Arte e Riciclo green design

SECOND LIFE ART AND RECYCLING WITH GREEN DESIGN

ART AND RECYCLING

SECOND LIFE AND GREEN DESIGN

Today it is possible to revisit an existing object, a piece of furniture, an interior, a facade of a building, belonging to a different historical period or even from the recent past.
The collectors original avant garde and vintage galleries were the pioneers of this positive and ecological attitude.
These objects from the recent past are sold in their shop windows as unique or limited editions design pieces as they are now out of production. Therefore, a parallel market has now developed which guarantees a new existence for these dignified objects, which had been carefully produced by qualified designers and manufactures.

 

Riciclo green design
Eric Van Hove - FKV

Sculptures with recycled materials

Items that would otherwise be forgotten and abandoned, can now be found in old junk shops or antique markets and are offered at cut down prices. The customers who frequent these places now have the opportunity to own things that are of a great value, have a place in history and the memory of past times.

Giving an object a ‘second life’ means recovering or recycling an existing product, such as an antique piece of furniture, or a recent style, giving rise to a change in the image and / or even in the function of the object. Through restoration different change can take place, be it recovering the piece to the original color or by reinterpreting the colors, finishes and purpose including new surface technology and techniques for a more up-to-date feel in tune with a contemporary look.

Riciclo green design Vim Delvoye_Bustelli_Twisted_2010
Wim Delvoye - Bustelli Twisted - 2010

For example, by treating the surface of the furniture, a new skin to the object can be provided, as they say in today language, a fascinating theme that involves companies, galleries and
designers. We can look beyond the usual boundaries and imagine more structural changes, creating hybridizations that modify the use, size and enjoyment of the furnishings of a home, an office, a material surface, by the user.

Riciclo green design Tony Cragg stack 1975
Tony Cragg - Stack - 1975

Recovery and Reclaim

The recovery and reclaim of existing objects means less waste of resources, maintains the quality of the existing and safeguards the environment from a nefarious emission and the bulimic production of goods.
The pursuit of quality instead of quantity is the prerequisite for the current time and should be the focus in the development of green design projects.

Arte e Riciclo green design
EL Anatsuki - Stedelijk - Small World Ptijhuis

Marketing must overcome the challenges faced by designers if it wants to be truly innovative and not dictate the assumptions or rules of design research.

 

Anna Gili Installation Butterfly for Nemho-Trespa

Link: www.nemho.com

 


DESIGN DEGLI INTERNI PER SPAZI LAVORATIVI DOPO LA PANDEMIA

POST PANDEMIC INTERIOR DESIGN FOR WORK SPACES

  • Ability to adapt
  • Reinvent ways of working
  • Take this opportunity to imagine and create positive changes in our work and everyday environments
  • From interior workspace at home to the traditional office interior larger companies will be functional cleanliness and well being will be bigger than ever.

Here at the Anna Gili studios we employ an empathetic and ethical approach listening, understanding and focusing on what our clients need and how we can give maximum creative input and impact for productivity and enhancement with the ‘work is pleasure’.

Our experiences of Covid have been varied but for many people the isolation of working at home can be range from novel, enjoyable to very being very isolating. So, the office whilst it can remain the traditional work cubicle the importance of collaboration etc is

The shock and fall out of a serious Pandemic has left many of us realising that we are not super humans and we are vulnerable and life is not eternal or a given.

Life is more precious and limited than many of us have been led to believe. Therefore the ‘Office’ Work place and home life need to be more harmonious.

Technology will enhance communication however, it will not be easy to replace humans meeting and the sense of grouping, friendships, sharing etc. So, no one thing is more important than the other. We need to be open and intelligent to variations and optioning that creates a good harmonic and seamless way of life.

This new way of working can have a positive effect on limiting transport and travel costs and impact on eco system.

We enjoy offering our clients Impartial and non-compromised solutions are always refreshing as they are free from constraints promoting ideas in favour of…purely focusing on a client’s needs.

Open air spaces - multiple destinations, products to furnish workers homes with a branded work community. Business is about communication and the idea of the office is a theatrical place that promotes the business and keeps the work force and clients connected. People are now like anchor tv presenters presenting ideas and conversations so the work space from home and in the office needs to have an identity. We can offer furniture, furnishings and spacial solutions to form your company into a state of the art contemporary performance are to perform on the business stage. Our animals in the house now are with us and this can create great community identity that’s caring and full of fun and warmth.

We can socialise on the virtual platforms and the office is a functional meeting space to draw us together to focus, collaborate, care and share.

Our design solutions can help glue companies together and enhance performance health, happiness and well being.

Open spaces, forests, lakes, seaside, mountains, countryside and roof tops.

 

DESIGN FOR WORK SPACES

Living the dream was the idea behind the first wave of the internet in the 1990’s, people worked remotely on the internet from surfing and ski locations..
A fear of staff being absent from office desks and out of sight fuelled by market uncertainties and recessions reverted the idea of freedom of where to work and the work force was returned to the office.
The pandemic emptied the office and coworkig spaces and people started working from home in the way that it was originally intended. Roads and cities emptied, animals and nature thrived without traffic pollution and motion, carbon lowered etc
So, it is possible to live in a new way and proceed to a more harmonic life style etc….
Businesses that have failed with good people they can reform and create new businesses that are better for people’s lifestyles, families animals etc….freindships, fraternity, support groups fixing flaws and guidance,

  • Domestic scenographic a Home
  • Work pods
  • Defining spaces in which to concentrate and focus on work in harmony with outside influences
  • Sound reduction
  • Design
  • Scents can refresh us geranium and grapefruit oil
  • Colour in turn can refresh and invigorate and inspire us
  • Textures comfort us

Anna’s deep knowledge in manipulation and coordination of colour textures objects to create exciting interiors from scratch to elaborate incorporations of Renaissance and Baroque Anna has the experience and understanding to create spaces that understand human nature and to create happy working spaces.

In an age where change and uncertainty prevail Anna Gili studios can provide exciting and invigorating spaces through consultation and workshops.
AGDS can put together experienced specialised people to understand and support your company.

 

The fire the forest Pods Capsules

We can put together workshops to help businesses put packages together to support and establish fluid, customised, innovative and bespoke workspaces that help maintain the your company identity and ethos and a healthy happy employees set in environments that connects.

We can turn to nature for comforting solutions and the spirit of a place and a space. light colour space identity voice and this has always been an intrinsic part of Anna GDS signature.

The Wonderloft is a beautiful light space and AGDS can help you and your teams create your own Wonderful Spaces

Good well through design is needed more than ever before to help us through this emergency and to emerge from this experience in a positive way.
The world changing effects on individuals, our lives our work our family friends our focus. Our strength is our ability to change and move on,

fun loving spaces we can help you and your work people establish unique special spaces and design furniture and or use existing to customise for this new era.

Design can enhance our mood and focus our thoughts. The benefits are measurable for productivity ad happiness and being.
Coco Channel said ‘Fashion is never anything but an expression of the heart’
We think that your interior other than the importance of functionality can be a great way to express our selves and connect us with one another as we adorn our social media so intro we can once again adorn our interiors like a set design. We can show you how to achieve this so your Brand and identity can sing out and be extraordinary within our and connect, support, unite and strengthen us in these extraordinary times.

Our wealth of experience and love of the theatricalities of life we can offer bright
spaces that connect both physical and virtual realities creat privacy within the home and office spaces that can be the fold the theatre that shapes and identifies your company.

 

Life is fragile and temporary
Enjoyable work, a joy to work not a favour...

Companies are required to budget especially during this time of financial uncertainty but Design can build bonds that create extraordinary out put both in terms of production, well being, happiness and loyalty. Developing a happy healthy staff in beautiful and crafted harmonic interiors creates a sense of pride and identity. Great design can create a buzz and energy and whilst we enjoy being individuals the power of connected people is untold and a staff that feels cared for means a staff that is united.
Design can achieve this in both bold and subtle ways as Design can be a fluid flexible far reaching dynamic.

Workshops with you to revise your potential to develop within this create a brief .
AGDS can provide support through consultation, workshops and solutions to bring you

Temporary Contemporary

Beautifully crafted for ever or Temporary Contemporary - set design
Over the years Anna’s team have designer many exhibitions and set design for theatre dance and performance art. These rapid installations with film and sound lend themselves to today’s temporary delicate times.
So, why not love life to the full, celebrate and sample life’s natural delicacies and be brave in the Brave new World where Big Brother is your friend and surveillance is for survival rather than simply for pursuit.
Our technology that we enjoy today is a result of distant space travel and the theatre of war. we need to embrace and rely on technology but we can offer the warm side technology and harness the power for the common good.
AGDS can entwine nature and technology ti a sophisticated level to be enjoyed and celebrate. The office 8am to 5pm is from another century now we have to look for new ways and embed the idea of office and work and meetings in nature, city countryside home etc. The city is a place to preform and the office slots into this.

A series of capsule pod working to protect people in the office and create a space in homes or outside meetings
Conducting colour, light, form texture, sound, nurturing environments looking at the brief we can prepare a schedule of relevant solutions relevant to your employees who will have different situations and needs. We help define these in a work shop scenario to arrive at a Brief, Solutions, Installation

TRAVEL CROSs CULTURAL exPErIENCES FusED TOGETHER>
JAPAN KOREA many people from all over the world


Alessandro Mendini opere

Alessandro Mendini and his Design World

Alessandro Mendini and his Design World

Alessandro Mendini was a companion and a teacher of a lifetime, generous and kind.
My CRO vase
perhaps summarizes the osmotic exchange that took place through our working together.
He really loved my work which I appreciated however, I tried not to lose site that every joke he made always hid an uncomfortable truth within it.
Alessandro Mendini was a master who lightly crossed my life.
Perhaps the thing that fascinated me the most was his brilliant irony combined with a lively intelligence, which for an Umbrian Woman Artist, of medieval-Renaissance style and influence, was a real bomb shell.

Opera Mendini

The obsessive precision in the iconic definition of each form, in Mendini's work of the last period, is still a topic of great interest for my research.
Alessandro Mendini was a man with an open mind and born of bourgeois culture.

A multidisciplinary figure: architect, writer, editor of magazines, intellectual, with a transversal cultural approach that he had been able to deepen and update thanks to his journalist activity.
Mendini took the magazines: Casabella, Modo and Domus, in different directions as he explored subjects in multiple languages related to design, art and architecture, taking Italian design beyond national borders, declaring a new design that encompassed an emotional intelligence, a warmth and freedom of line that was distinctly different from the coldness of the elegant Bel Design of Milanese culture.
Following his magazine experience and his collaboration with the post-radical avant-garde Studio Alchimia, he and his brother Francesco established Atelier Mendini which opened in Milan in1989 I first met Alessandro Mendini on the occasion of the performance "Nulla", an idea for an environment, in which I presented at the P.A.C.
in Milan my Sonorous Garment, was 1984.

Subsequently, his new project Pittura Progettata e Design Pittorico"Designed Painting" corresponded to his desire to reset, to make a clean sweep of his previous experiences and to devote himself to an artistic project that involved both his life and his work.

Through my art and design performance pieces I attempted to interpret figuratively, in the genesis of this project (1986).

Mendini always exercised a thought beyond the contingent, accompanied by a great awareness of his mission in the world.
Alexander was a metaphysical man, but he understood people's desires and weaknesses.

For Alessandro Mendini, design was the pretext to navigate within the contradictions of the human being.

He was ambiguous and idealistic, anti-establishment because in his bourgeois state he liked to corrode all established positions from within.

Alessandro Mendini was always looking for a poetic and critical thought in the project that would justify its creation. He often used paradox to bring antithetical issues into the right balance.
One of his phrases that is unforgettable for me is: “Live daily life as a drama and play down living ”

 

ALESSANDRO MENDINI – FROM 29 OCTOBER 2020 TO 1 FEBRUARY 2021

 


Anna Gili parla del cavatappi

Anna Gili talks about the Anna G. corkscrew

The official text, inside the packaging of the corkscrew Anna G., states the following: 

Anna G, corkscrew

"The corkscrew Anna G. is a "design portrait". Dedicated to a real woman it has become an iconic object of contemporary design”. 

I would like to add something personal, since it is I who was the muse and inspiration behind the object, ironically I often have to remind myself that it is the corkscrew that looks like me and not the contrary ... The first memory I have of the object is linked to the choice of its name. I still have in my mind the image of Alessandro Mendini, who with great circumspection together with an engaging and seductive voice, similar to the hiss of a snake, approached me to tell me the idea he had together with Alberto Alessi, on the name to be given to the corkscrew he designed in 1994, which was formed in the silhouette of a woman. Alberto Alessi had observed that the figure resembled me and therefore suggested the possibility of calling it Anna Gili.  

Alexander replied that he agreed, except they would need to ask what I thought of the idea and for permission to use my name.  As soon as Alessandro Mendini finished explaining the idea, I thanked him and I went away to think about it.  A request of this kind does not happen every day and therefore I needed some time to reflect upon it. For me the idea of having your name on a corkscrew is fairly unusual.  After some time, I said to Alessandro Mendini, being a designer in my own right, my work was not automatically associated or connected with the Alessi brand and to this corkscrew. It seemed more interesting to me to leave the name Anna but to add the initial of my surname G., which suggested an unknown and veiled person, which in my opinion gave an element of mystery and intrigue to what would eventually become this massively popular character that he had designed. Did I contribute to the great success of this iconic object by my suggestion to remove the ili to just a G.?  If that is the case then I am happy and it is great to be a famous object that exist in houses across the world that have possibly opened millions of bottles of wine in celebrations.


Antonio Gaudì, Sagrada Familia 1

ORGANIC FURNITURE DESIGN

ORGANIC FURNITURE DESIGN

Today, more than ever, we need visionary design to invent new ways of living on our planet. We need to question what exists today that either no longer functions, is obsolete or has never worked
in the first place.
The model of the ideal Renaissance city is outdated, it is no longer feasible in today's cities with a high entropic rate. Urban agglomeration composed of different ethnicities and cultures, with the many different social needs and development models, have overwhelmed the urban planning process and prevented the organization and
updating of adequate policies.
Today we must support human unity working together with nature in harmony.
We have to start from looking at where the separation between man and nature first occurred.
We need to consider design in the city that respects nature and interior design that also incorporates this concept.
But what does nature-inspired design mean?
Many objects have been designed with this in mind. Nature was and still is the first model of inspiration. However, it is difficult to create organically designed home or office furniture.
In the object it is easy to combine inspiration with form, with function, with the choice of materials and with the production methods. It is an atavistic approach to work metal in a decorative way and to build tools useful for survival, such as the use of clay for tableware.

ARREDAMENTO DI DESIGN NATURALE

Shixiantang garden, Kioto

 

Design for nature

A table, a chair, a carpet, a sofa individually can be shapes inspired by nature: in the concept, in the use of the materials with which they were made and also in the production process. Instead in the design of furniture, there are many elements needed to combine together and it is difficult to think that they can all have the characteristic of natural design.
In my work I avoid referencing the common place which recalls, for example: cottages, rustic or Tyrolean furniture, unless a project is specifically related to the tradition of the area where this type of housing has developed.
Natural design is often synonymous with banal design and some current design projects have encapsulated precisely this sense of banality, this reductive simplification of a dialectic, which as such, cannot help but present problems.

ARREDAMENTO DESIGN NATURALE

Shixiantang garden, Kioto

 

If we talk about organic design, an important cultural reference on the theme is Japanese organic design, which is not a simplistic idea about nature but derives directly from the Shinto religion that also corresponds to the Japanese way of life.
Both Scandinavian and Brazilian design are derived from nature, although in a different way, they are linked and both reflect the poetry of the traditions of the places to which the design is related and connected to.
Natural furniture design, deprived of cultural references, is linked to an idea of simplicity of living, to a bucolic and native place, but it is a trend that has no intrinsic value.
The history of furniture is closely linked to the history of architectural styles.
In the contemporary world with social and life style changes, new parameters have been established in the design of furnishings. When implementing organic furniture into interior design one needs to consider the way one lives in the house, places and areas such as terraces, patios, windows, that reflect nature, which is no longer provided in urban reality, spaces that were formerly green areas are gradually being replaced by traffic and internal pollution. Bringing nature into these apartments is a defence against an excess of anthropization and urbanization that characterizes the city, which has become hostile to human life and all living creatures that populate urban areas.
As we enter into a new historical phase this topic is of great relevance in which the debate must be brought back and a more articulated vision, the type of urban life, the open spaces, the subject of greenery must be rethought.
Natural and organic design furnishings cannot be separated from the broader design that concerns the social, urban context, policies in the area that refers to design choices, all the use of materials and production methods.

 

Antonio Gaudì, Sagrada Familia

 

Heian Jingu garden, Kyoto

 


interior home design

Meaning of interior design

Meaning of interior design

To understand the meaning of the word interior design it is good to make a clarification on what is meant by interior and what by exterior.
To better understand the two concepts, it is necessary to have a specific habitat as a reference.
For example, if we talk about interior design in a place with a cold climate, it will certainly be different from the interior design of a country where the climate is warm.
If we think of places with an extreme climate, such as the Artic, the first thing that comes to mind is the white color of snow and ice, and then fire, as an element of warmth and survival.

In traditional culture, igloos, or igluvijaq, in the traditional word of the Inuit populations, are forms of architecture that best express the use of the elements that nature makes available to them, where, among other things, it does not offer many possibilities . The use of ice, as an optimized module for the construction of the igloo, is a form of compositional intelligence integrated into the territory. The igloo, being a structure formed of snow, appears to us antithetical to fire. Yet, the heat released by the flames creates a thin layer of ice in the internal circular space, which does not allow the wind to pass through the walls. The fire within an environment made up of snow bricks serves to ensure survival and at the same time refers to a poetic idea of ​​living. Fire is a primary furniture, an archetype and center around which the members of a family and social group gather.

The interior design of extreme places has the possibility of combining a series of tools found in nature, warm materials such as wood and animal skins, sacrificed and killed to feed and to use their fur as protection from the cold.

The choices and the combination of these elements, determined by the contingent, also have an aesthetic, poetic quality and a psychological function of living within a habitat.
It is an example of how tradition can provide us with interesting references for the composition of a furniture.

Another aspect very important in the interior design of the Nordic countries, it is the element of light.

In cold climates, although not as extreme as the arctic ones, the sunlight in winter remains for a few hours. Sunlight is perhaps one of the most attractive elements in defining a space. Its presence from a psychological point of view is relevant. For this reason, the interiors of the houses have large windows that allow you to keep the light for as long as possible, as evidenced in the architecture of Eero Saarinen.
The interior design in these places takes on the image of a pale glow, made up of few but essential elements: fire, wood, large areas of light, upholstery. The fabrics are reminiscent of animal skins, as in the tradition of the Inuit peoples, but in contemporary culture, the animal is no longer sacrificed. It becomes symbolic presence, through the sign elaborated in the artifact. Nordic interior design is basically monochrome, like the nature that surrounds it.

Differently, if we think of the Amazon rainforest in the south of the continent, for example in Brazil, the scenario is reversed. It is a dense, rich and luxuriant environment from all points of view: vegetable and animal, a concentrate of colors that no chromatic scale would be able to organize. The forest is very populated and therefore noisy, but the noises that are heard do not trigger the threshold of the annoyance that we are used to overcoming in an urban context.
In this regard, I remember my trip to Brazil, on the island of Marajo, located at the mouth of the Amazon River. At certain times of the day when one was silent due to the very hot climate, noises came from the forest, similar to the shout of the crowd in a stadium, probably the sounds that were heard were the dialogues of the numerous monkeys that populated the territory. While the mosquitoes that inhabited the island, they were out of scale of macro dimensions, but decidedly kinder than those of Milan and I say this from experience.

interior design

Roberto Burle Marx progetti di giardini

The internal space, in places close to the equatorial belt, coincides with the outside, because nature is rich and welcoming, the climate favors outdoor life. Living is reduced to a minimum, to shaded areas to shelter from solar heat or to areas organized for privacy and protection needs.
The interior design favors the windows, which in some cases replace the masonry walls. Unlike Nordic places, the glass element, in this context, serves to maintain a continuity between nature and architecture.

interior design

Roberto Burle Marx, mosaico Copacabana, Rio de Janeiro

Transparency, furnishes the domestic space, through the luxuriant forms that surrounding nature makes available, forms that in enveloping the internal space, are expressed with a strength and an energy, which we feel to be part of our existence, like the landscape architect Brazilian Roberto Burle Marx, showed us through his work.
When the light reaches the hottest level, it can be filtered through modern or traditional screens that provide a dimension of tranquility and rest in the shaded areas. Light and shadow are concepts on which interior design can define the scenic spaces of living, in their interplay between interior and exterior, hot and cold. Color can help highlight the different areas, following the arrangement of light and structural elements for a furniture composition that offers an emotional dimension.

 

interior house design

 

interior design home

 


How will the Salone del Mobile Milan Design Week

How will the Salone del Mobile Milan Design Week

How will the Salone del Mobile Milan Design Week be next year, the 60th year?

Will it become extinct as the magnitude of problems created by globalization dawn on us?

I imagine an expansion of the phenomenon of home interior design made up of less. However, in the expression of the contents. Interior Design, being a discipline with a history linked to architectural styles, has always been influenced by the world’s living cultures.

The architects governed the interior design, with great rigour, linking the discipline to the existing styles.

While the Décorateurs and the phenomenon of trendy showrooms, today defined as places of ‘life style’, are linked to the ephemeral, the taste of the moment marked by trends, dictated by the fashion industry and trend forecasters.

The fact is that fashion design has extended its network, through the economic strength of ‘The Brand’: from clothes, now has moved out of fashion, into home interior design, to life style shops.
Interior Design generates a renewal for fashion because it is loaded with new possibilities for furnishing combinations, which allows stylism to extend its borders and commercially preside over new territories, areas that up until recently belonged to the intellectual élite, architects, architectural firms and designers.

The attitude of fashion is to ride on trends and to conceive ephemeral projects, will this Fashion approach just make us passive spectators at the 2021 Fuorisalone events, rather than active and critical visitors that come to see and engage with the projects created by the Milanese house interior design projects, as the host city?

The dominant brand must draw attention as the sole purpose is to sell.
As fashion brands are commercially very strong, we will witness the sad phenomenon of acquisition, through bulimic practices and the progressive disappearance of the small network of intellectuals of
the Milanese house interior design projects.
The phenomenon consisting of small aggregations of Interior design studios, which have made Milan one of the international capitals of Interior design, will be transformed into an enlarged phenomenon of mass visual design, presented by the various stylists in their showrooms.
Everything becomes fashion, in the capital of world fashion.


A.Mendini Alioth- Venini 1993

MILANO DISCOURSE UPON CREATIVITY AND THE CITY

MILANO DISCOURSE UPON CREATIVITY AND THE CITY

I like walking in the city of Milan, empty, silent, without too much noise, the air is strangely clean.

It seems really fascinating, finally a place where it is still possible to think while walking. It looks different from the city that was Milan a few weeks ago.

The center is a place for tourists, while those who live in the city progressively, as in all the metropolises of the world, are expelled and pushed into the suburbs because the historical circle has become a large commercial center, consisting of restaurants, bars, nightlife, “Movida”, fashion shops, a system of visual and gustatory ecstasy, of Made in Italy excellence, where tourists have fun and spend money, bringing wealth to the related industries. This period, in which the virus caused the return of many tourists to their own countries and kept the Italians closed in their homes, without an opportunity for expensive entertainment, created panic among many economists, who consider this moment to be the worst misfortune and catastrophe to humanity.

Can we not think positively? That this tragic event is also an opportunity to restore an identity to a city like Milan, made up of many differences?

As in nature we speak of biodiversity, so the different languages ​​and traditions of the various cultures that inhabit the city contribute to the growth of an increasingly complex organism (the City). In the world of creativity, the same principle exists, but when the creative fertile humus, characterized by small entrepreneurial realities, is overwhelmed by commercially strong brands, which absorb its potential to their advantage, the microsystem cannot develop to grow and bring renewal. As in the law of nature the strongest wins, so in the economic world the same principle applies, because commercially strong realities guarantee well-being to the system and to the country.  The economy, due to the vice of arrogance, does not take into account the impoverishment of the creative basin that provides the nourishment of culture and the manifestation of critical thinking. This basin, that produces changes in society, when unattended it is unable to function effectively and there is a negative impact and knock on effect for the future. These reflections do not concern economists who, unfortunately, today have an overload of responsibility and this coupled with a disconnected and weak political system they are unable to link the importance of the basin and appreciate its enduring and long term productivity and immense contribution to the economy.

 

Milano as center of creativity

 

Today, as we surf on the world wide web, we are distracted and it is difficult to focus, contemplate and draw the future of and for our society. 

Milan has always been a city different from the rest of Italy since the time of the noble Visconti dynasties the patrons responsible for commissioning many of the great European Masters and for the construction of the Duomo in the 14th century. Milan was a center where these Masters lived and produced some of their finest works. For this ancient pro-European soul, unlike the rest of Italy, Milan paid a very high price, as indeed it is paying today with the Covid - 19.

Milan's generosity has a grand union with international trade and commerce, so far there has been nothing wrong with it, it is an applied intelligence, which produces well-being, but perhaps there is a limit to this success and it is time to be satisfied with the things that work and not to go further (”non va Oltre”). The contentment of tourism, of well-being, of being the capital of fashion and a center of design excellence, has led the city to a climate of superficiality and a loss of soul, perhaps now the time has come to reflect upon this.

The sociologist Francesco Morace speaks about: "Happy Growth"”Crescita felice”. I think the time has come for creativity to regain its design spaces, for a neo-alternative proposals that can guarantee sustainable development and open up dialogue and debate on current pressing issues. The economy should not dictate as if in a court of law on the project(s) as it seems to currently, it needs instead to accompany it for a growth that takes into account and respect the complexity and diversity within the disciplines of creativity.  It cannot grow by transforming a city like Milan into a place without thinking deeper, concentrating on material well-being, and in this regard I quote the famous phrase coined and became famous for the advertising of a bitter in the 80s: "Milano da bere”, (”Milan to drink"). I find that the expression is more suited to understanding the current reality and not that of the 80's where creativity had free access and free diffusion and it did not go through marketing, creativity lead the way. Today there has been a switch it is marketing which has become the source of inspiration for many creatives and designers, therefore published in design magazines whose objective is no longer that of information but the sale that guarantees the very existence of the magazine.

 

 


face-to-face-architetture-in-scatola

Architetture in scatola - Un progetto per i 40 anni di Associazione CAF

Architetture in scatola

Un progetto per i 40 anni di Associazione CAF.

Architetture in Scatola è una scatola di legno che contiene circa una ventina di pezzi tagliati al laser. I componenti possono mostrare la venatura del legno oppure essere policromi, altri progettti invece possono prevedere un decoro.

I vari pezzi si componogono tra loro per dar vita ad alcune micro-architetture abitative. Tra i progetti di Architetture in scatole troviamo anche "Face to Face" della designer Anna Gili, riproduzione dell'opera di Art Design "A viso aperto" .

Architetture in scatola Face to face Anna Gili


CRO-at-MONDO-MENDINI

MONDO MENDINI - Mostra postuma a cura di Alessandro Mendini

MONDO MENDINI

Mostra postuma a cura di Alessandro Mendini

Twenty-five years after the opening of the Groninger Museum building he designed, Alessandro Mendini (1931- 2019) was given free rein to put together his dream exhibition. Shortly before his death earlier this year, the grand old man of Italian design selected dozens of his own revolutionary designs as well as works by numerous other artists and designers. Mendini passionately believed in collaboration between creative spirits and the importance of imagination “Mondo Mendini” is a colourful, dazzling riot of fine art, design and architecture.

Some important art works by the Italian designer Anna Gili will be present at the Mondo Mendini exhibition at Groninger Museum:

Anna Gili, Sculpture CRO at MONDO MENDINI exhibition to Groninger Museum

CRO at MONDO MENDINI exhibition

- Anna Gili, centrepiece “Regina” at MONDO MENDINI exhibition to Groninger Museum

centrepiece “Regina” at MONDO MENDINI exhibition

MONDO MENDINI - Mostra postuma
A cura di Alessandro Mendini
Museo di Groninger
12 October 2019 - 5 May 2020