Iosa Ghini @ Triennale Milano
<b>Iosa Ghini Exposition at Triennale di Milano</b><br><br>From April 9 to May 1 2013, the Triennale di Milano hosted an exhibition dedicated to MASSIMO IOSA GHINI, (Bologna, 1959), one of the most eclectic personality of the architecture and international design.<br><br>The exhibition, curated by Iosa Ghini Associati, in partnership with Fiandre Architectural Surfaces, Iris Ceramica, Rossato, traces, through a path organized with theme areas, in chronological order, the 30-year of Iosa Ghini career, from the 80s until now, showing through a wide selection of interior design and architecture projects, design objects, illustrations, audiovisual contributions, which are characterized by the least common denominator of design, felt by the Bolognese architect as a steady training and an essential starting point of all his creative process.<br><br>The exhibition has been accompanied by a catalog published by Skira, with texts by Luca Beatrice, Stefano Casciani, Aldo Colonetti, Luigi Prestinenza Puglisi and Gillo Dorfles.<br><br><a href="http://www.triennale.it/en/exhibitions/past/2399-massimo-iosa-ghini-en#.VCLAf_l_tno">Click Here to Visit the Triennale's page about the event</a>
Entrance
<b>Iosa Ghini Exposition at Triennale di Milano</b><br><br><div>Thirty years of creative activity. On the occasion of this year’s Design Fair, a new exhibition at the Milan Triennale relates the legacy of Massimo Iosa Ghini’s work in the fields of design and architecture, showing how over time his output shifted from the medium of drawing to completing full-scale projects in three-dimensions.</div>
Drawing
Drawing as a working praxis to explore the potential and future developments of ideas. <br>With exacting precision, through his manual drawings Massimo Iosa Ghini condenses and defines the essence of a given product’s function.
Drawing
Drawing: Bolidism Drawings
Bolidism is a way of narrating the transition from materiality to drawing things in which the visual and media aspect prevails with respect to the object’s functional purpose. Achange in paradigm.
Drawing
Drawing as a working praxis to explore the potential and future developments of ideas. <br>With exacting precision, through his manual drawings Massimo Iosa Ghini condenses and defines the essence of a given product’s function.
Drawing
Drawing as a working praxis to explore the potential and future developments of ideas. <br>With exacting precision, through his manual drawings Massimo Iosa Ghini condenses and defines the essence of a given product’s function.
Drawing
Drawing: Communication and Media
These are the years when television goes commercial. The media aspect of communication takes on an important role, even in transforming materials. The TV set helps the designer to make concrete imaginary spaces that remain pure spaces enjoyed in two dimensions, beyond the screen. They also possess a considerable experimental feel. Iosa Ghini uses them like three-dimensional drawings, forerunning CAD and the designing of virtual places, spaces and worlds, which have found in film and in the media the expressions we are all familiar with.
Drawing
Drawing as a working praxis to explore the potential and future developments of ideas. <br>With exacting precision, through his manual drawings Massimo Iosa Ghini condenses and defines the essence of a given product’s function.
Innovate
In 1986 Massimo Iosa Ghini teamed up with other designers to found the avant-garde movement known as Bolidism, whose key concepts were “mobility” of the physical kind and fluidity of thinking, expressing a sense of becoming, lightness and tension, and inspired by the purity of curved lines dear to the Futurists. <br>The movement’s manifesto was Iosa Ghini’s Numero Uno, a chair that looked as if it had been shaped by the wind.
Innovate
In 1986 Massimo Iosa Ghini teamed up with other designers to found the avant-garde movement known as Bolidism, whose key concepts were “mobility” of the physical kind and fluidity of thinking, expressing a sense of becoming, lightness and tension, and inspired by the purity of curved lines dear to the Futurists. <br>The movement’s manifesto was Iosa Ghini’s Numero Uno, a chair that looked as if it had been shaped by the wind.
Innovate
Innovate
The project is born from the drawing, and drawing is thought. Iosa Ghini took “the long way” before reaching the project. What remains implicit in his idea of designing is the notion of the object that conveys a message. Bringing together the ideal etherealness of the drawing and concreteness. Freeing the form of the object, as if it were immaterial, spiritual to experience, already inside the network rather than a physical object.
Innovate
In 1986 Massimo Iosa Ghini teamed up with other designers to found the avant-garde movement known as Bolidism, whose key concepts were “mobility” of the physical kind and fluidity of thinking, expressing a sense of becoming, lightness and tension, and inspired by the purity of curved lines dear to the Futurists. <br>The movement’s manifesto was Iosa Ghini’s Numero Uno, a chair that looked as if it had been shaped by the wind.
Innovate
In 1986 Massimo Iosa Ghini teamed up with other designers to found the avant-garde movement known as Bolidism, whose key concepts were “mobility” of the physical kind and fluidity of thinking, expressing a sense of becoming, lightness and tension, and inspired by the purity of curved lines dear to the Futurists. <br>The movement’s manifesto was Iosa Ghini’s Numero Uno, a chair that looked as if it had been shaped by the wind.
Innovate
Material and Thought
The struggle, as Massimo Iosa Ghini defines it, between thought and material is concrete in solutions with a symbolic character that do not aspire for their party to a market choice, but rather to the intrinsic quality and experimentation of the object. It is in this light of never surrendering to the standard that initial ideas on the sustainability of an object are pinpointed, a work that is not intended as a mass product but rather as a project of special, almost unique, custommade objects, along with their opposites with extremely high production numbers where one can act, like in the lighting design world, directly on every efficient technology.
Innovate
In 1986 Massimo Iosa Ghini teamed up with other designers to found the avant-garde movement known as Bolidism, whose key concepts were “mobility” of the physical kind and fluidity of thinking, expressing a sense of becoming, lightness and tension, and inspired by the purity of curved lines dear to the Futurists. <br>The movement’s manifesto was Iosa Ghini’s Numero Uno, a chair that looked as if it had been shaped by the wind.
Speaking With The World
The '90s
These are Iosa Ghini’s Japanese years. In 1989 Shiro Kuramata invited him to the Inspiration Gallery in the Axis Building to stage a show of his drawings, objects, and projects. Japan welcomes him with great interest, heralding the start of numerous collaborations with Japanese companies, including Yamagiwa, Kokuyo, Asahi Glass, Omron, and Obayashi Corporation. That same year Osaka gives Iosa Ghini the keys to the city.
Speaking With The World
Founded on years of craftsmanship and accumulated knowledge, by the end of the 1980s the unmistakable signature style of Studio Iosa Ghini appeared in a vast range of objects produced by international manufacturers.
Speaking With The World
Founded on years of craftsmanship and accumulated knowledge, by the end of the 1980s the unmistakable signature style of Studio Iosa Ghini appeared in a vast range of objects produced by international manufacturers.
Speaking With The World
Founded on years of craftsmanship and accumulated knowledge, by the end of the 1980s the unmistakable signature style of Studio Iosa Ghini appeared in a vast range of objects produced by international manufacturers.
Speaking With The World
Communicate the Companies
A new way of producing gains ground, along with the sense of an object’s function, or better, its functional inevitability that motivates the form grows less and less true. Design changes into a language, where the material yields to communicating belonging. <br>The media power of Iosa Ghini’s design is convincing.
Speaking With The World
Founded on years of craftsmanship and accumulated knowledge, by the end of the 1980s the unmistakable signature style of Studio Iosa Ghini appeared in a vast range of objects produced by international manufacturers.
Speaking With The World
Founded on years of craftsmanship and accumulated knowledge, by the end of the 1980s the unmistakable signature style of Studio Iosa Ghini appeared in a vast range of objects produced by international manufacturers.
Speaking With The World
Founded on years of craftsmanship and accumulated knowledge, by the end of the 1980s the unmistakable signature style of Studio Iosa Ghini appeared in a vast range of objects produced by international manufacturers.
Interpreting the Quintessence of Italy
Interpreting the Quintessence of Italy: Ferrary Factory Stores Video
Interpreting the Quintessence of Italy
Given that today the excellent of any company is expressed not only in its products but in its corporate identity, Iosa Ghini has worked closely with many Italian brands that represent the country’s hallmark quality around the world, including Ferrari, Maserati, and the sports label Superga, for which he has designed work spaces, retail outlets, and the aspects of corporate ID that enable companies to be instantly recognizable. He also worked with the national airline Alitalia, and designed products for Italian furniture manufacturers Cassina, Poltrona Frau, and Snaidero. <br> In this way, through his designs Iosa Ghini has become a spokesperson for the corporate philosophy of national brands, asserting Italian style around the world.
Interpreting the Quintessence of Italy
Interpreting the Quintessence of Italy: Ferrary Factory Stores
Interpreting the Quintessence of Italy
Given that today the excellent of any company is expressed not only in its products but in its corporate identity, Iosa Ghini has worked closely with many Italian brands that represent the country’s hallmark quality around the world, including Ferrari, Maserati, and the sports label Superga, for which he has designed work spaces, retail outlets, and the aspects of corporate ID that enable companies to be instantly recognizable. He also worked with the national airline Alitalia, and designed products for Italian furniture manufacturers Cassina, Poltrona Frau, and Snaidero. <br> In this way, through his designs Iosa Ghini has become a spokesperson for the corporate philosophy of national brands, asserting Italian style around the world.
Interpreting the Quintessence of Italy
Interpreting the Quintessence of Italy: Ferrary Factory Stores Concept
Iosa Ghini Associates and I have collaborated with Ferrari for about twenty-two years now, planning environments both inside and outside the company. Through the “man project” Ferrari was totally restyled with great attention to the individual, to the liveability of space and work places along with considerable sensibility to consumption through the use of increasingly efficient technologies. It is the same spirit that I use in designing all the stores in the world where anyone may purchase his own piece of Ferrari and where I translate and interpret into a living space the passion and beauty of Italy’s greatest brand of automobiles.
Interpreting the Quintessence of Italy
Given that today the excellent of any company is expressed not only in its products but in its corporate identity, Iosa Ghini has worked closely with many Italian brands that represent the country’s hallmark quality around the world, including Ferrari, Maserati, and the sports label Superga, for which he has designed work spaces, retail outlets, and the aspects of corporate ID that enable companies to be instantly recognizable. He also worked with the national airline Alitalia, and designed products for Italian furniture manufacturers Cassina, Poltrona Frau, and Snaidero. <br> In this way, through his designs Iosa Ghini has become a spokesperson for the corporate philosophy of national brands, asserting Italian style around the world.
Interpreting the Quintessence of Italy
Desgin for IBM - Giorgio Morandi's Home Studio
The project for IBM was born from a much meditated, extremely circumstantiated briefing: being light, making novelties, narrating a new way of being, harmonizing with the surroundings. Spaces where thought, a precious and immaterial asset, flows unhindered.<br><br>Bringing back to life the home-studio of the Bolognese artist Giorgio Morandi (1890–1964) was an enthralling task. In order to recreate the idea of Morandi within his home, we turned to the moods that his works spark, with a lenticular study of the structures and the colours. A three-year task in which, I believe, Morandi leaves us with an important legacy and a love for his work.
Interpreting the Quintessence of Italy
Given that today the excellent of any company is expressed not only in its products but in its corporate identity, Iosa Ghini has worked closely with many Italian brands that represent the country’s hallmark quality around the world, including Ferrari, Maserati, and the sports label Superga, for which he has designed work spaces, retail outlets, and the aspects of corporate ID that enable companies to be instantly recognizable. He also worked with the national airline Alitalia, and designed products for Italian furniture manufacturers Cassina, Poltrona Frau, and Snaidero. <br> In this way, through his designs Iosa Ghini has become a spokesperson for the corporate philosophy of national brands, asserting Italian style around the world.
Sustainable but Beautiful
Architecture Concepts
South Face is the first wall prototype with considerable modular isolation, made up of hollow elements in Ductal cement (top performing in terms of resistance, ductility and longevity) and a plant substrate, to host the growth of plants and essences of numerous species, selected in line with the surrounding environmental context.
Sustainable but Beautiful
The way to ensure that “sustainable” does not merely mean tolerable or a question of compliance is to adopt sustainability as an intrinsic criteria of the project itself. Since the 1990s, Iosa Ghini’s production has foregrounded the issue of environmental sustainability and has achieved a balance between technical know-how, aesthetics, and ethical choices for all the Studio’s designs, for both buildings and objects, while keeping apace with the stylistic and technological innovations of Italian production. In all the Studio’s production, both forms and materials used have become increasingly compatible with the natural environment, and its designs are informed with state-of-theart technology.
Sustainable but Beautiful
The way to ensure that “sustainable” does not merely mean tolerable or a question of compliance is to adopt sustainability as an intrinsic criteria of the project itself. Since the 1990s, Iosa Ghini’s production has foregrounded the issue of environmental sustainability and has achieved a balance between technical know-how, aesthetics, and ethical choices for all the Studio’s designs, for both buildings and objects, while keeping apace with the stylistic and technological innovations of Italian production. In all the Studio’s production, both forms and materials used have become increasingly compatible with the natural environment, and its designs are informed with state-of-theart technology.
Sustainable but Beautiful
The way to ensure that “sustainable” does not merely mean tolerable or a question of compliance is to adopt sustainability as an intrinsic criteria of the project itself. Since the 1990s, Iosa Ghini’s production has foregrounded the issue of environmental sustainability and has achieved a balance between technical know-how, aesthetics, and ethical choices for all the Studio’s designs, for both buildings and objects, while keeping apace with the stylistic and technological innovations of Italian production. In all the Studio’s production, both forms and materials used have become increasingly compatible with the natural environment, and its designs are informed with state-of-theart technology.
Sustainable but Beautiful
People Mover
All the most advanced techniques of green architecture have been applied to this project, with the goal of limited consumption and reducing the carbon print on this type of transportation (all electrical).
Sustainable but Beautiful
The way to ensure that “sustainable” does not merely mean tolerable or a question of compliance is to adopt sustainability as an intrinsic criteria of the project itself. Since the 1990s, Iosa Ghini’s production has foregrounded the issue of environmental sustainability and has achieved a balance between technical know-how, aesthetics, and ethical choices for all the Studio’s designs, for both buildings and objects, while keeping apace with the stylistic and technological innovations of Italian production. In all the Studio’s production, both forms and materials used have become increasingly compatible with the natural environment, and its designs are informed with state-of-theart technology.
Sustainable but Beautiful
The way to ensure that “sustainable” does not merely mean tolerable or a question of compliance is to adopt sustainability as an intrinsic criteria of the project itself. Since the 1990s, Iosa Ghini’s production has foregrounded the issue of environmental sustainability and has achieved a balance between technical know-how, aesthetics, and ethical choices for all the Studio’s designs, for both buildings and objects, while keeping apace with the stylistic and technological innovations of Italian production. In all the Studio’s production, both forms and materials used have become increasingly compatible with the natural environment, and its designs are informed with state-of-theart technology.
Thoughts on Massimo Iosa Ghini
For visual contributions, special thanks to <br><br> Renato Abate, Garbo <br>Luca Beatrice <br>Alessandro Bergonzoni <br>Gilda Bojardi <br>Stefano Casciani <br>Aldo Colonetti <br>Luca Cordero di Montezemolo <br>Michele De Lucchi <br>Domenico De Masi <br>Gillo Dorfles <br>Michael Erlhoff <br>Elio Fiorucci <br>Marino Golinelli <br>Paolo Landi <br>Luca Molinari <br>Marco Piva <br>Luigi Prestinenza Puglisi <br>Peter Ruthenberg <br>Ranuccio Sodi <br>Franca Sozzani <br>Igor Tuveri