TWINER#6 LIVELINESS

TWINER#6: LIVELINESS

By Secondome

Secondome and Ex Elettrofonica present the exhibit Twiner#6 - Liveliness, held in the Corporate Hospitality Lounge + LEA Lounge Extended Area of the BNL Italian Open, inside the Foro Italico.

The exhibit is a tribute to Liveliness.

Times of crisis are excellent moments for creative minds. It’s precisely in these moments of emergency that liveliness, understood as an attitude of readiness of spirit and inventiveness, leads to dynamic and unexpected solutions.

The city of Rome in the post-war period provides an exemplary framework for enquiry concerning this idea: the 'dolce vita', full of leisure and recreation, sports and cultural events, was a compelling response to the desolation left by the war. In the city, the urgency of starting to live and enjoy life again could be felt. The restless frenzy of the city pleasantly surprised even the American journalist Janet Flanner, then the New Yorker’s correspondent to Paris. In her articles, she declared Rome more stimulating than Paris. Liveliness of thought sets events with beneficial effects in motion: events that can bring out the best of our time, leading us to find renewed faith in people and their potential. Artists and designers stimulate new interesting exchanges between critical reflection and creativity and, in the arts and in sport, the exuberance of talent becomes a decisive opportunity for change.

LOUNGE AUTORITÀ

     

Design: Getsuen and Rosa by Masanori Umeda and Brasilia coffee table by the Campana brothers for Edra 
Arte: Bello and Brutto by Dionigi Mattia Gagliardi and Minerva Acrobatica (courtesy of RAM - Radio Arte Mobile) and 12 untitled drawings by Felice Levini 

LOUNGE TEVERE SUD

  

Design: Tables Lines under the forest by Hillsideout (courtesy of Rossana Orlandi), Supercolor and Campanino chairs by F.lli Levaggi Sedie, stools and console Tadao by Laura Mochi Onori, Gaia and Lorenzo Rebecchini for Forma&Cemento.
Arte: Contestare l'ovvio, Don't touch, Dollaro and Pareggiare by Marco Bernardi.

LOUNGE FIC

     

     

Design: Superonda sofas by Archizoom Associati for Centro Studi Poltronova, Brasilia cabinet by the Campana brothers for Edra, Revolution stool by Millim Studio.
Arte:
 Works by Dionigi Mattia Gagliardi and Emanuele Napolitano, LOST , Texture and Liquidity by Lorenzo Pace (courtesy of ADA project), Where is Abel? by Gregorio Samsa.

LOUNGE MONTEMARIO SUD

    

Design: Fusion bench and stool and Revolution bench by Millim Studio.
Arte: Works by Claudia Peill (courtesy Anna Marra Contemporary).

LOUNGE MONTEMARIO NORD

Design: Superonda sofas by Archizoom Associati for Centro Studi Poltronova.
Arte: Works by Gioacchino Pontrelli (courtesy Francesca Antonini arte contemporanea). 

This year, in addition to the usual exhibition area in the Corporate Hospitality lounge, the show is extended to LEA, a multifunctional space (designed by architect Fabrizio Graziani) furnished with the best pieces by the best contemporary designers, that includes an italian starred restaurant with a strong innovative tone, a bistrot restaurant and a space dedicated to entertainment with a bar, lounge and live music, together with pool-side cocktail bar.

An evocative place where art, together with design, thanks to the iconic works by Stefano Minzi and Lorenzo Scotto di Luzio, recalls in a contemporary mood the extraordinary atmosphere it could be breathed in the postwar period, with a mix of style, elegance and functionality that made Rome become the liveliest city in Europe.

LEA

   

Design: Standard and Essential sofas and Chiara armchair by Francesco Binfarè, Cipria sofa and Vermelha armchair by the Campana brothers, Gina chairs and Margherita armchairs by Jacopo Foggini, Getsuen armchairs by Masanori Umeda for Edra, Awaiting benches by Giorgia Zanellato and Coralla Maiuri and Lunapark coffee table by Alessandro Zambelli for Secondome, pouf Couture by Lorenza Bozzoli, Icenine stools by Simone Fanciullacci and Antonio De Marco for Edizione Limitata, Veli Couture suspension lamps by Adriano Rachele for Slamp.
Arte: Works by Lorenzo Scotto di Luzio (courtesy of T293) and Stefano Minzi.

PH Serena Eller Vainicher
Graphic design: Nero


CASA ITALIA | PYEONGCHANG 2018 | PROSPECTUM

CASA ITALIA | PYEONGCHANG 2018 | PROSPECTUM

by Claudia Pignatale

Secondome curated once again the interior design project for Casa Italia, this time for the Winter Olympic Games in Pyeongchang. After Rio’s experience we were more prepared and aware of the kind of challenge that this kind of setting can present. It was, nonetheless, a challenge.

We started from a golf club and turned it into a modern chalet, enclosed in glass walls, able to create a feeling of immersion in the mountains all around it.

Hall

A summer golf club turned into a chalet surrounded by snow and furnished with the excellence of Made in Italy. A big fireplace, overlooked by an installation of suspension lamps, sculptural stools, small woodworking jewels, sofas similar to ice packs, upholstered with ad hoc fabrics and a huge bear sleeping on the side. Moreover, wall sculptures, neon, wallpapers and more. A house that’s set to enhance Italian excellence to 360°.

CasaLuce (House of Light) by Massimo Uberti

After Rio de Janeiro in 2016, with a concept, Horizontal, based on the italian approach to the South American culture, this second challenge, Prospectum, from latin “to move forward”, leads us to analyze the cultural complexity of our Country and how it managed to influence the views of the future for all the West.

Restaurant

The perspective first discovered during Italian Renaissance, by artists as Filippo Brunelleschi, Leon Battista Alberti, Masaccio, Piero della Francesca, Leonardo da Vinci, brought a revolution in the way we all looked at and represent the world, giving life to the idea of progress how we see it today. But this is only one of the many points of view.

As Nannucci says: “Same Words Different Thoughts”.

Perspective is the ideal grid through which we look at the world, from the access points that untie on snow like geometric lines traced on a white paper, to the sloping roof that looks a deep leed triangle suspended on glass. Opposite, a light sculpture, by artist Massimo Uberti, shows the perimeter and perspective of an house.

 

 

Restaurant

At the entrance, the Welcome by Patrick Tuttofuoco, introduces us to the stairs leading to the Prospectum square, dominated by the big fireplac, cornerstone of Casa Italia, where all the lines converge. It’s an homage to Frank Lloyd Wright, who sees the fireplace as the center of the house. Suspended on fire, an installation of La Traviata lamps, designed by scenographer Bob Wilson and made by Slamp, that, as crystals, symbolize Italian claim: Fire on Ice.

Anywhere between Prospectum Square and the rest of the House, (bar, lounge, terrace, the special space for Italia Team) where the scene is dominated by pieces signed by both historical and emergents names of art and design (from Alessandro Mendini, to Vito Nesta, Giulio Iacchetti, Jacopo Foggini), surrounded by artworks.

Lounge Azzurri

Project curated by Claudia Pignatale, Beatrice Bertini, Benedetta Acciari, Luca Galliano.

Special thanks to  Diego Nepi Molineris and CONI, Monica Mazzei / Edra, Roberto Ziliani / Slamp, Lara Dorbolò / Bross, Glas Italia, Riva 1920.


TELL ME

TELL ME

Maria Cristina Didero interviews Claudia Pignatale

Maria Cristina Didero: How did it begin? How did an architect graduated in Rome in 2006 turn into a gallerist?
Claudia Pignatale: I didn’t want to be an architect in Italy, not a conventional one anyway. I’m interested in design pieces; I collect, gather, set aside. Objects speak and interiors tell stories. I wanted to tell stories and, meanwhile, create mine.

MCD: As a little girl, what did you want to become?
CP: My dream was to be an architect! As a child I wanted to be an architect and used to follow my father, who built elevators, on construction sites; everybody said he was crazy to bring along a little girl, as it could have been dangerous… He replied “She wants to come.”

MCD: Why your gallery is named “SECONDOME” (In my opinion)? Sounds a lot like a statement…
CP: Italians always say “secondo me”. That’s why, instead of using my own name I thought of using Secondome – the two words linked way before hashtags came up - as a provocation.

                                                                                                                 Nothing personal | Giovanni Casellato 2014

MCD: How did the collaboration with Fabrica was born?
CP: By chance. I used to set up the windows of my first space with artists and one of them was Sam Baron. That’s how I got to know him. I told him I was interested in producing my own collection. A week later (I remember it was February 2008) he called me and said: “I’ve got a collection in need of a mom, do you want to adopt it?”. The collection included 14 objects in hand blown glass designed by Fabrica designers; a month and a half later we presented it in Milan, at the Salone.

MCD: What’s your greatest talent?
CP: Matching colors.      

MCD: What do you believe in?
CP: In determination and dedication. If there is a will there is a way. Passion moves mountains.      

MCD: Once, Toscanini wrote a piece 62 times and in the end commented “It could be better”. Do you follow instinct or reason?
CP: By nature, I would only follow instinct – and I usually do – but reason is needed to put the pieces together and make them work.

MCD: Design is…?
CP: Functional, beautiful, experimental.

Dejàvu | 2013

MCD: What’s the first thing that comes to your mind when you hear the word designer?
CP: The great masters didn’t define themselves designers, it’s a modern word that includes many fields such as fashion, web, graphic; a very generic term. But, for each one of this worlds, I think of someone capable of shaping ideas, and that in itself is already amazing.

MCD: Classic or contemporary?
CP: Contemporary – even if everything comes from the classic. There are many timeless objects that I love.

MCD: Can you name a few objects you consider timeless?
CP: There is a long list: definitely Charles and Ray Eames’ Rocking Chair, Gio Ponti’s Superleggera, the Chaise Longue by Le Corbusier, the Arco lamp by Achille Castiglioni and the Egg by Nanna Dietzel. Not to mention Gufram’s Cactus or Quaderna table by Superstudio. And Eileen Grey’s Coffee Table… I could fill a whole page.

MCD: What do you have in your living room?
CP: Several different things. A silicon cube, by Alessandro Ciffo next to Mezzadro by Castiglioni. An origami paper table, by Michael Young and many other pieces. Objects really fascinate me, they are the essence of the project in a small scale. I think that, when resolved, they become pure poetry.

MCD: Is there any piece in your gallery you will never keep in your home? I know, it’s a bad question, sorry.
CP: It’s rare, but it sometimes happens to have something in the gallery I would never keep at home…
MCD: Fine, let’s keep it a secret than. But you still answered my question.

MCD: How much are you loved by your collectors?
CP: I hope a lot!

MCD: I guess a 10 years old gallery has many stories: tell me one, the most absurd thing that happened working with a designer.
CP: A few years ago, Alessandro Ciffo, self-producer and designer, showed me an extraordinary armchair, born from pure experimentation; entirely made of silicone, inflatable. An amazing piece. I presented it at PAD in Paris and I sold it immediately. We were a little worried that it would pop like a balloon, but the collector wanted it at all costs. After about a month she called me because the armchair had been deflating. We panicked! We left for Lisbon, entered into this mansion with every instrument to try and fix the piece. It was weird. I told Alessandro to begin making a new one immediately. We replaced the armchair for the Portuguese collector, and this time it was perfect. She was finally happy. We were too. From that armchair 12 new silicone pieces were born. Each of them was a success.

PAD Paris | 2011

MCD: It’s said you are one of the gallery with the best sense of humor: why people say that about you, do you agree? If so, why?
CP: Do they really say that about me?
MCD: Apparently yes, really.
CP: I think irony is essential in life. I don’t like taking myself too seriously.

MCD: Oscar Wilde said “you must be serious about something at least, if you want to have fun in life”. What are you serious about?
CP: I’m very serious about work – which luckily is also very fun. I’m serious about my son’s Jacopo education too. Being a mom is the hardest job in the world.

MCD:  It’s definitely your biggest project!
CP: It is. Jacopo is my n° 1 critic. In life you get a lot of things wrong trying to do well. You cannot be a perfectionist about this.

MCD: What’s your gallery ambition? In your bio I read “ I wish for Secondome to be a pole of attraction and attention for design in Central Italy; I’d like to bring Rome into the international design scene”. Which are the results obtained by your gallery and, more important, what’s the current situation of design in the Capital?
CP: The gallery is just a space, it could be everywhere. I like to think it’s more a workshop where ideas get shaped. Rome is a difficult city, not very inclined for the new. I’m trying to show an other perspective and I hope I’m succeeding.

MCD: What do you want to tell with your exhibiting program?
CP: I’ve always tried to tell stories and I chose the production way to do so. This way I can tell stories that belong to me as much as they belong to the designers and the artisans that work with traditional and innovative techniques. It’s interesting to think that every object will have a different workmanship because it’s handmade, and it’s even more so to think that Italian craftsmanship tradition is one of the most celebrated worldwide. Every year I look for a new experimentation.

DOC, Claudia Pignatale and Matteo Cibic | Piemonte Handmade 2017

MCD: Great masters or young talents?
CP: One cannot exist without the other. I try to promote the young ones because they can never find enough space and working with them it’s very exciting. I hope that one day one of them will be recognized as a master.

MCD: Do you have an opinion on the future of Italian design, and on how design will be in the next century?
CP: Italian design is full of history. I hope that the future is of the young. About the second part of the question, I wish I knew! Unfortunately I can not predict the future. I could tell you how I would like it to be.

MCD: How is it?
CP: Less contrived, distant from the past. More authentic and less “cut and paste”.

MCD: Plato said that “life without research is not worth living”. As a gallerist – category that should do research – how do you comment?
CP: I agree with Plato (smiles). Today galleries have to research an experiment. Experimentation needs time, a lot of passion and funding, but more often than not, it’s not received immediately. Sometimes projects take years to be appreciated and understood. It takes patience and tenacity. And believe in what you do.

MCD: The state of art of design as of today?
CP: In the field, save a few small exceptions, they try to follow the market, to risk the least and that blocks experimentation and research. I think in the ‘70s and the ‘80s they were much more inclined to take risks. Many masterpieces, iconic pieces of design, come from that research, that desire for new. Today we live an impasse, I don’t know if it’s only because of the economic crisis. I’m scared of self standing projects and remakes.

MCD: Is there a line never to cross in your job?
CP: I try not to have one.

MCD: Your icon?
CP: Maddalena De Padova.

MCD: The non-recognized one?
CP: My mother.

MCD: There is nothing worse than answering well to the wrong questions. How much do you think before an answer?
CP: A little. I’m an instinctive person. Maybe I’m wrong.
MCD: I don’t think so. Instinct is decisive in life.

MCD: What kind of gallerist are you for your designers? A mother? A friend? A bother…           
CP: Maybe an aunt. (Smiles) Sometimes I’m a friend and sometimes a mother too. But yes, I’m definitely a bother to them now and then. I like it a lot when they call me to ask “who designed this piece?” or “what does this piece looks like?”. But also when they ask me advices about pieces not designed for my gallery.

MCD: Is it true that being a gallerist nowadays it’s more like a mission? And if that’s true, what’s your mission?
CP:

It definitely is a mission! I’d like for my pieces to be recognizable. I’d like that looking at them you can think: “That’s a Secondome piece”.

MCD: What’s essential in contemporary design?
CP: Quality.

Hunn Wai, Maria Cristina Didero, Claudia Pignatale, Francesca Lanzavecchia and Mauro Bonizzoni

MCD: What’s essential to you?
CP: Quality.

MCD: What do you think of your future and of your job in the future?
CP: I’d like to keep on researching, discovering and improve the work already done. My job will be more and more to connect different know-how, designers and artisans. I try to make this job recognized and understood.

MCD: Tell me who’s the designer you admire the most, the one you are more in tune with.
CP: I’m in tune with all the designer I was lucky to work with.
MCD: That’s not a fair reply!
CP: To answer your question I’ll say who I would like to work with in the future: Ron Arad. I think he started a small revolution in the worlds of design and self-production.


A PASSION FOR DESIGN MATCHED BY SAVOIR FAIRE

A PASSION FOR DESIGN MATCHED BY SAVOIR FAIRE

by Stefano Micelli

In December 2016, Secondome celebrated its first 10 years, with an exhibiton that wanted to be a tribute to the work done up to that moment. 

For the occasion, we published a book, some sort of walk on memory lane, to which contributed three persons who had a huge role in Secondome's growth: a collector, Giampiero Mughini, an economist, Stefano Micelli and a curator, Maria Cristina Didero.

Each one of them gifted us with an interesting point of view on what Secondome represented and stil represents in the design field. 

How Secondome begun, as told by Stefano Micelli

I first visited the Secondome gallery in 2009. The gallery was then situated in via degli Orsini, in the very centre of Rome and consisted of three rooms and a mezzanine.

The variety and wealth of what Claudia Pignatale was promoting and, only just after three years from launching her gallery, was simply astonishing. I clearly remember the impassioned tours she conducted, revealing the sense of objects very different from one another, but that somehow resulted in a fortunate encounter between designers who shared high quality manufacture and a will to experiment.

 

This&That collection| New Museum New York, 2009

A world of shapes and materials hard to find outside the field of self-production, which in those very years, was beginning to be known and appreciated.

Among the objects that stood out (in the gallery), were the vases designed by young Fabrica students , manufactured in Grottaglie, the Apulian ceramic district that many have now rediscovered thanks to Claudia’s work.

It is not the first time that designers and artisans from an industrial district, with a long tradition of craftsmanship, have been led on the path to renewal.

Similar experiments had already taken place in Tuscany with Artex – a pioneer in the field of artistic craftsmanship in Italy – and in Veneto, Vicenza more precisely , thanks to the collaboration between the Artisans’ Trade Union and University. Projects launched by Secondome stood out both for their originality and the careful attention given to an emerging demand for curious and original objects. Among the several self-production projects that were launched in those years, Secondome was already becoming an interesting and alternative point of reference for the world of collectors.

 

Titled collection by Emmanuel Babled | Fuorisalone 2014

In the last decade, Secondome has kept its promise. It continues to promote projects of high quality manufacture, conceived by innovative designers capable of producing/creating the unthinkable. The ability to fuse culture with the will and ability to create projects is an area that merits support and development – and the best way to do this is by identifying the right market. Without the ability to consider markets and comparisons with international competitors, self-production suffers the risk of being an end in itself. Secondome has provided a path to the work of experimental designers, artisans and master craftsmen, an area that today has reached its maturity.

Stefano Micelli, Claudia Pignatale and Filippo Berto

A new generation of designers – respectful of the expert craftsmanship tradition still present in Italy - has embarked on innovative experimentations, based on the principles of entrepreneurship and the ability to self-management. With the change in offer comes new demand: a new profile of collectors and enthusiasts who are seeking experimental items able to embrace design, quality, artisanship and local cultures.

The work of Secondome has been that of being the interface between these worlds, that of promoting a difficult task. It would be reductive to think of Claudia’s work purely from a financial perspective. Claudia has, over the last ten years, consolidated: the financial sustainability of a world in constant evolution whilst promoting a real contemporary


FINALLY GREAT DESIGN IN ROME

FINALLY GREAT DESIGN IN ROME

by Giampiero Mughini

In December 2016, Secondome celebrated its first 10 years, with an exhibiton that wanted to be a tribute to the work done up to that moment. 

For the occasion, we published a book, some sort of walk on memory lane, to which contributed three persons who had a huge role in Secondome's growth: a collector, Giampiero Mughini, an economist, Stefano Micelli and a curator, Maria Cristina Didero.

Each one of them gifted us with an interesting point of view on what Secondome represented and stil represents in the design field. 

How Secondome begun, as told by Giampiero Mughini

“At the end of the millennium, something peculiar was happening in Rome. For a decade or so, all the shops that represented the best Italian design had been disappearing, starting with Cassina’s showroom in Via del Babuino, opened by no less than Ico Parisi in the ‘50s.

The same fate fell upon the beautiful showroom in Piazza di Spagna, bearing the name of Simon, from Bologna, another legendary firm of Italian design of the second half of the century.

There wasn’t a place left in Rome where one could buy Memphis furniture, created in the 80s by Ettore Sottsass and his crew, the same who during the same period had brought about a revolution in the philosophy and colours of interiors, or, acquire pieces by Gaetano Pesce, who had already established a certain reputation in Paris and New York. My entire Italian design collection, which I had begun in the early 80’s, was expanding only thanks to my numerous shopping trips to Milan. With the delivery of each box, came the anxiety of finding the contents- possibly a delicate and fragile vase – intact.

Giampiero Mughini           

What a relief when a gallery owner friend of mine , informed me that in Via dei Pianellari, not far from the church that holds two of the most beautiful Caravaggios that you could ever imagine, was a new gallery (not even that small) dedicated to Italian contemporary design.

It was 2006, and the name of the gallery was Secondome, owned and directed by Claudia Pignatale. I didn’t lose time and rushed there. To my joy, I found pieces by Alessi and Danese, those everyday objects that fill daily life with grace.

There were glass and ceramic collections by Sottsass and furniture by Antonino Sciortino, - a designer I discovered through Secondome - with his trademark iron stripes.

 

 

 

PAD New York | 2011

After a while appeared pieces of self-production by artists dear to me from Alessandro Ciffo to Dummy, from Roberto Mora to Silvia Zotta and Andrea Salvetti. The following stood out: Ciffo’s silicone vases, Silvia’s burning ceramics (who is no longer is with us, and whose memory still touches me) and Andrea’s metal seats. One of the best pieces in my collection (purchased from Claudia) is a silicone rug by Cifo, an object that has caused a personal conflict of interest as, it is a rug that’s more like an anti-rug, better, a rug interpreted in a surreal key: you can look at it, maybe sit on it, it can strike you as a particularly strange and absurd object - but you can most definitely not walk on it. Its unique and I’m extremely proud of it

What a celebration, when, a few years ago, during a Roman evening, pieces of these artists and designers were exhibited. If I’m not mistaken, at the end of the evening Claudia even treated us all to dinner. Ten years later, with a move in location to the Mattatoio district, Secondome is, more than ever, alive and kicking.

PAD Paris | 2012

In fact, it has grown and branched out into publishing - mostly books on glass objects. Claudia is tireless and has lately aimed at establishing herself internationally, attending international art and design fairs, where she promotes new, young and emerging talents and pieces. Among my favorites pieces are wooden furniture by Stefano Marolla, the brass and velvet collection by Giorgia Zanellato and Coralla Maiuri. Not to mention the time when Claudia exhibited previously unreleased jewelry by radical Florentine architects lead by Adolfo Nicolini. What a pity that these pieces of jewellery are only for women, as I am one who loves to wear jewellery appropriate for men from head to toe (a passion which has led many of my journalist colleagues to assume that I'm gay).

In fact, to say the truth, I’m almost tempted to buy and wear those pieces even if, just to defy those idiots. Hey, Claudia, what do you think?”

 

 

 

 

 

 

Istogrammi ring with stones | Superstudio

 

 


CASA ITALIA | RIO DE JANEIRO 2016 | HORIZONTAL

CASA ITALIA | RIO DE JANEIRO 2016 | HORIZONTAL

By Claudia Pignatale

When Secondome was asked to curate the interior design project for Casa Italia in Rio De Janeiro for the 2016 Olympic Games, I only had a slight idea of how challenging and fulfilling this work was going to be.

The previous Casa Italia were institutional headquarters, set up for practicality more than representation.

Restaurant

The 2016 project aimed to a completely different objective: we had to highlight Italian excellence through and through- from the world of sports to that of design; a showcase of the craftsmanship that lies behind the label “Made in Italy”, as well as our ability to merge with the host Country culture and we had to do it in the setting of the historical Costa Brava Clube, in Rio de Janeiro, designed in the 60’ s by renowned architect Ricardo Menescal.

Beatrice (Bertini, co-founder of Ex Elettrofonica art gallery ndr) came up with the concept Horizontal that extended to an art and design project, with Ex Elettrofonica responsible for developing the arts and Secondome the interior design.

The ambitious goal of Project Horizontal, was to promote Italy in all her authenticity to an international public, and what better testimonials of the iconic images and objects that have turned Italy into an historical cultural reference point?

Lounge

Horizontal indeed exemplified a style, a horizontal approach to considering and embracing all the activities that will take place in this location as forms of art, be they: objects, images, furnishings, hospitality or cuisine.

Casa Italia was, to its guests, an unique experience: a virtuous contamination between the Italian and Brazilian culture which resulted into a contemporary, unique and welcoming setting

A location that persistently recalled the links between the two countries.

  

Wine Bar                                                                                 Bar

In the restaurant, a spacious and panoramic area with floor to ceiling glass walls overlooking the ocean, carefully arranged and alternating “Vidun” and “Quadrato” tables, both designed by Magistretti for De Padova, inspired by the structure of screws and in a minimalist and quasi Nordic looking style – exemplify Italian functionality and craftsmanship. The translucent, gold and topaz embroidered “Gina” chairs by Jacopo Foggini for Edra, glittered as the immense natural light beamed into the venue. The “Big Louie” 3D printed chandeliers, by David Nosanchuk for .exnovo, hung from the ceiling, dominated the room

The choice of venue for Casa Italia, a site integrated but perched on the top of a sea cliff, lead me to a natural choice of furnishings for the lounge: Francesco Binfarè’s for Edra “On the rocks” sofa, that forms a relaxed and inviting archipelago and Emmanuel Babled’s “Etnastone” coffee tables, made from Sicilian volcanic stone, that lie dotted around the room. Throughout the lounge through to the bar area, Francesco Simeti’s “City of Gold” wallpaper lined the walls, reconnecting and recalling the Brazilian Favelas and industrial suburbs. Carefully chosen “La Lollo” suspended lamps by Slamp, traced and illuminated the journey from the lounge to the bar.

Covered terrace

Looking onto the lounge, lied a cigar bar with stone lined walls, furnished with Francesco’ s Binfarè’s for Edra “Sfatto” sofas and “Favelas” armchairs also designed for Edra by the Campana Brothers – notable Brazilian designers. The Bar counter, bar/coffee tables were designed and produced with Brazilian wood by Stefano Marolla, carpenter and cabinet maker.

The small, covered roof terrace is a peaceful corner in which one had the sensation of being immersed in the surrounding nature, further emphasized by the colors and style of: Edra’s shimmering blue “Standard” sofas, bright red tulip-line “Getsuen” chairs and the Campana Brothers “Brasilia” tables.

The external lounge, facing the ocean and furnished with “Standard – Cloud” and the “Flap” sofas by Francesco Binfaré for Edra, and the armchairs Capitello, Attica and Attica TL by Studio 65 for Gufram, was a tribute to the Italian Olympic Team motto “ready to fly”, the “Chantal” chandeliers by Massimiliano and Doriana Fuksas for Slamp and “Bonjour Milan” coffee table by Atelier Biagetti, completed and complemented this area, that resembled a private and secluded area of the sky.

  

Lounge Azzurri

It was a real challenge to set up the whole place. We had a well laid plan that, of course, was never on schedule. I’ve been in Brazil for almost a month and when got back, tired but extremely satisfied, I understood the full meaning of”saudade”.

Photo by Rui Teixeira


I'M NOT WEIRD, I'M LIMITED EDITION

I'M NOT WEIRD, I'M LIMITED EDITION

Secondome & Padiglione Italia together at Milano Fuorisalone 2015
by Claudia Pignatale

 

I came to know Padiglione Italia in Lambrate, during 2014 Fuorisalone, almost dragged by Gio Tirotto whom I was curating the Onwards exhibition in Brera.

Gio told me about this group of friends, young Italian designers, who decided to get together and self-produce their work to make a name for themselves.

 

 

Coexist mod Ground | Sketch, Gio Tirotto

 

“Mediterranean Disfunction” really impressed me: they managed, with few resources, to produce an exhibition full of unique pieces, each one perfectly mirroring its designer, in a set simple yet impactful.

The thing I liked the most about the project and the designers who created it and kept it alive for a few years, was the passion and enthusiasm they dedicated to it.

 

Timeless | CTRLZAK

 

Like this our adventure begun. I decided to produce the Padiglione italia exhibition in 2015, 10 designers, one simple brief: design an object made of glass and metal. The title came to us naturally “I’m not weird, I’m limited edition”. The designers experimented on the possibility of mixing two very different materials and managed to give life to an extremely coherent collection, that embodies the Aristotelic process of potential becoming act: apparently familiar objects that differ from the usual with their shapes original, new and, indeed, weird.

 

(from the left) Marco Zavagno (Zaven), Thanos Zakopoulos (CTRLZAK), (top row) Antonio De Marco e Simone Fanciullacci (4P1B), (bottom row) Katia Meneghini (CTRLZAK), Alessandro Zambelli, Matteo Cibic, Claudia Pignatale, Gio Tirotto, Marco Raparelli, Giorgia Zanellato, Francesco Feliziani and Viviana Dell’Acqua (Alhambretto), Enrica Cavarzan (Zaven)