The project is more or less a game, if less is more.
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Delta
The layering of organic and inorganic elements is the inspiration we decided to work on for this outdoor fabric —
Amelia Sofa
Amelia is a modular sofa system that allows a great variety of compositions, bringing the same relaxed elegance in every type of space —
Malmö
It is a design that links two craftsmanship traditions, like a semantic bridge between the two peninsulas of Italy and Scandinavia —
Vitruvio
Materials and proportions are the only ornament of these unique pieces born from our partnership with the craftsman Giordano Viganò —
Archivio Osvaldo Borsani
Graphic Art direction of The Osvaldo Borsani exhibition, the first retrospective about the master of design, held at the Milan Triennale in 2018 —
Tribeca
There is a portion of the memory dedicated to the childhood summers. It can only be accessed with a license of vagueness —
One Mario Sirtori
The Shiny Matte vision gave shape to all the communicative artifacts and to the design of a booth on the verge of monochrome —
Osaka Metal
As in the ideograms of oriental writing, a two-dimensional sign contains a third dimension which is depth of meaning —
Tung
The light comes flashing fast and allows us to see in the night. Telling stories, illuminating insights, wear an idea —
It is difficult to say something about CMP without running into the problem that they think as a plurality, they are manifold.
— Maury Ballstein
Essay No.2
The Hau of the project and other seemingly magical things.
“The world about us would be desolate except for the world within us. There is the same interchange between these two worlds that there is between one art and another, migratory passings to and fro, quickenings, Promethean liberations and discoveries” - Wallace Stevens
In vernacular culture and handmade things, lies a power of attraction that requires gratitude and care. So-called primitive peoples of the Pacific Ocean believe donated objects, have a power, the Hau, which bears the presence of the donor or of people who previously used the object. Is it possible to find traces of this spirit in an industrially produced object? The work of the designer, the solutions found by the people who developed the project leave a footprint in the object, which is a vestige of that spirit. The more authentic the designer’s dedication to the future user is, the more meaningful the object will be. The object, like a gift, will somehow retain part of the characters of people who worked to create it, and it will be, in all its simplicity, inexplicably attractive. Personality into objects derives from the experience of designers, from their way of seeing and transmitting what happens in the world within them.
Not followers but fellows!
