Il grande gioco (Miscellanea) (Italian Edition)

Dio e la scienza by John C Lennox Book 1 edition published in in Italian and held by 1 WorldCat member library worldwide Un importante contributo al dibattito sulle origini dell'universo e sulle leggi della fisica, che getta una nuova luce sulle polemiche in materia. L'autore propone, insomma, un testo indispensabile per tutti coloro che meditano sulle grandi questioni della vita. A detta degli esperti contemporanei, la scienza avrebbe messo da parte dio e tutte le spiegazioni sull'origine del mondo che ne derivavano.

In questo libro stimolante e al tempo stesso provocatorio, Lennox ci invita a riconsiderare queste affermazioni con la dovuta cautela. Der Schwur der Orks: Roman by Michael Peinkofer Book 1 edition published in in Italian and held by 1 WorldCat member library worldwide. Tu vivrai ancora by Brad Steiger Book 1 edition published in in Italian and held by 1 WorldCat member library worldwide. De terugkeer van de orks by Michael Peinkofer Book 1 edition published in in Italian and held by 1 WorldCat member library worldwide De ork-broers Rammar en Balbok beginnen een queeste om het hoofd van hun in de strijd gesneuvelde commandant alsnog naar huis te brengen.

In The Power of Now, already a worldwide bestseller, the author describes his transition from despair to self-realization soon after his 29th birthday. Tolle took another ten years to understand this transformation, during which time he evolved a philosophy that has parallels in Buddhism, relaxation techniques, and meditation theory but is also eminently practical. He writes about worlds where magic is seen as natural, normal. It is hard to narrate a story by Carroll, I can say that the situations, the arguments and the characters described are incredible and surprising, but at the same time they transmit a profound vision of life, there are very precise intuitions about the human condition.

I like to use suggestions from the past together with futuristic visions, materials from the new generation with those that have always existed, magic with everyday things, irony with delicacy, but above all I want to be able, every time, to be the first to get a sense of wonder from the results. His training was in sculpture but very quickly he made himself into a photographer and video artist. For me, his installations and photographs are a way to represent life with a strong capacity for observing the world from a different angle.

His inspiration comes from everyday objects such as bicycles, brooms, vegetables, balls and chairs. There is always a bit of fragility or unbalanced aspects in the situations he describes through bizarre installations. The absurdity that Wurm is playing with makes you smile and also understand a bit more about human beings. His serious work is a reference point in contemporary art and has been shown all over the world. His work is based on humanity and the human being and even as an artist, part of the commercial world of galleries, auctions and museums, he comments on politically correct attitudes, criticizing his own domain.

His certain sense of humor is a great way to enjoy the daily habits of each of us. All the materials that surround me can be useful, as well as the objects, topics involved in contemporary society. My work speaks about the whole entity of a human being: Later, I discovered that Axel Vervoordt was also the owner of the works. You could sense that the project had been carefully nurtured, with constant attention. Though the works came from different periods and spaces, there was something that enabled them to coexist naturally, and it was not a question of mere taste.

The rhythm was based on art, not time or space, just as the weights of our lives are marked by the emotional importance of things. A few instants, when we are falling in love, can have an infinite weight in our memory. Axel Vervoordt takes care of art. He protects it, shelters it, searches for it, buys it, sells it, positions it. A curator who cures. Vervoordt saves dying things, making them live forever, but without paralyzing them. He waits, watches them mature and change, age, rust, pale and fade.

Seeing the exhibition, I thought that what I have always tried to do was not that different, though the approach might seem antithetical. Maybe there are two ways to erase time and restore the infinite. The first, as in the case of these works and this old palace, is to make them age infinitely. The second, as in my case, is to not make them ever age.

I have designed virtual landscapes, a digital sky that has no time or space; an impossible landscape remains impossible. Finally, the exhibition is put into an impeccable catalogue, where the works are paired like similar souls that meet by chance and discover they are perfect for each other. Here too, time and space are banished, so everything is outside of any conventional scheme. Vervoordt perfectly combines the detail of a Venetian fabric by Mariano Fortuny with a sculpture by Renato Bertelli, the photograph of a cut by Lucio Fontana with that of the back of the same cut.

The pages are close to each other thanks to human sensitivity, the sensibility of the intellect and art. Flatz by Markus Benesch Flatz is an Austrian artist who is definitely not following the fashion of the day. I like his body of work because he is a very versatile artist who works as musician, sculptor and mostly performance artist with a very precious tool: I had an encounter with him three weeks ago and got to know him as a very kind and cheerful person — a real gentleman.

Though at first his work seems just the opposite — strong and provocative. Provocative is probably not the right word — direct and strictly to the point is more correct. His art is often like a punch in the stomach, without detours, without anything unnecessary, getting straight to the point. He sends out messages as sharp as blades, with utmost precision aiming at the perceptions of his viewers.

I like his messages and how he brings them across. He chooses his own way of communication and leaves the safe path to others. His courage and radicalism make his works very interesting to me. I share his passion for going his own way and pursuing his own goals. As well as his profound ability to study society and reflect on it. Often his works create scandals, but I find it impressive that one can cause such a stir with a single sticker, saying: Fressen Ficken Fernsehen in the colors of the German flag.

Which means something like: I find this very inspiring and also important these days. To me having the courage to go on a journey with yourself in order to discover and find your own personal set of colors, shapes — your unique aesthetic DNA — is essential. Going that way is certainly more painful and harder than going with the flow, or even copying what already exists — but in the end to me it is much more rewarding than anything else.

And I knew he liked mandarin oranges. I also knew that in his work, using irony and satire, he had narrated the Catholic church, capitalism, male chauvinists, sex, human solitude, nostalgia, inventing fables of tenderness and cruelty each time. I occasionally hear from him, with a card every Christmas, comments on his work, recorded on the answering machine, or live, on the phone.

He also sends me proposals, ideas about stories to tell, meetings for a part, a recommendation. One time he sent the photos of a child, another time he was looking for money, on another occasion he insisted on a meeting. I knew that for him telling a story was telling himself a story, challenging himself, finding other paths.

Critics thought he was hard to label, but for me he was brilliant. Rachel Whiteread by Odoardo Fioravanti In everyday reality interest in this or that stimulus gets consumed with increasing speed. So I think it makes more sense to talk about the latest inspiration, instead of one among many. I first encountered her works a few years ago at the Castello di Rivoli: I immediately thought Whiteread was looking at reality the way you usually look at a negative, that same reality that for us is the positive of three-dimensional existence.

Filling a wardrobe with cement means using it like a cake mould, while giving physical presence to the enclosed empty space. The space comes to terms with the being-there of the things that shape it by exclusion, by Boolean difference. A revolt of the void against the full that cannot help but make a designer think about production processes, in which we give form to matter through difference.

Moulds are outside the object, but they bear its form. Watching a moulding process and seeing the mould open and eject a piece of plastic is a stunning experience. For a second, it is no longer clear which is the positive and which the negative: Mould and moulded object do not resemble each other, but they give each other form, a strange unicum-divided-by-two.

Recently the Centre Pompidou acquired the work Room by Whiteread, the casting of an entire room filled with plaster, with the gaps left by stucco, objects, etc. I had already examined the big tapestries by Alighiero Boetti, but I felt the need for a shift in time, a different interpretation than the maps embroidered by the artist from Turin in the s. In a column in an Italian weekly that listed current exhibitions, I saw two small images, two postage stamps, reproducing an idea of a map based on a playful geopolitical formula, where the states had the forms of animals and objects.

It was an Atlas by Wim Delvoye. That was the shift I was looking for! They say he is the heir to the caustic spirit of Piero Manzoni. What attracts me about Wim Delvoye is the representational short-circuit in every work, based on a recognizable aesthetic image-bank, close to people. Delvoye uses common objects for his installations, charged with meaning through a language close to that of Dada, and direct intervention done with irony and sarcasm.

The nonchalance with which he manages to mix and confuse styles, drawing on the past, challenges our certainties and experiences. And I find myself looking for his new works… surprised at being surprised. I knew nothing about him until my friend Franz Fiorentino made me read David Boring, and I fell in love. I often ask myself what appeals to me in those albums full of hateful, insipid characters, the best of them just mediocre. His stories are dripping with petty reality and a vivid, pitiless gaze at the so-called American civilization.

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What really leaves me breathless is the dialogue. In the end, what remains after a close encounter with Daniel Clowes? Maybe the subtle doubt that a bit of us lurks behind the grotesque masks of characters destined to vanish in the space of a comic strip. If the page of a comic becomes a mirror, though a distorting one, it means that those drawings conceal some truth: Carefree and pop on the surface. Full of melancholy and longing underneath.

General yet specific in one and the same piece. Making use of the beautiful to evoke longing and finding the beautiful in longing is the quintessence of art. The synthetic is not at odds with the genuine. Extrovert and introvert at one and the same time. Beautiful, and tear-jerking too.

Early postmodern tendencies, presumably. In my more mature years, Brian Wilson has shown my premonition to be right. Just a profound respect for the ability to sense, shape and send further. No matter the art form. Sterling Ruby by Jonathan Olivares Squares, rectangles and rectangular solids — or we could say boxes — have played a prominent role in the art, architecture and design of the last century.

These are the rare spirited exceptions among the millions of uninspired, lifeless, sterile boxes that surround us everyday. Beige computers, bland corporate architecture, cheap music players and ubiquitous minimalist sofas have collectively spoiled the modern box. I remember it as a perfect white, rectangular volume about the size of a refrigerator, with a few scuffmarks and smears. At first glance I was horrified that some art handler had caused irreparable damage to the otherwise impeccable monolith, but then excitement took hold as I processed this act of wrong-doing and realized that someone had broken the dogmatic modern code that.

It was apparent that a new law was in order: In other works Sterling Ruby defaces his formica plinths with colorful spray paint and nail polish. These sculptures evoke an agenda best described by his own poster: I mean, choosing one, because I have so many and they come from all kinds of different fields, often very distant, at least apparently, from the world of design: They all bring qualities and evidence, it goes without saying, of splendid uniqueness.

So for this difficult decision I want to go with a sure thing, naming a person who has been called all kinds of things, from syncretist to son of the future and instead is simply a designer. David Byrne was one of the founders of the Talking Heads, he has written and writes excellent songs, shot interesting and amusing films, founded a record label for world music, before it became a fad, written books, designed a bicycle rack… I think David Byrne is a very curious person, a tireless researcher, an experimenter whose work, even the most complex, always stands out for its elegant lightness.

I like his way of collaborating with interesting figures while still personally overseeing all the aspects of his projects. A trajectory that becomes even more interesting when the trip happens above all inside you.

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A gigantic orange setting sun closed in the imposing walls of the former power plant. The illusion of doubled space through skillful use of a mirrored ceiling and a light fog. The force of a single work of 26 x 22 x meters. One of the gifts I envy the most is his capacity to involve, to make the viewer a participant in every work. From his early pieces like Moss Wall in — a wall of living moss, an olfactory and visual experience — to Lava Floor — a floor of lava on which to experience the difficulty of walking — to Room for one Color — the force of monochrome light — themes emerge that constantly recur in his work: I admire his simplicity, intelligence, continuing experimentation, a bit magician, a bit engineer, capable of inverting the laws of gravity.

Some of the themes addressed are close to those developed by Nucleo: Like when a hole in your stomach makes you unconsciously open the refrigerator. When I try to talk about it I can feel myself hovering on the edge of an abyss of banality. So I open one of his African sketchbooks and read: I will certainly not make abstract art with triangles and squares, mind you. No sociology or jokes about the future of occidental art. Direct, sensual and very beautiful, even when the story it tells is one of fatigue and death. I like him because he does a lot with a little, with simple gestures he transforms things and makes them exceptional.

He interests me because he digs deep and spits out a transfigured reality, truer than the one that flows before our distracted gaze. The objects become the triggers of stories, a process that influenced my way of thinking about design. Doreaemon has been my hero, ever since. This ranking, this hierarchy between the so-called minor and major arts has always existed. Instead, I realize I am often more sensitive precisely to the minor arts.

Arts connected with humor, that are not considered for their artistic aspects, but simply for their function as fun. I think levity and humor have their own intrinsic value that should not be underestimated. I am the daughter of a comic artist, I know about the difficulties of a craft based on these aspects, which are part of my basic, everyday culture.

These are the reasons why I thought about the actor of Moroccan origin Gad Elmaleh as a personality I particularly admire. He is a complete artist, like the great artists of the American musicals used to be. He knows how to write, act, dance and sing with subtle, light elegance. He manages to talk about French society in a delicate, original way. Without being heavy or presumptuous, without complaining. His work is hard to translate and describe because it is based on the French language, on the little details and nuances that define a culture.

Jonathan Carroll, American writer When one of his books is published Stephen King is always the first to send congratulations. Jonathan Carroll, from New York, is the other king of fiction that straddles horror and the metaphysical, noir and psycho-narrative. Wim Delvoye, Belgian artist They call him the Huckleberry Finn of art. Revolutionary, anti-everything, Wim Delvoye decontextualizes, mixes and creates hybrids, because humor and disorientation are the essence of contemporary life, in his view. Daniel Clowes, American comic artist Talking about Daniel Clowes people often refer to an isolation that began in a troubled childhood, the same situation that reappears in many of the protagonists of his comics.

Gad Elmaleh, comic actor from Morocco, resident of France An actor, musician and comedian of Moroccan origin, Gad Elmaleh is known for his pungent, light style. Famous roles include Coco in and Hors de prix in Sterling Ruby, American artist He is represented by the gallery Pace Wildenstein of New York. In his works he mixes ethnographic elements with African primitivism. All with a touch of Parisian glamour.

The world of the artist from Majorca is one of imagined and dreamt objects.

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After all, he says he does not paint them, but works on the space that separates them from one another. The result is a flourishing primitivist universe, made to amaze. David Byrne, musician, from Scotland, American Leader and founder of the Talking Heads, David Byrne works in the fields of music and art. But Byrne also creates installations, sculptures and paintings, often without a signature.

The New York Times noticed, in any case, and published a profile on his work as an artist, not as a musician! Tom Waits, American singer Trademark of the maudit, especially when the lyrics describe grotesque, often disturbing personalities. All this has made Tom Waits a contemporary music legend. Flatz, Austrian artist Among his most recent works, the occupation of a former prison at San Michele di Ripa, where he wanted to experience the life of a prisoner. Together with other artists, he had been invited by the University of Innsbruck to think about the theme of isolation.

The adventure cost him a night in jail a real one! Apparently during his month of isolation Flatz killed time by making graffiti on the walls. Olafur Eliasson, Danish artist In , for example, with light bulbs, a mirror and smoke machines, he constructed an artificial sun inside the Tate Modern in London, an ode to nature and technology. Rachel Whiteread, English artist For her sculptures she often uses castings of everyday objects. In this way Whiteread transforms the negative into the positive and makes the object be absorbed by space, becoming an integral part of it.

Using polyurethane, resin, plaster and rubber, she creates a world that is simultaneously recognizable and therefore reassuring but also sinister and alien. A poetics that made her the first woman artist to win the prestigious Turner Prize. Brian Wilson, American musician, Symbol of the beach culture of the s. Brain Wilson was the leader and main songwriter of the Beach Boys, as well as their bass and keyboard player, arranger and producer.

Erwin Wurm, Austrian artist Their job is simple: As a result, of his vast production nothing remains except photographs and videos. Axel Vervoordt, Belgian interior designer. An avid collector with a past as an art and antiques dealer, Axel Vervoordt is famous for his interiors that mix tradition and modernity. The result is an erudite, precious eclecticism of great success. He lives in a 12th-century castle. Marco Ferreri, Italian director, actor and film writer His most famous film is La Grande Bouffe , where some friends gather in a villa and indulge in food, drink, sex and friendship until they get ill and kill themselves.

His films narrate, in a typically offbeat way, the decadence of a society, and they often end with flight, self-mutilation or the death of the protagonists. In the days of Italian comedies, Ferreri was considered the most countercurrent of all Italian directors.

Doraemon, Japanese cartoon Doraemon is a Japanese manga by Fujiko F. Fujio, later used for a cartoon narrating the adventures of a robot cat from the future. On the facing page, detail of the installation by Laura Renna and portraits of the designers who have narrated their extra-sectorial personalities of reference in this article. Left column, from top: Right column, from top: Above, Tom Waits in a portrait by Danny Clinch.

On the facing page: Limited edition of six. Facing page, from left: David Byrne in a portrait by Chris Buck. Below, the Japanese cult cartoon Doraemon. A 16th-century palazzo near the Pantheon is the home of Luigi Serafini, a singularly eclectic artist who produces surprising works of spectacular talent.

His home is a true portrait, entrusted to those who interpret it and document it in photographs. He is internationally renowned, above all for the Codex Seraphinianus, a book-encyclopedia with over a thousand drawings accompanied by writing that cannot be deciphered. This is a fantastic, visionary interpretation of the widest range of materials, from zoology to botany, mineralogy to ethnography, technology to architecture, which attracted the attention of Roland Barthes, Italo Calvino and Federico Zeri, among others.

It was published in by Franco Maria Ricci and has had eight editions, until the present one issued by Rizzoli. The home-studio of Luigi Serafini opens like a diaphragm, and like an encyclopedia it can be browsed by curious, stunned guests on a fantastic voyage. With levity, Serafini breaks down and reorganizes, in domestic space, the objects he has redesigned, sculpted, repainted, constructing a constantly changing emotional path of memory in his Domus Seraphiniana. In the red and black entrance the light reveals large canvases and sculptures on wheels. The house continues along a circular route.

From the entrance we reach a dividing point, leading to the study and the corridor to the kitchen. Between the colored walls of the corridor, with optical linoleum flooring, we encounter a passage topped by a white wooden vault from which little sculpted faces emerge, with different expressions. The narrow walls feature another oil on canvas, with suspended figures, and some drawings.

Heading for the study, the bookcases with. This is where Serafini works at the computer to make the images for the Natural Histories of Jules Renard. From here we can glimpse the large sculpture of the yellow hand that protrudes from the wall of the atelier. In this luminous metropolitan highland, the Seraphinian nest of midnight blue walls, alphabets are tamed to adapt to fantasy, in the genesis of Codex-like worlds.

Luigi captures the thronging images on canvas or paper, in the midst of many notes and sketches on a big work table with zebra-stripe legs. The orderly vitrines of the blue cabinet contain all kinds of pastels, pencils, cardboard, mannequins, brushes, oil paints and watercolors. On the big red chest of drawers two nativity scenes are displayed under glass bells, and on the wall nearby neon glows with a letter from his mysterious alphabet. Over the colored fireplace, like a trophy, the head of a large silvery deer has antlers that light up, while two colored chairs create a convivial atmosphere.

Serafini can be seen in a portrait on a large panel in the guise of a knight with 15th-century armor, urging us on to the large kitchen in the company of a green crocodile. On the column refrigerator there is an old caned chair painted gray, a memorial of his beloved grandmother. Two nativity scenes inside transparent vitrines enrich the range of objects of affection and exception of Serafini.

Detail of the head-trophy of a large silvery deer with luminous antlers over the fireplace.

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View of the corridor with the optical linoleum flooring, that functions as a visual axis and connection for the spaces. The large sculpture of a yellow hand extending from a wall in the atelier. In the foreground, the totemic figure in the form of a red ring known as King Botto. Serafini, portrayed on a large panel in the guise of a knight in 15th-century armor, welcomes us to the large, convivial kitchen. Rigor and new luxury p. Especially when the dualism appears in an existing context of solid values, historical roots, deep perspectives and novelty that becomes a synonym for rigorous intervention, a coherent new luxury that expresses new aesthetic and functional needs.

Just observe this Parisian interior reworked by Claudio Lazzarini and Carl Pickering for an international globetrotter with a passion for collecting Fifties vases in Murano glass. A large, traditional apartment from the early s, formed by a sequence of rooms, with views of the Seine, inside a regular L-shaped layout. As in the product design by the Rome-based studio, the dialogue with history is resolved in terms of compositional synthesis that restores dimensions of dematerialization to architecture, with fluidity, flexibility, lightness, visual continuity.

The first sign of reference is in the hall: A suspended figure, a symbolic portal like a tribute to the frames of Sol Lewitt, extended in the living room by a white boiserie cut by lines, niches in honeycomb aluminium finished with gold. One of them, on the shorter wall, even conceals the presence of a fireplace.

The theatrical setting is also created by the presence of a carbon fiber table finished with gold leaf, custom made at a shipyard, which can vary its form for different functions and desires. It is composed of four ovals and three connections that also act as small independent consoles that form a sort of sinuous gold drop from the living room to the dining room and the kitchen, where they meet the work counter. While Parisian colors are found in the chromatic pattern and the new natural oak flooring is based on traditional French parquet, the lighting from essential fixtures built into the architectural structure brings out the suspended web of the compositional lines.

It is surrounded by a series of vertical glass partitions, some of them mobile, to border the various functions, including the shower with hammam. While all that glitters may not be gold, this strange, sparkling nugget seems to promise extraordinary special effects without searching too far afield.

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The lighting fixtures built into the architectural structure are the Secret model by Kreon. The carbon fiber tables finished with gold leaf are one-offs made in a shipyard. The tables are formed by a series of irregular ovals on which to attach connectors that can rotate to generate an infinite variety of forms and configurations. The antique-effect wood floor is new. A welcoming vacation home of elegant simplicity, marked by a refined choice of materials that reflect the world of mountain living, reinvented in terms of analogies and contemporary signs.

The building, one of the many vacation condos that multiply the scale of the traditional Alpine chalet, with balconies featuring the same perforated balustrades in wood, and the usual red geraniums in window boxes, has been intentionally ignored in this contemporary interior design. The cloying, reassuring postcard image of most of the real estate ventures here is replaced, in this apartment, by reflection that could be extended to architecture as a whole in terms of lucid reasoning and general guidelines.

Delivered in a rustic state, without partitions or finishings, the space of the house made it possible to work in total freedom. The idea was to create an independent, complete environment, in open contrast with the figure of the building seen from the outside. The house has been divided into two zones connected at the north and south, separated by the entrance path clad in gray stone, contained by walls covered with recycled oak planks, with a horizontal design that already announces the strong materic aspect of the spaces from the threshold.

Wood, first of all, in oak for the southern part of the house containing the master bedroom with its own bath, clad in walnut colored Travertine, and the large kitchen and dining area, extended in a relaxation area with a bow window, separated from the living area by a metal volume that contains a large double-face fireplace and forms a large portal in iron and burnished bronze. The metal is a reminder of ancient doors dense with studs and details in handcrafted hardware, and repeats in the entrance, thanks to sheet metal that produces reflections of light in the central corridor.

Certain portions of the custom wall shelving alternate with a series of alpacca panels of variable geometry, arranged in a modular grid.

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Paler, more luminous larch wood is used for the northern zone, containing two large bedrooms and a small study. Here the larch marks the entire space, at times, rising from the floor to the walls and ceiling, to construct a sort of total, monomateric environment where even the bathtub, in a glazed box, is covered with the same material.

The long wood planks used in most of the house underline the regular character of the form of the rooms in the overall layout, with a slight digression only in the design of the floor of the living room, which follows the classic Versailles motif. The value of handiwork also becomes a part of the overall design approach: The fireplace set into the metal volume becomes the focal point of symbolic communication between the spaces.

Divans by Minotti, fabrics by Loro Piana, built-in lighting by Viabizzuno. In the heterogeneous family of materials, the polished iron sheet between the kitchen and the living room, with its soft reflections of light, forms a contrast with the recycled oak panels that clad the central nucleus of the furnishings like a ribbon. Walls and ceilings in lime plaster. Lamp by Flos, seat by Vitra. The use of a single warm material, Siberian larch, also characterizes the enclosure of the two bedrooms in the northern zone. Large, austere and linear, this area is marked by the spatial and visual continuum of the bedroom zone, bath and closet.

The house in the rock p. The new home-studio of Michel, an architect and designer working for leaders in this sector, and Donia, architect, sculptor and painter, is a dwelling that exists in continuity with nature. Olive trees, stone, white marble are the characteristic elements of the landscape of the hill on which the house stands, a place for work and everyday life, far from the noisy city. Instead, it operates in the present, both in terms of environmental issues, including optimization of energy sources total self-sufficiency, including collection of rain water, the use of a heat pump, solar panels , and in finding a delicate solution to construction in a natural setting.

The clear, almost programmatic approach avoids facile imitation, yet blends into the landscape. The project met with the interest and support of the City of Lucca and the local authorities. The shape of the hill, the layering of rises and portions of white marble together with the green of the olive trees and the native brush, suggested flanking the existing, seriously damaged structure with an extension of living space added to the house proper, placed between large terraces faced by the work space.

The terraces reinterpret, transforming their figure and size, the agricultural terraces of the past, making the insertion of the new construction more harmonious. In these terms the choice of a single material like white marble, used for the external facings of the entire construction, becomes a factor of continuity with the rock, the very material on which the house stands, becoming a sort of architectural extension that transforms the materic geography of the place.

Without camouflage or disguise, the house uses its compositional process to assert its open, sincere modernity. The new residential volume follows the proportions of its predecessor, with a pitched roof, marking the downhill facade with a few openings organized in an irregular way that functions for the interiors, and thus guaranteeing perception of the main facade as a figure in stone, linked to the same treatment of the embankment walls of the lateral terraces and of the lower curved volume of the studio.

On the two lateral facades the back is placed up against the hill , the house opens with large sliding glazings, mingling outdoor space with the large living area and clearly configuring the contrasts of full and empty zones, the rhythm between the marble of the downhill facade, the transparency of the interior spaces, the stone of the hillside. The latter becomes the protagonist of the spaces, brought inside as a natural backdrop behind the kitchen open to the dining and living areas, and in two bedrooms and a bath on the upper level.

The relationship with the rock is direct and emphasized by the linear design of the spaces, by the furnishings utilized, by the geometric treatment of the internal surfaces, in a relationship of intentional contrast with the materic character of the hill. On the ground floor two compositional elements characterize the space: The staircase rises through two levels in a free, open space that underscores its size and role as a central element.

The heart of the house in figurative and connective terms. On the upper level the master bedroom occupies the end zone with its own bath and closet, while three other bedrooms area arranged along a central corridor that concludes with a common bathroom. In the entire nighttime area, in the summer, the house can be opened for a view of the stars: The waterproofing was done by Rubber. Nord Light by Artemide. The complex follows the form of the hill. The reconstructed existing volume extends in the new volume of the work space that opens to the large terrace. The downhill facade is marked by a few openings, with the main surface in stone, like the embankment walls of the lateral terraces.

The stone of the hill becomes the protagonist of the interiors, as a natural backdrop for the kitchen, open to the dining and living areas, and in two bedrooms and a bath on the first floor. Ceiling lamps from the. Picto and Rastaf series by Artemide. The kitchen is composed of a white counter that includes a Foster by Alessi range with downward exhaust. The rest of the equipment is hidden behind three sliding doors. The secondary staircase descends to the basement and gets its light from the living area.

The landing is bordered by a series of small tables that form an exceptional metal railing, custom-designed. The main staircase is a spiral, treated as a sculptural feature marked by circular openings, with a bright poppy color on the inside. It extends through two levels in a free two-storey space. The resin for the floor is produced by Teknai. In the bathrooms, tubs, washstands and accessories all designed by Michel Boucquillon.

Washstands and tub by Aquamass, accessories from the Worn collection and applique lamps from the Ecco-Ecco series by Valli Arredobagno. The wave of the lake p. The two Japanese architects invent a multidisciplinary, multicentric space, an artificial park for learning. As a student, I would have loved to spend time inside this special architecture. Patrick Aebischer, president of EPFL strolls around the Rolex Learning Center and talks about how creativity is the factor that unites art and science, and how this new architectural icon embodies that ambition.

Lake Geneva is close by, to the south, beyond the houses and gardens. The best technological research center in Europe and a desire to excel prompted the Swiss government and private investors, guided by Rolex, to hold an international architecture competition, leading to the latest masterpiece by SANAA. Kazuyo Sejima and Ryue Nishizawa have bare, essential gestures and features.

They are icons, themselves, of a new way of designing, of thinking about space in movement, of living without any black lines that tell you where to stand, whether you are inside or outside, together with others or simply alone. Actively, it encourages students to choose. The square plan, 20, sq meters amidst hills, valleys and slopes, runs fluidly in two parallel waves, the concrete floor and the steel roof, undulating the functional program around 14 air bubbles. Entirely glazed courtyards, irregular ellipses, cross the space with the delicacy of breath.

Without ever dividing it, they unite earth, air and sky, gazing horizontally at internal paths, those that descend diagonally and wind through other, adjacent cylinders. The multimedia library with , volumes, the study rooms for persons, the auditorium for , the three refreshment zones for , the offices, all share a world that is both democratic and anarchic, public and private.

Walls are not needed, here the presence of others can only be glimpsed, perceived. On the crest of a wave or at the back of a rise you can see legs and heads slide between borders of horizontal planes, while slender steel columns serve as props. They remind us that this new architectural domain is a structural gem ordered by two shells resting on 11 arches with spans of meters.

The frame in steel and wood set in cement forms its contours with the shadows of the day. Under the curved intrados someone talks about the previous evening, at the center of the main courtyard lit by a zenithal iris; on the meadow someone else is eating. We think how nice it would have been to get an education on the shores of Lake Geneva. Is the future now? In her works, construction is always closely related to use by people — students and young people, in the case of the Rolex Learning Center — without aspects of self-referential posturing.

The recent work in Lausanne could become the manifesto of a mood, a wider-ranging indication. She offered a preview of this at the press conference, narrating the program of her Venice Biennial: I have invited the architects who will take part in the event Luca Molinari will be responsible for the Italian Pavilion, ed. Because the important thing is to communicate how ideas are developed and contextualized with respect to the environment and to the observer-user, who becomes an active part of the design work.

But it can start with small things, and this too has its value. Even knocking down a wall can change the way people relate to each other. On the facing page, detail of the steel roof, looking west. View of the courtyard in the form of an hourglass, adjacent to the restaurant zone. View of the library, with the rises that lead to the northwestern top of the building in the background. The ramp leading to the multimedia library.

SuperEnalotto Sistema 90 numeri Garanzia 2.

Vitra, the campus of miracles p. Uniform anthracite stucco covers the sides while the short facades are completely fenestrated, like big eyes gazing at the landscape in different directions. Inside, the building displays the Home Collection of Vitra: On the five levels of the new complex the spaces flooded with light are very flexible to contain a wide range of exhibits, while the innermost part is crossed by a continuous vertical space that offers, from one level to the next, varying views and perspectives.

At the end of the descending visit itinerary one returns to the reception area, with a restaurant and shop, and the covered plaza with wooden deck flooring. The Vitrahaus successfully combines opposing needs, becoming a landmark that indicates the presence of the campus from afar, while developing a complex, interesting relationship with the other buildings and the landscape of gentle hills. At the same time it enhances the pieces in the collection, projecting them against the backdrop of vineyards and springtime expanses of flowering cherry trees.

We asked Rolf Fehlbaum, the owner, if Vitrahaus is the completion of the campus, and find out that: The entrance opens onto a covered plaza, with wooden flooring, that reveals the complex geometry of the building, a three-dimensional labyrinth. Five storeys, over sq meters, mostly for the display of the Vitra Home Collection, completed by service areas for visitors: The entire complex is formed by the sum of an element that, from the outside, simulates the archetypal form of the house. Inside, the design reproduces the spatial situation of a metropolitan loft.

A voyage through the historical memory, current production and research of Vitra design. New stone age p. An innovative process that breaks up the grammar of architecture and destroys another one of the few remaining limits on design. The ambiguity at the core of design is the same one found in the concept of form, always balanced between the world of ideas and the world of things. It is not just a figure of speech: D-Shape, the technology invented by Dini, uses the same logic as rapid prototyping to quickly, automatically make structures of any form and size, from a chaise longue to a whole building, using sand as its basic material, solidified by a special inorganic ecocompatible binder.

At the end of the solidification, the excess grains are removed, letting the structure emerge as from an archaeological dig. The materials used in architecture today reinforced concrete and masonry are costly, and constrain the project due to lack of flexibility: With D-Shape a new grammar appears, made of concave and convex forms, hollow and porous, that can support with the same ease i. Dini — who says he is not a creative designer but a man who invents technologies — went to London four years ago to figure out what to do with his invention, and met the Milanese architect Andrea Morgante, who proposed a project that could only be made with D-Shape, the Radiolaria Pavilion, a monolithic structure 2 meters high, composed of layers of sand, inspired by the microorganism that gives it its name.

Though for the moment he has to be satisfied with moulding it in parts, the possible dream remains that of moulding a building in a single solution. In the meantime, the potential of the D-Shape method is illustrated by the designs of Morgante Shiro Studio and the studio Modoloco. Morgante proposes a collection of furnishing complements in rock, the Trabeculae Series, a table and shelves but other pieces are on the way in which the porous quality of the structure comes from the study of the computer tomograms of spongy bone formations.

Modoloco, on the other hand, has come up with Era Glaciale, modular outdoor seating in which the volume is treated as a fluid paste whose solids become hollows. The search for organic, free, bony forms is part of the nature of D-Shape: Dini looks at things this way, with one eye on the past, the other on the future: The next D-Shape adventure is to develop a system for moulding things on the moon, using its sand.

The project, conceived as part of the Aurora mission of the European space agency, in should accompany the man who, while headed for Mars, will make a stop on the moon: So the material, already freed of form, will also be freed of weight. For years the development of 3D software has helped designers to widen their horizons, but always on the scale of prototypes.

D-SHAPE fills this gap in the construction market, with the first tool capable of giving concrete form to complex digital models. A detail and an overall view of the Radiolaria Pavilion, a project by Andrea Morgante. A monolithic structure, 2 meters high, composed of layers of sand, each 10 mm thick, whose form is based on the one-cell microorganism of the same name. The geometric morphology of Radiolaria reflects the potential of the mega-moulder D-Shape, capable of constructing any complex geometry without the use of temporary moulds, formworks and metal cores.

At the end of the process the excess grains are removed. Below, the Trabeculae Series by Andrea Morgante Shiro Studio , composed of a table and shelving, based on spongy trabecular bone structures. Below, the urban furnishings project Era Glaciale by the studio Modoloco, composed of a series of modular parts of great sculptural effect, bringing out the technical-poetic specificities of design made possible by D-Shape.

Until 23 May, Milan presents a major retrospective exhibition. Many people have been amazed by Gillo Dorfles Trieste, Among these exceptional expressions of Gillo Dorfles, there are two that are less familiar and less often discussed, perhaps. Ever since I first met him in the early s, what I have always appreciated, and what has kept me linked to Gillo, is his great openness to artists. For many generations of artists Dorfles has understood how to interpret their work and describe it in essays; he is always open and, even more extraordinary, never asks for anything in return!

On many occasions Dorfles has gathered around him the best creative talents, as in the exhibition on Italian art at the Museum of Dortmund in , or at the island of Korcula, in the former Jugoslavia, where architects, artists, graphic designers and writers Perilli, Scheggi, Omcicus, Porro, Cieslewicz, Rykwert joined forces in a summer seminar at Vela Luka. It was an important experience that led to a range of expressions of interpretation and transformation of the Dalmatian coast, with vital exchanges among the various artists: That summer we traveled in Jugoslavia with Gilda, Gillo and his wife Lalla; he was always ahead of us, and though we were thirty years younger it was hard to keep up with him on our excursions.

I would also like to express all my amazement, admiration and appreciation for Gillo, that assiduous observer of all types of artistic expression: What impresses me most is that even today he still visits the extremely tiring events, like furniture and art fairs. He is open and able to observe, understand, stay up to date on many disciplines, which often ignore each other and live in separate worlds.

Gillo manages to cross them and even to leave a sign of his presence! In any part of the world his name brings with it inestimable values of culture, knowledge and moral commitment, but above all it represents the exception of a scholar who pays attention to the evolution of all the various artistic disciplines: His thinking is the result of this critical observation of concrete things inside different disciplines, things others may only have perceived in terms of the earliest symptoms.

Dorfles knows how to read the secondary, peripheral aspects of this signs that, precisely because they are not yet part of the logic of the system, anticipate its changes. Today Gillo Dorfles can represent one hundred years of culture because he has lived with culture from within, with a rare way of keeping an open mind. We all love him and are grateful to him, and we have all gone to see his great retrospective, proud of what he represents. An exhibition that reveals Dorfles as an artist, a painter among painters, capable of expressing his moods, capable of representing his inner aspects and his desire to create in complete freedom.

His drawings are above all liberating acts of fantasy, and demonstrate the pleasure he finds in combining signs and colors. There is a lot of play and irony in his works, maybe a way to keep a certain distance from the committed avant-gardes that have followed one another across the last century. He too says that his works are not figurative, but at the same time they speak to us of personalities whose psychic anomalies Dorfles seems to explore.

I believe the major exhibition at Palazzo Reale is above all a rare occasion in which Milan manages to express its gratitude and pride for everything Dorfles has been able to give to the cultural evolution of the city. Gillo Dorfles during a seminar at Vela Luka, ex-Jugoslavia, Due figure con appendici,, acrylic and oil on canvas, private collection. Facing page, from upper left: Guerriero verde azzurro, , acrylic and oil on canvas, private collection.

Due schieramenti, , acrylic and oil on canvas, private collection. Anacoreta con inserzione femminile rilingue, , acrylic and oil on canvas, private collection. Untitled, , pin in silver, cire-perdu casting and handiwork, 8. Untitled, , Untitled , plates in painted ceramic; Untitled, , painted terracotta; Untitled, , painted terracotta.

The catalogue of the exhibition Gillo Dorfles. Pierre Staudenmeyer, refined intellectual, art collector, designer of jewelry and one of the first to present artistic design in his galleries Neotu and Mouvements Modernes. Pierre Staudenmeyer, who died in at the age of 54, was an ambiguous, mysterious character, a lover of rings and tattoos, theorist and merchant, as he liked to call himself.

He began to offer limited editions in his gallery next to the Beaubourg back in the early Eighties, when industrial design was still a field of ethical values and limited editions were still viewed with suspicion and presented almost in a clandestine way. Today they are everywhere, protagonists in fairs and galleries around the world. Other gallerists lead the way now, but Pierre was one of the first to understand that design can be a terrain of ambiguity and emotions. His gallery was a place for research, the realm of the possible.

Neotu was a platform for discoveries. Pierre came to design from commerce, art he collected it and psychoanalysis. A refined theorist of vast culture, he always thought of himself, first of all, as a merchant. His choices responded to theoretical principles, personal taste and commercial opportunities, but he did not live long enough to see prices soar in this market.

He was a forerunner in connecting design and crafts, forgotten techniques, precious materials and luxury. He used the gallery and his home as showcases for exceptional pieces. He even made Neotu into a disco for the presentation of the furnishings of the Il Grifone disco in Turin , belonging to the Turin-based gallerist Fulvio Ferrari. The name Neotu, for the gallery founded in and closed in , was already a program in itself: In Neotu closed, and in Pierre re-opened on Rue Jean Jacques Rousseau, with Mouvements Modernes, to continue his explorations of the past a Nanda Vigo retrospective and the future.

On the facing page, portrait of Pierre Staudenmeyer. Above, Chaise Chiavarina by Olivier Vedine, with wooden structure and plastic seat, Below, glass vases by Christian Ghion, And the impression I got was disturbing: These themes are a sort of global platform, a new international style of design thinking. This research always starts with new, recycled or eco-compatible materials, replacing the old bricks and the old construction technologies.

No real typological innovation, no new model of urban growth: The only novelty seems to be the disquieting phenomena of co-housing, where small groups of citizens organize to save on energy, water, appliances. Co-housing, initially created to favor socializing, now seems to feed a substantially anti-social, defensive attitude, dividing.

The design world seems to have discovered, in environmentalism, a reductive theorem and a circumscribed territory in which to work: This attitude harbors a latent cultural and economic neocolonialism, because only the wealthy countries can afford to pay for this research, to then manage the development formula for the less affluent countries. But can we really trust these environmentalists who run the risk of saving nature and ruining the human environment, reducing the wealth of anthropological relationships that cross human space into mere considerations of energy savings?

The future seems to be limited to two options: This sort of consoling panacea that proposes a blossoming future but also confirms the ancient idea of a government of nature by man, where happiness seems to coincide with the spread of meadows, points to a world pacification on the lowest terms, governed by a collectivism that ignores the everyday and political levels of life, proposing a world order built on lavender air freshener.

This standardization, paradoxically, appears to be the result of the logic of GMO products: Photographic interpretations on the theme of the creative thinking of nine designers. The image, the visual element of communication of human language, becomes an indispensable auxiliary for words, translating thought into synthesis. In this case, the design idea that leads to things, to objects. The extraordinary quality of nine photographic languages that narrate unique moments, captured in an image, depictions of life made of seconds, colors, lights, feelings… thoughts, capable of catching the gaze, the heart, the brain, sympathy, interest.

When it seems as if everything has already been done, then emotion, mind, experience and technique suddenly generate new ideas, new visions of life, new languages to represent, at times, beyond the caption. Robo, chair for assembly in recycled plywood and felt, for Offecct new for and Otto, collection of vases in three form-color combinations, for Venini The visions of a Swiss designer fecundated in a Milanese courtyard give birth to projects Forms of backs like the passageways of apartment building conciergeries Lapigra chair in rod, seat filled with styrofoam pellets, for Zilio new for ; Steps chair in wood, seat in felt strips, for Lago with Fiammella, small lamps in polyurethane gel and LEDs, for Gelli new for and, suspended, Rays chair with cast aluminium legs and self-sealing polyurethane seat, for Kreaty The objects are like traveling companions who love the home.

In this icon-room, a container that lives but does not wed her dreams, I wanted her to draw her ideal box with big circles of light, soft, made of the moon. Efrem Raimondi interprets Giovanni Levanti with the projects: Like a child absorbed in a construction game; like a child, approaching volumes, glued to his perception of the world, two-dimensional and rigorous. Cord-chair, chair in maple and metal, for Manuri ; Corona globe in metal and paper, for Watanabe Kyogu; Blown-fabric lamp prototype for the exhibition Tokyo Fiber Senseware Milan Triennale ; Cubo magazine rack in painted polyurethane foam, for Arketipo new for The ideas live in the air.

Philippe gathers them, leaving them hanging on threads of memory. At times, much later, they become projects. Until that moment, they rest in a big suitcase. Big, like the luggage of our grandparents when we were kids, so small that we could hide inside. With Philippe we opened up one of those suitcases again: Hope lamp with slender Fresnel lenses that deviate light rays and increase their brightness, with Paolo Rizzato, for Luceplan , E Solar Bottle, bottle in PETG, transparent and metallized, to purify contaminated water thanks to the passage of UVa rays, with Alberto Meda, self-production Sophisticated materials, sinuous forms and neutral colors narrate uncontaminated, thrilling worlds.

The seat and back can also be combined in double-face configurations. By Gordon Guillaumier for Moroso. Oyster and Oyster II, high and low tables with base and top in polished stainless steel, thickness 2 mm. By Marco Zanuso Jr for Driade. Bamboo floor lamp with extensible rod cm in steel, PMMA shade. By Roberto Giacomucci for Ultraluce. By Jean Marie Massaud for Mdf. Zoe chair with chromium-plated steel base, back in cowhide with patented cut, seat padded with rigid polyurethane covered with cowhide.

Design by Franco Poli for Matteograssi. Air table in opaque white Cristalplant, with single top x73 cm and cantilevered legs. By Carlo Colombo for Poliform. Available in white, red, blue and green. By Emiliana Martinelli for Martinelli Luce. Pouf-Pot, seat in polypropylene, rotomoulded in white, black, orange, green and gray. Looper chair with fixed or swivel base in chromium-plated steel, monocoque seat moulded in painted polyurethane, cushion with removable leather or fabric cover. Loop chair with metal structure, polyurethane filler covered entirely with two-tone leather, with zipper.

By Ilaria Marelli for Axil. Cleo floor lamp in mirror-finish or silver painted aluminium by Andrea Zanini Azdesign for Martinelli Luce. LED lights for the back and armrest. By Matteo Nunziati for Coro. Moon carpet in handknotted wool, diameter cm, also available in silk or wool-silk blend, in any color by request. By Peter Rankin, made in Nepal for Nodus. Wall lamps from the Quadra small silver series, in silver-plated polycarbonate, assembled in a series.

By Francesco Paretti for Slamp. By Giorgio Biscaro for Slide. Masters chair in polycarbonate, available in the solid colors white, red or black. By Marco Piva for Pedrali. Alodia high or low stool with base in metal tubing, seat in laser-cut steel sheet, matte painted in white, anthracite, mustard, green, light blue, avio blue. By Todd Bracher for Cappellini. Target bookcase in wood fiber with support modules formed by small crosses.



By Nendo for Arketipo. Choosing alternative solutions, clean breaks. In an offbeat space of mix and match of iron and felt, resin and fabric. And the dreamy touch of the fetish object. Large-format S-1ex speakers by Pioneer. Carpet from the Carpet Reloaded collection by Golran. Double Up divan with back that closes on the seat to become a bench, from Sturm und Plastic. Hassock in shiny-matte fabric, Missoni Home collection. Plush hippo by Trudi. Umbrella stand in resin by Gaetano Pesce for Fishdesign.

Color bench with metal base and silicon seat by Alessandro Ciffo for Dilmos. Sweet 40 hassock in cotton knit by Paola Navone for Gervasoni. Table with metal base and top with shaped flowers by Missoni Home. Patchwork sofa by Studio Bokja for Rossana Orlandi. Electric guitar by Prina.