08/04/2014

Salone del Mobile 2014

Milan furniture fair was founded back in 1961, a historical period when, due to the economic growth and extensive reconstruction after the Second World War, the local public showed a growing need for quality products necessary to furnish their newly built homes. The fair was conceived, in fact, as a meeting point between the manufacturers, many of them artisans working with wood, and their consumers. Even though the fair has grown exponentially through the years, becoming the most significant event in the design world, its initial aim appears to be lost.

This year’s Salone del Mobile opens its doors today and many of its visitors probably won’t even set foot at the central fair. In fact, the city centre itself hosts hundreds of events, shows, exhibitions and talks: an entire universe of contemporary design that is often difficult to grasp. From the prominent, historically traditional, venues such as Triennale di Milano, to more experimental settings such as Ventura Lambrate, the city is overflown with design projects – so much more than you could actually see in a week.

Thus, if you are looking for glimpses of what design is all about at the moment, here is a short selection of highlights of this year’s Salone. Starting from the Triennale is actually not a bad beginning. Even though the famous ‘design museum’ has through the years transformed itself into a fair more than a temple of design, you can nevertheless check the 7th edition of Triennale Design Museum, together with exhibitions about sustainable design, cooking tools, Mark Newson’s eyewear, and domestic landscapes. While Tom Dixon has abandoned its scenic setting at the Science Museum and set-up his English club-inspired stand at the fair, there are still a few gems around town where you can wonder. Moving to the heart of the city, you should stop by Martino Gamper’s “In a State of Repair” workshop at La Rinascente, developed as a twin project of his exhibition at Serpentine Gallery in London. Walking towards the central station, you can stop by Via San Gregorio, where you will find Droog, Kvadrat and Wallpaper magazine.

Fabrica design studio’s Hot and Cold exhibition at Garage Milano, Formafantasma’s “De Natura Fossilium” at Palazzo Clerici, Foscarini and Inventario’s textile exhibition at Museo Poldi Pezzoli, Kartell’s new tableware collection or Molteni&C’s re-edition of Gio Ponti’s chairs, are just a few things you might see before moving on to Ventura Lambrate, zona Tortona or even Brera design district. And if your head actually stops spinning and you manage to discern ‘novelty’ from ‘quality’, you will find out that Salone del Mobile might even not be that exhausting.

Rujana Rebernjak 
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20/06/2013

Open The Gates!

Last April 2013 an unusual newcomer appeared on the stage of the Salone del Mobile in Milan. Not a new design studio nor an exclusive brand, but the prestigious 200-year-old State Museum of the Netherlands. After 10 long years of renovation this museum of art and history finally reopened its doors and, surprisingly, during their persistent period of absence the museum not only rebuilt the brick walls to house their 100.000 objects; they also developed a unique virtual project. The museum presented the “Rijksstudio” project as part of Droog’s 20+ up to a beautiful future exhibition in Milan, to a, for them, new audience: the design world.


In Milan, the presentation of Rijksstudio was inspired by the domestic interior scenes of painter Johannes Vermeer and set up in a small room of approximately 30 sq m. Yet, the idea behind the digital project is much bigger than the one room we saw in Milan. The Rijksstudio is namely an online database, a platform packed with ultra high-resolution images of 125.000 collection pieces, from masterpieces to unknown artifacts. All images are free to download, collect and share and moreover of perfect quality to zoom in on details, print on big scale, sample or manipulate and all of this copyright-free.

The museum’s goal with their digitalized collection and big launch during the Milan Design Week is to reinterpret “century old works in contemporary shapes, techniques and materials.” And in order to plug the Rijksstudio project firmly into the international design field, they approached the Dutch design label Droog to set the first examples. One of the most striking outcomes is how Droog turned the classical art painting Still Life With Flowers and Glass Vase of Jan Davidsz de Heem into a body tattoo. Another eye catcher is the lavishly decorated Center Piece by German silversmith Wenzel Jamnitzer (1549) that is now re-decorated with 3D-printed magnetic miniatures of the Rijksmuseum collection. Besides 3D-printing and tattooing Droog applied other highly modern techniques combined with material such as rubber, titanium, plastic or glass to create new designs such as distilling the Irmari décor motif of a historical plate onto four glass plates, which recreate the original motif when you stack them.

Of course the Rijksmuseum is not the first museum that shows its face during the Salone, but unlike the others, this time it’s not a one-off museological presentation of limited editions that makes the critics claim that “design is art”. And whereas one usually tends to write about what the eye can perceive, in this case the prototyped outcome displayed by Droog even seems of inferior importance to the story. It is foremost the museum’s initiative that must be noted for its experimental approach and creative usage of the Internet to cross historical art with contemporary design. Hopefully they have fired the starting gun for an equal footing relationship with a benefit for both the disciplines: collection pieces get a new (technical) boost out of the oblivion and designers are allotted the role of the new bearer of our cultural history.

Lisanne Fransen 
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12/04/2013

Salone 2013: Ventura Lambrate

If you were to choose – be it for the lack of time, be it for the lack interest – only a couple of things to see at Salone del mobile, one of those should be Ventura Lambrate. A particularly ‘independent’ design district in the corporate-owned design fair, this cluster of internationally acclaimed creatives, young talents and small creative brands is the place to be.


This year Ventura Lambrate sees the return of some of its already established appointments, like the one with Cos, once again presenting their pop-up shop this year designed by Bonsoir Paris. On the other hand, some other well-established companies have sensed the appeal and particular reputation of Ventura Lambrate, moving their stands away from the centre of Milan, like Established & Sons whose polished and eclectic furniture creates a quite strong contrast with the surrounding shows. Another (fashion) design giant has turned to Ventura Lambrate: we are speaking of Diesel, who has also created a special restaurant in the zone in collaboration with Amaro, named The Diesel Social Cafè Club.


While the popularity of the zone is attracting established design companies and thus, potentially, putting in question its role as hub of young and independent design talents, the presence of some of the most interesting European design schools surely brings it back on the ‘research’ track. You can see the works of Royal College of Art graduates that range from contemporary furniture, to interactive installations, to more narrative-based pieces, “all aiming to challenge the perception of design and provoke a change that would fundamentally shape our future world”. On the other hand, the provocative young designers of Design Academy in Eindhoven have concentrated on the process of designing, explored with the exhibition “Linking Process” whose goal is to reveal the beauty of creation putting on display the “phases of concept development, trial and error, sketching, building and rebuilding, and the new discoveries” that result from that processes.

Hopefully the sudden appeal of Ventura Lambrate won’t spoil its denomination as place of research, investigation, critical approach and speculation which the overcrowded corporate design world so much needs.

Rujana Rebernjak 
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09/04/2013

Triennale Design Museum – The Syndrome of Influence

One of the most expected events in the design world inaugurates officially yesterday: Milan’s Salone del mobile has opened its gates to hundreds of visitors hungry for design novelty. It is inevitable, though, that a few questions are raised about the purpose of this event, its influence and its role both in the past as well as in the present. Tracing the past of Salone brings us to Triennale di Milano, a historical Italian institution devoted to the culture of design, born as an international event nearly 90 years ago with the idea of creating a platform for exchange between the industry and the applied arts.


Looking at the shows presented every three years at Triennale, we can see the Italian design culture grow and develop itself in what will later be recognized as an untouchable international excellence. From the shows devoted to Italian regime during the 30s to the innovative pavilions designed by Achille and Pier Giacomo Castiglioni for Rai, each and every Triennale was a showcase of true design spirit, the one that changes profoundly our material reality. It is exactly this spirit, particularly significant in the context of the Salone, that the current Triennale Design Museum tries to reflect upon in a show that intertwines past, present and future, titled “The Syndrome of Influence”.

Structured in three different chapters, the show’s main goal is to tell its visitors how the famous Italian design culture was formed, starting from the period between the two World Wars. Hence, the first part of the exhibition gives the opportunity to several contemporary Italian designers (among which our favourites Studio Formafantasma and Martino Gamper to reflect upon the work and heritage of some of the most appreciated masters of Italian design. The second part of the show features a series of interviews with designers like Enzo Mari or Mario Bellini, who have witnessed the radical crisis in Italian design in act after the economical growth of the 50s and 60s.

The final stage of the show displays the work of some of the most interesting Italian brands, like Magis, Kartell or Alessi, reflecting upon the relationship between Italian companies and single designers, particularly significant for Italian design. Thus, this part of the exhibition tells us how ‘made in Italy’, which we are all so proud of, would never have happened without the curious intelligence of a handful of talented impresarios.

“The Syndrome of Influence” is particularly significant seen in the context of Salone del mobile, since it can teach us how only through silent dedication for one’s work, passion and wit, design classics can be brought to life, quite the opposite of what we can witness during one of the most frenzied design weeks, driven by pure need for novelty, marketing and, fundamentally, economy.

Rujana Rebernjak 
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02/04/2013

Sneak Peek into Salone del Mobile 2013

Sneak Peek into Salone del Mobile 2013

The craze about this year’s Salone has already started. We are being reminded of events, cocktails and presentations, shown products, ambients, locations, and, most of all, reminded of names, names and names that should present the hottest stuff in the design world this year. Well, we have to admit that we have resisted for quite a while before diving into the event lists of Salone del Mobile 2013, but, finally, have decided to cope with the flux of events and pick what might be the most interesting things to see this year.

This tour needs to start at Ventura Lambrate, a venue that has substituted Zona Tortona in being the most exquisite place where to learn about new and upcoming designers. This prestigious status is being confirmed with the presence of a few big names who have decided to present their work at Lambrate, like Established & Sons and Diesel. Besides rooted design names, we can also look forward to seeing some exciting projects coming from leading European design schools like Design Academy Eindhoven, Aalto University – School Of Arts, Design And Architecture, or Faculty of Design and Art – Free University of Bozen-Bolzano.

Another much expected event is surely Tom Dixon’s second edition of MOST, which will once again occupy Milan’s National Museum of Science and Technology. MOST will present Tom Dixon’s latest collection, a set of objects produced almost exclusively in metal, like solid brass champagne buckets and faceted furniture inspired by gemstones. Brera Design District, on the other hand, will explore traditional crafts and their relationship with the industry, particularly suitable theme for an area countersigned by small shops and big designer showrooms, like that of the Italian company Moroso designed by Patricia Urquiola.

A few other smaller exhibitions must not be skipped this year. The firs one is a show by Swiss-based studio Big-Game at Galleria 70. Titled “Everyday Objects”, the show will present a collection of their recent projects for brands like Alessi, Hay, Karimoku New Standard. Another young designer, Philippe Malouin, will show his work in a solo exhibition at Project B gallery, demonstrating his particular approach that relays on the simplicity of forms associated to a sophisticated design concept.

After taking a glance at the future of design with these two names, please don’t forget to get to know something about the past too, since Flos will be holding a show of the grand master of Italian lighting design, Gino Sarfatti. And if you still have the energy and the will to look at anything else after these shows, Triennale Design Museum and Spazio Rossana Orlandi are two ‘musts’ of every Salone, together with Inventario’s exhibition about books at Museo Poldi Pezzoli.

Every Salone del Mobile appears to be bigger, better and stronger than the one before, leading us to think that there is so much need for posh and spicy design today. Well, even though the sheer quantity of names and events will prevent anyone from remembering anything at all after a day it is all over, we still hope some designers might surprise us with their thoughtfulness, intelligence and wit.

Rujana Rebernjak

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19/04/2012

Salone 2012 – Superstudio

Salone 2012 – Superstudio

After the first two days of this year’s Salone we are slowly but steadily approaching its more consolidated venues. The fulcrum of Fuorisalone is obviously Zona Tortona, with the massive presence of Superstudio. With yesterday’s pouring rain here in Milan we couldn’t but take shelter there and soak in the best from the Temporary Museum for New Design. Arrived at its fourth edition this year, Temporary Museum for New Design has presented more than 50 exhibitions with the participation of 40 international brands and more than 200 designers.

Among this myriad of projects, we would lie saying that all of them were interesting, some have really caught our eye. As we have a soft spot for Scandinavian design, we were obviously intrigued by the collective exhibition organized by Inredia. Their bold statement about Scandianavian design being much more than Ikea and H&M, has certainly been heard as companies such as SA Möbler or designers like Formforyou and institutions for research like Steneby, have really a lot to say.

Another inevitable installation was Past, Present, Future by the german furniture company Kusch, made out of chairs floating in a bouquet-like composition, connecting the realities of contemporary design and artistic sensorially.
The third stop was New Duivendrecht, the newest of contemporary Dutch furniture manufacturers. Presenting the projects of nine young designers, the company has successfully promoted their ideals of high quality, sustainability and both formal and technological innovation.

Without any further waffling, the other musts are definitely the works of NgispeN, Cube on Cube, Nendo and Fritsch-Durisotti, to name but a few. Even though the weather in Milan is giving us a break and you may not be looking for a shelter, Superstudio is definitely an inevitable stop.

Rujana Rebernjak

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13/03/2012

Studio Formafantasma at Designs of the Year

Studio Formafantasma at Designs of the Year

Every year around April the global design community freaks out. As Salone del Mobile approaches steadily and inevitably, we can’t avoid asking ourselves a few questions. Are these hundreds of fairs taking place each year, where Salone is the most prestigious one, really necessary? If one of design’s fundamental premisses is sustainability, how can these fairs be justified?

While the Salone fever is getting wilder and wilder in Milan, Design Museum in London is hosting quite a different event. During the first week of February the nominees of the annual “Designs of the Year” award have been shyly presented. Sorted up in seven categories (architecture, digital, fashion, furniture, graphics, product, transport) this year’s nominees have all an extremely socially aware and technologically experimental character in common, which differs considerably form designs appraised each year during the Salone.


Among the other eighteen nominees in ‘product’ category you can find a name that may ring a bell: Studio Formafantasma.

Formafantasma is an Italian design duo, Andrea Trimarchi and Simone Farresin, that was formed and is currently based in Eindhoven, Netherlands. Formafantasma has been nominated for the award for their project “Botanica” developed in 2011. “Botanica” is only the latest creation in a series of projects, developed after their graduation from Eindhoven in 2009, that address the following issues: “the role of design in folk craft, the relationship between tradition and local culture, a critical approach to sustainability and the significance of objects as cultural vectors”.

Hence, “Botanica” explores the possibility of producing natural polymers extracted from plants, as if the oil era has never existed; “Autarchy” proposes a series of objects made from a bio-material composed of flour, agricultural waste and natural limestone, further developing their previous project “Baked”; “Moulding Tradition” explores the importance of craft in witnessing the past.

MoMA‘s senior curator Paola Antonelli has already declared Studio Formafantasma one of the most important designers of the 21st century. Hopefully someone will take note for this year’s Salone. We’re keeping our fingers crossed!

Rujana Rebernjak – Images courtesy of Formafantasma

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19/04/2011

Karin Kellner / Casamica

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Karin Kellner / Casamica

Corriere della Sera’s latest issue of Casamica, Quale Design, was out just in time for Salone del Mobile. As usual, the comfy and of-the-moment magazine features excellent reading: there are features on Enzo Mari, Andrea Branzi, Faye Toogood, and Cappelini. There’s a look at the furniture branches of some of the big fashion houses – from Hermès to Margiela – and a look at that ever-divisive, über-iconic cross, through design eyes. 2DM’s Marco Klefish once again pops up throughout the issue, with hand-drawn portraits of the maker-shakers whose works are featured.

Karin Kellner, 2DM’s master of texture, made her debut in the magazine with a series of feature illustrations. For a roundtable discussion called “Design per il futuro,” she illustrated Rossana Orlandi, Denis Santachiara, Alessandro Vecchiato, and Carlo Urbinati. She also did a two ambient interior illustrations, one for a short article on the restaurant Gran San Bernardo. Karin, herself was once a student of design, and had a great time drawing the portraits, calling it a great way to “breathe creativity.”

“I love to capture expressions in watercolour… emphasising light and shadow,” said Karin. We’re thrilled with her work and can’t wait to see the next issue.

Tag Christof

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13/04/2011

Elena Xausa / 2DM For Salone Del Mobile & Ottagono

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Elena Xausa / 2DM For Salone Del Mobile & Ottagono

2DM’s Über-creative illustrator Elena Xausa’s got her hands full this design week. Her large-scale works are on display for Gas as part of Fuorisalone, and she’s participating in events all around Milan. The newest issue of Ottagono – freshly on newsstands (we picked up our copy yesterday at the fair) – features an illustration by her, surrounding an intriguing story about the famous Unité d’Habitation building in Marseille.

And as a rad bonus, 2DM teamed up with her for a nifty limited edition canvas bag that the coolest people will be toting this week. S for Salone, flanked by an impressive array of designer chairs. Get yours while it’s hot!


Tag Christof

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11/04/2011

The Editorial: iFatigue, iFuture

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The Editorial: iFatigue, iFuture

The iPad and its more diminutive sibling, the iPhone, are without argument our generation’s defining objects. And they are turning out to be something entirely more revolutionary than any shortwave radio, Polaroid, electric typewriter or Walkman. They are eminently portable. They combine an astounding number of functions on a flexible platform whose functionalities will be multiplied and enriched to the limits of its users imaginations.

Armed with our iDevices, we are the Bionic Man. And Einstein, armed with endless information at the swipe of a finger and the click of a graphic button. And critics. And publishers. And activists. And photographers. A fourth dimension has been opened – full of insight and information – that we access through our magic portals. The illustrious future 2011 once promised from afar is here. We travel through time and space by the use of sleek, smart technology.


But the fact remains that there is something deeply unsatisfying about the supposedly enriched experience these new gadgets bring. While not many would argue with the unprecedented convenience of a phone-camera-library-radio-map-everything, something crucial is missing. Form. Substance. This tablet-shaped enigma’s structure is neither an indicator nor a result of its function. And it’s hard to fall in love with a nondescript, rectangular brick.

The relationships we have built as human beings with our most essential objects is something profound. Hammers. Forks and spoons. Cups. Furniture. Books. And more recently, cameras, telephones, typewriters and other writing devices. These things have forms which remain semiotic constants (the iPhone uses a old-style telephone handset to represent its ‘phone,’ for instance). And when these objects are made with materials each possessing their own smells, weights and textures, they are transformed into something special. But with the iPad, objects are seamlessly subsumed into it and subverted entirely.

So, are we witnessing the death of separate functional objects? How will design grapple with this 4D universe? Is there a middle ground to be found?

With this in mind, and on the eve of 2011’s most important design event, we are thrilled to see what the minds of today’s best designers will astonish us with. As the lines continue to blur between the interfacial and the built worlds, we hope tactility and a real connection between form and function remains intact in some form or another. While we love our iPads and iPhones, we hope for a designed future in which we interact, learn, play and live through something more visceral than a tablet of metal, glass and electrons. Perhaps even our own eyes, ears, noses, hands and feet.

Tag Christof

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