized religion, but of a religious attitude, serious, profound, rigorous, healthy
and full. A rock against rampant corruption, with unshaken faith in onès mission and in
the gift of talent one wants to offer in order to ensure the survival of sensibility in the
world. Proposing the poetry of space with novelty and individuality leads to uncertainty
and incomprehension, and the interlocutor is caught off guard. If for materials you
propose water rather than plastic, stone rather than glass, a void rather than
unconditional exploitation of space, elegance rather than sensationalism, the symbol
rather than the captivating effect, the magic of light rather than light as a lux quantity, a
primitive sense rather than a contemporary one. They respond: -architect, enough with
poetry, nobody wants it anymore, people don't understand it anyway! Architect, you're
so old fashioned! Architect, very nice! But the space needs to be exploited, at the price
i paid for it! Architect, you're too sophisticated! Architect, but there isn't enough light! architect, what are archetypes? Paradoxically the more you encounter ignorance, lack
of sensibility, arrogance, mediocrity and corruption, the stronger the desire not to
succumb to this poisoning of the spirit. It's true, if you play the game, you can build
big, have multimedia success, fame, money and power. And there is freedom to
choose, which, fortunately, every architect or designer has today. Sure, the powerful
make you pay for it, they don't allow you to win a competition because you didn't dine
with a member of the jury, they don't give you a building permit because you don't
propose what is in vogue at the moment, they don't choose you because you're not
part of their club. I remember once at a presentation for a residential project
competition in Switzerland, the presiding professor of the jury said that my project had
a palladium flavour. I blushed from the embarrassment, from the surprise and from the
compliment. Thanks! I responded innocently. I was eliminated, because for that swiss
scholar, palladium meant italian and, therefore, not modern. At a presentation at the
landmark of New York, they told me that rather than presenting a project with an
individual and unique configuration, as the one i proposed, i had to take inspiration
from recently constructed buildings designed by the usual big names. At a competition
in which i participated in Italy, the first seven prizes where given to seven university
professors of the same city, not one architect of national fame of international fame –
absolutely outrageous. To defend their territory, the bosses of the various clans
(including those of architects) put obstacles in your way and when you manage to
build something, they prevent communication of your achievements or render them
insignificant in the context of contemporary culture. My fortune is, on one hand, my
faith in the meaning of my work and, on the other, my spontaneity in forgetting about
the disappointments, betrayals and eliminations and looking forward, pushing ahead
like an elephant, with the enthusiasm of doing and creating, albeit with the knowledge
that human ingratitude knows no limits. The supreme ambition great architects and
great architecture are my source of inspiration when it comes to my ethics and
designs. But that is not all: essays, philosophy, poetry, even reading the newspaper
can stimulate my creative thought process and my design choices. On 20th december
2004 i read an excellent article by Francesco Alberoni in Corriere Della Sera, entitled
‘a world that moves very fast but knows not how to dream'. the writer accurately
observes the results that cultural relativism, Its frenzy and superficiality, have had on
modern society. We might ask ourselves what this has to do with the occupation of
architect. Well nothing, if we believe in tidy categorisation and we view the profession
as specialist and compartmentalised. I believe however that being an architect does
not mean being removed from cultural relativism, the kafkaesque machine. Indeed i
believe it expresses the concept just as well as a fashion magazine or a cd that is
used up and quickly forgotten. The majority of critics within the sector believe that the
architect should express the culture of his time. The dogmatic architect views this
media truth as absolute. Luckily for me this ‘fact' is not written in any sacred texts or in
plato, and so doubting its authenticity is legitimate. Indeed i would go even further and
suggest that the very task of the architect is not to express the values of cultural
relativism or even his own contemporary culture. In 1927, the German Pavilion
designed by Mies Van der Rohe in barcelona was a masterpiece that broke
completely from the conventions of the time. A masterpiece that is still visible today, its
innovative spirit certainly didn't reflect the predominant culture of its day. Alberoni talks
06/05/13 08:38
JONATHAN ADLER
EST MAGAZINE
Pagina 15 di 16
06/05/13 08:38
about decadence in his article but at the same time also of hope, dreams and
spirituality. The spirituality of the layman is pointless, a waste, redundant. Alberoni's
conclusion should perhaps be food for thought for the designer who says ‘not me!' or
for the planner who refuses to construct ‘self-expressing' perverse forms of today's
sensationalism. The article concludes thus: ‘[because there is] a place where every
now and then we can take shelter, purify ourselves, find some peace and come out
again stronger. Without this we would slide into an intolerable abyss.' the more
superficial reader may think of an exotic holiday destination, but when Alberoni talks of
purification he is not talking of our bodies in terms of tired flesh and bones, or a
nervous system fraught with stress, but rather the purification of the mind. Is this the
supreme ambition of architecture? And why supreme? Because a purified mind puts
the driving force of our inner animal desire to sleep and awakens our consciousness
of the divine that exists in nature. The man-animal makes room for the man-spiritual.
http://www.minotticucine.it/philosophy/Claudio%20Silvestrin
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Posted by GUL KILIC at 11:38 PM
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my magical attic: minotti cucine terra design by claudio silvestrin

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