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Author: lucaluca

Anne-Claire Petit

Anne-Claire petit

  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
Anne-Claire Petit

Anne-Claire Petit was born in Breda in 1962 and studied industrial design at the prestigious Academy of Eindhoven, where she specialized in textile design; his great passion for craftsmanship was born at the Academy especially in some disciplines such as printing, weaving and crochet. His current style and collections still reflect his love for the traditional craftsmanship.
After finishing her studies Anne Claire Petit begins her career in 1986 as a designer for Esprit, where she will stop for four years of intense knowledge and experience thanks to the international fame of the brand; in parallel, the designer begins to caress the idea of ​​a reality of her own where high-level craftsmanship can be at the service of her creativity.
In 1990 he therefore decided to inaugurate his collection and his company, which he would simply call Anne-Claire Petit, immediately becoming very famous and known for his shawls and other small fashion accessories. Unbridled creativity led her to new products and techniques and to a growing collection, initially concentrated solely on the world of fashion.
In 2002 Anne-Claire chose to shift her attention to a collection for children and for the home: without the seasonal cycle of fashion, she feels free to create and translate her love for color and natural materials into a wide range of items.
His is a colorful world dedicated to children, made entirely by hand in crochet: a zoo of funny and ironic animals, protagonists of a surreal fairy tale: rabbits, reindeers, frogs, ladybugs, puppies, cats, bears, zebras, monkeys, squirrels … all in natural colors or in bright contrasting shades.
From the outset it is clear that these objects, born for children, become an original, ironic and refined accessory for the home and for adults; animals can become cushions to play down a too rigorous sofa or small sculptures to be distributed in the different rooms, to lighten too austere houses.
The collection therefore becomes more structured and dedicated to the home in its entirety, with the addition of new accessories such as cushions, blankets, stools, chairs, tables … playful and colorful, always entirely handmade by crochet; at the same time the animals become bigger and bigger, sometimes very big, to cheer up a house as a real artistic installation.
In addition to the permanent collections, enriched every year with new subjects, the designer begins the creation of limited editions, such as the series of giant fruit and vegetables to be placed on sofas, armchairs and beds or simply on the floor: strawberries that color a traditional sofa in leather, red apples that cheer up old armchairs, aubergines resting on a grandmother’s bed, giant pineapples to be placed on the floor near the front door … all the designer’s imagination writes a fairy tale where the house becomes an ideal stage. The frivolous and playful appearance of these objects hides a great seriousness in the design and a very high quality level in the realization.
Currently Anne-Claire Petit has ceased the creation of the permanent collection to focus on specific projects on request; continues to collaborate with Ferrero1947 in the creation of limited editions, special collections and unique projects that are always colorful and fun: an added value that transforms these apparently playful objects into collectible design specimens.

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Aldo Bakker

Aldo Bakker

  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
Aldo Bakker

Aldo Bakker (1971) is a designer who fights the spirit of the time: almost all his designs, whether it is glass-line (1998), Saliera (2007), side table (2008), or Jug + Cup ( 2011), are notable for their refusal to challenge the fashion or spirit of the time. Not to mention being able to classify it from the surrounding world – those who see Bakker’s drawings for the first time, often wonder what their purpose is. This challenge is important for Bakker, a self-taught person who loves to follow his own path.

It is immediately clear that Bakker loves essentiality; the only son of the legendary Emmy van Leersum and Gijs Bakker, who revolutionized Dutch design with their futurist-shaped jewelry collection in the 1970s, Aldo never had any doubts about his destiny as a designer, but his work immediately took a different direction, very distant from the exuberance of the new conceptual school, to which his father has so strongly contributed, with the foundation of the collective Droog design and training at the Design Academy of Eindhoven more than one generation of designers of international renown today.

The objects that Aldo designs are at the same time very simple and extremely complicated: objects with essential but not elementary shapes, with smooth and convex surfaces that can hide unexpected cavities. Difficult to locate objects: for the plastic qualities they evoke sculpture, for the technical qualities the tool and for the preciousness of the materials and workmanship the jewel. Aldo Bakker’s objects play on the frontier between figurative and abstract: if on the one hand they indicate a search for absolute form and aesthetic perfection, on the other they arouse unexpected organic resonances, evoking vaguely vegetable or animal profiles. Many critics have approached these forms smooth and rounded, sinuous and at the same time pure, to Brancusi’s sculptures; With a smile, Bakker does not rule out this closeness, but pauses to explain the importance of the original convergence between form, material and use that he developed after years of trying and studying.

Independence is a fundamental value for Aldo Bakker who, while regularly collaborating with prestigious publishers, claims the freedom of research that escapes market imperatives. Independence is not only linked to a demanding ethical positioning, but it is also the goal that the designer tries to achieve with the creation of his objects. Upon careful observation, the enigmatic forms of Bakker’s objects hide surprises: to those who take them in hand and explore their ergonomics, they reveal unexpected functions, cause unprecedented gestures, yet always deeply “natural”, such as prodigious Salt Cellar (2007) in black porcelain, which is at the same time spoon and salt shaker.

All these objects require an experience, a contact, a knowledge that is made over time, with the aim, rather than to exercise a use, to discover the essence of an original gesture. “Sitting, pouring, containing, are all gestures that define the human”, says Bakker: “with my objects I want to create a state of awareness”. Through a multiplicity of vases, containers, jugs, tureens, he has for example explored the thousand facets of an essential gesture such as pouring a liquid – arriving at paradoxical solutions, such as the slender watering can or copper jug ​​of 2014, in which the liquid flows into the handle before exiting the beak. In the same way, the conception and production of each object is the result of a long journey, which can last for years, and which is accomplished as a slow process of knowledge, or, as Bakker explains, of “frequenting and understanding a form”.

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Cassina

Cassina

  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino
  • Cassina - Ferrero1947 torino Poirino

La Cassina was founded in 1927 in Meda, in the heart of Brianza, by the brothers Cesare and Umberto Cassina, initially for the construction of supplies for large cruise ships, including the famous Andrea Doria, the interiors of which were designed by architect Gio Ponti. Then begins a historic partnership between Cassina and Gio Ponti, consolidated in the 50s, which will lead to the creation of many masterpieces of Italian design, among them the chair called “Superleggera”, weighing 1.66 kg, an intelligent and cultured rereading of the famous Chiavarina chair, built on the Ligurian hills.
After and at the same time as Gio Ponti, promising young Italian designers, such as Mario Bellini, Achille Castiglioni, Vico Magistretti, will begin to collaborate with Cassina, belonging to what is now universally recognized as the Milanese school; thanks to the courage and flair of Cesare Cassina the company begins to identify itself as a laboratory of the best Italian design, with a careful search for ever new technologies, made available to designers, and with a constant analysis of lifestyle changes and ways of living.
At the same time as this research and collaboration with contemporary designers, thanks to the foresight and perseverance of Filippo Allison, Cassina continues a philological discourse of re-examination, rediscovery and reproduction of historical masters of Italian and international design. Thus an independent catalog was born, called “The Masters” to be added to the contemporary one, where the proposals of Le Corbusier, Charlotte Perriand, Gerrit Rietveld, Frank Lloyd Wright find space, up to the recent acquisitions of the archives and rights of the works of Franco Albini and Marco Zanuso. To carry out this project correctly and philologically, the company relies on the collaboration of the foundations in charge, where they were created as in the case of the Le Corbusier Foundation, or direct heirs.
In more recent years Cassina has experimented with the collaboration with contemporary designers of various origins, such as the French Philippe Starck, the Italian Piero Lissoni or the Spanish Patricia Urquiola, always maintaining that common thread of research, experimentation and innovation in the world of living. The most recent projects, after the Cassina family leaves the scene, are entrusted to artistic directors, such as the current Patricia Urquiola, who try to give an interpretation of the Cassina world, also re-reading some classics with the inclusion of colors and finishes. new.
The catalog dedicated to the Masters, each year enriched with new projects with the approval of the Foundations and heirs, remains the most brilliant and commercially successful example of how historical design can survive many experiments that are sometimes unnecessary. An example of this enrichment is the dialogue carried out by the company with Pernette Perriand, children of Charlotte Perriand, which allowed the rediscovery of the figure of this great designer, mistakenly overshadowed by the master Le Corbusier, and many of his little-known projects from the general public.

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Artek, design moderno, architettura, arte, arredamento

Artek

  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek
  • Artek

Artek was founded in 1935 by four young idealists Alvar Aalto and his wife Aino, with Maire Gullichsen, daughter of an important Finnish wood magnate and her husband Nils-Gustav Haha, a rich businessman and cultured collector; his name founds the 2 essential elements together according to its founders: art and technology.
The company’s business strategy is very clear from the start: “selling furniture and promoting a culture of modern life with the help of exhibitions and other educational means.” The founders hope for a new type of environment for the life of all days, firmly believing in a great synthesis of the arts and wanting to make a difference in architecture and design, as well as in urban planning.
Thanks to this sophisticated company, Alvar Aalto was able to avoid the inflation and the massification of his projects, which he considered precious as lithographs: his works had to be not too numerous, to contain the effects, and not too limited, not to enhance them in a sense too artistic. All Aalto’s works were carried out by Artek, often following actual needs, or the fact of having to furnish his architectural projects, as in the case of the Paimio armchair, created for the Sanatorium of the same name or the Viipuri stool for the library of the same name. For his projects, Aalto always starts from the construction techniques of snow skis, a product widely used in Finland, coming to exploit in addition to the folding of wood with steam, a technique already used by Thonet, also the natural humidity of Finnish birch wood .
Particularly famous are its stools, which have undergone a significant variation with the passage of time: in the 1940s the model consisted of 4 legs and a seat opposite them, joined with screws, in the 1950s instead the supports in plywood were designed to open up like a fan to form the top of the seat (or table), as happens in nature for some organic and vegetable conformations, without the aid of screws.
Alvar Aalto’s wife, Aino Marsio Aalto, has been the company’s artistic director for many years, designing herself some very elegant objects such as glasses, vases and small accessories, but also graphic fabrics and absolute colors black and white.
Today Artek is renowned for being one of the most innovative and avant-garde for modern design, with the creation of new paths between design, architecture and art. The collection includes furniture, lighting and accessories from the Nordic masters Alvar Aalto, Ilmari Tapiovaara, Tapio Wirkkala, Eero Aarnio and Yrjö Kukkapuro, but also contemporary collections such as the projects of the Bouroullec brothers.

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Artek was founded in 1935 by four young idealists: Alvar and Aino Aalto, Maire Gullichsen, and Nils-Gustav Hahl. The business strategy of the company was “to sell furniture and to promote a modern culture of living by exhibitions and other educational means. The founders  advocated a new kind of environment for everyday life. They believed in a grand synthesis of the arts and wanted to make a difference in architecture and design as well as in town planning.

Today Artek is renowned as being one of the most innovative contributors to modern design, creating new paths at the intersection of design, architecture and art. The Artek collection comprises furniture, lighting and accessories by the Nordic masters Alvar Aalto, Ilmari Tapiovaara, Tapio Wirkkala, Eero Aarnio and Yrj Kukkapuro. Artek also works with leading international architects, designers and artists, such as Shigeru Ban, Konstantin Grcic, Hella Jongerius, Harri Koskinen, Enzo Mari and Tobias Rehberger.

Artek’s collection is based on the original idea of standards and systems, initiated by Alvar Aalto’s bent wood experiments that resulted in the L-leg system. The L-leg, a solid wood leg with a laminated part bent at 90°, was patented in 1933 and quickly became a standard component of Aalto’s furniture designs. The standard and system thinking makes the furniture range versatile and allows it to be customised for individual projects. It’s furniture can be found in various types of spaces: public areas, private homes, museums, schools, restaurants, hotels and offices.

Artek’s headquarter is in Helsinki, Finland, where Artek also has a flagship store in middle of the town. International offices are located in New York, Tokyo, Stockholm and Berlin, where the international marketing team is based.

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cappellini

Cappellini

  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947
  • Cappellini - Ferrero1947

Cappellini is a historic family of Italian design company, founded in Carugo in 1946 by Enrico Cappellini. a synonym of originality, modernity and experimentation, the brand Cappellini produces quality furniture, never banal and able to furnish any residential space and contract. Born as a small firm, the collections are characterized by refined simplicity and personality, dictated by the big names of international design, findings from its talent scout and corporate designer Giulio Cappellini. There is talk of Jasper Morrison, Marc Newson, Tom Dixon, Marcel Wanders, the Bouroullec brothers and Nendo, designers works as Cloud, Knotted Chair, Embryo Chair, Pylon Chair and many more, now become icons of the brand internationally recognized and exhibited in the most museums in the world such as the Victoria & Albert Museum in London, MoMA in New York and the Centre Pompidou in Paris. The collection consists of three divisions, Collection Systems and Project Subject to translate flexibly all requirements of contemporary furniture, and bridge the gap between design and traditional furniture.

The talent of the architect Giulio Cappellini in sniffing out new trends, understanding in advance the evolution of living and discovering first of all new designers on the international scene, has made the Cappellini collection unique, varied and cosmopolitan. In the Cappellini catalog you can find all the most significant design developments of the past 50 years: from Alessandro Mendini’s apparently irreverent projects of denunciation and reflection, such as the iconic Proust armchair, to the poetry and lightness of the works of the Japanese designer Shiro Kuramata, of which Cappellini holds exclusive rights for the whole world.
The long, constant and important partnership with the British designer Jasper Morrison, which every year creates new projects for the brand with the usual minimal and elegant trait that distinguishes it: the professional and friendship relationship between Jasper Morrison and Giulio Cappellini dates back to many decades ago, when the latter decided to put Jasper Morrison’s thesis project into production and in the catalog: the outdoor and indoor metal armchair with sinuous shapes and poetic name: Thinking man’s Chair.
According to Cappellini, the house can be colorful, whimsical, contemporary, but also minimal, bourgeois and reassuring, translating flexibly every need for contemporary furniture, not being able to have any boundaries or limits.

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carl hansen & son

Carl Hansen

  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino
  • Carl Hansen - Ferrero1947 Torino Poirino

Carl Hansen, a Danish company founded in 1908, was one of the first industrial companies to believe in the complicity between craftsmanship and mass production . Now, as ever, producing seats, sofas, bookcases and wooden tables inspired by the vintage design.
Craftsmanship can be a lot of things. To us, it is everything and it has been so ever since 1908 when Carl Hansen founded his company in Odense, Denmark.

Carl Hansen founded his company on a strong belief: outstanding craftsmanship and rational serial production could go hand-in-hand to provide customers with high-quality furniture at a reasonable price. Today, we continue to build on this simple but strong idea. We combine traditional woodworking techniques with the latest technology to produce furniture of lasting value. Most of the furniture we produce today was designed by leading Danish architects back in the 1930s and up to the 1960s, but the design, the vision and the craftsmanship behind every piece of furniture is still as relevant today as it was then. If not even more so today. This is why our dedication to working with the best materials and the best designers has and will always be fundamental to Carl Hansen & Son.

At Carl Hansen & Son, we feel a great responsibility to keep bringing this sustainable idea forward of producing furniture with a long life, made of wood harvested from sustainably managed forests and treated in a way that is as gentle as possible for the environment.
Our skilled craftsmen and -women still work with the same pride and dedication and it this passion that helps us maintain the same high quality in every piece of furniture that leaves our factory in Gelsted.

Behind every piece of furniture lies vision, careful thought and skilled craftsmanship. That’s why we say, that every piece comes with a story. And we hope you’ll enjoy making it a part of yours.

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ClassiCon

ClassiCon

  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon

ClassiCon is a German company, based in Munich, that challenges time, presenting a design that has spanned the centuries without losing appeal and modernity; its name itself is a “classic” and “contemporary” case, highlighting its duplicity from the beginning, aspiring to offer pieces of established characters who have made the world of design history since the early 1900s such as Eileen Gray and Eckart Muthesius, but also to promote contemporary design and present examples of new design with advanced quality and shape, giving it the “classic” designation. The brand is synonymous with high quality, strong individuality and timeless aesthetics, out of passing fashions. Classicon objects are timeless pieces, combinable in any domestic or business context, with a strong personality, but outside the most fleeting trends in the world of design.

Many collaborations with young international designers, with whom the company establishes a lasting partnership that continues over the years, creating a design history linked to each individual designer. The most intense and productive partnership is certainly that with the Munich designer Konstantin Grcic, who, since the first projects with the company, has included refined references to the iconic design work of Eileen Gray: the projects of Konstantin Grcic, who later became a star world of contemporary design, I am the result of careful reasoning on ergonomics and the contemporary way of life, with cultured quotes to the masters of design in a never banal or dusty reinterpretation.

Eileen Gray’s projects are all produced and present in the Classicon catalog, which is the worldwide licensee of Aram Design Ltd: in the early 70s Eileen Gray began to collaborate with the manufacturer Zeev Aram to develop her furniture and its lamps for series production. Finally, in 1973 the designer signed a worldwide contract with Aram Design in London to bring all her projects into production for the first time. Classicon is therefore the exclusive licensee of the entire Aram collection by Eileen Gray.

Quality is a fundamental element for the company, so much so that each piece is indelibly and consecutively marked and numbered, as a concrete and visible testimony to the attention paid to the production of each individual specimen. The Classicon signature therefore guarantees the use in the production of high quality materials and methods, with compliance with all ecological requirements; the quality control of the production is very high. The logo and the progressive numbering offer the guarantee that each limited edition is an authentic replica of the original, made with the consent of the rights holders and with absolute respect for the original itself.

High quality and timeless furnishings are therefore the key points of the ClassiCon philosophy, which can boast the presence of its furnishing elements in numerous European and international design museums.

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de padova

De Padova

  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova
  • De Padova Ferrero1947
  • De Padova
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova
  • De Padova
  • De Padova

The history of De Padova spans all decades from the 1950s onwards, with unchanged elegance and sophistication.

In the 1950s, Fernando and Maddalena De Padova started their entrepreneurial business by importing Scandinavian furniture and objects sold in the showroom in via Montenapoleone in Milan. For the first time, northern European design arrives in Italy: its simplicity and rigor become a new possible proposal in the field of design.
In the 1960s, during a trip to Basel, Maddalena De Padova accidentally discovered Charles Eames’ Wire Chair; in a few months, Maddalena meets the American company Herman Miller from which she obtains the production license for Italy of the products designed by Charles Eames and George Nelson. ICF De Padova is founded, based in Vimodrone, which will produce Herman Miller office furniture in Italy. From this meeting Maddalena De Padova absorbs the secrets that will constitute the heart of her philosophy: the importance of the environmental context by George Nelson, the “connections” by Charles Eames, the role of objects by Alexander Girard. The large showroom in Corso Venezia in Milan is inaugurated, an extraordinary exhibition space on three levels, where design becomes the protagonist.

After Fernando’s death, Maddalena De Padova personally takes care of the company, follows its production activity and distribution; ICF is sold and a new company is founded which focuses on the edition of new furnishings, its name: Edizioni De Padova, then simply E ’De Padova. Vico Magistretti began his long collaboration with the company in these years by designing a collection of office furniture with its usual elegance; it will be the beginning of a happy partnership that will enrich the De Padova catalog with many masterpieces that have entered the history of Italian design: from the Silver chair, to the Vidun table, from the Pillow sofa to the Shigeto container.

Achille Castiglioni designs a series of displays for the windows that confirm the uniqueness of the company’s style, the true theatrical staging of design, where the windows overlooking Corso Venezia become a unique stage on the Milanese and then world design scene; settings played on irony, creativity and awareness of wanting to tell a story. Castiglioni also designs some pieces of great beauty for the collection, such as the 95 table and the Scrittarello desk. He joins the Dieter Rams group: Maddalena De Padova falls in love with her 606 bookcase and decides to produce aluminum for the Italian market: the 606 bookcase still remains the best example in the world of a container for storing books.

At the end of the 90s the collaboration with Renzo Piano began for the furnishing of the café of the Center Georges Pompidou in Paris, followed by, among others, the furnishing of the Morgan Library restaurant in New York and the Sole 24 Ore headquarters in Milan: all the most elegant domestic or business interiors perfectly fit the furnishings of the De Padova catalog. In the 2000s Maddalena De Padova received the Compasso d’Oro for Lifetime Achievement and reopened the space of the former I.C.F. factory, completely renovated and enlarged, which became the company’s headquarters. Patricia Urquiola and Nendo join the team designers alongside the historical collection. Maddalena De Padova completes the transfer of the company’s leadership to the children Valeria and Luca who further develop it by giving it a managerial structure. In April 2015, the company was acquired by Boffi, which allows the company an international distribution program, with the passion and all-Italian heritage that unites them.
De Padova remains firmly an example of Italian timeless elegance, where a correct balance, excellent design and great respect for the Italian design tradition continue to furnish the houses and the most refined spaces of Italians and now also all over the world, in furrow of the choices, still very current, of Maddalena De Padova.

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DHPH

DHPH

DHPH or Den Herder Production House is a manufacturer and distributor of hand-made products and bespoke pieces. After years of working exclusively with Maarten Baas, DHPH extended this collaboration formed to other designers with the same philosophy. The works are handmade in our study, in too small editions to justify the creation of a production line and too technical and too aesthetic changes to be outsourced. This arrangement gives us the ability to customize the products of the standard collection and also to carry out large projects.

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