lucaluca, Author at Ferrero1947

12 May

E15

12 May, 2016
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e15 stands for consistency, rigorous design, combined with high quality materials and innovative artisan production methods. As a modern quality brand that caters to a global home and contract market, the brand maintains a global approach to the interiors, with a marked architectural vision pursued by its founder, the architect Philipp Mainzer, together with the designer and art director Farah Ebrahimi.

In close collaboration with designers, architects and artists, e15 develops original products and cultured artistic references, which reflect the brand’s philosophy and its approach open to different cultures and disciplines.

The company takes its name from the postal code of its first laboratory in London and was founded in 1995 with a first small collection; a radical new simplicity marked this debut, leaving an indelible mark in the history of modern design with essential shapes made even more evident by the solid and raw material, the untreated solid oak. The BIGFOOT ™ table and BACKENZAHN ™ stool are the most iconic furnishings in this collection, which has established a new aesthetic through the pioneering use of solid wood in its purest form.

From the Historical collection of 1995, new projects alternated annually, always on the same track, enriching the catalog with beds, bookcases, desks, chairs, armchairs, sideboards, bookcases, sofas … and an equally rigorous line of accessories. The use of solid oak remains at the center of production, recently flanked by the darker walnut option. A special mention deserves the selection and textile production, created for upholstered items such as beds and sofas, created by art director Farah Ebrahimi, which takes modern ancient textile traditions from different countries in a modern key, rereading them with contemporary colors and geometries. The re-editions of some historical pieces designed in the 1920s by Ferdinand Kramer, a German master with a rigorous and essential trait, which perfectly aligns with the contemporary proposals of e15, have recently been included in the catalog.

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12 May

Ecart

12 May, 2016
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Ecart EN

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Ecart was born in Paris in 1978 from the will and foresight of Anrée Putman, who bravely decides to re-propose some forgotten designers of the 1930s such as René Herbst, Jean-Michel Frank, Pierre Chareau, Michel Dufet, Mariano Fortuny, Robert Mallet-Stevens , Eileen Gray … trying to win back the general public with some eternal masterpieces in a period, the early 1980s, where design and interior trends were taking different paths. The name already wants to be a manifesto of what you want to propose: Ecart as a gap, as a different proposal from everything that was dominating the world of design in those years.
In the mind of Putman these masterpieces could not be forgotten, the result of the design of great architects and designers and the realization of the best French and in particular Parisian craftsmen. In fact, everything started from Paris and then interested in the world, up to the United States of America, where Putman herself will take care of the famous Morgans Hotel in New York in 1984 and then of many public and private spaces.
As she often liked to say after the Americans, finally the French and then the Europeans began to love her style and her elegant and refined proposals; the works of the great French masters of the 1930s were proposed together with an always impeccable anonymous design, with colors and materials often very brave: electric blue, the famous black and white damier (almost a trademark) …
Many well-known faces and French fashion brands such as Azzedine Alaia, Balenciaga and Karl Lagerfeld relied on Putman and Ecart furnishings for their shops and ateliers, but also some politicians such as the French minister of culture Jack Lang for his office. in 1984 or finally some large institutions such as the CAPC museum of contemporary art in Bordeaux, for which Anrée Putman will design a monumental and iconic floor lamp
In Putman’s work and in the Ecart catalog, almost a reflection of her personality, the materials defined as rich and precious, such as black lacquer or chromed steel, are combined with simple and poor ones, such as cotton or natural wood, the bolder colors are put in relation with more neutral ones, more squared shapes are alternated with more sinuous lines.
The Ecart catalog is still divided into 2 parts: one dedicated to the historic French masters of architecture and interiors of the 1930s, much loved by Putman, the other to projects designed by Putman herself, such as the Crescent Moon sofa or the floor lamp Lune, or new collaborations and contemporary designers. All production: furniture, upholstery and lighting, is still made in France by the best craftsmen, while rugs, like the iconic black and white specimen by Eileen Gray, are hand-woven in Nepal.

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12 May

Edra

12 May, 2016
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Edra EN

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Edra has always paid great attention to the research of new materials or reinvent and flexible types, capable of transforming the creative concept in industrial project. The highly specialized manual intervention and refined, Italian genetic inheritance cultivated with intent, characterizes the uniqueness of production. Technologies used come from unlimited horizons, explored without prejudice. High-tech that draws from different industries to complement its input into the design without the need for performance. Great technical complexity, which translates into extreme simplicity of use. Technology to augment the means of expression, advanced design solution, innovazione. L’intervento manual is the irreplaceable human contribution that distinguishes and characterizes the uniqueness of the results. The essential attention to detail is the result of the manual wisdom cultivated from years of experience. intrinsic dexterity that is part of the manufacturing process of each product Edra and ensures the exceptional quality. An evolutionary choice in conceiving seriale.Nuove production relations between body and objects are explored. The concept of comfort is transformed, spreading to new possibilities and adapting to profound changes daily living needs. Previously unattainable levels of comfort are achieved by creating new forms and using different materials.

Edra sofas are universally considered the most comfortable and ergonomically in the world thanks to the skills and inspiration of Francesco Binfarè, one of the most prepared personalities on the subject in the world of design, architect since the 1960s of engineering the best sofas of Italian design . The works of Binfarè, for Edra both designer and technical leader of the team of engineers for the realization, are timeless sofas, where technology, very advanced, but invisible, is at the service of aesthetics: Flap, Standard, Sherazade, On The Rocks, Il Grande Soffice, Absolu, Essential, Pack … are some of the projects that have now become iconic.
A separate discussion in the Edra catalog is reserved for the historic partnership with the Campana brothers, famous Brazilian designers of international design. Their first project for Edra is the famous Favela armchair, handmade in Brazil with wood waste. Every year, for decades, the Campana brothers have created new projects for Edra, always united by the strong creativity and that characteristic ironic note that distinguishes them. Among the best known projects, many now part of the best museum design collections, we can mention: the Cipria sofa, the Sushi, Vermelha, Grinza, Corallo armchairs, the Brasilia containers and tables, the Cabana bed …
Edra’s selection, always in search of new international collaborations, is completed with the projects of Jacopo Foggini, master in the processing of methacrylate, with a collection of flower-shaped armchairs by the Japanese Masanori Umeda, Getsuen and Rose chair and with the armchair Sponge by Peter Traag, made thanks to a very advanced technology.

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12 May

Flos

12 May, 2016
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Flos EN

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For fifty years Flos has created objects of light and ignites generations of dreams, it was born in 1962 in Merano by the will of Dino Gavina, genius of Italian design and great discoverer of talents.
For Flos, light is the material with which to express new ideas and illuminate unexplored emotions.
The company philosophy can be summarized in these passages: “We write the future, reading our past and expressing today, in a continuity of concrete challenges and bold choices that have shaped our image and identity. Our history has taught us to keep the fire of provocation alive with the search for new poetics of functionality ”
Following instinct has always allowed Flos to create products that become icons, invent types and set new archetypes.
The design paths are many: to identify with the masters of design, such as the Castiglioni or Gino Sarfatti brothers, who sign some of the most famous design lamps in the world such as Arco, Taccia, Toio …, but also to continuously discover new talents. In fact, all the most interesting personalities in the world of design collaborate or have collaborated with Flos: from Philippe Starck to Marcel Wanders, from Jasper Morrison to the Bouroullec brothers, from Michael Anastasiades to Nendo to name just a few. The strengths of the brand, which always place it at the forefront, are manifold, among them, a rare element for a contemporary design company: having great technical and technological authority and being part of mass culture.
Experimentation has allowed Flos to adopt revolutionary materials, such as in the past the cocoon, with which it developed the first lamps of the Castiglioni brothers, and more advanced technological solutions, represented today by OLED and sustainable materials.
Precisely for these reasons, inventing new languages ??around light means for the company to indicate new aesthetics and freedom of life, never forgetting, in the lamps of yesterday and today, to take seriously game and irony.
On the fine line that divides and unites art from design, artisanal production from industrial production, the limited series from the large-scale one, the individual’s thought from the collective one: This is where Flos is and it is there that we can find it. The Flos catalog is divided into different sectors to satisfy all the needs regarding light: a decorative part, including home lamps designed by the most famous designers, a technical part, for high-definition lighting systems for public spaces, and finally a part dedicated outside to illuminate, according to the same aesthetic and technical characteristics, terraces, gardens, swimming pools, streets, squares …

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12 May

Fritz Hansen

12 May, 2016
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Fritz Hansen EN

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Fritz Hansen was founded in 1872 by the visionary carpenter of the same name and has since become a natural part of the history of both Danish and international design and an exclusive and sought after design brand

The history of Fritz Hansen is characterized by wonderful craftsmanship, a unique design and an innate sense of high quality. Architects and furniture designers from all over the world have regularly contributed to the collection with beautifully shaped and functional furnishings, through the use of innovative techniques and new materials. Arne Jacobsen, Poul Kjærholm, Piet Hein, Vico Magistretti, Burkhard Vogtherr, Piero Lissoni, Kasper Salto and Morten Voss … the list of designers is long and the list of furniture with great international fame is even more.

Fritz Hansen’s iconic classic collection includes a large part of the most famous furniture by Danish architects and designers, including the Egg, Swan and Serie 7 chairs by Arne Jacobsen and the PK22 chair and the PK80 sofa by Poul Kjaerholm. The contemporary collection, second soul of the catalog, presents instead furnishings and accessories of some of the most stimulating and internationally recognized contemporary designers, including Jaime Hayon, Piero Lissoni, Kasper Salto and Cecilia Manz. Common to the two collections is a sculptural artistic expression that confuses the lines between design and art and combines function and form in unprecedented ways, giving each work a significant presence and purpose.

The corporate design philosophy reflects its history and inspires the creation of new, simple, sculptural, original and timeless furniture. Fritz Hansen’s design is visionary and makes the most of noble materials; every detail is carefully studied, the process is complete and impeccable and the final glance is unique and immediately recognizable. The general style is international and elegant: each piece of furniture is sophisticated in its own way, has a strong identity and the ability to discreetly illuminate any type of space.

Today as in 1872, Fritz Hansen’s work is guided by the philosophy that a single piece of furniture can beautify an entire room or building and simultaneously increase the well-being of the people who inhabit these spaces. With a strong international presence and an ever-expanding collection of iconic designs, Fritz Hansen continues his journey in creating elegant and discreet furnishing elements, which do not compromise comfort, and in strengthening his position in the global design elite , discreet luxury and contemporary living.

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12 May

Karimoku

12 May, 2016
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Karimoku EN

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Karimoku is a wooden furniture manufacturer from central Japan with a history of more than 70 years.
Their tradition derives from a deep understanding of artisan carpentry in combination with cutting-edge technologies for the construction of high-quality furniture possible.
Collaborating with some of the most promising international design talents such as the Dutch creative couple Scholten and Baijings or the Swiss Big Game studio, the KARIMOKU NEW STANDARD division was created and launched in 2009, a growing collection of innovative, joyful and functional objects which adapt to urban life forms in the 21st century.
With the aim of preserving and revitalizing Japanese forests and regaining balance with the local forestry industry, our products are made using sustainable Japanese woods, such as maple, chestnut and oaks – small – diameters that are often discarded or finish like paper pulp.
KARIMOKU NEW STANDARD pieces are made to give lasting joy, faithful to the belief that a piece of furniture should last at least as long as the tree from which it was made.

The story of Karimoku, a leader in Japanese wooden furniture production, began as a small carpentry shop in Kariya, Aichi Prefecture in 1940. Shohei Kato took over a timber company that already existed in the Edo period.
Processing technologies, surface treatment and wood coloring were accumulated through the subcontracting of the various wooden parts in the mid-1900s: spinning machines that supported Japan’s post-war reconstruction in the 1940s; sewing machine tables, piano parts and TV stands with wooden legs in the 1950s; and the company of the time sought original furniture for the domestic market in the early 1960s.
Since then, Karimoku has focused on pursuing its original concept of “high-tech and high-touch” products by defining bases in timber production areas. Karimoku has a large and reliable supply of large-scale advanced materials and structures showing techniques of craftsmen in the greatest possible extension. In addition, the company has also put in place a national system for wholesale and after-sales services for product care. Thus, Karimoku has developed a unique and unprecedented system that traverses the procurement of materials, production and sales within a company.
Karimoku also aims to help improve people’s lives to meet the challenges presented by environmental issues. This is demonstrated in the history of over 30 years of Karimoku in the reform and use of “Parawood”, a product derived from rubber trees after its use in latex production.

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12 May

Knoll

12 May, 2016
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Knoll EN

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In 1938 Hans Knoll, German emigrated to the U.S. due to racial laws, she opened a small laboratory for the creation of furnishings to create modern interiors and in 1943 she married Florence Schust, architect and designer graduated from the Cranbrook Academy of Art in Bloomfield Hills in Michigan and with her enlarged the company, which in 1946 it became Knoll Associates, and then finally changed into 1951 into Knoll International, a name still in force.

The two spouses immediately call Florence Knoll’s classmates to design for the company such as Eero Saarinen, son of the director of the school, the Finnish architect Eliel Saarinen, and Harry Bertoia, at the registry office Arieto Bertola sculptor and designer of origins Italian. Everyone involved within the Knoll embraces the creative genius of the Bauhaus and the Cranbrook Academy of Art, which was then an American interpretation of the Bauhaus school itself, to create new types of furniture and environments for everyday life, for home and work. Craftsmanship combined with technology through the use of design fixes their point of view and shapes the values that still live within the company today.

In 1957 Eero Saarinen designs what is still the most successful product of Knoll today, or the Tulip series, made up of chairs, tables and small tables with continuity between the shell and the base, convinced that “the lower parts of the tables and chairs create an intricate and irritating confusion … wanting to end the chaos of the legs; wanting to make a chair a unit again. ” The Tulip table, better known by the name of Saarinen, is still today the best-selling, most imitated and most desired table by design enthusiasts in its variants with the top in white or black laminate, or in marble in multiple colors.

Harry Bertoia instead creates a collection of chairs for the Knoll, inspired by those of the Eames couple, where the theme of discontinuity returns: a steel rod easel support holds a steel rod mesh body of various shapes. The Bertoia collection turns out to be a true masterpiece, a meeting point between design and art: a light and transparent chair, where the air, which passes through the metal mesh, becomes the true protagonist of the project.

Since the early years, Knoll has distinguished itself from the other famous American furniture design company, Herman Miller, for the choice of an extremely rigorous and rationalist design and for the courageous re-presentation on the market of some historic furnishings such as those designed by the Maestro. Mies Van Der Rohe: the Barcelon collection, which still remains one of the best-known design icons today.

Following the premature death of Hans Knoll in 1955, his wife Florence took over the reins of the company, preferring then to leave the presidency in 1960 to fill the position of artistic director of the design department; throughout his long life his motto will be “Good Design is Good Business”. Florence Knoll designs some very elegant furnishings for her company, which are useful for furnishing public and private spaces, among the most important in America, for illustrious private customers or public companies. Among them we can remember the Florence Knoll sofa with rigorous shapes, on a chromed steel structure, the tables with elementary and refined shapes with marble or glass tops and the containers, later many imitated, in natural or lacquered wood on a steel base polished chrome.

In more recent years, Knoll has made use of the collaboration of the best contemporary international designers such as Frank O. Ghery, Piero Lissoni, Barber Osgerby.

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12 May

Memphis-Milano

12 May, 2016
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Memphis EN

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Memphis-Milan is the great cultural phenomenon of the 1980s that revolutionized creative and commercial logic in design. Born in Milan in 1980 from the idea of ??Ettore Sottsass and a group of young designers and architects, who over the years have become famous designers on the international scene, Memphis has overturned all the existing parameters, precisely because his goal was to break the status quo of the design industry.

According to legend Ettore Sottsass was in his Milan apartment with a group of young designers, including the radical Michele De Lucchi, to discuss how design had become bourgeois and irrelevant by now … meanwhile we listened to Bob Dylan’s song by 1966 “Stuck Inside of Mobile with the Memphis Blues Again”. As a group, he decided at this precise moment to come together in a collective and to create a completely new collection, full of life and in step with the times, calling it Memphis.

Over the years many young designers passed through the collective, coming from different countries and cultures and all bringing their personal contribution in the context of a common manifesto; among them Martine Bedin, Andrea Branzi; Aldo Cibic, Michel Graves, Nathalie du Pasquier, Peter Shire, Javier Mariscal, George Sowden, Alessandro Mendini, Matteo Thun, Masanori Umeda, Arata Isozaki, Shiro Kuramata, Marco Zanuso jr and many others. To all of them, and to the supervision of Ettore Sottsass himself, we owe the most interesting projects of the Memphis group.

Memphis has imposed new shapes, new materials and new motifs on design. A first collection was born in 1981 with the financial support of Ettore Gismondi, president of Artemide, and immediately has an explosive effect: bright colors, an abundance of decorations, courageous asymmetries, totemic vertical furniture … nothing like this has ever been seen, catapulting the design in the extravagant and colorful universe of cinema, comics and pop art, to which the collective looks with interest and respect.

The objects of Memphis, produced in limited series, try to escape the banality of everyday life, taking up names that arouse an imaginary world in each of us, with a strong surprise effect thanks to the shapes and materials used, especially the decorative laminates of the Piedmontese society laminated Bra Abet, but also the Venetian ceramics and glass for the beautiful Sottsass vases, made according to the ancient techniques of the Venetian glass masters.

Among the most iconic pieces of the collection we can mention the colorful Carlton bookcase, the Tahiti lamp, the Totem Casablanca furniture, all designed by Ettore Sottsass, the Oceanic lamp and the first chair by Michele De Lucchi. the Oberoi armchairs and the lamp on wheels Super Lamp by Martine Bedin, the Palace chair by George Sowden and many other projects including furnishings, rugs (extraordinary those of Nathalie du Pasquier), ceramics, glass, silver, lamps, fabrics … all unscrupulous, colorful, brave and unconventional.

Memphis has become a symbol of New Design; its influence has been immense in the history of design and is still very strong in various sectors of production and beyond: its aesthetic has been taken up and embraced in various artistic fields in recent years.

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12 May

Molteni

12 May, 2016
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Molteni EN

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Molteni & C was founded as a craft company in 1934 in Giussano in the province of Milan (later in the province of Monza and Brianza), by Angelo Molteni, a businessman from Brianza, among the promoters of the Milan International Furniture Fair, which will see its first edition in 1961 In the first post-war period the company made furniture starting from the trunk and covering all the production phases and in the mid-1950s it participated in the first “Selective Exhibition – International Furniture Competition” in Cantù, with a project by the Swiss architect Werner Blaser, a pupil by Alvar Aalto and assistant to Ludwig Mies van der Rohe, who wins first prize. The chest of drawers, with the triple fork geometric joint, is the first prototype of modern furniture and has recently been reworked in a precious numbered and certified edition.
1968 is the year of the revolution: in a few months, production is converted from classic to modern, to create well-designed furniture, designed for the series; Luca Meda, a pupil of the Ulm School, is the man of the revolution, his Iride containers presented at the Salone del Mobile in 1968. The following year the complete conversion to design furniture took place, followed by the purchase of the Unifor companies and Citterio, in the office sector and, in 1979, of Dada, a kitchen furniture company. Over the years Molteni & C therefore becomes a reality for the production of furniture.
During the artistic direction entrusted to Luca Meda, the architects Aldo Rossi and Afra and Tobia Scarpa are called to design for Molteni; Aldo Rossi will design some now iconic furnishings such as the theater sofa, the weekly Carteggio and the Milano chair, rare examples of the Maestro’s forays into the world of design.
In the 1990s, however, collaboration began with some Italian and international designers, including Jean Nouvel, Foster and Partners, Patricia Urquiola, Rodolfo Dordoni, Hannes Wettstein.
In 1994 Molteni & C received the Compasso d’Oro for Lifetime Achievement. “Among the protagonists of the Italian furniture culture”, says the jury, “he has been able to present an offer of products designed with constant dignity, safe quality and a broad vision of the cultural context”. In the same year Jean Nouvel designed the Fondation Cartier in Paris, Molteni created all the furnishings through Uniforo: thus the Less series was born, an icon of design in the world, tables with minimal thickness and with elementary and rigorous shapes.
In early 2000 To support international expansion, Molteni & C created the Padded division and, in a few years, established itself among the best international manufacturers with the projects of Patricia Urquiola, Ferruccio Laviani, Rodolfo Dordoni, Hannes Wettstein and Ron Gilad and many others.
In 2012 Molteni & C presented the Gio Ponti Collection at the Salone del Mobile, furnishings never mass produced by the great Milanese architect, in collaboration with Gio Ponti Archives. The collaboration between Molteni and Gio Ponti’s heirs continues annually thanks to an exclusive agreement for the rights of the Maestro’s projects.
The Molteni Group recently celebrated 80 years of activity with an exhibition at the Modern Art Gallery in Milan, entitled 80! Molteni. With an installation curated by Jasper Morrison and the graphic project by Studio Cerri & Associati, prototypes and furnishings from all the companies of the Group recount, for the first time, 80 years of experience, quality and innovation. The exhibition has become the core of the Molteni Museum in Giussano.
As of April 2016, Belgian architect and designer Vincent Van Duysen has been appointed creative director of the Molteni & C brands; after the success of the Gliss Master collection of wardrobes, the new collaboration focuses on coordinating the image and the design and artistic choices of the group.
Born as a company specialized in the production of systems, today the company still fully produces in Italy an integral offer for the home, from containers to upholstered items, from chairs to tables … flanked by a contract division that manufactures cruise ships, theaters , museums, hotels, restaurants and collective residences.

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12 May

Moooi

12 May, 2016
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Moooi EN

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For 20 years now, Moooi has inspired and seduced the world of design with sparkling, innovative, ironic and courageous projects.
The Dutch company was founded in 2001 by Marcel Wanders and Casper Vissers initially to propose the projects of Marcel Wanders himself, who in the 90s made himself known to the famous Dutch collective of designers Droog Design mainly thanks to his knitted chair, Knotted Chair, later edited by Cappellini; Wanders’ designs are often too original for design companies, so this publishing house is founded in order to maintain its independence and creativity intact: Moooi which means “beautiful” in Dutch.
Marcel Wanders’ capricious, unique and provocative style is fully expressed in the Moooi collection. In addition to the creations designed by Marcel himself, Moooi also edits other well-known designers such as Bertjan Pot, Jasper Morrison. Ross Lovegrove, Studio Job… enriching the catalog every year with always surprising pieces.
The company does not hesitate to leave the usual and aesthetic paths of design by editing unusual and courageous creations such as the surprising spider-shaped chandelier, composed of a multitude of technical desk lamps and called Dear Ingo in tribute to the Master of light Ingo Maurer , created by Ron Gilad in 2003 or even the “charred” Smoke wooden armchair from 2002 by Maarten Bass, who later became one of the most acclaimed Dutch designers.
In this way, the Moooi collection easily combines a suspension in pressed white paper by the creative couple Studio Job and a life-size black horse wearing a lamp on its head, a project signed by the Swedish studio Front Design and part of a particularly iconic collection completed from a rabbit_lampada and a pig-table.
Many designers are now called to collaborate with the company, always under the artistic direction of Marcel Wanders, now sought after by all the most important international design companies, from Flos to Baccarat, from Cappellini to Alessi; recent collaborations include those with Jaime Hayon, Nika Zuoanc, Joost van Bleiswijk.
Moooi’s style has not changed since the beginning and has remained exclusive, bold, playful … based on the belief that design is a matter of love, irony and joy. They are timeless objects, which possess the uniqueness and character of antiques combined with the freshness of modern times. This merger leads the brand to focus more and more on the production of iconic and spectacular objects.
With this unique and iconic mix of lighting, furniture and accessories, the company creates interior spaces decorated with a variety of inspiration of models and colors to embrace any type of space, domestic and public, and makes people of different ages, cultures fall in love and personality.
This vision of unexpected home always highlights new ideas with a clever touch of magic. Behind the apparent irony and playfulness there are always intelligent projects, the result of continuous reflections on the way of living and living and its continuous changes.

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Author: lucaluca