Aug 24, 2015

(BLOG IN ITALIANO) I maestri contemporanei

Sorry, this entry is only available in BLOG IN ITALIANO.

Aug 23, 2015

(BLOG IN ITALIANO) Gran Teatro della creatività italiana

Sorry, this entry is only available in BLOG IN ITALIANO.

Aug 22, 2015

(BLOG IN ITALIANO) Le maestranze

Sorry, this entry is only available in BLOG IN ITALIANO.

Aug 21, 2015

(BLOG IN ITALIANO) I maestri del design italiano

Sorry, this entry is only available in BLOG IN ITALIANO.

Jun 30, 2015

iSaloni Milestones. 1987, Cini Boeri and Tomu Katayanagi for Fiam

23. ghostGhost. Proof that a touch of folly is sometimes just what design needs.  

Folly, perhaps. Yet rooted on the one hand in the skill of one of the most rigorous designers that Italy has ever had, Cini Boeri, and on the other in the technological capacity of a manufacturer, Fiam, which invented curved glass.

The result? An icon. An armchair in transparent glass, upon which one might at first sit with apprehension, only to discover that it is ergonomically impeccable.

And let us not forget to point out tthe date in which this masterpiece was created: 1987, when it seemed that design creativity had sold its soul to the most boisterously colorful Postmodernism.

Here, on the contrary, only purity and silence.

Jun 22, 2015

iSaloni Milestones. 1969, Gian Carlo Piretti for Anonima Castelli, later Castelli Haworth


Plia. A chair for a democratic design.

There are timeless chairs and there are ‘momentous’ chairs, unforgettable portraits of an era and a way of thinking. The Plia represents the best of the utopian ‘60s: transparent (the first in the world), folding (with a ball-hinge in cast light alloy, patented and unequaled).

Closed measurements at less than five centimeters in thickness: in a society that wanted its homes full of friends, the Plia was discreetly stored, then opened at the last minute. The highly durable Plia supported the weight of the revolutionaries of the time as well as the weight of nearly five decades, with millions of units sold. The embodiment of the dream, for once come true, of a democratic design.

Jun 17, 2015

iSaloni. One last goodbye

Goodbye Pierluigi!


Known to all as Ghianda, the supreme master of wood who, ironically, transformed his last name into his company logo, an oak leaf (ghianda means ‘acorn’, ed.).

Pierluigi Ghianda left us on June 9, 2015, at the age of 89.

The last time I saw him was in March, impeccable in a blue pinstripe suit and white shirt, with a pink tie and an improbable belt with a buckle of silver oak leaves. He moved among his men, his furniture, his raw logs (including the ones outside … he wanted me to see them again despite the rather brisk temperature). Meanwhile, he once again told me his story. But this time I had the distinct feeling that was telling it to himself, trailing his hands over recently completed pieces, his eyes closed.

Pierluigi always said that wood is a gift from God and that wood sings, that wood smells and that caressing it is a physical pleasure. He talked about his grandfather who founded the workshop in 1898, and his father who died young, and his mother, brave and severe, and his brother, “a great carpenter”.

And then he talked a lot about Gianfranco (Frattini, his close friend, with whom he created the masterpiece “Kyoto” table), but also about Gio (Ponti) and Gae (Aulenti) and Cini (Boeri) and many others. Indeed there are many who owe thanks to Pierluigi, all of the famous designers who regularly turned to Ghianda to “find a solution”. All friends, in the end, all gathered to eat together and cheer, in Pierluigi’s case, for his beloved Inter.

Thank you, Pierluigi! Goodbye!

Marco Romanelli


(Kyoto table for Frattini)

Jun 10, 2015

iSaloni Milestones. 1958, Bruno Munari for Danese


Bali. A folding lamp.

How does one find the right way to talk about the most elusive of the great figures of the Italian 20th century? That Bruno Munari who was at once visual artist, designer, graphic designer and teacher; that Bruno Munari who, throughout his long life, evaded every definition.

Perhaps by talking about a seemingly simple table lamp that is in fact quite complex: a cubic plywood base that – get this – FOLDS, and a shade frame in brass wire secured to a socket sheathed in heat sealed PVC.

Out comes a warm, soft light until we choose to move to another house, take another trip, but always with the Bali lamp in our suitcase!

May 27, 2015

iSaloni Interviews. Zanini


Born in 1978 in Rio de Janeiro, Zanini grew up observing the work of his father, the famous architect José Zanine Caldas. He apprenticed with Sergio Rodrigues, great legend of Brazilian design. After graduating in Industrial Design in 2002, he has since been designing furniture which, on the one hand, riffs on the tradition of Brazilian modernism, and on the other participates assertively in the international debate. In 2012 he earned particular acclaim for his “Inflated Wood” collection for Cappellini. In Brazil, Zanini stands today as the most interesting alternative to the poetics of the Campana Brothers. In 2015 he was named “Designer of the Year” by Maison&Objets America.

What was your most memorable experience of the Saloni? An encounter, an event, or simply an impression.

Undoubtedly my first show with Cappellini, which marked the beginning of a collaboration with an important brand that I’ve always admired. I was happy and nervous at the same time.

The 5 most important pieces of the 2015 edition? You can include one of your own.

Fernando and Humberto Campana, Estrela collection for Alotof.

Nendo, Float stool for Moroso.

Konstantin Grcic, Sam Son chair for Magis.

Jaime Hayon, Réaction poétique collection for Cassina.

Zanini de Zanine, Flora floor lamp for Slamp.


Interesting places relative to design, architecture or interiors in your home city, or in other cities particularly dear to you?

In Rio de Janeiro:

Galeria de Design Mercado Moderno Rua do Lavradio 130, downtown: specialized in modern and contemporary brazilian design, it features one-offs and limited editions from both great masters and young designers. Situated in the Lapa quarter, very bohemian, the gallery occupies an old restored building.

MAM – Musee d’ Art Moderne Av. Infante Dom Henrique 85, Parque do Flamengo: fantastic project by Affonso Reidy. One of the most important museums in Rio: a modernist building situated on the bay with excellent exhibitions of Brazilian and international art. Don’t miss the magnificent garden designed by Roberto Burle Marx.

studio of Sergio Rodrigues Rua Conde de Irajá 63, Botafogo: a veritable temple of Brazilian design. Located on a rather unusual street, in the same house where the famous designer lived, it has a rich archive of objects, models and photos.

A young designer who you think might soon become a major figure at the Salone? A comment, curriculum and 3 products.

Giorgio Bonaguro, an Italian designer analyzes his Italian roots when he designs, but also seeks to understand Brazilian culture: an example of the melting pot mentality that allows works with strong identities to see the light.

Curriculum: Giorgio Bonaguro was born in 1977 and studied Mechanical Engineering in Modena, then Industrial and Interior Design at SPD in Milan. He has worked in the Milanese studios of Francesco Faccin and Marco Romanelli. He designs independently for several Italian brands including Driade and Valsecchi 1918. He participated in the SaloneSatellite and in numerous solo and group shows in Italy and Brazil. Among the more recent: “Design Market” by Giulio Cappellini, Abitare 100% Project”, Verona; “Cabinets of Curiosity” at Mint Shop, London Design Festival, London; “Now! Le Off”, Paris Design Week; “MADE” at Design Weekend, Jockey Clube, Sao Paulo, Brazil; “Italian Design meets Jewelry”, Palazzo Bonin Longare, Vicenza; “Good Words and Wordly Goods”, Design Days Dubai at Majlis Gallery.


Three products: Root vases for Driade, Oscar desk for Valsecchi 1918, Chess stools for Icons

This site is protected by Comment SPAM Wiper.