310,840 visitors overall, including big crowds on Saturday and Sunday when the fair opened its doors to the general public, 69% of whom were high-level foreign buyers with resources to spend, as confirmed by over 2,000 exhibitors.
The Salone del Mobile once again confirmed its international identity with a significant presence of Russian operators, with China representing the largest number of visitors and Germany in second place.
Also noteworthy was the Middle Eastern presence, particularly Saudi Arabia, Lebanon and Egypt, while the number of visitors from the USA, the UK and India showed a solid growth.
‘These numbers confirm the importance and drawing power of an event that expresses the best furniture design from both Italy and abroad. As such, the Salone can be seen as a first signal of the predicted recovery’, declared Roberto Snaidero, President of the Salone del Mobile.
The exhibiting companies, moreover, can expect support from the government, according to the announcement of Prime Minister Matteo Renzi, who visited the Salone on opening day: the sector will be supported through domestic market development policies and activities that foster international promotion.
An excellent pipeline, acknowledged by all the guests and ministers and representatives of every political level and persuasion who visited.
Lots of visitors also at the 18th edition of the SaloneSatellite, with the theme Planet Life, featuring more than 700 young designers under 35, and at the installations that enlivened the pavilions of Fiera Milano, Rho: The Walk by Michele De Lucchi, who created a conceptual itinerary through the world of work, and IN ITALY, curated by architect Dario Curatolo, who involved 64 Italian companies and a selected group of designers and architects to explore five lifestyle alternatives (Lecce, Milan, Rome, Venice and Val d’Orcia) through an app.
Other great successes include FAVILLA. To Every Light a Voice, the installation-event designed by Attilio Stocchi in Piazza San Fedele in Milan, which counted more than 10,000 visitors, and for the opening of the exhibition Leonardo da Vinci 1452-1519, sponsored by, among others, the Salone del Mobile, and represents the largest exhibition ever staged in Italy on the great Renaissance genius.
Thanks for your participation.
The SaloneSatellite celebrates its 18th birthday and as always offers a quite heterogeneous overview of that limbo of precious and life-giving soil inhabited by the new generation as it grows and strives to face the real world, in this privileged garden that the Salone provides.
The participation is truly international (indeed, the Italian presence is less than ever) and the ideas circulate and bounce around, reflected and reproduced, following and sometimes anticipating the language that attempts to communicate with contemporaneity.
Beyond the prize winners named by the jury and the highlights signaled by us and others which by now appear in real time on the web, let’s look at a few new ideas that have sparked our interest, leaving a pleasing glow among the many lights and shadows of the Salone.
To learn instead how to perceive things, we would need to memorize Daily Poetry by Ingrid Hulskamp, where strange objects of various materials offer different sensory experiences to the hand: between touch and sight, one must above all feel.
And what better than an investigation of materials to help us hone our senses? Raw Narratives looks for the function beneath the beauty of raw materials, using discarded leather from fashion manufacturing to obtain objects made solely of recycled leather, which in turn potentially becomes structure.
Out For Space, on the other hand, investigates rattan, a wooden material used in a decorative and ingenious way, with its hollow fibers which, in addition to allowing the traditional bending, can also absorb pigments, creating surfaces ornamented with lines and points.
Then comes the necessary moment of irony, like the intelligent Pop sensibility of Pistacchi Design, the name that Mike He from Taiwan gave to his studio in tribute to his weakness for the consummately Italian gelato al pistacchio, which in his own highly personal Chinese translation means ‘design that makes you happy’. The day concludes, after completing our duty, with pleasure.
Like the pleasure and passion for botany of Dossofiorito, who return and take flight, faithful to their vegetal poetry, with hanging vases for epiphytic plants that can draw nourishment directly from the clay of their water-filled container.
Then, now and always, best wishes to the SaloneSatellite upon reaching adulthood, and above all to all the rising stars who will now have to find their own trajectories, which we hope will be as luminous, ascendant and long-lived as possible.
Office work has evolved exponentially in recent years as a result of the extreme development of technology. This evolution has necessarily placed in discussion the stereotypes of office spaces and the products that customarily occupy them.
The traditional notions of work, of office, of space are being shattered by the democratization and the personalization of technology.
The companies affected by this therefore face a great challenge. It’s a difficult moment, one that leads to movement – as the installation by Michele De Lucchi, designed expressly for Pavilions 22 and 24 and for this Salone del Mobile 2015, would appear to indicate.
Visiting the stands, one notes that the brands are by no means sitting still. If anything, judging by the products on display, many brands have already understood where to steer the future of work, as if anticipating De Lucchi’s warning.
Beatnik by Donar, a sort of nomadic yurt with a contemporary flavor, perfect for brainstorming 3.0; Unifor, with an intimate wooden Studiolo designed by Michele De Lucchi for important meetings with oneself, following the example of the study-cell of St. Jerome; Offecct, which proposes, at the colorful ‘Swedish Design Goes Milan’ stand, Carry on, a colored ottoman with a practical wooden handle so it can be comfortably transported to wherever it best serves; Usm, with its modular partitions in sound-absorbing material that make it possible to redefine the perimeters of the office in a few seconds and with a color palette as delicate as it is intriguing; Icf, whose Cloud seat lets you first rest and then work and which can be tried out firsthand at De Lucchi’s ‘The Walk’; Laminam, whose expertise with materials make it possible to change the visual horizon of the office with its thin ceramic panels featuring an infinity of surface finishes; Tecno and its io.t project, thanks to which we can ‘rediscover ourselves’ and ‘reconstruct our working habitat’ in any part of the world with a simple microchip, an internal Internet; Faram, with its spiral Inspire, which ensures the luxury of silence even in the noisiest and most chaotic open-space office; Caimi, who commissioned Alberto and Francesco Meda (Sipario) and Atelier Mendini (Diesis and Bemolle) to design different possibilities of acoustic applications of the new Snowsound system; Fantoni, which presents the Hub project by Matteo Ragni, where the intelligent multifunctionality ‘a la Munari’ becomes the foundation of everyday work; Sesta, whose Paul&Frank sofa becomes an interactive hub for all the spaces of connection and communication of the office 3.0; Dieffebi, whose file storage containers and elements lend order and personality to the workspace without sacrificing the mobility of the archival materials; Universal Selecta, which literally transformed its stand into an interactive stage set for TV and film shoots.
Salone del Mobile 2015, the office is us.
We’re in the Classic pavilions, at the beginning of the fairgrounds, where the watchword has become contemporary luxury. Which is to say, the skillful combination of artisanal techniques, prized materials and the ability to revisit (and at the same time update) the stylistic language of tradition. Because what matters today is surrounding oneself with fragments of memory; all the better if they’re one-of-a-kind, or in some way custom made. In other words, letting oneself be drawn into a gilded, delicate universe, with touches of capitonné, which – if you’ll allow me – is not unconnected to cocooning.
Thus we find vanity tables in precious woods (Riva 1920), beds unapologetically canopied or dominated by imposing headboards (Selva, Cantori, Turri), carved and backlit wall systems embellished with gold (Ceppi Style)…
Not to mention wallpapers, credenzas and tables that gleam with fixtures and intarsia in tones of copper, bronze and mother-of-pearl… What counts is to feel ‘at home’, even when staying in a hotel; enveloped in an atmosphere as warm and soft as it is elegant and comfortable.
This certainly explains the great comeback of the bergère, conjugated in new typological variants and enriched by precious details (particularly noteworthy is Klimt, at Provasi).
Among the more prominent trends we’ve seen in the many stands outfitted like homes from days of yore is a significant return to Art Decò, expressed through refined, even specialized furnishings, generating strongly personalized domestic landscapes. Examples include, among others, the stands of Citco and Emanuel Ungaro Home.
Francesca De Ponti
This is the title of the new work of concrete poetry by Michele De Lucchi.
A work conceived, written, designed and planned for the work place: the office.
It is here that the large installation reigns. Upon arriving you smell wood. From above and below. And the journey begins. Suspended. On a new concept of office 3.0.
From the Aristotelian philosophers to Kerouac, the password is movement. Movement is good for the mind. Walking. Thinking. Dreaming. The new office starts fresh, after the ‘disintegration’ of the old commandments. And it sets itself in motion.
The Club, Free Man, Agorà, Lab.
Tthese are the four petals of a flower, freshly blossomed and baptized The Walk.
THE CLUB: a place to be unpredictable.
FREE MAN: a place to find intimacy.
AGORÀ: a place to express yourself.
LAB: a place to learn and to do.
THE CLUB: intended for socializing and exchange.
FREE MAN: dedicated to individual and group work.
AGORÀ: historically designated for public discussion, an auditorium.
LAB: a workshop that generates creativity and communication.
‘What would make living together more exciting, stimulating and creative?’, De Lucchi asked himself in designing The Walk.
The response seems to reside in a statue by Giacometti: walk in order to think. Think in order to improve. Improve in order to change. It is movement, then, that leads to change.
The Walk by Michele De Lucchi for the Salone 2015 is at conce a philosophical project and a warning for the future of work.
The whole thing could (perhaps) be summed up in a line from the latest album of Lorenzo (…another one of those who can’t ever stay still…): ‘… I gotta move, move, I’m all pins and needles… !’
Among the larger themes that fuel the cultural discussion in 2015, light occupies a special place.
Indeed, 2015 has been named by UNESCO as the ‘year of light’.
So what are the main trends in the world of lighting?
The rapid development of LED light sources has in fact ‘emptied’ the traditional light fixture of meaning.
There are effectively two design hypotheses: the first leads to the maximum reduction of the lamp-as-object, the second to the rediscovery of form beyond function, like a fascinating simulacrum.
Regarding the first hypothesis, we can point to Edgelighting by Ernesto Gismondi for Artemide, an ultra-thin (1.5 mm) sheet of PMMA, or Fosbury by Davide Groppi for Davide Groppi, a silent line of light. Also belonging to this first group is the Volée lamp by Odo Fioravanti for Fontana Arte, which switches on with a tennis-like stroke.
As for the second hypothesis, we would cite Stochastic by the young Norwegian Daniel Rybakken for Luceplan: a ‘cloud’ of spheres in silvered borosilicate glass among which the light source is positioned as if by chance, or June Bird by Arik Levy for Danese, a little birdhouse with a ‘golden egg’ (i.e. the light bulb) inside.
Lastly and apart, two paradigmatic personalities: Michael Anastassiades who, in his own stand and at Flos, starts from form to arrive at poetry, and Francisco Gomez Paz for Luceplan, who starts instead from technology to arrive at that same poetry.
In conclusion, for Euroluce 2015 and for the Salone del Mobile as well, the most important trend appears to consist in knowing how to tell stories: contemporary designers have transformed into storytellers.
The Salone del Mobile di Milano is the litmus test for the most advanced design trends. What does the 2015 edition have in store? Let’s take a preliminary look with Marco Romanelli.
STORYTELLING. This is the main interpretive key: design emerges from its specialized isolation to become part of a larger dynamic, incorporating lifestyle and personal experiences. Designers aren’t limited to creating products, they also tell stories.
BEAUTY. It may seem superfluous to say so, but beauty is the most sought after dimension: discover it walking through esthetically impervious terrain, like Konstantin Grcic with his Sam Son chair for Magis, or elegantly revisiting tradition, as in the Belleville collection by the Bouroullec brothers for Vitra.
TRAVEL. Inspiration often comes from remote and idealized places. Among them this year is Northern Europe, with a pastel-colored minimalism, still present in the pavilions but meaningful only when transformed into research, breaking free of form and arriving at invention, as in the Fju desk by the duo Kashkasch at Living Divani, the Bed Sharing system by Lorenzo Damiani at Campeggi or the 2002 sofa by Christian Werner at Thonet. Another destination for 2015 is Miami, apex of an imaginary triangle that connects Moscow to Dubai in a richly ornate decorativism, maximalist without being kitsch. There are further traces at FIAM with the Ginevra mirror by Benini, Gonzo, Xhixha, at Gallotti&Radice with the Oto table by Gabriele and Oscar Buratti, and at Flou with the new Iko bed by Rodolfo Dordoni. But the destination at the heart of 2015 is unquestionably Africa.
ETHNIC. African influences are transformed into strange wooden idols, as in the case of Réaction Poétique by Jaime Hayon at Cassina, or int the colored tendrils of the Root vases by Giorgio Bonaguro for Driade.
LOCAL. The ethnic transforms easily into local. While in the 1950s they seemed to strive for an internationally recognizable beauty, today ‘idioms and dialects’ become the new Esperanto for conquering the global market. This can be said of the Franco-Finnish language of Ronan & Erwan Bouroullec in their Kaari collection for Artek. Providing a push to the ‘local’ phenomenon (in the local craftsmanship declension) is certainly food design. An example can be found at Alessi where artisans from the Valle Strona have carved the drawings of Marcel Wanders into beechwood cutting boards.
DENOMINATION. ‘A vase is a vase’, just as ‘A chair is a chair’. Beneath these tautological definitions there lies a new, psychologically reassuring trend. To wit, David Chipperfield designs an absolutely elementary table and bench for e15, and Tokujin Yoshioka imagines Prism for Glas Italia, a ‘wardrobe-wardrobe’: two cubic meters of air encased in glass.
CHILDHOOD. A trend that has appeared almost furtively, but by now quite evident. We’re talking about Concentric Puzzle by Arik Levy for Danese or the idealized animals at Bosa, from the unicorn by Sam Baron to the elephant-duck by Jaime Hayon. Not to mention Martino Gamper, the juggler of Italian design, who ‘tosses’ wooden rings onto the Cirque stool by Gebrüder Thonet Vienna.
MYTHOLOGY. Contemporary designers in search of inspiration inevitably return to the Olympus of the great designers of the past, like ivdesign.it, who revisit Carlo Mollino with the Schegge table for Valsecchi 1918, while Poltrona Frau looks directly, in the year of his centennial, to the greatest Scandinavian designer, Tapio Wirkkala, reproposing Bird, a low table designed in 1952. And let us not forget, in this 2015 edition, the heroines. One in particular, Nanda Vigo, anti-conventional companion of the greatest artists of the ‘60s and ‘70s, who returns to Driade with the Blocco ottoman of 1971.
Salone del Mobile 2015
Fiera Milano, Rho
14 / 19 April 2015
Open to the public: Saturday and Sunday
The Salone 2015 is opening the doors, ready to welcome over 300,000 expected visitors from the 14th of April to Sunday, 19 April at Fiera Milano, Rho. Here’s all the useful information you’ll need.
Map of the Fiera. The Salone occupies more than 200,000 square meters and 20 pavilions. The Salone del Mobile and International Furnishing Accessories Exhibition: Classic 1, 2, 3, 4; Design 5, 6, 7, 8, 10, 12, 16, 20; Modern 14, 18. Euroluce: 9, 11, 13, 15. Workplace3.0/SaloneUfficio: 22, 24. SaloneSatellite: 22, 24. You can download the map here, or from the App Salone del Mobile Milano 2015, both for free online.
Baggage. Baggage deposits in every reception area and at the exit of the Rho Fiera subway stop where you can also leave heavy luggage. Small fee.
Shuttle service. Visitors can use a free shuttle line that runs the entire perimeter of the fairgrounds on a continuous loop. It stops at all the entrances (Porta Sud, Porta Ovest and Cargo 4/SaloneSatellite) between 8 am and 8 pm (last run on Sunday at 5). End of the line at the exit of the Red Line of the subway system, in the same square as the shuttles to and from the airports. Free shuttle bus from Fiera Milano to the city center. Active from 3.30 to 7.30pm, departing every 15 minutes (last day, 13 April, 3.00-5.00pm) for Milano Cadorna and Piazza Cairoli. From the Milan Fairgrounds, Rho, it leaves from Porta Sud.
Food and drink. Snack bars and self-service are on Corso Italia at ground level, and inside all the pavilions. Other refreshment stands on the upper floor along the Ponte dei Mari.
Pre-registration. To avoid unnecessarily long queues at the ticket windows, just fill out the online form on the Salone del Mobile website and print out the coupon so you can use the Reserved Ticket desks to purchase your tickets. In this case the ticket is full price.
Purchasing tickets online. Buy online and save. Pre-registration in this case is obligatory and allows you to choose between Basic Admission (entrance to the Fiera only) and the All-inclusive Ticket (entrance to the Fiera + free use of public transport). Online pre-sales is open until Friday, 17 April, with lower prices than at the Fairgrounds ticket desk. The integrated ticket option is available only online. New for 2015: now you can also buy the catalogue online and collect it at the Fair.
Journalists. Journalists can work in a reserved area within the Press Office in the Service & Congress Center, with free WiFi connection. Ask for the password at the reception desk. Press releases and official photos are available at this link.
OTHER USEFUL LINKS
Getting to the Fiera
Parking in Milan and at the Fiera
Travel and lodging
Salone del Mobile.Milano
Place: Fiera Milano, Rho
Dates: Tuesday through Sunday, 14 – 19 April 2013
Hours: 9:30 am to 6:30 pm
Entry reserved for professionals: Tuesday – Friday
Entry open to the public: Saturday and Sunday
SaloneSatellite: Free entry from Cargo 5, open to everyone, every day
Find easily: the list of exhibitors (organized by event, pavilion and category) and their catalogues, location of the stands, floorplan of the Fairgrounds, schedule of events and all the information you need to facilitate your visit to the Salone del Mobile.
App Salone del Mobile Milano 2015
For iPhone and iPad – DOWNLOAD
The SaloneSatellite presents Design Talks: 4 conversations with the designers of the 4 installations on the theme of ‘Planet Life’, moderated by Cristina Gabetti, along with the ceremonies for the SaloneSatellite Award and the Design Report Award.
Thursday 16th April
11.30am The Five Elements, the garden abstracted
Art Center College of Design, Pasadena CA, USA
4pm Design Report Award – 16th edition
ARENA of the SaloneSatellite
Salone del Mobile 2015
April 14 – 19
Fiera Milano, Rho