Grandi Legni

by Andrea Branzi

The exhibition Grandi Legni by Andrea Branzi is to be opened at the Paris-located Azzedine Alaïa Gallery on December 10, 2009, at 7 p.m.

Grandi Legni is a collection of unique specimens of large dimensions accomplished by Design Gallery Milano and Nilufar.

The exhibition will be opened all days, from 10.30 a.m. to 7 p.m., till January 17, 2010. The catalogue is published in Italian and English. [...]

Blister

by Andrea Branzi

Blisters are that kind of packaging for medicines-pills and lozenges, that preserve
Their content inside plastic material; and you press them to let each single pill come out before swallowing it.

Blisters,  just as frozen food and wrapping films are part of those technologies for preservation, typical of our environment. They slow down and prevent the direct relations between us and a certain part of the world around us. [...]

In the Desert

by Johanna Grawunder

The title of this collection produced by Design Gallery Milano” could be, most optimistically, an homage to the California modernists operating in places like Palm Springs a generation ago. In the work of Frey, Neutra, and Lautner, among others, she has found an affinity with her experiments in Italy over the past ten years using industrial materials in honest, even naïve ways. Like these architects, she has little interest in celebrating technique as an end in itself or in self-consciously expressing the cleverness of the ingredients of her creations. [...]

Oggetti Lenti

by Pierre Charpin

This time, for Design Gallery Milano,  I have designed a collection of vases, lamps, boxes, centrepieces, furniture and also structures  whose functions are not precisely defined. For the  realization of these  objects I chose various materials: ceramic, natural wood, painted wood, white marble, cast bronze, stainless steel,  lacquered metal,  blown glass.  I named this collection “oggetti lenti” (Slow Objects), in reference to the slowness with which I designed them. [...]

More than good errors

by Michele De Lucchi

To make mistakes is human, they say. But to try not to is even more so, because mistakes hurt and have to be repaid. So man has always made tools and woven systems to keep watch over the distractions responsible for mistakes. Feeling safe makes life pleasanter and calmer. Since the advent of the computer moreover, the automation of safety has reached such high levels that exactitude has become spontaneous. [...]

Pillow Talk collection

by Johanna Grawunder

Air Conditioning Explosion-proof, precision-built, universal type industrial lighting, shop equipment, and power tools designed and built for general purpose applications. [...]

Uomini e Fiori 

by Andrea Branzi

“Men and flowers“ is a sort of primitive space foundation where architecture  and design are useful to something. [...]

Twenty-seven Woods for a Chinese Artificial Flower

by Ettore Sottsass

Art is born in the world as an offering, oblation, “sacrifice”. If on the way it has lost the connotations of sacredness, escaping magic coercion, when manifested, it is possible to retrace its origins, by following the traces of its path. These traces can at times become invisible or uncertain to the sacrificer himself, the author.
Sottsass, who proclaims to be secular, has never failed to question himself about the nature and boundaries of the “sacred”. But precisely ambiguity is intrinsic to the nature of art, as it is to that of the sacred.
[...]

Bharata

by Ettore Sottsass

Indian craftsmen, real Indian craftsmen, are very poor, very very poor. They have no place.  They have no tools. They have no lamps. Maybe they have time. Maybe they like things that way. Maybe they’d like things to be different. It’s difficult to say.

Designing for Indian craftsmen is a very ambiguous job. It’s difficult to say to what extent all this energy of poverty and patience is being used.  It’s difficult to say to what extent one can expect to make some aperture towards a vaguely more easy future for them. Yes, it’s difficult to say this, too. [...]

Ruins

by Ettore Sottsass

I called this exhibition “Ruins” because at the moment more than ever the word “Ruins” seems to explain just how I feel.
At one time I used to call some of my designs or booklets “Esercizi Formali”, meaning I didn’t feel “committed”, at least not in the way classic intellectuals do. So I did things where any commitment there might be would be remote and indirect. [...]

Air Conditioning

by Johanna Grawunder

Explosion-proof, precision-built, universal type industrial lighting, shop equipment, and power tools designed and built for general purpose applications. [...]