[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-the-world-of-tecno":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":221},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":216,"matched_pages":217,"match_count":218,"two_pages":219,"show_text":220},12069,"The World of Tecno","the-world-of-tecno","\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fa2\u002F72a1252e1a6327efb3cbb3e413e660-26eb2ef486.pdf","Tecno",2317,"tecno","4.2 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213],{"image":7,"text":15,"number":16},"The world \nof Tecno\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.2.png","The  \nworld \nof  \nTecno\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.3.png","Index\n7\n12\n21\n29\n36\n44\n52\n57\n61\n68\n71\n74\n76\n79\n83\n90\nAbout us\nWhat we do\nWhere we go\nDivide to make space\nGet comfy\nThe collection\nThe numbers\nOur customers\nThe essence of Project\nArchitects and designers\nNaturally stunning\nAwards\nWorking as a group\nGlobally local\nAgain and again\nTesti italiani\n3\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.4.png","We’ve been  \ndaring to do  \nsince 1953.\n4\n5\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.5.png","Tecno. \nA name, an adjective, a way of life. The word \nwe’ve chosen to express who we are.\n \nWe were Tecno when technology wasn’t \nsuch a standard choice, when analogue \nintelligence and design were the tools \nused to incorporate tech into the things \naround us. And we’re still Tecno today. \nWhen building a smart world means \nhandling data and designing flexible \nsystems, responsive furniture and spaces \ndesigned to fit humans like a glove.\nWe’re Italian. But our tables, storage \nsolutions, chairs, partition walls and desks \nwill make you feel at home wherever you \nare in the world.\nAbout us\n7\n6\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.6.png","About us\nWe work with Pritzker Prize-winning \narchitects, multinationals, niche \ncompanies, museums and institutions.  \nOur design approach starts with a \ndiscussion of an idea on the telephone, \nwith futuristic sketches done on a piece  \nof paper, with the dreams of our \nmanagers. In collaboration, always.\nWe see ourselves as a “design” company. \nBecause we believe that design isn’t just \nabout form, but substance too. It’s about \ncreating beautiful, long-lasting, easy-to-\nuse and ingenious solutions, combining \nartisanal and industrial production savoir-\nfaire with tech expertise and accepting \ntomorrow’s responsibilities today.\nThat’s the essence of why we’re  \ncalled Tecno.\n9\n8\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.7.png","About us\nT for Tecno \n“The T came to be like this, in one go, a sketch while I was \nstanding on the steps leading up to the Triennale exhibition  \nin 1954, the Tenth edition. The letter T, like the letters  \nA, H, U and V, is an axial, symmetrical letter. It also  \nrepresents a construction: it has a base, a support and a top.  \nThis geometric matrix seemed the perfect way to interpret \nthe new spirit of Tecno graphically. Avoiding the harshness \nof corners and resorting to curves. Only the curve could give \nthe necessary sense of technology and industrial precision, \nmediated by freedom of expression. The curve sets the sail  \nof its choice. Which curve? Which relations? Based on the idea \nof “Tecno” – the idea of identical, repeatable, precise yet at \nthe same time new and free elements – the pencil immediately \nfound a single curve defined by a compass. At the top, a large \nupper arc (the top), a semi-circle, in other words two quarter \ncircles. Then, similarly, two equal quarters, but upside down \n(the base) [...]. \nToday, when I think back on the spirit of those days,  \nI am extremely satisfied to have found a sign that was built, \nhas lived and grown well”. \nRoberto Mango, from a letter to Giuliana Gramigna, 1990\n11\n10\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.8.png","What we do\nPartitions\nPublic seating\nCustom projects\nIcons\nWork\nWe design  \noffices\nWe divide spaces\nWe accommodate  \npeople\nWe design with you\nWe create  \nicons\nWhat we do\nWe bring sense  \nto spaces.\n13\n12\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.9.png","Work\nWolf Oil headquarters, Antwerp (Belgium)\n15\n14\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.10.png","Public Seating\nLondon Bridge Station, designed by Grimshaw Architects, \nLondon (UK)\n17\n16\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.11.png","Custom\nSaint-Malo mediatheque, designed by AS.Architecture Studio  \nand Omla, Saint-Malo (France)\n19\n18\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.12.png","For Tecno, the best project is always the \nnext one: looking to the future is part of \nwho we are. We’ve always believed that \ntomorrow belongs to those that design  \nfor it today. \nIt’s our take on innovation: giving \nmeaning to everything happening around \nus – technological, social, cultural and \nindustrial developments – and devising \nsolutions that are both possible and,  \nmost importantly, preferable. \nWhere we go\nBeta desk system, design: Pierandrei Associati\n21\n20\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.13.png","Where we go\nDesigning the future is about investing \nin creativity and ingenuity. That’s the \nmission for our designers, engineers  \nand developers who have helped over  \n500 architects to make their projects  \na reality, created thousands of furnishing \nsolutions and obtained 47 industrial \npatents over the years. \nAnd to ensure this long success story \ncontinues, we invest 5% of our revenue  \nin research and development activities. \nNomos table, design: Norman Foster\nSerie 148 chairs, design: Centro Progetti Tecno\n23\n22\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.14.png","25\n24\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.15.png","Where we go\nWhere we go\nThe working space of the future,  \naccording to Tecno.\nInstantaneous\n— we’ll work in plug and play \nmicro-environments\nThe flexibility required by contemporary working habits is reflected \nby small, independent spaces packed with accessories and integrated \nautomation systems. These solutions – such as customisable plug \nand play pods – can be used immediately, in any location, without  \nthe need for any structural interventions. By anyone, anywhere.\nFlexible\n— every space can be challenged\nUnchangeable buildings are a thing of the past. Flexibility isn’t just \na passing trend – it’s a consequence of constantly changing work \nculture which requires organisational, technological and logistical \nupgrades. It’s a culture that accommodates a nomadic workforce, \nrequires remote collaborations and promotes opportunities  \nfor collective participation. We were the first company to introduce \ndividing walls (with E22, back in 1960) and to design modular furniture \n(with Graphis in 1968) and infinitely configurable systems (Clavis, \n2016). That’s why we feel totally at ease in this hyper-flexible world.\nConnected and shared \n— no longer will we have “our” \noffice, but every office will be ours\nSensors and IOT technology will be used to recognise people and \ndata: thanks to advanced automation systems, furniture, architectural \nstructures, doors and windows and lighting systems will be \nautomatically customised to fit their users. In this fluid, constantly \nevolving situation, our multi-protocol, open-source Dina system – which \nis adaptable to any pre-existing system – transforms the difficulties \ninvolved in managing connected work stations into a distant memory.\nResponsive\n— we’ll be surrounded by \nintelligence (and not just digital)\nIOT is not the only thing helping spaces adapt to the needs –  \nboth permanent and temporary – of the people that inhabit them. \nGood design has an increasingly important role: not just in terms  \nof bringing us pleasure through timeless aesthetics, but to make  \nus feel at ease as we use shared analogue items. This mission  \nis what allowed us to win our fifth Compasso d’Oro award with  \nVela, the perfect co-working chair. It’s equipped with an invisible  \nyet easy-to-access mechanism which adjusts the position of the  \nchair based on the weight of the person using it.\n27\n26\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.16.png","We’ve always been involved in space \nplanning. And we know that when  \nit comes to spaces, the real challenge \nis to devise smart products as part of \nan active system. It’s to create versatile \ncustomisable spaces that can also be \nunderstood and used by a huge variety \nof people: the multicultural, international, \nnomadic tribe of our times.\nDivide to \nmake space\nW80\nPetronas headquarters, design by 967 Architetti Associati, Turin (Italy)\n29\n28\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.17.png","Divide to make space\nAcross all of our sites, all over the  \nworld, we’re guided by the principles  \nof active listening. We know what people  \nneed from a space in order to feel  \ngood: acoustic well-being, natural light,  \nclean air and respect for privacy.  \nIn the 1970s, we invented the modular \nfurniture systems which facilitated the \ndevelopment of open-plan spaces.  \nAnd when this approach reached  \nits peak, we devised hi-tech dividing \nsystems, based on the conviction that \ndividing a space intelligently is about \nexpanding it and opening it up to new \nforms of interpersonal connections. \nW80\nCommon Grounds co-working spaces (USA)\n31\n30\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.18.png","W80\nFurla headquarters, Milan (Italy)\n33\n32\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.19.png","Divide to make space\nDivide to make space\nHow do our dividing walls  \nexpand a space?\nUltra-thin\nWith a minimum profile height of 22 mm \u002F 1\u002F3”,  \nour walls make it possible to maintain visual \ncontact and allow for light to pass as it would  \nin an open-plan space.\nDesigned for \nacoustic well-being\nOur walls cut sound pollution by up to 56 \ndecibels, making it possible to use every spot  \nof floor space. \nCustomisable\nAny type of wall can be built around the  \nprofiles: transparent, opaque, solid or equipped \nwith accessories.\nHighly versatile\nOur walls are suitable for offices that are \nconstantly changing. They are easy to install, \ndismantle and reconfigure.\nW80\nPetronas headquarters, design by 967 Architetti \nAssociati, Turin (Italy)\n35\n34\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.20.png","Making people feel at home in high traffic \nareas is the purpose of good design.  \nIt’s about ergonomics (seats need to  \nbe comfortable), durability (easy cleaning, \nmaintenance and reconfiguration) and \nsafety (they can’t be scratched by bags  \nor suitcases getting knocked over).  \nYet good design is mainly psychological \nwhen it comes to making people feel  \nat ease. It’s about calculating the  \ndistance between seats to ensure  \nrespect for different cultures, delivering \nsolutions that are both practical and  \nwarm and helping people to build  \npositive experiences. \nThat’s a responsibility we take very \nseriously at Tecno. It’s no coincidence \nthat, since 1982, we’ve created waiting \nrooms for 17 international airports,  \ntrain stations in 11 countries and countless \nbig corporations. And in the process, \nwe’ve made millions of people feel  \nat home while they wait.\nGet comfy\nRS\nSNCF (French National Railway Network)\n37\n36\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.21.png","RS\nBritish Railway Network\n39\n38\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.22.png","Get comfy\nWe’ve kept countless people company  \nsince 1982.\nAirports\nAgadir-Al Massira, Agadir, Morocco\nEl Prat, Barcelona, Spain\nEzeiza, Buenos Aires, Argentina\nFiumicino, Rome, Italy\nFontanarossa, Catania, Italy\nHamad International, Doha, Qatar\nLinate, Milan, Italy\nMalaga, Spain\nManila International, Philippines\nMarco Polo, Venice, Italy\nMohammed V, Casablanca, Morocco\nNadi International, Fiji Island\nNelson Mandela International,  \n \nPraia, Capo Verde\nONDA Regional Network, Morocco\nRabat-Salé, Rabat, Morocco\nSchiphol, Amsterdam, The Netherlands\nStansted, London, UK\nTangeri-Ibn Battuta, Tangeri, Morocco\nTarbes-Lourdes-Pirenei, Lourdes, France\nTrains\nAmtrak Washington D.C., USA\nArRiyadh New Mobility Consortium  \n \n(ANM) Line 3, Riyadh, Saudi Arabia\nDuisburg Underground Station,  \n \nDuisburg, Germany\nGrandi Stazioni, Italy\nIrish Rail Dublin Heuston Station,  \n \nDublin, Ireland\nLusail LRT Metro Project, Doha, Qatar\nNetwork Rail, UK\nOBB, Austria\nRenfe, Spain\nSNCB, Belgium\nSNCF, France\nStaten Island Ferry Terminal, New York, USA\nTrenord, Italy\nRS\nSchiphol Airport, Amsterdam (The Netherlands)\n41\n40\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.23.png","RS2\nGare de Lorient station, Lorient (France)\n43\n42\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.24.png","Clavis meeting\nClavis workstation\nClavis desk\nBeta desk\nBeta meeting\nBeta workstation\nClavis height adjustable\nNomos workstation\nNomos meeting\nNomos table\nThe collection\nWe’ve been filling the world with design \nsince 1953. Good design – the kind that \naccompanies and supports our daily \nmovements and actions in offices,  \npublic spaces and transit areas.  \nWe work with architects and builders \n – but, first and foremost, with people.\nWork (+ Life)\n45\n44\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.25.png","Asymmetrical meeting\nVara desk\nVara meeting\nVara cabinet\nShift table\nShift cabinet\nShift bookshelf\nIanus desk\nIanus meeting\nIanus cabinet\nAsymmetrical desk\nGraphis desk\nGraphis workstation\nBasic drawer\nBasic cabinet\nLinea micro-architectural system\nMulty acoustic panel\nMulty structural acoustic panel\nCento cabinet\nWork (+ Life)\nWork (+ Life)\n47\n46\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.26.png","Archipelago sofa\nAura armchair\nLinea micro-architectural system\nP32 armchair\nLaetitia sofa\nPons cofee table\nPons sofa\nTodo Modo sofa\nTodo Modo sofa\nRS seats\nRS2 seats\nAeris seats\nQualis chair\nSerie 142 chair\nSerie 148 chair\nT69 table\nT90 desk\nTodo Modo sofa\nT1 T2 cofee tables\nT334 T335 meeting\nT50 cofee table\nVela chair\nArchipelago sofa\nAura armchair\nModus chair\nD70 sofa\nAT16 coat hanger\nP08 chair\nP32 armchair\nP31 chair\nP40 armchair\nPlau chair\nPons cofee table\nPons sofa\nDètabilisation table\nLaetitia sofa\nHortus bench\nSolenoidi cofee tables\nPublic seating\nWork (+ Life)\n49\n48\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.27.png","W80\nLinea micro-architectural system\nMulty structural acoustic panel\nWA cupboard\nW40\nWE\nMulty acoustic panel\nW-Qube\nNomos table\nT50 cofee table\nHortus bench\nT69 table\nTodo Modo sofa\nTodo Modo sofa\nSerie 142 chair\nP32 armchair\nP40 armchair\nModus chair\nD70 sofa\nAT16 coat hanger\nDètabilisation table\nP31 chair\nT1 T2 cofee tables\nPartitions\nIcons\n51\n50\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.28.png","The numbers\n50,000 + km\nof partition walls delivered around  \nthe world: that’s over four times \nthe diameter of the Earth\n10,000,000 +\npeople in 35 countries work  \nin a Tecno space every day\n250,000,000 +\ntravellers wait for trains and airplanes \nin Tecno-designed spaces every year\n50,000 + km\nof railway networks feature  \nour seating solutions \n11\noffices around the world\n500 +\ncollaborations with architects  \nand designers\nWe like it when other speak about us. \nEven when it’s numbers that are doing  \nthe talking.\nThe numbers\n53\n52\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.29.png","Qualis chairs and custom worktops\nEuropean Parliament, Brussels, (Belgium)\n55\n54\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.30.png","We wouldn’t be here without our \ncustomers – both large and small – in the \nindustrial and tertiary sectors who trust \nus as their creative partner.  \nA  Abn-Amro, Aegila Capital Management, Agadir-Al Massira Airport, Agbar \nTower, Agenzia Marittima Cincotta, Agip, Agnona, Air France, Alitalia, Alleanza \nAssicurazioni, Almo Nature, Altarea, Amber Capital, American Express, Amlak, \nAmtrak Washington D.C. Station, Andersen Consulting, Andre, Apple, Ardian France, \nArRiyadh New Mobility Consortium (ANM) Line 3, Arvedi, Aston Martin, Atkins \nGroup, Austin, Avent, Aviva, Axa, B  Babyliss, Baghdad Airport, Bam Nuttal, Banca \nAntoniana Veneta, Banca Cr Firenze, Banca Fideuram, Banca Intermobiliare, Banca \nPopolare Vicentina, Banco Banif, Banco Di Napoli, Banco Popolare Di Puglia, Banco \nSantander, Banque Paribas, Barcelona El Prat Airport, Barovier & Toso, Bayerische \nLandesbank, Bbl Banque Bruxelles Lambert, Bbva, Bdo Holland, Bennet, Berlin \nReichstag, Biomerieux, Bmw, Bnl, Bompan, Boston Consulting, Bpi Centre Pompidou, \nBritish Museum, Buenos Aires Airport, Bulgari, Bull, Burberry’s, C  Cambridge \nUniversity, Carré D’art Nîmes, Cartier Foundation, Casablanca Mohammed V Airport, \nCassa Risparmio La Spezia, Cassa Risparmio Savona, Cattolica Assicurazione, CCB \n– Credito Cooperativo, CCM, Cerved Group, Cesce, Chateau Lynch Bages, Chelsea \nAnd Westminster Hospital, Chiesi Farmaceutici, Citi, Citylife, Coca-Cola, Colliers \nInternational France, Comer, Commercial Bank Of Dubai, Common Ground, Condé \nNast, Conservatorium Hotel, Correos, Covisian, Cranfield Institute, Credit Agricole, \nCredit Mutuel, Credito Cooperativo Centro Calabria, D  Dalan, Dalmine, Davines, \nDaytona, Dbs Bank, Dea Capital, Department Of Immigration Croydon, Deutsche \nTelekom, Deutsche Bank, Deutsche Handelbank, Digital Equipment, Doha Hamad \nAirport, Dompè Farmaceutici, Doppel Farmaceutici, Dtb Merchandise Stock \nExchange, Dubai Commercial Bank, Ducati Motor, Duisburg Underground, E  Eesc \nGrenoble Ecole De Management, Emergency Ong Onlus, Endesa, Eni, Etro, European \nBank, European Parliament, F  Fb Design, Federazione Italiana Vela, Fendi, Fenwick, \nFenzi, Ff Net, Fiera Di Rimini, Fiera Firenze, Fiera Milano, Fiji Island Nadi Airport, \nFincantieri, Firenze City Council, Fon.Te. Fondo Pensione Compl. Dip. Terziario, \nFondazione Cariplo, Fondazione Cassa Di Risparmio Di Firenze, Fontanarossa \nCatania Airport, Foscarini, Foster and Partners, Foster Wheeler, Furla, G  Gamma, \nGateshead Council, General Electric, Genia, Gewiss, Goglio, Grandi Stazioni – Italian \nRailway Network, Granet Museum, Green Park, Grimaldi Holding, H  H.O.M.S., H&M, \nH3G, Hammerson, Haranzani & Associate, Hbo, Hearst, Hikma Pharmaceuticals, \nHines, Hong Kong Science University, Hrdf,  HSBC Middle East Bank, \nI  Iaws, Ibl \nOur customers\nTodo Modo\nGrand Louvre Museum, design by Jean-Michel Wilmotte, Paris (France)\n57\n56\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.31.png","Our customers\nBanca, ICI Imperial Chemical Industries, Illumia, Imar Interiors for General Building, \nImdea, Inail, Indeed, Ing, Internet Capital, Intesa San Paolo, IPC Media, Irce, Irish \nRailway Network, Istituto Auxologico Italiano, Istituto Ganassini, Italcuscinetti, \nJ  J.C. Decaux, JGR, Jpb, K  K.I.K., Kera Koll, Kimberly Clark, Kinetia, Krystal Palace, \nKurt Geiger, L  L’Oréal, La Défense, La Rinascente, Lambert, Larusmiani, Lavazza, \nLazzaro Assicurazioni, Leber KFT, Leica, Leo Pharma, Living Divani, Lloyd Adriatico, \nLloyd’s of London, London Bridge Station, London Stansted Airport, Loro Piana, Los \nAngeles Van Nuys Airport, Louvre Museum, Lusail LRT Metro Project Doha, Lux \nVide, M  Maarsen Group, Madrid Maternidad Hospital, Madrid National Museum, \nMaif, Maire Tecnimont, Malaga Airport, Malaga Islamic Centre, Malaga Station, Manila \nAirport, Mckinsey & Co., Medio Credito, Megeve Library, Microsoft, Milan Central \nStation, Milan Linate Airport, Milan Malpensa Airport, Milan Scuola Politecnica Di \nDesign, Missoni, Mitsubishi, Monte Dei Paschi Di Siena, Morgan Library, Morgan \nStanley, N  National Library, National Maritime, Nbad, Ndi, Nelson Mandela Praia \nAirport, Network Rail UK, Neuberger Berman Europe Limited, New Islington And \nHackney Council, New South Wales University, Norman Foster Foundation, Nova \nScotia Community College, O  O&H, OBB – German Railway Network, Olswang \nSolicitors, ONDA Morocco Regional Airports Network, Ordina Holland, Otsuka \nPharmaceutical, P  P&V Credit, Pagani, Paris New Courthouse, People Mover Tram \nNetwork, Petronas, Petronas University, Philip Morris, Piaggio Aerospace, Pinacoteca \nDi Brera, Piraeus Bank, PKB Privatbank, Porcelanosa, Porsche, Princes Industrie \nAlimentari, Q  Qatar Airways, R  Rabat-Salé Airport, Rai Radiotelevisione Italiana, \nRAS, Red Bull, Red Eléctrica, Regione Liguria, Reina Sofia Museum, Renfe – Spanish \nRailway Network, Rexel, RFI, Richemont, Richmond Train Station, Risanamento, \nRome Fiumicino Airport, Rothschild Bank, Rotterdam Underground, Royal Sun \nAlliance, S  Sabiana, Sacma, Sacmi Forni, Sacro Cuore University Rome, Safilo, \nSainsbury Centre of Arts, Saint-Gobain, Saint-Malo Medialibrary, Salini Impregilo, \nSamsung, Sanovel, Sator Group, Savino Del Bene, Schiphol Airport, Scuderia Toro \nRosso, Sea, Seattle Overlake Train Station, Serbian National Bank, Sherfield School, \nSiena University, Simpson, Sita, Smeg, Snam, Sncb – Belgian Railway Network, Sncf – \nFrench Railway Network, Société Générale, Solicitors, Sony, Sopaf, Spanish Network \nRail, Staten Island Ferry Terminal NY, Steinway, Sudgaz, Swansea Museum, Sydney \nAuditorium, Syz, T  Tangeri-Ibn Battuta Airport, Tarbes-Lourdes-Pirenei Airport, \nTeoresi, Tf Cornerstone, Thacher & Barnett, The Swatch Group, Toro Rosso, Toyota, \nTravocean, Trenitalia, Trenord – Italian Railway Network, Triodos Bank, Triumph, \nTroika, Turin Congress Centre Lingotto, Twin, U  UAE National Bank, Unicredit, \nUnion De Bank, Union Fenosa, Urban Center, Uría & Menendez, Usco, V  Van Gogh \nMuseum, Venice Marcopolo Airport, Veratour, Vittoria Assicurazioni, W  Waagner \nBiro, Waltersmith Petroman Oil Limited’s, Warner Bros, Washoe Health Care, Wfw, \nWidiba, Wind, Wind Energy Institute – Technische Univ. Muenchen, Wolf Oil, Y  Yale \nUniversity, Yamanouchi Egham, Year Up, Yves Rocher, Z  Zunino Group.\nCustom\nBritish Museum, design by Foster+Partners, London (UK)\nThank you all.\n59\n58\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.32.png","Our furnishings, soft furniture and \npartition walls are simply the characters in \nthe story we’re writing with our clients and \npartners. All the rest – everything that \ntransforms a simple tale into a memorable \npiece – is the project.\nThat’s why we talk about project so \nmuch. There’s no better term to truly \nencapsulate what we do: transforming \nvisions into real-life spaces and \nexperiences combining pleasure, \nspontaneity and efficiency.\nThe essence \nof Project\n61\n60\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.33.png","The essence of Project\nProject is about turning the dreams of \narchitects into reality. But it’s also about \nresolving more practical – though no less \ncomplex – issues associated with spaces. \nHow should we clad and soundproof \nthem? Who uses them and how?  \nWhere do they enter and exit – and how \ndo we stop them getting lost? How do  \nwe handle unusually high flows of people? \nHow do we ensure light can come in so \nthat everyone can enjoy it? \nAt Tecno, it’s our calling to find the \nanswers to all these questions and more. \nIt’s called project.\n2019. Development of seating system for Aeris airport\n63\n62\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.34.png","The essence of Project\nThe essence of Project\nSaint-Malo Mediatheque\nAt the Saint-Malo Mediatheque, a strip of corian runs continuously from the \noutside to the inside of the hall, creating surfaces at different heights and denoting \nfunctional areas (for reading, working and listening).  \nIn order to make the project a success, Tecno worked closely with the architects \nto enable the delivery of the highly complex design, as well as taking care of the \nsoundproofing of the listening areas. \n65\n64\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.35.png","Custom\nSaint-Malo mediatheque, design by AS.Architecture Studio  \nand Omla, Saint-Malo (France)\n67\n66\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.36.png","There’s something that binds the \nprofessionals who choose to work  \nwith us and end up making profound \nchanges to the places in which we live. \nThat something is a belief in working \ntogether, a collaborative spirit that has \nalways led to the creation of shared \nsolutions and good design. \nArchitects \nand designers\nA  Agenore Fabbri, Aguirre Newman Arquitectura, Albera Monti & Associati, Albert \nLeclerc, Alfredo Bonetti, Antony Reddy Associates, Archer Architects, Arep, Arnaldo \nPomodoro, Arup, AS Architecture Studio, Atelier D. J.M. De Laminne A. Gillet & \nPartners, B  Bdpl Gulf, Bertrand Dubois, Bruno Munari, C  Carlo De Carli, Carlo Mo, \nCB Richard Ellis, Claudio Lucchin & Architetti Associati, Concept Group Henk De \nVries, Cosmas Bronsgeest, Crinion Associates, D  Daniele del Missier, E  Edoardo \nVittoria, EF Interni, Elliott Engineering & Consulting, Emilio Ambasz, Enrico Gerli, \nEugenio Gerli, F  Fabio Fantolino, Firm Architects, Foster + Partners, Fox Associates, \nFranco Perrotti, G  Gabriele e Oscar Buratti, Gae Aulenti, Gensler, Getulio Alviani, \nGiancarlo Piretti, Gilberto Corretti, Gio Ponti, Giorgetto Giugiaro, Giorgio Madini, \nGiuseppe Pestalozza, Goring Straja Architects, Grimshaw, Gris Dainese, GTP_Gruppo \nThema Progetti, Guy Maes, H  Harry Seidler & Associates, Hok, J  Jean Marie \nDuthilleu, Jean Nouvel, Jean Van Pottelsberghe, Jean-François Bodin, Jean-Louis \nGodivier, Jean-Michel Wilmotte, Jeffrey Steele, José Maria De La Mata, Justus \nKolberg, K  Kho Liang Ie Architects, Kohn Pedersen, Kugo Toru, L  Lievore Altherr \nMolina, Lizcano y Gonzales Arquitectos Asociados, Locatelli & Partners, Lombardini \n22, Luca Drago Studio, Luca Scacchetti, Luigi Veronesi, M  Man Ray, Marco Fantoni, \nMario Cristiani, Mario e Dario Bellini, Mario Margheritis, Matteo Thun & Partners, \nMercedes Isasa, Michel Boucquillon, Michele Premoli Silva, Monica Förster, Morellet, \nMr&A, N  Norman Foster, O  Omla, Open Project, Osvaldo Borsani, P  Paolo \nDeganello, Peggy Petrakakos, Perkins and Will, Pierandrei associati, Piero Lissoni, \nPreben Juhl Fabricius & Jørgen Kastholm, Proger & KPS, Progetto CMR, R  Rafael \nDe la Hoz Castanys, Rafael Moneo, Rainlight, Renzo Piano, Ricardo Bofill, Richard \nRogers, Robin Day, Rodolfo Dordoni, Ronald Cecil Sportes, S  Sabiha Foster, Santi \n& Borachia, Shigeru Iwakiri, Som, Studio Frigerio, Studio Transit, SVDK Savelkouls \n& Van der Kuylen, T  Tpg Architecture, V  Valeria Borsani, Valode & Pistre, VHP \nArchitecten Rotterdam, Vico Magistretti, Y  Yaacov Kaufman, Yrm, Z  Zaha Hadid \nArchitects, Zanon Architetti Associati.\n1970. Centro Progetti Tecno is born\n69\n68\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.37.png","When it comes to good design,  \nit’s not just the end result that counts.  \nIt’s how you get there that matters too.  \nBecause it’s not just form and function \nthat make design great – it’s the quality of \nthe manufacturing too. Tecno combines a \npassion for artisanal traditions with  \na love for design and industry.\nNaturally \nstunning\n1972. Production of the Modus shell\n71\n70\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.38.png","Naturally stunning\nSo while our workshops are indeed \nhome to people lacquering, edging and \nveneering a piece of furniture, you’ll  \nalso find people wiring up our products \nand connecting chips, cables and \nsensors. Experts in the specific veining of \nhundreds of types of wood work alongside \npeople who know high-performance,  \nhi-tech and highly sustainable materials \ninside out. \nThis cross-discipline approach stems \nfrom our heritage but has now become \nour promise for the future: the promise \nthat we’ll do things right. Because only \ntrue quality can guarantee a more \nenvironmentally conscious future.\n2020. Cabling of the Clavis table with io.T technology\n73\n72\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.39.png","Awards\nAwards\nNomos\nNorman Foster \nCompasso d’Oro 1987\nQualis\nEmilio Ambasz \nCompasso d’Oro 1991\nTecno spa\nFor the coordinated image \nof Alitalia Agencies. \nCompasso d’Oro 1984\nTecno spa\nCultural quality expressed in product \nsystems and in graphics. \nCompasso d’Oro 1988\nVela\nLievore Altherr Molina \nCompasso d’Oro 2016\nADI \nCompasso \nd’Oro\n2016, Vela \nLievore Altherr Molina \n1991, Qualis \nEmilio Ambasz \n1988, Tecno spa \nCultural quality expressed \nin product systems and in \ngraphics \n1987, Nomos \nNorman Foster \n1984, Tecno spa \nFor the coordinated image  \nof Alitalia Agencies\nADI  \nDesign Index\n2018 Clavis \nCentro Progetti Tecno,  \nDaniele Del Missier \n2016, io.T \nCentro Progetti Tecno \n2015, Vela \nLievore Altherr Molina \n2015, W80 \nCentro Progetti Tecno,  \nDaniele Del Missier,  \nElliot Engineering & \nConsulting \n2010, Beta unopuntozero \nPierandrei Associati\n2000, RS \nSNCF,  \nJean Marie Duthilleul \n1991, Ianus \nLuca Scacchetti \n1970, T92 \nEugenio Gerli \n1970, Graphis \nOsvaldo Borsani,  \nEugenio Gerli\nMixology \nAward\n2015, W80 \nCentro Progetti Tecno, \nDaniele Del Missier,  \nElliot Engineering & \nConsulting\nRed Dot \nDesign \nAward\n2015, W80 \nCentro Progetti Tecno, \nDaniele Del Missier,  \nElliot Engineering & \nConsulting \n2010, Beta unopuntozero \nPierandrei Associati\nGood Design \nAward\n2010, Beta unopuntozero \nPierandrei Associati\nUS Design \nAward\n2010, Beta unopuntozero \nPierandrei Associati\nEuropean \nCommunity \nDesign Prize\n1998, Tecno spa \nFor services to quality  \nin architecture\nHonourable \nmention  \nat the  \n10th Milan \nTriennale\n1954, D70 \nOsvaldo Borsani\n75\n74\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.40.png","Working as a Group\nIn work, in life and throughout our regular \nand occasional movements, the digital \nrevolution has changed our day-to-day \nreality. It has made new approaches to \ncreativity, communication, collaboration, \nsharing, critical thinking and flexibility \npart and parcel of our lives. \nThe implications of this for interior  \ndesign are clear: in order to feel good, \nwe need spaces that are designed \nwith comfort in mind. We need spaces \nthat convey a sense of familiarity and \nhospitality and are furnished with \nresponsive, flexible, connected solutions.\nIt’s a challenge that requires a cross-\ndiscipline response. That’s why our family \nexpanded with Zanotta – the historic \nbrand designing for homes and public \nareas – and io.T Solutions, our spin-off \ncompany working with custom-made \ndigital solutions.\nBecause we’re serious about our approach \nto the future. \nWorking \nas a Group\n77\n76\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.41.png","We might be international, but we’re  \nnot interested in the globalisation  \nof creativity. Our offices, located all \nover the world, are places for research, \nmeetings, dialogue and shared design – \nand all are thoroughly integrated into  \nthe local community.\nBecause we believe that the best projects \nstem from dialogue. Dialogue with \narchitects, entrepreneurs and workers \n– that’s how we go beyond developing \nsimple products or interiors and instead \nmould the overall experience of working \nlife and the relationships that fuel it.\nGlobally local\nTecno Caselli site in Porta Garibaldi, Piazza XXV Aprile, Milan (Italy)\n79\n78\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.42.png","Globally local\nGlobally local\nParis\nFrankfurt\nSydney\nLondon\nNew York\nWarszawa\nتونس\nTecno UK\nThe Loom Suite 1.02, 14 Gowers Walk \nLondon\nTecno France\nMaison-Atelier Ozenfant, Maison 53, Avenue Reille \nParis\nTecno Germany\nGinsheimer Straße 1\nGinsheim-Gustavsburg\nTecno Australia\n27 Chapel Street – Marrickville \nSydney\nTecno USA\n1201 Broadway, Suite 907 \nNew York\nTecno Poland\nul. Konstruktorska 12A \nWarszawa\nTecno Tunisia\n23 rue de Jérusalem Belvédère \nTunis\n서울\n東京\nTecno Korea\n731 Nonhyun-ro – Gangnam-gu \nSeoul\nTecno Japan\n1−9−7, Nishiazabu – Minato-ku  \nTokyo\nMilano\nTecno Italia\nPiazza XXV Aprile 11 \nMilano\nTecno Headquarters\nVia Milano 28 \nMariano Comense\n81\n80\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.43.png","“When we used the word ‘design’,  \nwe did so with a profound sense  \nof respect, because it referred to  \na new way of thinking and building: \nit was a word that only we industry \ninsiders used, as we tried to explain, \nintroduce and spread design  \nmethods and apply these to industry \nwithin a difficult context that  \nturned a deaf ear. \n \nWe don’t use the word any more  \n- it’s become so popularised,  \nso overused, that we’re often viewed \nwith suspicion. We’re not made  \nto work with things that have already \nbeen understood and bought.  \nWe look for new ways – and to give \nnew things a name, we need  \nnew words.”\nOsvaldo Borsani, 1973\nAgain and again\n1960. Twins Fulgenzio and Osvaldo Borsani talk  \nas they walk through the garden of Villa Borsani\n83\n82\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.44.png","Again and again\nAgain and again\n1950—1980 \nSeries production: \nindustrial \norganisation\nThe company begins producing series of original \nfurniture, combining the independence and elegance  \nof their design with industrial production principles –  \nall according to the design ethos of Osvaldo Borsani.  \nThe chosen name offers an insight into our origins: \nTecno uses technology to create modern products by \nimagining a “new” way of furnishing first domestic \nenvironments and later work spaces and waiting areas.\n1953 \nThe twins Osvaldo and Fulgenzio Borsani found Tecno\n1954 \nMeeting with Roberto Mango and design of the iconic T logo \nInteriors for Richard Buckminster Füller’s experimental  \ngeodesic dome, based on a design by Roberto Mango,  \nin Milan’s Parco Sempione for the 10th Milan Triennale\nBeginning of 30-year collaboration with Eugenio Gerli\n1956 \nOffices of the ENI headquarters in San Donato Milanese\n1960 \nE22: first mobile and flexible partition system \n1966 \nCollaboration with seven other companies to launch  \nthe Ottagono magazine as a new mean of communication \n1967 \nCollaboration with Gio Ponti\n1968 \nGraphis: first open-space office and the revolution  \nof the colour white\n1970 \nLaunch of the Centro Progetti Tecno (CPT), focusing  \non the development of cross-discipline industrial design  \nand communication projects on a medium-to-large scale\n1973 \nOpenings in the biggest cities in the world, with sites in  \nthe most prestigious streets in Amsterdam, Athens, Barcelona, \nBologna, Brussels, Buenos Aires, Catania, Düsseldorf, Florence, \nGeneva, Genoa, London, Madrid, Melbourne, Milan, Munich, \nNaples, Paris, San Sebastian, Turin, Valencia, Vienna\n1974 \nHalls at Yale University in the USA \n1975 \nWB and WG: partition walls introduce glass as a way  \nof dividing spaces\n1978 \nSpecial outdoor dome for a villa in Riyadh, Saudi Arabia\n1920—1950 \nBetween savoir-fare \nand art: artisanal \nculture\nAtelier Varedo is founded on the basis of the artisanal \nexpertise and in-depth knowledge of materials of \nGaetano Borsani’s stylish furniture workshop.  \nThanks to the innovative art direction of Gino Maggioni, \nAtelier Varedo becomes a hub for contemporary artists.  \nTheir influence leads to the transformation of Atelier \nVaredo into ABV Arredamenti Borsani Varedo, which \nadopts a style based around linearity, simple functions \nand sleek decoration. The final step in the evolution \nprocess comes in the shape of the Casa Minima project, \nwhich is designed by Osvaldo Borsani with Alessandro \nCairoli and Grazia Varisco. The architects are honoured \nat the fifth Milan Triennale with the “Diploma Silver \nMedal” for furniture, while ABV receives the “Grand \nPrize” for production.\n1923 \nAtelier Varedo\n1930 \nFuturistic collaborations with Cesare Andreoni and Giandante X\nMeeting with Lucio Fontana\n1931 \nCollaboration with the artists Roberto Crippa,  \nAngelo Del Bon, Gianni Dova, Agenore Fabbri, Fausto Melotti, \nArnaldo Pomodoro, Aligi Sassu, Adriano Spilimbergo \n1932 \nABV Arredamenti Borsani Varedo\n1933 \nCasa Minima\n1943 \nVilla Borsani in Varedo\n1923, Atelier Varedo\n1954, 10th Milan Triennale\n1968, Graphis\n1974, Yale University\n1930, Lucio Fontana\n1933, Casa Minima\n1932, ABV Arredamenti \nBorsani Varedo\n85\n84\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.45.png","Again and again\nAgain and again\n1980—2010 \nLarge projects and \nan international \npresence\nFollowing on from Füller’s geodesic dome, the company’s \nbond with the world’s leading architects and artists \ndevelops thanks to collaborations on projects, objects, \narchitecture and unique solutions. Design expertise  \nis scaled up with the ENI project in the 1950s:  \nit’s a challenge for the development of an industrial, \nintegrated office system applied to a large-scale order. \nThe contract concept is born. Subsequent experiences \ninvolve buildings of all shapes and sizes, including very \nlarge buildings: predominantly private spaces used for \noffices and public spaces with unique technical issues \nsuch as airports, stations, hospitals, banks, museums \nand buildings belonging to large companies.\n1982 \nWS: seating system for shared spaces \n1983 \nOffices and production facilities all over the world,  \nwith premises in Argentina, Australia, Spain, France etc.\nCoordinated image of Alitalia International Agencies,  \nCompasso d’Oro ADI\nSeries of Edizioni Tecno design monographs\n1986 \nOffices of the Lloyd’s Building in London,  \narchitecture by Richard Rogers\nNomos: revolutionary work station system appears  \nin offices, Compasso d’Oro ADI\n1988 \nCompasso d’Oro ADI career award for product systems  \nand graphic elements\n1990 \nFurnishings for Stansted Airport in London,  \narchitecture by Foster + Partners\nThe ABV collection (with projects from Alviani, Fabbri,  \nMan Ray, Mo, Morellet, Munari, Pomodoro, Ponti, Steele, \nVeronesi) celebrates the company’s historic bond with artists\n1991 \nFurnishings for El Prat Airport in Barcelona,  \narchitecture by Ricardo Bofill \n1992 \nHalls in the European Parliament in Brussels\n1993 \nFurnishings for exhibition halls in the Grand Louvre in Paris,  \ninteriors by Jean Michel Wilmotte  \n1999 \nCollaboration with leading railway networks,  \nincluding SNCF in France, Renfe in Spain, Obb in Austria,  \nSncb in Belgium and Grandi Stazioni in Italy\n2000 \nFurnishings for the BPI library at the Georges Pompidou Centre  \nin Paris, interiors by Jean-François Bodin\n2001 \nFurnishings for Schiphol Airport in Amsterdam\n2003 \nToyota dealerships around the world\nFurnishings for the British Museum in London,  \narchitecture by Foster + Partners\n2004 \nFurnishings for the Gregorio Marañón Hospital in Madrid, \narchitecture by Rafael Moneo \n2005 \nCupboards for Agbar Tower in Madrid,  \narchitecture by Jean Nouvel \n2006 \nCollaboration with leading banking groups  \nfor offices and branches\n2008 \nDucati dealerships around the world\n2009 \nRedbull premises around the world\n1983, Alitalia Agencies\n1986, Lloyd’s building\n1990, Man Ray\n1992, European Parliament\n1999, RENFE  \n(Spanish National Railway Network)\n1990, Stansted Airport\n2005, Agbar Tower\n2009, Redbull\n87\n86\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.46.png","Again and again\nAgain and again\n2010— \nThe technological \nrevolution and  \nnew ways of living \nand working\nConnectivity has radically modified the ways in  \nwhich we work and move about: the challenge of  \ncreating new products capable of responding to \nevolutions in work and travel leads to the creation  \nof the first smart furniture with our spin-off  \nio.T Solutions. The hyper-connected nature of modern \nobjects has transformed the way we interact with our \nhomes and collective spaces. Meanwhile, the shared \ndesign ethos with Zanotta creates a comprehensive  \nrange of contemporary spaces for contract and office \nprojects and the world of home and hospitality.\n2010 \nBeta: advanced, organic desk system\n2012 \nFurnishings for the Hamed International Airport in Doha \nFurnishings for Samsung Headquarters in London\n2013 \nCollaboration with the British Railway Network\n2014 \nUnicredit Italia branches\nHOK’s ARTIC Anaheim Regional Transportation  \nIntermodal Center, USA\nFurnishings for the Saint-Malo Mediatheque in France, \narchitecture by AS.Architecture-Studio\nW80: hi-tech dividing wall\nVela: collection of responsive seating, Compasso d’Oro ADI\n2015 \nFirst connected office: io.T for Intelligence of Tecno \nSafilo offices around the world\nIntesa San Paolo Italy branches\nAcquisition of Ottagono brand and historic archive\n2016 \nIndeed offices around the world\nClavis: tool-free assembly table system \nWalls for the HRDF offices in Riyadh, Saudi Arabia\nBMW Italy dealerships\n2017 \nFurnishings for the Palace of Justice in Paris,  \narchitecture by Renzo Piano\nWalls for the Lavazza offices in Turin,  \narchitecture by Cino Zucchi \nio.T Solutions: Tecno spin-off dedicated to technology\nAcquisition of Zanotta: shared design\nTriumph dealerships around the world\n2018 \nVatican Chapels – Holy See Pavilion at the Venice  \nArchitecture Biennale, chapel design by Norman Foster\nFurnishings for Moleskine offices in New York\nFurnishings for Ministry of Education in Dubai\n2019 \nLaunch of Dina-Connecting Spaces platform  \nwith io.T Solutions\nBarry X Ball’s Medardo Rosso Project Exhibition in Venice\nCommon Grounds co-working spaces in the USA \n2020 \nFurnishings for Morocco airports\nWalls for the National Bank of Kuwait in Kuwait City,  \narchitecture by Foster + Partner \nWalls for the PWC Tower in Milan, architecture  \nby Daniel Libeskind \nFurnishings for the Hotel Krystal Palace in Douala (Cameroon)\nCollaboration with Zaha Hadid Architects\n2012, Samsung headquarters\n2017, Palace of Justice, Paris\n2015, io.T\n2014, Vela\n2020, National Bank of Kuwait\n2018, Vatican Chapels\n2019, CommonGrounds\n2019, Mohammed V Airport, \nCasablanca\n89\n88\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.47.png","The world of Tecno\nSiamo quelli \nche osano, \ndal 1953.\nChi siamo\nTecno. \nUn nome, un aggettivo e un modo di \nessere. È la parola che abbiamo scelto \nper raccontare chi siamo. \nEravamo Tecno quando la tecnologia \nera una scelta non scontata, \nl’intelligenza analogica e il design lo \nstrumento che la iniettava nelle cose. \nE siamo Tecno oggi. Quando rendere \nil mondo smart vuol dire gestire dati, \nprogettare sistemi flessibili, arredi \nresponsive e ambienti a misura d’uomo.\nSiamo italiani. Ma i nostri tavoli, mobili \ncontenitori, le nostre sedie, pareti \ndivisorie e scrivanie fanno sentire  \na casa chi li usa in tutto il mondo.\nLavoriamo con architetti Pritzker Prize, \nimprese multinazionali e di nicchia, musei, \nistituzioni. Progettiamo partendo da \nun’idea raccontata al telefono, da sketch \nfuturistici disegnati su un foglio, dai sogni \ndi manager. In collaborazione, sempre.\nCi definiscono un’azienda “di design”. \nPerché per noi il design non è solo \nforma ma sostanza: realizzare soluzioni \nbelle, durevoli, facili da usare e \ningegnose, mescolando il saper fare \nproduttivo artigianale e industriale con \nil know-how tecnologico e accettando \noggi le responsabilità per il domani.\nÈ l’essenza di chiamarci Tecno.\nT come Tecno \n«La T nacque così, di getto, uno schizzo \nin piedi sullo scalone della Triennale del \n’54, la Decima. La T, come la A, l’H, la U  \ne la V è una lettera assiale, simmetrica.  \nÈ anche una costruzione: base, sostegno, \ncopertura. La matrice geometrica mi \nindusse subito a tradurre graficamente \nil nuovo spirito della Tecno. Evitarne il \nrigore delle angolazioni ricorrendo alle \ncurve. Solo la curva poteva dare il senso \ndella tecnica e dell’esattezza industriale, \nmediate però in una libera espressività. \nLa curva pone l’alea della sua scelta. \nQuale curva? Quali rapporti? Dall’idea \n“Tecno” – l’idea di elementi uguali, \nripetibili, precisi, ma al tempo stesso \nnuovi e liberi – la matita trovò subito \nuna curva unica da definire a compasso. \nIn alto, un grande arco superiore \n(copertura), un semicerchio, cioè due \nquarti di cerchio. Poi, analogamente,  \ndue quarti uguali, ma rovesci (base) [...]. \nOggi, ripensando allo spirito di quei \ngiorni, sono molto soddisfatto di aver \ntrovato un segno costruito, nato  \ne cresciuto bene». \nRoberto Mango, da una lettera  \na Giuliana Gramigna, 1990\nCosa \nfacciamo\nDiamo un senso agli spazi.\nWork:\nProgettiamo uffici\nPartitions:\nDividiamo spazi\nPublic seating:\nAccogliamo persone\nIcons:\nCreiamo icone\nCustom projects:\nDisegniamo con te\np. 14–15 \nWork \nSede Wolf Oil, Anversa (Belgio)\np. 16–17  \nPublic Seating \nStazione di London Bridge, progetto  \ndi Grimshaw Architects, Londra (UK)\np. 18–19  \nCustom \nMediateca di Saint-Malo, progetto  \ndi AS.Architecture Studio e Omla,  \nSaint-Malo (Francia)\nDove \nandiamo\nIl progetto migliore di Tecno sarà \nsempre quello che verrà: guardare \navanti è parte di noi. Da sempre, infatti, \nsiamo convinti che il domani appartenga \na chi lo progetta oggi. \nÈ la nostra interpretazione della parola \ninnovazione: dare un senso a quello \nche accade intorno a noi – gli sviluppi \ntecnologici, sociali, culturali e industriali \n– e pensare a soluzioni possibili  \nma soprattutto preferibili. \nProgettare il futuro vuol dire investire \nin creatività e ingegno. È il compito dei \nnostri designer, ingegneri e sviluppatori \nche negli anni hanno aiutato più di  \n500 architetti a realizzare i loro progetti, \nideato migliaia di soluzioni di arredo  \ne ottenuto 47 brevetti industriali. \nÈ per continuare questa lunga storia di \nsuccesso, che il 5% del nostro fatturato \nè dedicato alla Ricerca e Sviluppo. \np. 20 \nSistema di scrivanie Beta, design:  \nPierandrei Associati\np. 23 \nTavolo Nomos, design: Norman Foster \nSedute Serie 148, design: Centro Progetti \nTecno\nLo spazio di lavoro  \nche verrà, secondo Tecno.\nConnesso e condiviso: \nNon avremo più il “nostro” ufficio  \nma ogni ufficio sarà nostro\nSensori e tecnologie IO.T permettono \ndi riconoscere persone e dati: grazie \na una domotica avanzata elementi \nd’arredo, strutture architettoniche, \nserramenti e sistemi di illuminazione \nsono automaticamente personalizzati \nsu misura di chi le utilizza. In questa \nsituazione fluida e in continuo divenire \nil sistema multiprotocollo e open \nsource Dina, adattabile a qualsiasi altro \nsistema già pre-esistente, trasforma \nla complessità delle gestioni delle \npostazioni in un ricordo.\nIstantaneo:\nLavoreremo in micro-ambienti  \nplug and play\nLa flessibilità che richiede il lavoro \ncontemporaneo è tradotta in piccoli spazi \nindipendenti e super accessoriati con \nsistema domotico integrato. Utilizzabili \nin modo immediato in qualunque luogo \ne senza la necessità di alcun intervento \nstrutturale, come dei pod plug and play \npersonalizzabili. Da tutti e ovunque.\nFlessibile:\nOgni spazio potrà essere messo  \nin discussione\nGli edifici immutabili sono un ricordo \ndel passato. La flessibilità non è una \nmoda passeggera ma una conseguenza \ndi una cultura del lavoro in mutazione \ncostante: che richiede upgrade \norganizzativi, tecnologici e logistici, \naccoglie un personale nomade, domanda \ncollaborazioni in remoto e momenti di \npartecipazione collettiva. Siamo stati i \nprimi a introdurre interpareti (con la E22, \nnel 1960), a progettare arredi modulari \n(con Graphis, nel 1968) e sistemi dalla \nconfigurabilità illimitata (Clavis, 2016). \nEcco perché nell’universo iperflessibile  \nci sentiamo decisamente a nostro agio.\nResponsive:\nSaremo circondati di intelligenza  \n(non solo digitale)\nNon è solo l’ IO.T a rendere gli spazi \nadattabili alle esigenze, anche \nmomentanee, di chi li abita. Il buon \ndesign ha un ruolo sempre più \nimportante: non solo per riscaldarci  \nil cuore con un’estetica senza tempo  \nma per farci sentire a nostro agio \nmentre usiamo oggetti analogici in \ncondivisione. È un compito che non  \na caso ci ha portati a ottenere il nostro \nquinto Compasso d’Oro con Vela, la \nsedia perfetta per il co-working:  \ncon un meccanismo invisibile ma facile \nda raggiungere adegua la postura in \nbase al peso della persona che accoglie.\nDividere, per \nfare spazio\nCi occupiamo di space planning da \nsempre. E sappiamo che quando si parla \ndi spazi, la vera sfida è ideare prodotti \nintelligenti come parti di un sistema \nattivo. Realizzare ambienti versatili, \npersonalizzabili ma anche comprensibili \ne fruibili da una grande varietà di \npersone: la tribù multi-culturale, \ninternazionale, nomade contemporanea.\nSappiamo cosa le persone si aspettano \nda uno spazio per sentirsi bene: \nbenessere acustico, luce naturale,  \naria pulita e rispetto della privacy.  \nA guidarci è un approccio di ascolto attivo \nattraverso le nostre sedi in tutto il mondo. \nNegli anni Sessanta abbiamo inventato \ni sistemi di arredo modularmente \ncomponibili che hanno permesso lo \nsviluppo dell’open-space. E, quando \nquesto approccio era al suo apice, \nabbiamo ideato sistemi divisori di ultima \ngenerazione, convinti che dividere lo \nspazio in modo intelligente significhi \nampliarlo e aprirlo a nuove tipologie  \ndi connessione tra le persone. \np. 28 \nW80 \nSede Petronas, progetto di 967 Architetti \nAssociati, Torino (Italia)\np. 31 \nW80 \nSpazi co-working Common Grounds (USA)\np. 32–33 \nW80 \nSede Furla, Milano (Italia)\nPerché le nostre pareti \ndivisorie moltiplicano  \nlo spazio?\nSono sottilissime:\nCon solo 22mm di altezza del profilo \npermettono di avere il contatto visivo  \ne il passaggio della luce come in un \nopen space.\nSono progettate per il benessere \nacustico:\nAbbattono fino a 56 decibel \nl’inquinamento acustico, rendendo \nquindi possibile sfruttare ogni \ncentimetro di superficie calpestabile. \nSono personalizzabili:\nIntorno ai profili è possibile costruire \nqualsiasi tipo di parete, trasparente  \no cieca, attrezzata o meno.\nSono ultra flessibili:\nNascono per uffici in continua \ntrasformazione e sono facilissime  \nda montare, smontare e riconfigurare.\np. 34–35 \nW80 \nSede Petronas, progetto di 967 Architetti \nAssociati, Torino (Italia)\nMettetevi \ncomodi\nFare sentire a casa le persone nelle  \naree ad alto traffico è il compito  \ndel buon design. È ergonomia (le sedute \ndevono essere comode), durabilità \n(bisogna poterle pulire, mantenere, \nriconfigurare), sicurezza (nessuna borsa \ncaduta rovinosamente dovrà scalfirle). \nMa il buon design dell’accoglienza è \nsoprattutto psicologia. È calcolare quale \ndistanza tenere tra i sedili per rispettare \nle diverse culture, realizzare soluzioni \nfunzionali ma piene di calore umano, \naiutare le persone a sviluppare un \nricordo positivo dell’esperienza vissuta. \nIn Tecno prendiamo questa \nresponsabilità molto sul serio.  \nNon è un caso che, dal 1982, abbiamo \nrealizzato sale d’attesa per 17 aeroporti \ninternazionali, per le stazioni ferroviarie \ndi 11 nazioni e per innumerevoli grandi \ncorporation. Facendo sentire a casa \nmilioni di persone in attesa.\np. 37 \nRS \nSNCF Ferrovie francesi\np. 38–39 \nRS \nRailway Network Ferrovie Britanniche\np. 40 \nRS \nAeroporto di Schiphol,  \nAmsterdam (Paesi Bassi)\nDal 1982 a oggi, abbiamo \nfatto compagnia a molte \npersone.\nAeroporti:\nAgadir-Al Massira, Agadir, Marocco\nEl Prat, Barcellona, Spagna\nEzeiza, Buenos Aires, Argentina\nFiumicino, Roma, Italia\nFontanarossa, Catania, Italia\nHamad International, Doha, Qatar\nLinate, Milano, Italia\nMalaga, Spagna\nManila International, Filippine\nMarco Polo, Venezia, Italia\nMohammed V, Casablanca, Marocco\nNadi International, Isole Fiji\nNelson Mandela International,  \n \nPraia, Capo Verde\nONDA Regional Network, Marocco\nRabat-Salé, Rabat, Marocco\nSchiphol, Amsterdam, Paesi Bassi\nStansted, Londra, UK\nTangeri-Ibn Battuta, Tangeri, Marocco\nTarbes-Lourdes-Pirenei,  \n \nLourdes, Francia\nFerrovie:\nAmtrak Washington D.C., USA\nArRiyadh New Mobility Consortium  \n \n(ANM) Line 3, Riyadh, Arabia Saudita\nDuisburg Underground Station,  \n \nDuisburg, Germania\nGrandi Stazioni, Italia\nIrish Rail Dublin Heuston Station,  \n \nDublino, Irlanda\nLusail LRT Metro Project, Doha, Qatar\nNetwork Rail, UK\nOBB, Austria\nRenfe, Spagna\nSNCB, Belgio\nSNCF, Francia\nStaten Island Ferry Terminal,  \n \nNew York, USA\nTrenord, Italia\np. 42–43 \nRS2 \nStazione Gare de Lorient, Lorient (Francia)\nTesti italiani\n91\n90\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.48.png","The world of Tecno\nThe world of Tecno\nLa collezione\nRiempiamo il mondo di design dal 1953. \nQuello buono, che ci accompagna e \nsupporta nei nostri movimenti e nelle \nnostre azioni quotidiane: negli uffici, \nnegli spazi pubblici, nei luoghi di \ntransito. Sempre al fianco degli architetti \ne dei costruttori ma prima di tutto  \ndelle persone.\nI numeri\nCi piace che siano gli altri a parlare  \ndi noi. Anche quando sono numeri.\n10.000.000 +\npersone lavorano ogni giorno in uno \nspazio Tecno, in 35 paesi diversi\n50.000 + km\ndi pareti divisorie installate nel mondo: \npiù di 4 volte il diametro della Terra\n250.000.000 +\nviaggiatori ogni anno aspettano treni  \ne aerei in nostra compagnia\n50.000 + km\ndi reti ferroviarie affiancate dalle  \nnostre sedute\n11\nsedi nel mondo\n500 +\ncollaborazioni con architetti e designer\np. 54–55 \nSedute Qualis e postazioni custom \nParlamento Europeo, Bruxelles (Belgio)\nI nostri \nclienti\nNon saremmo qui oggi senza le \nrealtà industriali e terziarie grandi \ne piccole che hanno creduto in noi, \nconsiderandoci un partner creativo. \nGrazie a tutti voi.\np. 56 \nTodo Modo \nMuseo Grand Louvre, progetto di  \nJean-Michel Wilmotte, Parigi (Francia)\np. 59 \nCustom \nBritish Museum, progetto di Foster+Partners, \nLondra (UK)\nL’essenza  \ndel progetto\nI nostri arredi, imbottiti e pareti divisorie \nsono solo i personaggi della storia che \ninventiamo con i nostri clienti e partner. \nTutto il resto, quello che trasforma \nuna semplice narrazione in una pièce \nmemorabile, si chiama progetto.\nEcco perché usiamo spesso questa \nparola: è quella che meglio indica il \nnostro vero lavoro cioè il trasformare  \nle visioni in realizzazioni fruibili  \ne in esperienze da vivere con piacere, \nspontaneità ed efficienza. \nProgettare è dare la consistenza \ndella realtà ai sogni senza tempo \ndegli architetti. Ma anche risolvere \nproblematiche più pratiche ma non meno \ncomplesse relative agli ambienti.  \nCome rivestirli e isolarli acusticamente? \nChi li usa e come? Da dove si entra ed \nesce, senza perdersi? Come gestire i flussi \ninusuali di pubblico? Come far entrare la \nluce perché tutti possano goderne? \nIn Tecno, trovare risposte a tutte queste \ndomande e a tante altre è il nostro \nmestiere. È fare progetto.\np. 63 \n2019. Sviluppo del sistema di sedute  \nper aeroporto Aeris\nSaint-Malo Mediatheque\nPer la Mediateca di Saint-Malo, un \ndispositivo a nastro in corian che si \nsnoda, senza soluzione di continuità, \ndall’esterno all’interno della sala, crea \npiani a diverse altezze e segna aree \nfunzionali (lettura, lavoro, ascolto).  \nPer la riuscita del progetto, Tecno ha \nlavorato a strettissimo contatto con gli \narchitetti e reso possibile la realizzazione \ndel complessissimo disegno, occupandosi \nanche dell’isolamento acustico delle  \naree di ascolto.\np. 66–67 \nCustom \nMediateca di Saint-Malo, progetto  \ndi AS.Architecture Studio e Omla,  \nSaint-Malo (Francia)\nArchitetti  \ne designer\nQualcosa lega i professionisti che  \nci scelgono e che a significativi passi \ncambiano i luoghi in cui viviamo.  \nÈ la fiducia nel fare insieme, lo spirito \ncollaborativo che, da sempre, porta  \nalla creazione di soluzioni condivise  \ne al buon design. \np. 69 \n1970. Nasce il Centro Progetti Tecno\nStupire, \nnaturalmente\np. 70 \n1972. Produzione della scocca di Modus\nQuando si parla di buon design,  \nnon è solo il cosa che conta ma il come. \nPerché non è solo la forma o la funzione \nma anche la qualità della manifattura \nche dà valore a un progetto.  \nTecno è nata dall’incontro tra la \npassione per la tradizione artigianale  \ne quella per il design e l’industria.\nEcco perché oggi nei nostri atelier,  \ndi fianco a chi lacca, borda o impiallaccia \nun arredo c’è chi è intento a cablarlo, \ncollegando chip, cavi e sensori. Mentre \nchi conosce perfettamente le venature \ndi centinaia di tipi di legno lavora con \nl’esperto di materiali performanti, \ntecnologici e sostenibili. \nÈ una multi-disciplinarità che viene \ndal nostro heritage e ora diventa una \npromessa per il futuro: fare le cose bene. \nPerché è solo la qualità vera che può \noggi farsi garante di un domani  \npiù attento all’ambiente.\np. 73 \n2020. Cablaggio del tavolo Clavis  \nattrezzato con tecnologia io.T\nPremi e \nriconosci-\nmenti\nADI Compasso d’Oro\n2016, Vela, Lievore Altherr Molina \n1991, Qualis, Emilio Ambasz \n1988, Tecno spa, cultural quality  \n \nexpressed in product systems  \n \nand in graphics \n1987, Nomos, Foster & Partners \n1984, Tecno spa, for the coordinated  \n \nimage of Alitalia Agencies\nADI Design Index\n2018 Clavis, Tecno Design Centre,  \n \nDaniele Del Missier \n2016, io.T, Tecno Design Centre \n2015, Vela, Lievore Altherr Molina \n2015, W80, Tecno Design Centre,  \n \nDaniele Del Missier,  \n \nElliot Engineering & Consulting \n2010, Beta unopuntozero,  \n \nPierandrei Associati\n2000, RS, SNCF,  \n \nJean Marie Duthilleul \n1991, Ianus, Luca Scacchetti \n1970, T92, Eugenio Gerli \n1970, Graphis, Osvaldo Borsani,  \n \nEugenio Gerli\nMixology Award\n2015, W80, Tecno Design Centre,  \n \nDaniele Del Missier,  \n \nElliot Engineering & Consulting\nRed Dot Design Award\n2015, W80, Tecno Design Centre,  \n \nDaniele Del Missier,  \n \nElliot Engineering & Consulting \n2010, Beta unopuntozero,  \n \nPierandrei Associati\nGood Design Award\n2010, Beta unopuntozero,  \n \nPierandrei Associati\nUS Design Award\n2010, Beta unopuntozero,  \n \nPierandrei Associati\nEuropean Community \nDesign Prize\n1998, Tecno spa, for services to quality  \n \nin architecture\nHonourable mention at \nthe 10th Milan Triennale\n1954, D70, Osvaldo Borsani\nFare Gruppo\nNel lavoro, nella vita e nei nostri \nmovimenti di routine o occasionali, \nil digitale ha cambiato il nostro \nquotidiano e nuovi approcci sono \nparte di noi: creatività, comunicazione, \ncollaborazione, condivisione, pensiero \ncritico, flessibilità. Cosa questo significhi \nper gli interni è evidente: per stare \nbene servono ambienti progettati per \nil comfort, per comunicare familiarità \ne accoglienza, arredati con soluzioni \nresponsive, flessibili e connesse.\nÈ una complessità che richiede  \nun approccio multi disciplinare. \nEcco perchè la nostra famiglia  \nsi è allargata con Zanotta – lo storico \nmarchio di prodotti per la casa e la \ncollettività – e io.T Solutions, il nostro \nspin-off che si occupa di soluzioni \ndigitali custom-made.\nPerchè nel futuro ci crediamo sul serio. \nGlobalmente \nlocali\np. 78 \nSede Tecno, Caselli di Porta Garibaldi  \nin Piazza XXV Aprile, Milano (Italia)\nSiamo internazionali ma la \nglobalizzazione della creatività  \nnon ci interessa. Per questo le nostre \nsedi diffuse in tutto il mondo sono \nluoghi di ricerca, incontro, confronto, \nco-progettazione, integrati nelle  \nrealtà locali.\nPerché i progetti migliori nascono \ndal dialogo. Con gli architetti, gli \nimprenditori, i lavoratori stessi,  \nper sviluppare non solo prodotti o \ninterni ma l’esperienza totale della vita \nlavorativa e delle relazioni che la animano.\nAncora  \ne ancora\np. 82 \n1960. I gemelli Fulgenzio e Osvaldo Borsani \ndiscutono passeggiando nel giardino  \ndi Villa Borsani\n«Quando noi usavamo il vocabolo \n“design” lo facevamo con rispetto \nprofondo perché si nominava un  \nnuovo modo di pensare e di costruire:  \nera una parola che usavamo solo noi,  \ngli addetti ai lavori mentre tentavamo,  \nmuovendoci in un contesto sordo \ne difficile, di spiegare, introdurre, \ndivulgare i metodi della progettazione \napplicata all’industria.  \nOggi non usiamo più questo vocabolo \ntalmente è volgarizzato, talmente  \nè usato a proposito e sproposito, che  \na volte siamo in sospetto. Noi non  \nsiamo fatti per lavorare nel capito  \ne nell’acquisito, cerchiamo nuovi modi \ne perciò per nominare nuove cose \noccorrono nuovi vocaboli».\nOsvaldo Borsani, 1973\n1920—1950 \nTra il saper fare e l’arte: \ncultura artigianale\nL’Atelier Varedo nasce dalla sapienza \nartigianale e dall’approfondita \nconoscenza dei materiali del laboratorio \nebanista di mobili in stile di Gaetano \nBorsani. Grazie alla direzione artistica \ndi taglio innovativo di Gino Maggioni, \nl’atelier diventa il punto d’incontro e \nrelazione con gli artisti contemporanei. \nÈ la loro influenza a portare alla \ntrasformazione dell’atelier in ABV \nArredamenti Borsani Varedo che adotta \nun linguaggio produttivo fatto di volumi \nlineari, funzionalmente essenziali \ne alleggeriti nel decoro. L’ultima \nevoluzione inizia con il progetto  \nCasa Minima, disegnata da Osvaldo \nBorsani con Alessandro Cairoli  \ne Grazia Varisco: gli architetti vengono \npremiati alla V Triennale di Milano  \ncon il “Diploma Medaglia d’Argento”  \nper gli arredi mentre, per la produzione,  \nABV riceve il “Gran premio”.\n1923 \nAtelier Varedo\n1930 \nCollaborazioni futuriste con Cesare \nAndreoni e Giandante X\nIncontro con Lucio Fontana\n1931 \nCollaborazioni con gli artisti  \nRoberto Crippa, Angelo Del Bon,  \nGianni Dova, Agenore Fabbri,  \nFausto Melotti, Arnaldo Pomodoro,  \nAligi Sassu, Adriano Spilimbergo \n1932 \nABV Arredamenti Borsani Varedo\n1933 \nCasa Minima\n1943 \nVilla Borsani a Varedo\n1950—1980 \nLa produzione di \nserie: programmazione \nindustriale\nInizia la produzione seriale di elementi \nd’arredo originali, autonomi ed eleganti \nnella forma, industriali nella produzione \n– secondo il manifesto progettuale di \nOsvaldo Borsani. Il nome svela le origini: \nTecno è un’industria che si occupa di \nTecnologia per creare prodotti sempre \nattuali immaginando un “modo” nuovo \ndi arredare prima gli ambienti domestici \ne successivamente gli spazi del lavoro  \ne dell’attesa.\n1953 \nI gemelli Osvaldo e Fulgenzio Borsani \nfondano Tecno\n93\n92\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.49.png","The world of Tecno\nThe world of Tecno\n1954 \nIncontro con Roberto Mango e disegno \ndel logo con l’iconica T \nInterni dell’abitazione sperimentale \na cupola geodetica di Richard \nBuckminster Füller, su disegno  \ndi Roberto Mango, realizzati a Parco \nSempione di Milano per X Triennale\nInizio della collaborazione trentennale \ncon Eugenio Gerli\n1956 \nUffici della sede centrale ENI  \na San Donato Milanese\n1960 \nE22: la prima interparete mobile  \ne flessibile \n1966 \nFondazione, insieme ad altre 7 aziende, \ndella rivista Ottagono come nuovo \nstrumento comunicativo \n1967 \nCollaborazione con Gio Ponti\n1968 \nGraphis: il primo ufficio open space  \ne la rivoluzione del colore bianco\n1970 \nCostituzione del Centro Progetti  \nTecno (CPT) dedicato allo sviluppo di \nprogetti trasversali di industrial design  \ne comunicazione su media a larga scala\n1973 \nApertura nelle maggiori città del mondo, \ncon vetrine sulle vie più prestigiose  \ndi Amsterdam, Atene, Barcellona, \nBologna, Bruxelles, Buenos Aires, \nCatania, Düsseldorf, Firenze, Ginevra, \nGenova, Londra, Madrid, Melbourne, \nMilano, Monaco, Napoli, Parigi, San \nSebastian, Torino, Valencia, Vienna\n1974 \nAule dell’Università di Yale in USA \n1975 \nWB e WG: pareti divisorie che \nintroducono il vetro per la partizione \ndegli spazi\n1978 \nSpeciale cupola da esterno per villa  \na Riyadh in Arabia Saudita\n1980—2010 \nI grandi lavori e la \npresenza internazionale\nA partire dalla cupola geodetica di \nFüller, il legame con i maggiori architetti \ne artisti internazionali si stringe \nattraverso continue collaborazioni \nnella realizzazione di opere, oggetti, \narchitetture e soluzioni uniche. Il saper \nfare progettuale fa un salto di scala \ncon il progetto ENI negli anni ’50: una \nsfida per lo sviluppo di un programma \nindustriale di sistema ufficio integrato \ne applicato a una grande commessa. \nNasce il concetto di contract.  \nLe successive esperienze sono \nrealizzate su edifici di ogni dimensione \nfino ai più grandi building: spazi privati \na uso ufficio e aree pubbliche con \npeculiari problematiche tecniche quali \naeroporti, stazioni, ospedali, banche, \nmusei e palazzi di grandi aziende.\n1982 \nWS: sistema di sedute per spazi collettivi \n1983 \nSedi e facility di produzione in tutto  \nil mondo, con stabilimenti in Argentina, \nAustralia, Spagna, Francia etc.\nImmagine coordinata delle Agenzie \nInternazionali Alitalia, Premio Compasso \nd’Oro ADI\nCollana di monografie di progetto \nEdizioni Tecno\n1986 \nUffici del Lloyd’s Building a Londra, \narchitettura Richard Rogers\nNomos: il rivoluzionario sistema \nworkstation “atterra” in ufficio,  \nPremio Compasso d’Oro ADI\n1988 \nPremio Compasso d’Oro ADI alla carriera \nper i sistemi di prodotto e segni grafici\n1990 \nAllestimenti per l’aeroporto Stansted  \na Londra, architettura Foster + Partners\nLa collezione ABV (con progetti  \ndi Alviani, Fabbri, Man Ray, Mo,  \nMorellet, Munari, Pomodoro, Ponti, \nSteele, Veronesi) celebra lo storico \nlegame con gli artisti\n1991 \nAllestimenti per l’aeroporto El Prat  \na Barcellona, architettura Ricardo Bofill \n1992 \nAule del Parlamento Europeo a Bruxelles\n1993 \nSale mostra del Grand Louvre a Parigi, \ninterior Jean Michel Wilmotte  \n1999 \nCollaborazione con le principali reti \nferroviarie tra cui SNCF in Francia,  \nRenfe in Spagna, Obb in Austria, Sncb  \nin Belgio, Grandi Stazioni in Italia\n2000 \nArredi per la biblioteca BPI del  \nCentre Georges Pompidou a Parigi, \ninterior Jean-François Bodin\n2001 \nAllestimenti per l’aeroporto Schiphol  \nad Amsterdam\n2003 \nConcessionarie Toyota nel mondo\nArredi per il British Museum a Londra, \narchitettura Foster + Partners\n2004 \nArredi per l’Hospital Materno-Infantil \nGregorio Marañón a Madrid, architettura \nRafael Moneo \n2005 \nArmadiature per la Torre Agbar  \na Madrid, architettura Jean Nouvel \n2006 \nCollaborazione con i più grandi gruppi \nbancari per uffici e filiali\n2008 \nConcessionarie Ducati nel mondo\n2009 \nSedi Redbull nel mondo\n2010— \nLa rivoluzione \ntecnologica e i nuovi \nmodi di vivere e lavorare\nLa connettività ha radicalmente \nmodificato i codici del lavoro e le \nmodalità del movimento: la sfida  \ndi creare nuovi prodotti in grado  \ndi accogliere l’evoluzione dell’ufficio  \ne del viaggio porta alla realizzazione  \ndei primi arredi intelligenti con  \nlo spin-off aziendale io.T Solutions.  \nLa realtà iper-connessa degli oggetti \ntrasforma i modi di vivere la casa  \ne i luoghi collettivi: il disegno comune \ncon Zanotta crea un’offerta completa  \ndi ambienti contemporanei  \nper il contract e l’office così come  \nper il mondo home e hospitality.\n2010 \nBeta: sistema di scrivanie evoluto  \ne organico\n2012 \nAllestimenti per l’aeroporto Hamed \nInternational a Doha, architettura HOK \nArredi per il Samsung Headquarters  \na Londra\n2013 \nCollaborazione con Railway Network \nFerrovie Britanniche\n2014 \nFiliali Unicredit Italia\nARTIC Anaheim Regional Transportation \nIntermodal Center in USA, architettura \nHOK\nAllestimenti per la Mediatheque \nSaint-Malo in Francia, architettura \nAS.Architecture-Studio e Omla\nW80: parete divisoria tecnologica\nVela: famiglia di sedute responsive, \nPremio Compasso d’Oro ADI\n2015 \nIl primo ufficio connesso:  \nio.T come Intelligence of Tecno \nSedi Safilo nel mondo\nFiliali Intesa San Paolo Italia\nAcquisizione di marchio e archivio \nstorico di Ottagono\n2016 \nSedi Indeed nel mondo\nClavis: sistema di tavoli \ndall’assemblaggio tool-free \nPareti per la sede HRDF a Riyadh  \nin Arabia Saudita\nConcessionarie BMW Italia\n2017 \nArredi per il Palazzo di Giustizia  \na Parigi, architettura Renzo Piano\nPareti per la sede Lavazza a Torino, \narchitettura Cino Zucchi \nio.T Solutions: spin-off di Tecno  \ndedicato alla tecnologia\nAcquisizione di Zanotta:  \nun disegno comune\nConcessionarie Triumph nel mondo\n2018 \nVatican Chapels. Padiglione della Santa \nSede alla Biennale di Architettura di \nVenezia, architettura Norman Foster\nArredi per la sede Moleskine a New York\nArredi per il Ministry of Education a Dubai\n2019 \nLancio della piattaforma Dina-\nConnecting Spaces con io.T Solutions\nAllestimento della mostra “Medardo \nRosso Project” di Barry X Ball a Venezia\nSpazi co-working di CommonGrounds \nin USA \n2020 \nAllestimenti per gli aeroporti  \ndel Marocco\nPareti per la National Bank of Kuwait \na Kuwait City, architettura Foster + \nPartner \nPareti per la Torre PWC a Milano, \narchitettura Daniel Libeskind \nAllestimenti per l’Hotel Krystal Palace  \na Douala in Camerun\nCollaborazione con Zaha Hadid Architects\nAllestimenti per ArRiyadh New Mobility \nConsortium (ANM) Line 3, Riyadh\n95\n94\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.50.png","1MP10373EN\n04.2020\nCoordinated by\nTecno Marketing & Communication dept. \nmarketing@tecnospa.com\nGraphic design \nTassinari\u002FVetta\nPaolo Tassinari, Fabio Furlanis\nPrint\nGrafiche Antiga\nCollaborators\nUmbrella\nPhotos\nJill Tate\nDavid Edwin Zanardi\nAndrea Martiradonna\nTommaso Sartori\nBrad Nicol\nLuca Rotondo\nAnna Gregori\nFrédéric Baron\nRenaud Callebaut\nMathieu Lee Vigneau\nRuud Emmerich\nAlessandra Chemollo\nPietro Carrieri\nAlain Dovifat\nPost-production\nAzimut\nText\nLaura Traldi\nTecno Italia\nPiazza XXV Aprile 11\n20154 Milan\nT +39 031 75381\nE info@tecnospa.com\nTecno Headquarters\nVia Milano 28\n22066 Mariano Comense\nT +39 031 75381\nE info@tecnospa.com\nTecno France\nMaison-Atelier Ozenfant\nMaison 53, Avenue Reille\n75014 Paris\nT +33 1 42442630\nE tecnofrance@tecnospa.com\nTecno UK\nThe Loom Suite 1.02 \n14 Gowers Walk\nE1 1LU London \nT +44 20 3829 7240\nE tecnouk@tecnospa.com\nTecno USA\n1201 Broadway – Suite 907\nNY 10001 New York \nT +1 646 331 4193\nE tecnousa@tecnospa.com\nTecno Germany\nGinsheimer Straße 1\n65462 Ginsheim-Gustavsburg\nT +49 162 2510688\nE tecnogermany@tecnospa.com\nTecno Poland\nul. Konstruktorska 12A\n02-673 Warszawa\nT +48 22 204 0940\nE tecnopoland@tecnospa.com\nTecno Korea\n731 Nonhyun-ro – Gangnam-gu\n06041 Seoul\nT +80 2 544 1953\nE info@atempo.co.kr\nTecno Tunisia\n23 rue de Jérusalem Belvédère\n1002 Tunis\nT +216 71 891 444\nE tecno@kbr-net.com\nTecno Australia\n27 Chapel Street – Marrickville\nNSW 2204 Sydney\nT +61 08 8959 0987\nE tecno@byvincenzo.com\nTecno Japan\n1−9−7, Nishiazabu – Minato-ku \n106-0031 Tokyo\nT +81 3 6821 8890 \nE products@teamiwakiri.jp\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fd4\u002Fd1974d2d5721bc59f200bdf8294a9c-26eb3053c7.51.png","English\n",51,[],0,false,true,{"success":220,"data":222,"meta":439,"count":440,"next":441,"previous":442,"results":480,"brand_chips":541},[223,236,246,256,266,275,285,295,305,317,329,342,352,365,378,388,398,407,417,429],{"id":224,"title":225,"slug":226,"image":227,"source":228,"brand_name":229,"brand":230,"brand_slug":231,"file_size":232,"pages":233,"pages_count":234,"matched_pages":235,"match_count":218,"two_pages":219,"show_text":220},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 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