Happenings

Year 1 no.1
16 January 2006
Happenings
PRODUCTION
THE MEETING
Noveltiestrends
in Cologne
and Paris
Roberto
Barbieri:
a style
The designer who
has signed some
From 16 January
Zanotta items will of the firm’s
be displayed in two “best sellers” for
over 10 years
of Europe’s most
prestigious windows p.2
p.1
FROM DESIGN
TO PRODUCT
Dora’s
secret
An unedited mix
of innovation
and tradition
p.3
LIFESTYLE
WORLD
Living in
Malmö
An interview Joe
with
Colombo
Martino
A tribute to the
architect who
Zanotta
Home
Exhibitions,
cinema
events and
and
authors
furnishings Appointments
Research, quality
and culture to win
foreign markets
and lead the same
in the design world
Wide screens
require appropriate you can not miss
p.8
space to ensure
optimal vision
Santiago
Calatrava’s new
building offers
social
entertainment
and high quality
services
p.4
p.5
DEDICATED TO FOCUS
invented the future
p.6
p.7
NEWS
Happenings
PRODUCTION
n.1/06 p.2
Novelties-trends in
Cologne and Paris
From 16 January Zanotta items will be displayed
in two of Europe’s most prestigious events
O
n 16-22 January Zanotta will be at the Imm Cologne, for the
International Furniture Fair/Koelnmesse held at the Cologne
Fair’s renovated pavilions and on 27-31 January they will be at
the Now! Design à vivre (concurrently with Maison & Objet, the yearly
appointment in Villepinte, Paris North). Besides a new area for furnishing
products, lighting and household fabrics, Imm will dedicate an area for
young talents with the awards “Interior Design Award” and “Inspired by
Cologne Award”. Imm Cuisinale instead will provide extensive information on the theme of kitchen furnishings and domestic appliances. The
“Interior Design Trends Manual” developed by six experts in the field will
be published for the first time this year. Topics developed will be: transformation, multiple identity, emotion and time as a value. At the Now! in
Paris: innovation and design trends with the best proposals of metropolitan artists and contemporary designers in the world of multiform and
eclectic living with an eye for new decoration methods and latest patterns.
At these two important international appointments Zanotta will present
some novelties that will be added to the firm’s new 2006 catalogue.
IN MILAN
Appointment
with Zanotta on
5-10 April for
the 45th
edition of the
International
Furniture Fair
to be held in the
new “Fieramilano”
district in
Rho-Pero.
COVER. A new ‘loose’ cover for Lia and
Lea chairs, for Lella armchair and for
Lio and Leo stools: a white cotton seat
cover to be put on without fixing, can
be short or long covering legs too.
LEALTA/LIALTA
by Roberto
Barbieri/2006.
Chair. Aluminium
alloy frame,
upholstery in
polyurethane.
Removable cover
in fabric, leather
or cowhide.
TIME by Prospero Rasulo/2006
Occasional table. Stiff polyurethane
base, steel stem, medium density
fiberboard top, brushed glossy lacquer
in various colours. The top is also
available with white Carrara marble,
or with black Marquinia marble.
COLORS by Ilkka Suppanen/2004
Co-Edition Zanotta-E&Y.
Armchair. Steel frame, painted graphite
colour. Cushions upholstery in
polyurethane/Dacron Du Pont.
Removable cover in fabric or leather; also
available in Stelvio fabric with
multicoloured cushions on request.
Happenings
THE MEETING
n.1/06 p.3
Designing a best seller
Roberto Barbieri, one of the Zanotta collection’s most significant
contemporary designers reveals episodes, projects and secret wishes.
A
Architect
Roberto
Barbieri and
two products
designed for
Zanotta: the
table Uni
(1999) and the
chair Zilli
(2002).
ctively involved in the field of design,
architecture and graphics, Roberto Barbieri has
long concentrated on design and artistic
management in the furniture sector. He has created
fittings for exhibitions and events on international
design. He has been collaborating with Zanotta since
1994 designing products that have become the
firm’s best sellers: from the coffee table Grillo to the
chairs Lia, Lea and Zilli and the table Orione.
Q. Once Aurelio Zanotta said: “It is not the designer
but the item that counts: if the item is right it creates
the market”. Which was the ‘right’ item that triggered
the understanding between your work as a designer
and the firm in Nova?
A. My first meeting with Aurelio Zanotta concerning the
project for a wooden chair was a memorable moment for
me: we spoke for hours about the concept of chair and
how much the relationship between function and design
counted. At the time my name was not famous but the
item I introduced counted a little more, hence the
production of its prototypes began. That chair was not
manufactured, but I think that very lost opportunity
established with the firm the atmosphere, which
encouraged later collaborations. Among the projects
implemented from my designs, I consider the chair Lia the
right object, which created a market. Die-cast aluminium
alloy ensures lightness and a gentle profile, as well as fine
polyurethane padding and lastly the upholstery. Lia was
appreciated by the public and thousands of pieces are
sold even today. I recall my admiration at the time for a
chair that Zanotta had already been producing for about
ten years: Tonietta by Enzo Mari. The shape, inspired by
the historical Thonet chairs, was modernised with
aluminium and black leather… This too is still in
production and does not fail to meet with consents.
Q. Passion, enjoyment, research and the observation of
lifestyles. What counts for a designer who wants
to test his skills with new products designed for
contemporary homes?
A. Passion is the moving force of the entire story.
I certainly enjoy myself (most of the time) as the
consequence of what is substantial, in other words
moments spent on designing and on comparing notes
with the group that will handle the implementation.
Working in close contact with the industry’s technicians
is what most fascinates and stimulates me. This is
what enables us to obtain high quality and better
product adherence to the real market. It does not mean
adapting to the current taste... An example I like to
mention concerning the synergy between the designer
and a good furniture firm’s technical office is an
episode I experienced with Zanotta. They were moving
towards the implementation of the coffee table Grillo
two years ago and my drawing clearly highlighted the
relevance of the central bracket with three spokes for
the base. It was simple and certainly not revolutionary,
but what made it special was the construction method:
the high pressure water jet cutting of the metal sheet
meant that a 15 mm metal sheet was cut with water
with just one gesture that was virtually sculptural.
And that bracket became weightless and graceful.
These are highly satisfying moments.
Q. Do the projects you have on the go for Zanotta
also number a material you hope will be invented at an
industrial level?
A. How do you know that I dream of a low cost material
like plastic, which is as resistant as aluminium, is
neither too cold nor too hot like metals and which can
be produced with less costly moulds than those
required for injection plastic?
Happenings
FROM DESIGN TO PRODUCT
Dora’s
secret
A
n.1/06 p.4
An unedited mix of innovation and tradition
very special piece, which merges
innovative research and tradition
revisited in a new key: the shape inspired by design in the ’50s and ’60s - is
combined with an advanced technology,
which enables the creation of its
contemporary ‘skin’. It is both industrial
and centred on matter, sinuous and linear.
We are speaking of Dora, the armchair
designed by Ludovica and Roberto
Palomba for Zanotta for the International
Furniture Fair 2005. Press and experts have
spoken of it with curiosity and interest
since it made its appearance. The warm
harmonious shape is striking, while
the surface on which light highlights
delicate floral designs is intriguing. Dora
is produced in rotation moulded
polyethylene, in the versions: matt
decorated or glossy lacquered. The
processing method consists of hollow
moulds on which resin polymers are
placed; these polymers merge to form the
ROBERTO AND
LUDOVICA PALOMBA,
architects and designers,
formed the architectural
practice Palomba Serafini
Associati (architecture,
industrial design, exhibit
design, communication and
marketing) in 1994.
Roberto Palomba is
Professor at the Milan
Polytechnic’s Department
of Industrial Design.
desired shape and thickness. Its special
feature lies in the surface pattern: a floral
motif inspired by the silk of Japanese
kimonos and engraved first on the mould
and then on resin to play on a glossyopaque effect. Comfortable, resistant and
large, Dora is ideal to furnish outdoor
environments, living areas and public
premises. Designers define this project a
hybrid: “Dora was designed to express
ambiguity in style and use - not to increase
consensus - and because it results from
the ambiguity and eclecticism of this age.
Hence the decoration of a precious
Chinese silk becomes a phantom plastic
skin on a product that can be exposed to
bad weather; the typical style, which echoes
classical models, merges into the
monoblock item with proportions that
verge on the limit of eros”. In a single
processing phase Dora takes on its formal
identity and the decorative pattern through
the new method combined with rotational
moulding: the polymer traces the mould’s
internal shape and its surface too. Extreme
care for the finish and the perfection of the
very mould is of vital relevance. It is natural
to wonder how a similar aesthetical and
formal result can be obtained by focusing
on a different production process. We
asked designers Ludovica and Roberto
Palomba the question. “If Dora were
produced with the traditional furniture
production methods (frame made of metal
and polyurethane foam with a textile cover,
even in Chinese silk) it would have another
cost. The use of plastic material and
research focused on achieving a more
culturally complex decoration prove that
proportionately Dora is all but an expensive
product. This item is the result of temporal
eclecticism: Dora could have been called
Dolly like the sheep Dolly. The very fact that
it belongs to the Zanotta collection means
that it is an item that can mirror the age
that generated it. And the Zanotta firm’s
greatness lies in having always succeeded
in reading the contemporary features of
design in the past 50 years of history”. The
discussion between the industry and the
designers is essential; it is a real ‘double
bond’ that weaves ideas, technology and
lifestyles. Hence we asked Ludovica and
Roberto Palomba how to create a product
that, besides giving emotions, must also
be reproducible and suited to
contemporary living requirements.
“Everything can inspire us and suggest
new stimuli. We experience an intense
dialogue with our surroundings: it is as if
the world constantly asked us questions
and we answered with our creations. When
you reach success and your products start
having a certain influence, a sort of Q&A is
triggered and you become part of an
unceasing dialogue till, by some remote
chance, you are inspired by yourself”.
From the left: the designers with the prototype of
Dora; the chair’s mould and the completed piece.
Happenings
T
he first removals, which will enable Malmö’s inhabitants to
live inside a sculpture, have begun. The largest inhabitable
sculpture ever designed: 190 metres high on the banks of
one of the most beautiful Scandinavian bays. Sailing enthusiasts and
night birds will have seen it in the background of Malmö bay in
Sweden in television broadcasts when Luna Rossa was a match for
the invincible Alinghi. Malmö is a seaside town, which numbers
many parks. Already during its construction the building is a visual
landmark that marks the horizon of this city, which is one of the most
beautiful and socially innovative in Northern Europe. Commissioned
by HSB and designed by Santiago Calatrava the “Turning Torso” will
show us how people can live vertically at a limited cost and with
many neighbours in a space moulded in the air and enriched with
relations, services and light. A short walk takes you to the city centre,
the Ribersborg beach and the dynamic district. Nine cubes slightly
twist and overlap to form five floors: the last one has a 90 degree
rotation compared to the first one. Floors three to nine house residences: 400 square metres per floor, square shaped (anchored to the
centre of the building) and with a triangle supported by a daring treelike structure. Each floor’s section recalls the elementary shape of a
ship as if the boats, which dot the bay, had started flying. In total:
13,500 sq. mt. of apartments. Apartment dimensions range between
45 and 190 sq. mt. with 33 different layouts, whose common factor
is the idea of open space: large sitting-rooms, often with a dual view,
the evident ceiling elevation, the intense use of oak wood (floors,
doors and windows and kitchens), full length doors to enhance the
feeling of space and verticality. The project for the interior was designed by architect Stefan Bergkvist. The kitchen (delivered furnished
with domestic appliances) reminds us that Malmö is the cradle of
food and social life: it is a large bright fully equipped space. The
tenants of “Turning Torso”, besides paying rents that are kept down
(750 - 2000 Euros), will enjoy services for a pleasanter and richer life.
Let us mention a small thermocontrolled wine cellar, a concierge service open 24 hours, three rooms with bath on the 43rd floor for visiting friends (for those who cannot accommodate guests at home), a
gym, two saunas and two exhibition areas for exhibitions, conferences and meetings. Residents may also rent one or more of the eight
equipped office spaces on the first floor. Every apartment’s energy
consumption (hot water, heating and electricity) is monitored and
paid individually. Cars are parked in a building adjacent to the tower
and linked to it by a private tunnel. The rent is inclusive of window
cleaning for the large windows. Welcome to Malmö.
VERTICAL LIVING
LIFESTYLE
n.1/06 p.5
Santiago Calatrava’s new
building in the Swedish
Malmö offers high quality
services at competitive prices.
It is an exemplary project for
modern lifestyles, which are
dynamic and inclined to
simplicity without renouncing
elegance and comfort.
The Turning
Torso,
interior
view and
view of
Malmö Bay.
8 ZANOTTA RETAILERS IN SWEDEN
n
n
n
Olsson&Gerthel in Malmö
Nordiska Galleriet in Stockholm
Six authorised stores in
Helsingborg, Kullavik, Växjö,
Ekerö and Göteborg.
Happenings
WORLD
n.1/06 p.6
Research,
quality,
and
culture
An interview with
Martino Zanotta
M. Zanotta
on Joy by A.
Castiglioni
(1989)
Q. In this difficult economic
situation furnishing firms look
towards international markets
with great expectations.
What are the tools the design
industry should acquire to win
foreign markets?
A. Made-in-Italy is a synonym of
quality and innovation. In the
scene of Italian design, Zanotta
is a historical trademark, which
has founded its growth on
research and experimentation both in the stylistic and
technological framework - and
on the concept that a firm can
produce profit and culture at the
same time. I believe that even
today this set of factors can
make the difference, thus
enabling leading Italian firms to
distinguish themselves in the
world and to lead the market.
MARTINO ZANOTTA
In ’93, after achieving a
Master in Business
Management, he
entered the family’s firm.
He has reshaped the
distribution network
since ’96. He is the
CEO of Zanotta Spa.
Q. Which countries guarantee
the furniture sector’s greatest
growth opportunities?
And which will Zanotta back
in the future?
A. The new frontiers of exports
in our sector are East European
countries, Asia and the Persian
Gulf: areas that give us a
glimpse of the greatest
development opportunities for
the furniture industry. But not
all these countries are ready
from a taste-based perspective
to appreciate the style of
contemporary Italian design.
Hence Zanotta will still focus on
more traditional and mature
markets like Spain, Scandinavia
and Russia, to mention an
emerging country.
Q. China’s promise seems to be
enormous. What do you think
are the real advantages and
what are the possible risks?
A. Looking ahead China is an
interesting market for high
quality designer furniture as it
can offer a high development
potential. Let us not forget that
Beijing is an excellent base to
reach all other Asian markets.
But we must hope that, besides
economic growth, China will
promptly implement cultural
growth too. It is essential to
enable the more developed
social strata to appreciate the
added value of the made-in-Italy
factor and to draw the new
emerging classes close to the
taste and lifestyle promoted by
Italian furniture in the world.
The greatest risks we can come
across in this country are those
resulting from the lack of ‘rules’
and from the attitude of
permissiveness towards copies
and counterfeiting.
Q. International rules for
exports, quality certifications
and other regulations are
increasingly necessary to
protect both producers and
consumers. How does Zanotta
face these challenges?
A. Zanotta has long been active
in this framework. In particular,
we are focusing on two themes
that are important for the
current consumer: ‘quality’ and
‘ecology’. Concerning quality, we
were one of the first Italian
furniture firms to introduce
systematic testing to ensure
that products comply with
international safety, resistance
and duration regulations in the
early ’90s. Since ’93 we have
worked on quality system as per
the ISO 9004 regulation.
Concerning ecology we are
committed to minimising the
environmental impact of our
production activities and to
offering the market
environment-friendly
products made of non toxic
recyclable material.
Q. An efficient and widespread
distribution network seems to
be an unavoidable ‘must’ for the
international success of madein-Italy products. What criteria
does your firm adopt to select
the stores, which will represent
and sell its products abroad?
A. Our ideal retailer is
culturally sensitive and watchful.
He can understand when a
product has a high added value
both in terms of design and of
the quality of materials and
finishes. In other words he must
skilfully create culture by
applying the best possible
methods to propose the
elements of this remarkable
heritage of products for homes
and offices in individual
territorial frameworks. We try to
establish an intense and
on-going dialogue with these
retailers in order to make basic
decisions together concerning
the catalogue’s product
assortment and the best
customer service.
Happenings
n.1/06 p.7
DEDICATED TO
Joe Colombo
Colombo and Zanotta’s
cooperation dates back to
the period between ’68 and
’71. They are two dynamic
protagonists of the country’s
cultural and industrial
history. Joe Colombo:
painter, architect and
designer who loved shapes
and ultramodern materials.
He had the traits of both the
scientist and the poet.
Aurelio Zanotta and his firm
in Nova: already advanced in
research and technological
experimentation with
laminates, fibreglass and
stainless steel. The first
designer gaming table and
the first ‘futuristic’ stool
were created, as witnessed
by the recent exhibition
“Inventing the future” held
at the Triennale in Milan.
IN ZANOTTA’S CATALOGUE
Poker table (’68) and Birillo stool
(’71), designed by Joe Colombo for
Zanotta and still in production
today, bear the unmistakable design
typical of the legendary ’60s.
Happenings
n.1/06 p.8
FOCUS
Wide screens require
appropriate space to
ensure optimal vision
In the
picture,
sofa Alfa by
Zanotta
W
e are all aware that watching
television is not like going to
the cinema: we are often
disappointed when the film is beautiful
(either those who are nostalgic for black
and white movies or Angelina Jolie’s fans).
There remains a certain nostalgic feeling
for the theatre experience: a large screen
and a very large image with intense
colours and dynamic movements; to say
it in one word, an ‘enveloping’ experience.
It is this very nostalgia that explains the
success met by wide screens. But which
are the best conditions to enjoy a
pleasant TV experience?
furniture and the weight. This system is
still the best concerning lateral vision and
colour rendering. By multiplying the
screen’s diagonal by 3 - 5 we obtain the
optimal distance for a good vision. In
other words: a large 30” screen requires
the first seat to be placed at a distance
of about 3 m. When the distance
increases the vision remains constant till
a certain point is reached. Then we start
losing the details of the image generated
by television technology and placed in a
rectangle, whose base is 1.33 times its
height with a 4:3 ratio (4:3 screen).
This format is used to produce variety
light. Our eyes accept a compromise (we
(LCD) and in plasma screens but there
shows, news broadcasts, talk shows,
ELECTRONIC BRUSHES The technology
perceive one point and not three points)
remains the mosaic, the construction
sitcoms, soap operas and many films.
we must overcome is really known to few and perform a synthesis (not three but
based on lines, the image frequency: 25
And what about blockbusters produced in
though it is used by all: the cathode ray
one resulting shade of colour). In the PAL times a second. Various devices have been Cinemascope, Vistavision or Panavision?
television. This large glass ‘bottle’ with
system the brushes trace 625 lines 25
applied to overcome these limitations
And DVDs with anamorphic images? A
vacuum created inside generates colour
times a second. This is the television,
achieving only relative success. The first
research conducted by NHK - the leading
images by means of three ‘electronic
baby: a mosaic with a limited number of
‘trick’ involves doubling the number of
Japanese broadcaster - revealed that the
times the brush traces the 625 lines.
brushes’, which run along the surface; this elements. Hence the unarguable axiom:
public most appreciates a very large
good vision is only ensured at a distance
Hence the ‘100 Hertz’ TVs, which are free screen, which maintains the proportions
surface is coated with a phosphorescent
of the flickering effect, and ‘progressive
material that releases red, green and blue that is proportionate to the size of the
of the theatre. Since human beings’ visual
screen. Below this distance we see lines
scanning’ TVs, which improve detail
field has a precise vertical limit (30
and above it we lose details. Try this on a
rendering. But the real revolution will
degrees) and a wider horizontal extension,
FURNISHING OPTIONS
mosaic: from a distance you will perceive only come from ‘high definition TVs’,
the feeling large screens offer of a
The distance from the screen is calculated by
it as a crude painting and at close sight
which only the broadcasters of pay TVs
complete visual field is another good
multiplying the TV’s diagonal by 3 in the 16:9
you will see its elements. If we want to
have the means to produce.
reason, which motivates the purchase of
formats and by 3 - 5 in 4:3 formats.
increase
the
size
of
TV
screens
we
are
also
wide screens (16:9). There should be
Armchairs and sofas must be placed frontally
obliged to increase the size of the mosaic NORMAL OR WIDE SCREEN? In
greater focus for lateral vision: clear
in an open semicircle. Plasma screens are so
tesserae.
‘The
bottle
with
the
electronic
traditional
TVs
a
larger
screen
entails
the
vision fails in the most extreme positions.
thin and light that they can be hung like
brush’ disappears in liquid crystal screens increase of both the depth of the piece of Flavio Vida contributed to the story
pictures. They also allow extreme angle seats
as they minimise image distortion.
Home cinema
Happenings
NEWS
n.1/06 p.9
Don’t
miss
it!
Exhibitions, events, authors
MOLLINO FRAGMENTS
After the Triennale of
Milan, it is now the Darc of
Rome’s turn to celebrate
the centenary of Carlo
Mollino’s birth from 28th
January to 28th February.
Carlo Mollino is the
historical protagonist of
Zanotta’s design.
Fragments stretches in a
display module of six
parallelepipeds with
fragments of creative and
productive work by
Mollino. Displayed items
range from furnishing
designs to memoirs of
interiors, correspondence
and architectural works.
Designed by Cecilia
Bolognesi & Maurizio
Navone, Mollino
Fragments will later be
held at the Biglietteria
Molo Beverello, Naples,
from 5th to 30th March
and between April and May
in Piazza San Carlo, Turin.
THE ZANOTTA’S AD
Computerised graphics
and images of high quality
design items mark the
trend in Zanotta’s
advertisement. Zanotta
Design for Passion
(duration: 30 secs.) has
been broadcasted on
Mediolanum Channel,
Banca Mediolanum’s
satellite channel. The
profiles, which run on the
screen, are the furnishing
elements that have formed
the ‘living’ style the whole
world envies us. It is a
series of success stories,
which can be recognised
by the profiles: the ‘cult’
mirror Milo by Carlo
Mollino is flushed with
colour to introduce the
flight of the armchair Fly.
And then the adroit
transformation of the
furniture items Speed and
the bookcase Joy with a
funky-music style. The
whole is flavoured with
Flower Power for
dreamers and deep
passion for design.
DESIGN AND
CONTEMPORARY
LUXURY
Following the success met
with in Miami, Chicago and
London, the event “Luxury
in living - Italian Designers
for Italian Industries” will
open in Phoenix, Arizona,
on 14th January with 140
items belonging to the
living sector such as
furnishings, tiles, fabrics,
marble, silver and tapware:
the creative product of 80
designers ranging from the
most famous to young
emerging talents. Whether
mass produced or famous
re-editions, the products
retrace the Italian creativity
from the ‘50s to date with
pieces that are already
considered as Modern
Classic and others, which
belong to the prestigious
New Classics category.
Exhibited Zanotta items
number the chair Tonietta
by Enzo Mari and the
coffee table Tempo by
Prospero Rasulo.
CULTURE IN DESIGN
Presented for the first time
in Berlin in 2002, “Zanotta
Cultura del Design” is a
travelling event, which
visits leading European
cities. It is not to be found
in museums but rather in
showcases designed for
the extensive public that
loves high quality design.
In 2004 the exhibition was
displayed at the Cologne
Furniture Fair to celebrate
the firm’s 50th anniversary
and later in Belgium and in
Holland. It is a non-stop
journey to the most
specialised furnishing
stores following a historical
and tradition-oriented track
organised in decades and
starting from the ‘30s.
Today it is held in Fügen,
Austria, and then from 9th
to 30th March it will be
held in the prestigious
Vincents Inspira premises
([email protected]) in Riga,
Latvia, with meetings and
workshops for the public,
architects and designers.
AULENTI FOR
HUMAN SCIENCES
An architect’s greatness
lies in his care for details.
Gae Aulenti’s renovation
works of the Fondazione
Amici Istituto italiano di
Scienze umane’s new
Milanese branch are
exemplary. The same care
is given to the quality of
details in the three design
items created by Aulenti
for Zanotta: Appia console
table, Sanmarco table and
April chair (which was
also chosen for the
Foundation). The Friulian
architect’s most famous
works also number: the
conversion of the Parisian
Gare d’Orsay into the
namesake museum and
the transformation of
Palazzo Grassi in Venice.
Her recent works number
renovation works of the
Papal Stables in Rome
and the design of
San Francisco’s Asian
Art Museum.
ZANOTTA NEW CLASSIC
Schöner Wohnen’s New
Classic prize was awarded
to Zanotta and to the
designer Tom Kühne. The
famous German furnishing
magazine considered Acca
table one of the 100 21st
century items which can
mark the standard for the
future. The monthly
magazine’s team, backed
by a jury of architects and
designers, selected the
winners from over one
thousand participants in
the ‘living’ market.
Schöner Wohnen will
present the winners during
the Cologne Furniture
Fair, from January 16th
to 22th, 2006.
Editorial project Giuliana Zoppis
Graphic design Stefania Giarlotta
Supervision Zanotta spa
Pictures (page 5) Pierre Mens/HSB Turning Torso,
(page 7) Archive Ignazia Favata/Joe Colombo
Studio, Milan
Copyright C Zanotta spa
The use of texts and images are subject
to Zanotta authorization
Press office Zanotta
tel. 0362.4981
www.zanotta.it
[email protected]
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