[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-moroso-sofa-and-seating-systems-vol1-2017":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":1358},{"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":1353,"matched_pages":1354,"match_count":1355,"two_pages":1356,"show_text":1357},9283,"Sofa and Seating Systems Vol.1 2017","moroso-sofa-and-seating-systems-vol1-2017","\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F00\u002Fe848f32a15c80fa917a527d28d974c.pdf","Moroso",1342,"moroso","29.5 MB",[14,17,21,25,28,32,36,40,43,46,49,53,57,60,64,68,72,76,80,84,88,92,96,100,104,108,112,116,120,124,128,132,136,140,144,148,152,156,160,164,168,172,176,180,184,188,192,196,200,204,208,212,216,220,224,228,232,236,240,244,248,252,256,260,264,268,272,276,280,284,288,292,296,300,304,308,312,316,320,324,328,332,336,340,344,348,352,356,360,364,368,372,376,380,384,388,392,396,400,404,408,412,416,420,424,428,432,436,440,444,448,452,456,460,464,468,472,476,480,484,488,492,496,500,504,508,512,516,520,524,527,531,535,539,543,547,551,555,559,563,567,571,575,579,583,587,591,595,599,603,607,611,615,619,623,627,631,635,639,643,647,651,655,659,663,667,671,675,679,683,687,691,695,699,703,707,711,715,719,723,727,731,735,739,743,747,751,755,759,763,767,771,775,779,783,787,791,795,799,803,807,811,815,819,823,827,831,835,839,843,847,851,855,859,863,867,871,875,879,883,887,891,894,898,902,906,910,914,918,922,926,930,934,938,942,946,950,954,958,962,966,970,974,978,982,986,990,994,998,1002,1006,1010,1014,1018,1022,1026,1030,1034,1038,1042,1046,1050,1054,1058,1062,1066,1070,1074,1078,1082,1086,1090,1094,1098,1102,1106,1110,1114,1118,1122,1126,1130,1134,1138,1142,1146,1150,1154,1158,1162,1166,1170,1174,1178,1182,1186,1190,1194,1198,1202,1206,1210,1214,1218,1222,1226,1230,1234,1238,1242,1246,1250,1254,1258,1262,1266,1270,1274,1278,1282,1286,1290,1294,1298,1302,1306,1310,1314,1318,1322,1326,1330,1334,1338,1342,1345,1348,1351],{"image":7,"text":15,"number":16},"Moroso 1. Sofas\nand seating systems\n2. Single seats\nand accessories\n3. Outdoor\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.3.png","Who’s Afraid of Red, Yellow and Blue,\n1966-1970\nBarnett Newman\n",3,{"image":26,"text":15,"number":27},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.4.png",4,{"image":29,"text":30,"number":31},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.5.png","Intro  ...................................................................................................... 005\nSofas\nBelt  .........................................................................................................  082\nBlur  .........................................................................................................  025\nBohemian  .........................................................................................  102, 104, 105\nBold  .......................................................................................................  085, 086\nDoodle  ................................................................................................  045\nGemma  ...............................................................................................  076\nGentry  .................................................................................................  023, 065, 066, 068, 069\nGlider  ...................................................................................................  028\nHighlands  .........................................................................................  041, 042\nLos Muebles Amorosos  .......................................................  049\nLowland  .............................................................................................  020, 100, 124\nM.a.s.s.a.s.  .....................................................................................  026, 071, 072, 074, 075\nMy Beautiful Backside  .........................................................  122, 123\nRedondo  ............................................................................................  107, 108\nShanghai Tip  .................................................................................  119, 120\nSchellmann collection  .........................................................  046\nSilver Lake .......................................................................................  111, 112\nSoft Wood  .......................................................................................  116, 117\nSpring  ..................................................................................................  092\nSushi collection ..........................................................................  114, 115\nTender  .................................................................................................  016, 019\nVictoria and Albert  .................................................................  034\nVolant  ..................................................................................................  079, 080\nSeating systems\nBikini Island  ...................................................................................  094, 095\nDo-lo-rez  ..........................................................................................  032\nFreeflow  ............................................................................................  054\nLowseat  .............................................................................................  060, 126\nMisfits  .................................................................................................  031, 096, 098, 099\nRift  ..........................................................................................................  089, 090\nSaruyama  .........................................................................................  015, 036\nSaruyama Island  ........................................................................  015, 062, 063\nSerpentine  .......................................................................................  038, 039, 058\nTeo  ..........................................................................................................  057\nWaiting  ...............................................................................................  051, 053\nDesigners overview  ................................................................  129\nTechnical info ...............................................................................  221\n",5,{"image":33,"text":34,"number":35},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.6.png","Hangar Bicocca, Milan — Italy, 2012\n",6,{"image":37,"text":38,"number":39},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.7.png","005\nMoroso vol 1\u002F3          Sofas + Seating systems\n \nMoroso è un’azienda italiana \na conduzione familiare che da oltre \nsessant’anni realizza imbottiti, sedute \ne complementi d’arredo di alta gamma, \nin collaborazione con i migliori designer \ninternazionali. Moroso è riconosciuto \nin tutto il mondo come eclettico brand \nd’avanguardia; ha nel DNA il design, come \nvalore, patrimonio culturale, capitale \numano. Oggi più di 40 designer da oltre \n20 paesi contribuiscono a creare il mondo \nMoroso che è innanzitutto uno stile di vita.\nL’identità del profilo aziendale è la \ndiversità dei linguaggi che accoglie nelle \nproprie realizzazioni. \nÈ il senso della bellezza del design, del \nprogetto come inclinazione della vita, \ncome visione del mondo. Un mondo dei \ncolori che esalta la differenza, la incarna \ne la fa propria, promuovendola a valore \ndi relazione. Moroso ha un rapporto \nquotidiano con la qualità, nella cura \nsartoriale del dettaglio e nell’attenzione \nai materiali anche più innovativi. Ricerca, \ntalento, know-how, territorio: la qualità \ndei prodotti Moroso è la sintesi di tutti i \nfattori che contribuiscono a rendere unico \nogni singolo prodotto. \nQualità certificata anche dall’ottenimento, \ndopo la certificazione ISO:9001 nel 1994 \ne la ISO:14001 nel 1999, della certificazione \nOHSHS:18001 per la gestione della salute \n \nMoroso is a family-run Italian firm \nwhich has for more than sixty years \nmanufactured high-end upholstered \nfurniture, seating ranges and furnishing \naccessories in collaboration with leading \ninternational designers. Moroso is \nrenowned across the world as an eclectic \navant-garde brand. It has design in its \nDNA; cultural heritage and human capital \nare values. Today, more than 40 designers \nfrom more than 20 countries help to \ncreate Moroso’s world, which is, first and \nforemost, a lifestyle. The diversity of \nthe languages it incorporates in its designs \nmoulds Moroso’s identity. \nA sense of design beauty, of design as an \napproach to life, a vision of the world. \nA world of colours which highlights the \ndifference, embraces and epitomises it, \npromoting it as a relational value. \nMoroso works with quality every day in \nits meticulous care for details and its focus \non even the most innovative materials.\nResearch, talent, know-how, local roots: \nthe quality of Moroso’s products \nis the sum of all the factors which go into \nmaking each individual product unique. \nCertified quality: after ISO:9001 in 1994 \nand ISO:14001 in 1999, now Moroso has \nachieved OHSAS:18001 certification \ncovering occupational health and safety \nmanagement. Moroso was established \nMoroso, the beauty of design\ndal 1952\nMoroso, the beauty of design\nfrom 1952\n",7,{"image":41,"text":34,"number":42},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.8.png",8,{"image":44,"text":19,"number":45},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.9.png",9,{"image":47,"text":34,"number":48},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.10.png",10,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.11.png","e della sicurezza sul lavoro. L’azienda \nnasce in Italia nel 1952, in provincia \ndi Udine, al confine orientale con Austria \ne Slovenia, e si delinea sin da subito \ncome azienda produttrice di originali \nimbottiti di qualità. I fondatori sono \nAgostino e Diana Moroso. Negli Anni \nOttanta del secolo scorso entrano \nin azienda entrambi i loro figli Patrizia \ne Roberto, attuali art director e CEO. \nInizia così un viaggio visionario nella \nricerca nel design d’autore, e sorgono \nle prime collaborazioni internazionali. \nDa allora l’azienda si prende cura della \ncreatività e dell’avanguardia della \ncreatività, che con coraggio e fiuto \ninventa il futuro. Moroso porta con sé \ninfatti una sorta di attrazione verso le vere \nnovità nel design, patrimonio genetico \ndell’azienda, e spesso ispiratore di ciò che \ndiventerà un prodotto-icona nell’arredo \ncontemporaneo internazionale. \nLo stile Moroso è nuovo, multiculturale, \naperto e attento ai giovani. La sua unicità \nè evidenziata anche dalla peculiare \nattitudine e competenza tessile che porta \nl’azienda a considerare il rivestimento \ncome un ambito di innovazione funzionale \ne concettuale, il modo in cui si \npersonalizza un prodotto aumentandone \nla forza comunicativa. Moroso collabora \ncon partner importanti, nel campo \ndelle istituzioni museali, nel corporate più \nrinomato, in ambiti navali, aeroportuali \ne alberghieri. L’azienda negli anni \nha intercettato ottimi progetti e grandi \ndesigner, che da tempo ormai fanno \nparte della “famiglia” Moroso: fra i più \nnoti, David Adjaye, Werner Aisslinger, \nRon Arad, Archea Associati, Atelier Oï, \nPhilippe Bestenheider, Birsel & Seck, \nTord Boontje, Antonio Citterio, Tom \nDixon, Rodolfo Dordoni, Doshi & Levien, \n009\nMoroso vol 1\u002F3          Sofas + Seating systems\nin 1952 in the province of Udine, north-\neastern Italy, on the eastern border with \nAustria and Slovenia. It immediately \nearned a reputation as a manufacturer \nof high-quality, original upholstered \nfurniture. The founders were Agostino \nand Diana Moroso. In the Eighties of the \nlast century, their two children, Patrizia \nand Roberto, joined the company and \nare currently the firm’s art director and \nCEO, respectively. This marked the start \nof a visionary journey into auteur design \nresearch and the first international \ncollaborative efforts were established. \nSince then, Moroso has focused on \ncreativity and on the creative avant-\ngarde, which invents the future with \ncourage and intuition. In fact, Moroso is \ninherently attracted to the new frontiers \nof design as part of its genetic inheritance \nand which often is the inspiration for \nsomething that will become an iconic \nproduct on the international contemporary \nfurnishings scene. The Moroso style is \nnew, multicultural, open and mindful \nof young people. Its uniqueness is also \nseen in its unusual textile-driven talent \nand expertise, which means it considers \nupholstery as a field of functional \nand conceptual innovation, a way of \npersonalising a product and thereby \nincreasing its communicative force. \nMoroso works with major partners such \nas world museums, leading companies \nand the nautical, airport and hotel \nsectors. The company has over the years \nworked on extraordinary projects with \ngreat designers who have long become \npart of the Moroso “family”. Among the \nbest known are David Adjaye, Werner \nAisslinger, Ron Arad, Archea Associati, \nAtelier Oï, Philippe Bestenheider, Birsel \n& Seck, Tord Boontje, Antonio Citterio, \n",11,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.12.png","010\nEnrico Franzolini, Front, Martino Gamper, \nGordon Guillaumier, Alfredo Häberli, \nSebastian Herkner, Benjamin Hubert, \nRichard Hutten, Massimo Iosa Ghini, \nTomita Kazuhiko, Toshiyuki Kita, Daniel \nLibeskind, Ross Lovegrove, Javier \nMariscal, Marc Newson, Numen\u002FFor Use, \nRaw Edges, Rajiv Saini, Jörg Schellmann, \nScholten & Baijing, Marc Thorpe, Patricia \nUrquiola, Edward Van Vliet, Marcel \nWanders, Weisshaar & Kram, Tokujin \nYoshioka. Moroso è presente con i propri \nshowroom monomarca a Amsterdam, \nColonia, Londra, Milano, New York. \nOggi ha filiali negli Stati Uniti e in Gran \nBretagna, ed esporta i suoi prodotti in 64 \npaesi.\nTom Dixon, Rodolfo Dordoni, Doshi & \nLevien, Enrico Franzolini, Front, Martino \nGamper, Gordon Guillaumier, Alfredo \nHäberli, Sebastian Herkner, Benjamin \nHubert, Richard Hutten, Massimo Iosa \nGhini, Tomita Kazuhiko, Toshiyuki \nKita, Daniel Libeskind, Ross Lovegrove, \nJavier Mariscal, Marc Newson, Numen\u002F\nFor Use, Raw Edges, Rajiv Saini, Jörg \nSchellmann, Scholten & Baijing, Marc \nThorpe, Patricia Urquiola, Edward Van \nVliet, Marcel Wanders, Weisshaar & Kram \nand Tokujin Yoshioka. Moroso has own-\nbrand showrooms in Amsterdam, Cologne, \nLondon, Milan and New York. \nIt has branches in the United States\nand the United Kingdom, and exports its \nproducts to 64 countries.\n[Elena Commessatti]\nMoroso vol 1\u002F3          Sofas + Seating systems\nHangar Bicocca, Milan — Italy, 2012\n",12,{"image":58,"text":19,"number":59},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.13.png",13,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.14.png","Moroso vol 1\u002F3          Sofas + Seating systems\n",14,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.15.png","Moroso Index\nSofas and\nseating systems\nDesigners\nTechnical\ninfo\n",15,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.16.png","Moroso vol 1\u002F3          Sofas + Seating systems\nSaruyama+Saruyama Island design Toshiyuki Kita — 1989\u002F2006\n014\n",16,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.17.png","015\nSaruyama+Saruyama Island\n",17,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.18.png","016\n",18,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.19.png","017\nTender\nTender design Patricia Urquiola — 2014\n",19,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.20.png","Moroso vol 1\u002F3          Sofas + Seating systems\n018\nTender\nTender design Patricia Urquiola — 2014\n",20,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.21.png","019\n",21,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.22.png","020\n",22,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.23.png","021\nLowland\nLowland design Patricia Urquiola — 2000\n",23,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.24.png","Gentry\nGentry design Patricia Urquiola — 2011\n022\nMoroso vol 1\u002F3          Sofas + Seating systems\n",24,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.25.png","023\n",25,{"image":109,"text":110,"number":111},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.26.png","Moroso vol 1\u002F3          Sofas + Seating systems\n024\nBlur\nBlur design Marc Thorpe — 2011\n",26,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.27.png","025\n",27,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.28.png","Moroso vol 1\u002F3          Sofas + Seating systems\n026\n",28,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.29.png","M.a.s.s.a.s.\nM.a.s.s.a.s. design Patricia Urquiola — 2012\n027\n",29,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.30.png","028\nMoroso vol 1\u002F3          Sofas + Seating systems\n",30,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.31.png","029\nGlider design Ron Arad — 2016\nGlider\n",31,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.32.png","Moroso vol 1\u002F3          Sofas + Seating systems\nMisfits design Ron Arad — 2007\n030\n",32,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.33.png","Misfits\n031\n",33,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.34.png","032\nMoroso vol 1\u002F3          Sofas + Seating systems\n",34,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.35.png","Do-lo-rez\nDo-lo-rez design Ron Arad — 2008\n033\n",35,{"image":149,"text":150,"number":151},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.36.png","Moroso vol 1\u002F3          Sofas + Seating systems\n034\n",36,{"image":153,"text":154,"number":155},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.37.png","Victoria and Albert\nVictoria and Albert design Ron Arad — 2000\n035\n",37,{"image":157,"text":158,"number":159},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.38.png","036\nMoroso vol 1\u002F3          Sofas + Seating systems\n",38,{"image":161,"text":162,"number":163},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.39.png","037\nSaruyama\nSaruyama design Toshiyuki Kita — 1989\n",39,{"image":165,"text":166,"number":167},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.40.png","038\nMoroso vol 1\u002F3          Sofas + Seating systems\n",40,{"image":169,"text":170,"number":171},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.41.png","Serpentine\nSerpentine design Tom Dixon — 2003\n039\n",41,{"image":173,"text":174,"number":175},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.42.png","Moroso vol 1\u002F3          Sofas + Seating systems\n040\nHighlands design Patricia Urquiola — 2003\n",42,{"image":177,"text":178,"number":179},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.43.png","Highlands\n041\n",43,{"image":181,"text":182,"number":183},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.44.png","Moroso vol 1\u002F3          Sofas + Seating systems\n042\nHighlands\n",44,{"image":185,"text":186,"number":187},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.45.png","043\nHighlands design Patricia Urquiola — 2003\n",45,{"image":189,"text":190,"number":191},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.46.png","Moroso vol 1\u002F3          Sofas + Seating systems\n044\nDoodle design Front — 2013\nDoodle\n",46,{"image":193,"text":194,"number":195},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.47.png","045\n",47,{"image":197,"text":198,"number":199},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.48.png","Moroso vol 1\u002F3          Sofas + Seating systems\n046\n",48,{"image":201,"text":202,"number":203},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.49.png","Schellmann collection\nSchellmann collection design Jörg Schellmann — 2014\n047\n",49,{"image":205,"text":206,"number":207},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.50.png","Moroso vol 1\u002F3          Sofas + Seating systems\n048\nLos Muebles Amorosos\nLos Muebles Amorosos design Javier Mariscal — 2003\n",50,{"image":209,"text":210,"number":211},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.51.png","049\n",51,{"image":213,"text":214,"number":215},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.52.png","Moroso vol 1\u002F3          Sofas + Seating systems\n050\n",52,{"image":217,"text":218,"number":219},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.53.png","051\nWaiting design Rodolfo Dordoni — 1989\nWaiting\n",53,{"image":221,"text":222,"number":223},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.54.png","Moroso vol 1\u002F3          Sofas + Seating systems\n052\nWaiting design Rodolfo Dordoni — 1989\nWaiting\n",54,{"image":225,"text":226,"number":227},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.55.png","053\n",55,{"image":229,"text":230,"number":231},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.56.png","054\nMoroso vol 1\u002F3          Sofas + Seating systems\n",56,{"image":233,"text":234,"number":235},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.57.png","055\nFreeflow\nFreeflow design Gordon Guillaumier — 2009\n",57,{"image":237,"text":238,"number":239},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.58.png","056\nMoroso vol 1\u002F3          Sofas + Seating systems\nTeo design Atelier Oï — 2016\nTeo\n",58,{"image":241,"text":242,"number":243},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.59.png","057\n",59,{"image":245,"text":246,"number":247},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.60.png","058\nMoroso vol 1\u002F3          Sofas + Seating systems\n",60,{"image":249,"text":250,"number":251},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.61.png","Serpentine design Tom Dixon — 2003\n059\nSerpentine\n",61,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.62.png","060\nMoroso vol 1\u002F3          Sofas + Seating systems\n",62,{"image":257,"text":258,"number":259},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.63.png","Lowseat design Patricia Urquiola — 2000\n061\nLowseat\n",63,{"image":261,"text":262,"number":263},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.64.png","Moroso vol 1\u002F3          Sofas + Seating systems\n062\n",64,{"image":265,"text":266,"number":267},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.65.png","Saruyama Island\nSaruyama Island design Toshiyuki Kita — 2006\n063\n",65,{"image":269,"text":270,"number":271},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.66.png","Moroso vol 1\u002F3          Sofas + Seating systems\n064\nGentry design Patricia Urquiola — 2011\n",66,{"image":273,"text":274,"number":275},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.67.png","065\nGentry\n",67,{"image":277,"text":278,"number":279},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.68.png","Moroso vol 1\u002F3          Sofas + Seating systems\n066\n",68,{"image":281,"text":282,"number":283},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.69.png","067\nGentry\nGentry design Patricia Urquiola — 2011\n",69,{"image":285,"text":286,"number":287},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.70.png","Moroso vol 1\u002F3          Sofas + Seating systems\n068\nGentry\nGentry design Patricia Urquiola — 2011\n",70,{"image":289,"text":290,"number":291},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.71.png","069\n",71,{"image":293,"text":294,"number":295},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.72.png","Moroso vol 1\u002F3          Sofas + Seating systems\n070\nM.a.s.s.a.s.\nM.a.s.s.a.s. design Patricia Urquiola — 2012\n",72,{"image":297,"text":298,"number":299},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.73.png","071\n",73,{"image":301,"text":302,"number":303},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.74.png","Moroso vol 1\u002F3          Sofas + Seating systems\n072\n",74,{"image":305,"text":306,"number":307},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.75.png","M.a.s.s.a.s.\n073\nM.a.s.s.a.s. design Patricia Urquiola — 2012\n",75,{"image":309,"text":310,"number":311},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.76.png","Moroso vol 1\u002F3          Sofas + Seating systems\n074\n",76,{"image":313,"text":314,"number":315},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.77.png","075\nM.a.s.s.a.s.\nM.a.s.s.a.s. design Patricia Urquiola — 2012\n",77,{"image":317,"text":318,"number":319},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.78.png","Moroso vol 1\u002F3          Sofas + Seating systems\n076\n",78,{"image":321,"text":322,"number":323},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.79.png","077\nGemma\nGemma design Daniel Libeskind — 2015\n",79,{"image":325,"text":326,"number":327},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.80.png","Moroso vol 1\u002F3          Sofas + Seating systems\n078\nVolant design Patricia Urquiola — 2007\n",80,{"image":329,"text":330,"number":331},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.81.png","Volant\n079\n",81,{"image":333,"text":334,"number":335},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.82.png","080\nMoroso vol 1\u002F3          Sofas + Seating systems\n",82,{"image":337,"text":338,"number":339},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.83.png","081\nVolant\nVolant design Patricia Urquiola — 2007\n",83,{"image":341,"text":342,"number":343},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.84.png","082\nMoroso vol 1\u002F3          Sofas + Seating systems\n",84,{"image":345,"text":346,"number":347},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.85.png","083\nBelt\nBelt design Patricia Urquiola — 2016\n",85,{"image":349,"text":350,"number":351},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.86.png","Moroso vol 1\u002F3          Sofas + Seating systems\n084\nBold design Patricia Urquiola — 2015\n",86,{"image":353,"text":354,"number":355},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.87.png","085\nBold\n",87,{"image":357,"text":358,"number":359},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.88.png","Moroso vol 1\u002F3          Sofas + Seating systems\n086\nBold\n",88,{"image":361,"text":362,"number":363},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.89.png","Bold design Patricia Urquiola — 2015\n087\n",89,{"image":365,"text":366,"number":367},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.90.png","Moroso vol 1\u002F3          Sofas + Seating systems\n088\nRift design Patricia Urquiola — 2009\nRift\n",90,{"image":369,"text":370,"number":371},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.91.png","089\n",91,{"image":373,"text":374,"number":375},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.92.png","090\n",92,{"image":377,"text":378,"number":379},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.93.png","091\nRift\nRift design Patricia Urquiola — 2009\n",93,{"image":381,"text":382,"number":383},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.94.png","092\nMoroso vol 1\u002F3          Sofas + Seating systems\n",94,{"image":385,"text":386,"number":387},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.95.png","Spring design Patricia Urquiola — 2010\n093\nSpring\n",95,{"image":389,"text":390,"number":391},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.96.png","Moroso vol 1\u002F3          Sofas + Seating systems\n094\nBikini Island\nBikini Island design Werner Aisslinger — 2013\n",96,{"image":393,"text":394,"number":395},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.97.png","095\n",97,{"image":397,"text":398,"number":399},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.98.png","096\nMoroso vol 1\u002F3          Sofas + Seating systems\n",98,{"image":401,"text":402,"number":403},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.99.png","097\nMisfits\nMisfits design Ron Arad — 2007\n",99,{"image":405,"text":406,"number":407},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.100.png","Moroso vol 1\u002F3          Sofas + Seating systems\nMisfits design Ron Arad — 2007\n098\n",100,{"image":409,"text":410,"number":411},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.101.png","Misfits\n099\n",101,{"image":413,"text":414,"number":415},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.102.png","Moroso vol 1\u002F3          Sofas + Seating systems\n100\n",102,{"image":417,"text":418,"number":419},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.103.png","Lowland\nLowland design Patricia Urquiola — 2000\n101\n",103,{"image":421,"text":422,"number":423},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.104.png","Moroso vol 1\u002F3          Sofas + Seating systems\n102\n",104,{"image":425,"text":426,"number":427},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.105.png","103\nBohemian\nBohemian design Patricia Urquiola — 2008\n",105,{"image":429,"text":430,"number":431},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.106.png","Moroso vol 1\u002F3          Sofas + Seating systems\n104\nBohemian\nBohemian design Patricia Urquiola — 2008\n",106,{"image":433,"text":434,"number":435},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.107.png","105\n",107,{"image":437,"text":438,"number":439},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.108.png","Redondo design Patricia Urquiola — 2010\n106\nMoroso vol 1\u002F3          Sofas + Seating systems\n",108,{"image":441,"text":442,"number":443},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.109.png","Redondo\n107\n",109,{"image":445,"text":446,"number":447},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.110.png","108\nMoroso vol 1\u002F3          Sofas + Seating systems\nRedondo\n",110,{"image":449,"text":450,"number":451},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.111.png","109\nRedondo design Patricia Urquiola — 2010\n",111,{"image":453,"text":454,"number":455},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.112.png","Moroso vol 1\u002F3          Sofas + Seating systems\n110\nSilver Lake\nSilver Lake design Patricia Urquiola — 2010\n",112,{"image":457,"text":458,"number":459},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.113.png","111\n",113,{"image":461,"text":462,"number":463},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.114.png","112\nMoroso vol 1\u002F3          Sofas + Seating systems\n",114,{"image":465,"text":466,"number":467},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.115.png","113\nSilver Lake design Patricia Urquiola — 2010\nSilver Lake\n",115,{"image":469,"text":470,"number":471},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.116.png","Moroso vol 1\u002F3          Sofas + Seating systems\n114\nSushi collection\nSushi collection design Edward van Vliet — 2008\n",116,{"image":473,"text":474,"number":475},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.117.png","115\n",117,{"image":477,"text":478,"number":479},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.118.png","Soft Wood design Front — 2010\n116\nMoroso vol 1\u002F3          Sofas + Seating systems\n",118,{"image":481,"text":482,"number":483},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.119.png","Soft Wood\n117\n",119,{"image":485,"text":486,"number":487},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.120.png","Moroso vol 1\u002F3          Sofas + Seating systems\n118\nShanghai Tip design Patricia Urquiola — 2006\n",120,{"image":489,"text":490,"number":491},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.121.png","119\nShanghai Tip\n",121,{"image":493,"text":494,"number":495},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.122.png","Moroso vol 1\u002F3          Sofas + Seating systems\n120\n",122,{"image":497,"text":498,"number":499},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.123.png","Shanghai Tip\nShanghai Tip design Patricia Urquiola — 2006\n121\n",123,{"image":501,"text":502,"number":503},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.124.png","Moroso vol 1\u002F3          Sofas + Seating systems\nMy Beautiful Backside\nMy Beautiful Backside design Doshi & Levien — 2008\n122\n",124,{"image":505,"text":506,"number":507},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.125.png","123\n",125,{"image":509,"text":510,"number":511},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.126.png","Moroso vol 1\u002F3          Sofas + Seating systems\n124\n",126,{"image":513,"text":514,"number":515},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.127.png","Lowland\nLowland design Patricia Urquiola — 2000\n125\n",127,{"image":517,"text":518,"number":519},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.128.png","126\nMoroso vol 1\u002F3          Sofas + Seating systems\n",128,{"image":521,"text":522,"number":523},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.129.png","Lowseat design Patricia Urquiola — 2000\n127\nLowseat\n",129,{"image":525,"text":19,"number":526},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.130.png",130,{"image":528,"text":529,"number":530},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.131.png","Moroso Index\nIntro\n1. Sofas and\nseating systems\nDesigners\nInfo\n",131,{"image":532,"text":533,"number":534},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.132.png","130\nMoroso vol 1\u002F3          Sofas + Seating systems\n“La storia di Moroso è la storia \ndelle relazioni con i designer, gente \nche il mondo sta cercando di cambiarlo \npositivamente, con intelligenza e con \nquella febbre che muove sempre gli \nartisti davanti alla bellezza. Chiedo loro \ndi immaginare un mondo, non solo \nun oggetto, e di metterlo in relazione \ncon il futuro” [Patrizia Moroso]\nAssemblaggio come metafora, \ncome metodologia d’indagine, e \ntransito come condizione progettuale, \ncome cautela preventiva per evitare \nsbocchi utopistici o superflui. Il design \nper Moroso non è semplicemente un \ncatalogo, un inventario, ma un flusso \nche si fonde e si confonde nella società; \nflusso generativo, perché senza l’abitare, \nsenza la persona, l’oggetto, qualunque \noggetto, non può esistere. \nAssemblare, mescolare, connettere: \ni significati possono essere molti e \ndiversi, rappresentano una pluralità di \nverso che trova nelle relazioni il tramite \ntra l’ordinario e l’extra-ordinario, la \npratica che apre al quotidiano territori \nabitualmente estranei, la connessione \ntra frammenti di contemporaneità \ne la memoria. \n“The story of Moroso is the story \nof our relationships with designers, \npeople who, with intelligence and with \nthe passion which always inspires artists \nin the face of beauty, are trying to change \nthe world for the better. I ask them not \nto imagine a single object, but to \nimagine a new world and project it into \nthe future” [Patrizia Moroso]\nWe take assembly as a metaphor, \nas a concept for exploration and \nexperimentation, and transition as a \ncondition for design, a way to avoid designs \nwhich are too utopian or too excessive. \nDesign for Moroso is not simply about a \nproduct catalogue or inventory, but rather \na flow which extends out into the world to \nmingle with and become part of our society;\nit is a generative flow, because without \nliving spaces, without the individual, \nan object, any object, cannot exist. \nAssemble, mix, connect: the meanings are \nmany and varied, representing a multitude \nof possible directions which in Interaction \nfind the link between the ordinary and \nextra-ordinary, the practice that opens up \nthe everyday to normally alien territories, \nthe connection between fragments \nof contemporary life and memory. \nDesigners\n",132,{"image":536,"text":537,"number":538},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.133.png","131\nAttraverso le relazioni, ogni progetto, \nogni prodotto, appare diverso agli occhi \ndi ciascuno perché racconta una diversa \nesperienza del mondo. \nUn approccio necessariamente \nesplorativo, mappatura tridimensionale \ndove il tempo si sovrappone allo spazio \ne viceversa, dove la struttura generata \ndalle relazioni con i designer non \nnecessariamente ha l’aspetto di una \nmatrice. \nGeografia delle emozioni, proiezione \nimmaginifica e politica del mondo. \nRicerca come viaggio, come possibilità, \ncome dimensione estetica che anticipa \ne travolge. Design come passione, come \nbellezza che ci obbliga a recuperare la \ncapacità di raccontare e coinvolgere, \nsuperando la dimensione del piacere \nimmediato, del semplice gradimento.\nThrough relationships and interactions, \neach design, each product is viewed \ndifferently by each beholder because \nit speaks to our different experiences \nof the world. \nIt is an approach which is exploratory \nby necessity, a three-dimensional mapping \nwhere time overlaps space and vice versa, \nwhere what comes out of the relationship \nwith designers does not necessarily \nassume the appearance of a matrix. \nA geography of emotions, a projection \nof the world in image and politics. \nResearch as a journey, as possibility, \nas an aesthetic dimension which \nanticipates and overwhelms. Design as \npassion, like beauty which forces us to \nre-descover our ability to tell and involve, \ngoing beyond the dimension of immediate \npleasure, of mere liking.\n[Lorenzo Taucer]\n",133,{"image":540,"text":541,"number":542},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.134.png","132\nDavid Adjaye\nDavid Adjaye OBE è nato in Tanzania da genitori \nghanesi: ha assorbito gli influssi dell’arte e della musica \ncontemporanea, della scienza, delle forme d’arte africana \ne della vita metropolitana. Nel 2000 ha fondato lo \nstudio Adjaye Associates, ottenendo immediatamente \ndiversi incarichi prestigiosi. Lo studio Adjaye Associates \nattualmente ha sede a Londra e a New York e lavora in \ntutto il mondo su progetti che spaziano dall’arredamento \nall’urbanistica. Tra gli incarichi più recenti citiamo lo \nSmithsonian National Museum of African American History \nsul National Mall a Washington DC, il concept store Alara \na Lagos, il centro di arte e shopping Aishti Foundation a \nBeirut e l’edifico della nuova sede di International Finance \nCorporation a Dakar.\nDavid Adjaye OBE was born in Tanzania to Ghanaian \nparents, his influences range from contemporary art, music \nand science to African art forms and the civic life of cities. \nHe founded Adjaye Associates in 2000 and immediately \nwon several prestigious commissions. Adjaye Associates \nnow has offices in London and New York and is working \nthroughout the world on projects ranging from furniture \nto master planning. Recent works include the Smithsonian \nNational Museum of African American History and Culture \non the National Mall in Washington DC, the Alara concept \nstore in Lagos, the Aishti Foundation arts and retail \ncentre in Beirut and a new headquarters building for the \nInternational Finance Corporation in Dakar.\nMoroso vol 1\u002F3          Sofas + Seating systems\nPhoto Gianni Antoniali \u002F Ikon\nHa disegnato per Moroso\nHe designed for Moroso\nDouble Zero collection\n",134,{"image":544,"text":545,"number":546},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.135.png","133\nAdjaye — Designers overview\nDouble zero, work in progress, 2015\n \nDouble Zero “… lo dico in modo ironico, perché in un certo senso \nvolevo creare un contro-prodotto rispetto al tipo di arredo che si basa sulla \nforma o sull’efficienza. Volevo creare un pezzo che sembrasse nato quasi \nper caso… Dopo averlo finito, lo fissavo per cercare di capirlo e mi sono \ndetto: ‘Oh wow, è proprio così’. Ed è davvero fantastico per me scoprire se \nesistono delle connessioni. Perché niente è completamente originale, ma \nl’idea è come farlo diventare qualcosa di nuovo”. \n \nDouble zero: “…I say that in an ironic way, because I kind of want to \nmake a counter-product to the form or efficiency type of furniture; I wanted \nto make a piece that almost looks like it just happened… After finishing it \nI started to just look through things and you go: ‘Oh wow, that’s a bit like \nthat’. And it’s really great for me to see if there are connections. Because \nnothing is completely original, but the idea is how to make it become \nsomething new”.\nPhoto Gianni Antoniali \u002F Ikon\n",135,{"image":548,"text":549,"number":550},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.136.png","Moroso vol 1\u002F3          Sofas + Seating systems\n134\nWerner Aisslinger\nL’opera del designer Werner Aisslinger, classe \n1964, esplora tutti gli aspetti dell’arte sperimentale, \nsenza tralasciare il design industriale e l’architettura. \nAisslinger adora avvalersi delle più recenti tecnologie. \nHa creato opere di grande successo e ricevuto premi \nin tutto il mondo: dal Compasso d’Oro a Milano al Design \nPrize in Germania, dal Red Dot Award all’FX Award \nin Gran Bretagna. Le sue realizzazioni sono esposte nelle \ncollezioni permanenti di musei di calibro internazionale, \ncome il Museum of Modern Art (MoMA) e il Metropolitan \nMuseum di New York, il Fond National d’Art Contemporain \ndi Parigi, il Neue Sammlung Museum di Monaco e il Vitra \nDesign Museum di Weil am Rhein, in Germania. \nWerner Aisslinger vive e lavora a Berlino.\nThe works of the designer Werner Aisslinger born \nin 1964 cover the spectrum of experimental, artistic \napproaches, including industrial design and architecture. \nHe delights in making use of the latest technologies and \nhas helped introduce new materials and techniques to the \nworld of product design. In the process, he has created \nstriking designs and received awards from all over the \nworld – from Milan’s Compasso d’Oro to the Design Prize \nof Germany, the Red Dot Award and FX Award in the \nUK. His work is exhibited in the permanent collections \nof international museums including the MoMA and the \nMetropolitan Museum in New York, the French Fonds \nNational d’Art Contemporain in Paris, the Museum Neue \nSammlung in Munich, and Vitra Design Museum in \nWeil am Rhein, Germany. Werner Aisslinger lives and \nworks in Berlin.\nHa disegnato per Moroso\nHe designed for Moroso\nBikini Island, Wood Bikini\nPhoto Tom Nagy\n",136,{"image":552,"text":553,"number":554},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.137.png","135\nAisslinger — Designers overview\nIllustration by Josh Cochran for the Wall Street Journal, 2013\n \n“Il padre scrive e-mail. La madre medita. I figli scaricano file, fanno \ngiochi online o mandano sms. Tutti possono trovare un posto su Bikini \nIsland per fare ciò che desiderano, con la sensazione di rimanere comunque \nsempre connessi agli altri.”\n \n“The father is emailing. The mother is meditating. The kids are \ndownloading files, playing online games or texting. Everyone can find a \ncorner on the island to do whatever he wants, but there’s still a feeling \nof trying to be connected to others.”\n",137,{"image":556,"text":557,"number":558},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.138.png","Moroso vol 1\u002F3          Sofas + Seating systems\n136\nProfessore di design al Royal College of Art di \nLondra, Ron Arad è un architetto e designer di origine \nisraeliana. Da oltre 25 anni lavora sul confine labile tra il \ndesign industriale e l’arte contemporanea. Con Moroso \nla ricerca plastica e concettuale del designer si è sommata \nalla sensibilità interpretativa propria dell’azienda. \nIl gesto estremo assimilato e tradotto in oggetti che \nsuperano la semplice forma, portando nel quotidiano \nuna vitalità che crea relazione.\nTeacher of design at the Royal College of Art in \nLondon, Ron Arad is an Israeli architect and designer. \nFor more than 25 years, he has worked on the thin dividing \nline between industrial design and contemporary art. In \nhis partnership with Moroso, his plastic and conceptual \nresearch added to the company’s interpretative sensitivity. \nThe designer’s audacious genius is assimilated and \ntranslated into objects that transcend their mere form to \nbring a relationship–generating vitality into everyday life.\nRon Arad\nHa disegnato per Moroso\nHe designed for Moroso\n1Skin Chair, 3Nuns, Do-lo-rez, Glider, Misfits, No-waste, Ripple Chair, \nSpring collection, Victoria and Albert collection\nPhoto Michael Castellana\n",138,{"image":560,"text":561,"number":562},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.139.png","137\n \nSinonimo di costante sperimentazione e radicale ri-elaborazione \ndi forme e strutture. Vive la materia come uno scultore, realizzando opere \nmodellate e forgiate secondo una vitale forza della natura.\n \nSynonymous with continuous material research and radical redesigning \nof shapes and structures. He approaches materials in the manner of a \nsculptor; he creates works that are modelled and forged in accordance\nwith nature’s vital force.\nArad — Designers overview\nSpring collection, sketches, 1989\n",139,{"image":564,"text":565,"number":566},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.140.png","Moroso vol 1\u002F3          Sofas + Seating systems\nMonica Armani\nArchitetto e designer, nel 1996 Monica Armani \nda vita a una brillante esperienza di autoproduzione: \nprogetto 1, che viene editato nel 2005. Da allora \ndisegna per alcune fra le più note aziende del settore \nitaliane e internazionali. Design rigoroso, innovazione \ne ingegnerizzazione danno vita ad uno stile unico \ne riconoscibile in tutti i progetti: dall’architettura \nall’industrial design, dall’interior decoration al design, \ndalla progettazione all’art direction e alla corporate \nidentity. Ripercorrendo i passi dei grandi maestri, \nlo Studio Monica Armani ha scelto di dedicarsi con \nattenzione anche all’architettura temporanea, ritenendola \nuna risposta concreta e consapevole alle esigenze \ndi sostenibilità del nostro tempo.\nMonica Armani is an architect and designer. In 1996 \nshe created a brilliant self-production experience: progetto \n1, which was produced in 2005. Since then, she has been \ndesigning for the best-known companies in the sector, both \nin Italy and abroad. Her combination of rigorous design, \ninnovation and engineering gives rise to a unique and \nunmistakable style in all her work: from architecture to \nindustrial design, and interior decoration to design, from \nplanning to art direction to corporate identity. Following \nin the footsteps of the great masters, Studio Monica \nArmani has chosen to devote its attention to contemporary \narchitecture, retaining it as a concrete and considered \nresponse to today’s need for sustainability. \n138\nHa disegnato per Moroso\nShe designed for Moroso\nRoger\n",140,{"image":568,"text":569,"number":570},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.141.png","Armani — Designers overview\n139\n \n“…Il nostro impegno è di definire oggetti sofisticati e misurati, \nlavoriamo sulla ricerca di nuovi materiali e tecnologie, senza \nsopravvalutarle, nella consapevolezza che l’innovazione passa attraverso\nla coscienza del passato e della propria storia… Amo quello che disegno \ne sono il mio peggior giudice, sperimentando tutti i giorni insieme ai miei \ncari quando sia importante vivere in uno spazio che ci corrisponde”.\n \n“…We are committed to creating sophisticated, non-excessive objects. \nWe continuously study new materials and technologies, without overrating \nthem, since we know that innovation is also the fruit of an awareness of \nthe past and one’s background… I love what I design but I’m my own worst \njudge as I and my loved ones experience, every day, how important it is to \nlive in a place that resembles us”.\nRoger, sketches, 2012\n",141,{"image":572,"text":573,"number":574},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.142.png","Marco Casamonti si laurea nel 1990 presso \nl’Università di Firenze e nel 2001 ottiene l’idoneità come \nProfessore Ordinario in Progettazione Architettonica \ne Urbana presso la Facoltà di Architettura di Genova. \nConduce un intenso lavoro di approfondimento e \nriflessione critica sui temi dell’architettura, pubblicando \nsaggi e scritti e attraverso conferenze e lectures. Dal \n1997 è direttore responsabile della rivista internazionale \ndi Architettura Area, dal 1999 è co-direttore con Paolo \nPortoghesi della rivista Materia, entrambe del Gruppo 24 \nORE. Nel 1988, fonda lo Studio Archea insieme a Laura\nAndreini e Giovanni Polazzi ai quali nel 1999 si associa \nSilvia Fabi. Archea è un network di circa 100 architetti, \noperativi nelle sette differenti sedi di Firenze, Milano, \nRoma, Pechino, Dubai e San Paolo. Gli interessi e le \nattività di ricerca dello studio muovono dal paesaggio \nalla città, dall’edificio al design e, pur essendo incentrati \nsull’architettura, i progetti spaziano dalla grafica \nall’editoria, dalle mostre agli eventi. La complementarità \ned il passaggio di scala che muove dalla critica al cantiere, \nconsente un’operatività integrata capace di intervenire \nnelle diverse forme compositive del progetto. Oltre alla \nricerca in ambito progettuale ogni associato dello studio \nsvolge una parallela attività nelle Facoltà di Architettura di \nFirenze e Genova. Tra i progetti più importanti è possibile \nannoverare: la Biblioteca comunale di Nembro (Bergamo), \nla nuova Cantina Antinori a San Casciano Val di Pesa \n(Firenze), l’UBPA B3-2 Pavilion World Expo 2010 e il GEL, \nGreen Energy Laboratory di Shanghai, l’ampliamento e \nriqualificazione della sede Perfetti Van Melle di Lainate nei \npressi di Milano. Sono in costruzione la Torre di Tirana, \nAlbania, la “Meravigliosa Island” in “the World” a Dubai, \nUAE, la Shangri-La Winery a Penglai, e il Li Ling World \nCeramic Art City, in Cina.\nMarco Casamonti graduated from the University \nof Florence in 1990 and was appointed Professor of \nArchitectural and Urban Planning in the faculty of \nArchitecture at the University of Genoa in 2001. He carries \nout in-depth research and critical reflection on various \narchitectural topics, has published numerous articles and \nessays and has actively participated in conferences and \nlectures. He has been editor-in-chief of the international \nmagazine Architettura Area since 1997 and has been co-\neditor-in-chief, along with Paolo Portoghesi, of Materia \nmagazine since 1999, both published by Gruppo 24 ORE. \nIn 1988, he founded Studio Archea with Laura Andreini \nand Giovanni Polazzi, and in 1999 Silvia Fabi joined the \nfirm. Archea is a network of around 100 architects, who \nwork in seven different offices located in Florence, Milan, \nRome, Beijing, Dubai and São Paolo. The interests and \nresearch activities of the firm encompass landscape and \ncity, buildings and design, and while the focus is very much \non architecture, their projects also include graphic design, \npublishing, exhibitions and events. The complementary \nnature of these various fields and the different scales of \nthe projects, from criticism to construction site, make \nit possible for the firm to operate in a wholly integrated \nmanner in all the various phases of a project. Each of the \nfirm’s partners combines their professional activities with \nteaching or research within the Faculty of Architecture \nat the University of Florence or Genoa. Some of the most \nimportant completed projects include the Nembro Public \nLibrary in Bergamo, Italy, the new Antinori Winery in \nFlorence’s San Casciano Val Di Pesa in Florence, the UBPA \nB3-2 Pavilion World Expo 2010 and GEL, Green Energy \nLaboratory in Shanghai, renovation and expansion of the \nPerfetti Van Melle industrial complex in Lainate, Milan. \nCurrently under construction are the Tirana Tower, \nAlbania, the “Meravigliosa Island” at the “World Islands”, \nDubai, the Shangri-La Winery in Penglai and the Li Ling \nWorld Ceramic Art City, in China.\nMoroso vol 1\u002F3          Sofas + Seating systems\nArchea Associati\n140\nPhoto Alexander Dobrovodský\n",142,{"image":576,"text":577,"number":578},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.143.png","Archea Associati — Designers overview\n141\nCantina Antinori, Bargino — Italy, 2013\n \n“…il segreto, che poi non è un segreto, coincide con la volontà di \nessere autenticamente se stessi accettando limiti e difetti del proprio agire. \nPersonalmente ho sempre cercato di fare ciò che mi interessava senza \neccessivi compromessi…” \n \n“…the secret, which isn’t really a secret, is to decide to be authentically \noneself, therefore accepting the limits and flaws of one’s work. \nPersonally, I’ve always tried to do what interests me without making \ntoo many compromises…” \n \nMarco Casamonti\n \nHanno disegnato per Moroso\n \nThey designed for Moroso\nTerreria\n",143,{"image":580,"text":581,"number":582},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.144.png","Moroso vol 1\u002F3          Sofas + Seating systems\n142\nAtelier Oï\nAtelier Oï è stato fondato nel 1991 da Aurel\nAebi, Armand Louis e Patrick Reymond a La Neuveville \nin Svizzera. Sin dall’inizio il progetto artistico mira \na cancellare la diversità di genere e a dare peso alla \ntrasversalità delle discipline. Il lavoro di respiro \ninternazionale varia dall’architettura, architettura d’interni, \nal design e alla scenografia. Multidisciplinarità, spirito di \nsquadra e il rapporto stretto con la materia sono alla base \ndella filosofia creativa di Atelier Oï. Una caratteristica \nprincipale di atelier oï è la sperimentazione, laddove la \nrealizzazione nasce da un rapporto intuitivo ed emozionale \nnella lavorazione dei materiali diversi. I progetti di atelier \noï hanno avuto riconoscimenti internazionali importanti. \nTra sperimentazione, scambi culturali e eventi dedicati alla \ncreazione, atelier oï progetta per editori più prestigiosi.\nFounded in La Neuveville, Switzerland, in 1991 by \nAurel Aebi, Armand Louis and Patrick Reymond, Atelier Oï \nhas been striving to dissolve barriers between genres and \nfoster cross-disciplinary creativity for 20 years. Over the \ncourse of their achievements, architecture, design and \nset design have intertwined on an international scale. \nMulti-disciplinary, team spirit and an intimate rapport \nwith the material are their watchwords. Born of an intuitive \nand emotional affinity with the act of shaping different \nmaterials, their projects have been recognized the world \nover. Between experimentation, cultural exchanges and \nevents devoted to their creations, they design for the most \nprestigious editors. \nHanno disegnato per Moroso\nThey designed for Moroso\nOasis collection, Teo\n",144,{"image":584,"text":585,"number":586},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.145.png","143\nAtelier Oï — Designers overview\nOasis, work in progress, 2013\n \n“L’approccio di Atelier Oï è di stabilire un rapporto intimo con il \nmateriale, giocando con esso, trasformandolo, vedere fino a dove possono \nportarci, e così facendo anche attraversare le barriere tra le discipline. \nLa nozione di proporre know-how relativi a questi materiali è per noi un \nvalore molto importante.”\n \n“Atelier Oï’s approach is to establish a close relationship with \nthe material. We play with it, transform it and see where it leads us, \neven crossing inter-disciplinary barriers to do so. To us, the idea of offering \nknow-how related to these materials is a very important value.”\nPhoto Alessandro Paderni \u002F Eye\n",145,{"image":588,"text":589,"number":590},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.146.png","Moroso vol 1\u002F3          Sofas + Seating systems\nPhilippe Bestenheider nasce a Sion, in Svizzera, \nnel 1971. Nel 1998 si laurea in architettura al Politecnico \ndi Zurigo e collabora con studi in Svizzera e negli Stati \nUniti. Nel 2000 consegue il master in Industrial design \nalla Domus Academy di Milano, dove successivamente \nviene invitato come workshop leader. Dal 2001 al 2006 è \nsenior designer nello studio di Patricia Urquiola a Milano, \ncollaborando con importanti aziende. Nel 2006 è invitato \na partecipare alla mostra di Promosedia. Nel 2007 apre \nil proprio studio e lavora tra la Svizzera e Milano.\nPhilippe Bestenheider was born in Sion, Switzerland, \nin 1971. In 1998 he graduated in architecture from Zürich \nPolytechnic and has worked for Swiss and US design \nstudios. In 2000 he achieved the Master in Industrial \nDesign at the Domus Academy of Milan, where he has \nbeen invited as workshop leader. From 2001 until 2006 \nBestenheider became Senior Designer at the Design \nstudio of Patricia Urquiola in Milan, working with several \nimportant companies. In 2006 he was been invited to \nparticipate at the Promosedia’s event.\nPhilippe Bestenheider\n144\nHa disegnato per Moroso\nHe designed for Moroso\nBinta, Nanook\n",146,{"image":592,"text":593,"number":594},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.147.png","Bestenheider — Designers overview\n145\n \n“Nel mio lavoro convivono due anime: il mondo freddo della geometria \ne il mondo caldo dell’espressione.”\n \n“My work combines two essences: the cold world of geometry \nand the passionate world of expressiveness.”\nBinta, taglio dei pezzi del tessuto da \nrivestimento della poltroncina.\nCutting layout diagram for Binta small \narmchair upholstery fabric.\n",147,{"image":596,"text":597,"number":598},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.148.png","Moroso vol 1\u002F3          Sofas + Seating systems\n146\nAyse Birsel & Bibi Seck\n \nBirsel & Seck nasce nel 2002 ed è lo studio di design \ndi prodotto di Ayse Birsel e Bibi Seck, con sede a New \nYork. Birsel + Seck collabora con clienti importanti allo \nscopo di portare l’innovazione nel mercato. Il suo punto \ndi forza risiede nella capacità di Ayse e Bibi di sintetizzare \nle informazioni e concepire nuove possibilità in termini \nsemplici e umani. Insieme scompongono vecchie ipotesi \nper ricostruire nuove esperienze. La loro innovazione non \nha origine dal problema ma dal modo con cui guardano al \nproblema. I principali collaboratori di Birsel & Seck sono \ni loro clienti, così che il lavoro di Ayse e Bibi è il risultato \ndella fusione del loro pensiero creativo con la conoscenza \ne l’esperienza dei loro clienti. Tra questi Herman Miller, \nHewlett Packard, Target, Toyota, Dassault Systèmes, \nHasbro e Moroso.\n \nBirsel & Seck was born in 2002. Birsel + Seck is \nthe product design studio of Ayse Birsel and Bibi Seck, \nbased in New York City. Birsel + Seck partners with \nlarge clients to bring innovation to market. Its strength \nlies in Ayse and Bibi’s ability to synthesize information \nand imagine new possibilities in simple, human terms. \nTogether they deconstruct old assumptions to reconstruct \nnew experiences. Their innovation comes not from the \nproblem but from how they look at the problem. Birsel + \nSeck’s biggest collaborators are its clients, making Ayse \nand Bibi’s work the merger of their creative thinking with \nthe knowledge and expertise of their clients. Their clients \ninclude Herman Miller, Hewlett Packard, Target, Toyota, \nDassault Systemes, Hasbro and Moroso.\n \nHanno disegnato per Moroso\n \nThey designed for Moroso\nGaal, Madame Dakar, Toogou\n",148,{"image":600,"text":601,"number":602},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.149.png","147\nBirsel & Seck — Designers overview\n \n“Portiamo la semplicità, il pensiero sistemico e l’umanità nei problemi \ncomplessi della vita, del lavoro, delle esperienze, dei prodotti e del \nbusiness. Scomponiamo la complessità per vedere ciò che è fondamentale \nrispetto a ciò che è relativo. Ricostruiamo un nuovo set di principi integrati \ne immaginiamo prodotti, sistemi, servizi, attività e la vita, tutti nuovi. \nEmpatia, semplicità e sostenibilità sono il fulcro del nostro lavoro. \nQuesto significa pensare come cittadini globali.”\n \n“We bring simplicity, systems-thinking and humanism to the complex \nproblems of life, work, experiences, products and business. We break down \ncomplexity to see through the fundamental versus relative. We reconstruct \na new set of integrated principles and envision new products, systems, \nservices, businesses and life. Empathy, simplicity, and sustainability are \ncentral to our work. So is thinking as global citizens.”\nMadam Dakar, work in progress, handicraft lab from Dakar \n— Senegal, 2009\n",149,{"image":604,"text":605,"number":606},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.150.png","Moroso vol 1\u002F3          Sofas + Seating systems\nTord Boontje è conosciuto per la sua espressione \ndel romanticismo nel design contemporaneo. Alcuni dei \nsuoi progetti sono stravaganti e ironici, ma sono capaci \ndi suscitare emozioni forti. Originario dei Paesi Bassi, \nBoontje ha studiato all’Accademia del Design di Eindhoven \ne successivamente al Royal College of Art di Londra, \nper poi fondare lo Studio Tord Boontje. Nato nel 1996, \nlo studio ha collaborato con aziende internazionali su \nuna varietà di prodotti come lampade, identità grafica, \ntessuti, ceramiche, installazioni in situ e pezzi d’arredo. \nIl suo lavoro è esposto presso le più importanti collezioni \ninternazionali come il Victoria & Albert Museum di \nLondra e il MoMA di New York. Da Shoreditch, lo studio \nconcepisce, crea e lancia nuove collezioni. Questo metodo \ndi lavoro, creativo e indipendente, funge da stimolo alle \nrelazioni esistenti e ne crea di nuove.\n.\nTord Boontje is known for his expression of \nromanticism in contemporary design. Some of his designs \nare whimsical and light-hearted; at the same time they \ncan connect with strong emotions. Originally from the \nNetherlands, Boontje’s education at the Eindhoven Design \nAcademy and the Royal College of Art in London set the \nfoundations for Studio Tord Boontje. Established in 1996, \nthe Studio has worked with international companies on a \nrange of products that includes lighting, graphic identity, \ntextiles, ceramics, site-specific installations, and furniture. \nWork can be found in major museum collections such as \nthe Victoria and Albert Museum and MoMA in New York. \nFrom its space in Shoreditch, the Studio conceives, creates \nand launches new collections. This independent and \ncreative method of working serves and inspires existing \nrelationships and initiates new ones.\nTord Boontje\n148\nHa disegnato per Moroso\nHe designed for Moroso\nO-chair, O-nest, Shadowy collection, Weavers bench\n",150,{"image":608,"text":609,"number":610},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.151.png","Boontje — Designers overview\n149\n \nLo stile di Tord: “…è a strati. Gli strati cambiano: a volte sono graziosi \ned edificanti, a volte più cupi e spaventosi come un racconto di paura, \ncome un film di Alfred Hitchcock! A volte è molto floreale e a volte è più di \ntendenza, più minimalista e più astratto.” \n \nTord’s style: “…it is layered. The layers shift, sometimes it’s really pretty \nand uplifting, sometimes it’s more dark and scary like a scary story, like an \nAlfred Hitchcock film! Sometimes it’s very floral and sometimes it’s much \ncooler and reduced and abstract.”\n“Happy Ever After”, Moroso showroom, \nMilano — Italy, 2004\n",151,{"image":612,"text":613,"number":614},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.152.png","Moroso vol 1\u002F3          Sofas + Seating systems\nFederica Capitani\n \nLa designer italiana Federica Capitani ha studiato \nDesign Industriale presso la Facoltà di Architettura \ndell’Università di Genova. Tra il 2002 e il 2005 ha lavorato \nper Patricia Urquiola a Milano e nel 2005 si è unita a \nMarcel Wanders ad Amsterdam, dove era responsabile \ndel design dei prodotti e dei mobili, fino al 2007. \nDopo un periodo in Giappone durante il quale ha lavorato \na progetti culturali e di design, Federica si è trasferita \na Londra nel 2009 e ha fondato il Federica Capitani Design \nStudio. Il suo lavoro spazia dai piccoli oggetti funzionali \na progetti architettonici focalizzati sull’arredamento e \nl’illuminazione. Federica vive e lavora tra Milano e Londra \ndove insegna presso il Royal College of Art.\n \nItalian designer Federica Capitani studied Industrial \nDesign at the Faculty of Architecture, University of Genova. \nBetween 2002 and 2005 she worked for Patricia Urquiola \nin Milan, in 2005 she joined Marcel Wanders in Amsterdam, \nwhere she was responsible for product and furniture design \nuntil 2007. After a period in Japan working on design \nand cultural projects, Federica moved to London in 2009 \nand established Federica Capitani Design Studio. \nHer work ranges from small utilitarian objects to \narchitectural projects focusing on furniture and lighting \ndesign. Federica lives and works between Milan and \nLondon, where she teaches at the Royal College of Art.\n150\n \nHa disegnato per Moroso\n \nShe designed for Moroso\nImba\n",152,{"image":616,"text":617,"number":618},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.153.png","Capitani — Designers overview\n151\n \n“Mi piace pensare che ogni nuovo progetto sia un’opportunità di \nesplorare nuovi contesti, nuovi processi, nuove manualità. In ultima analisi, \nquesto mi aiuta a non essere statica o rigida nel mio modo di fare design. \nMi permette di guardare a ogni nuovo progetto con occhi nuovi.”\n \n“I like to think that every new project is an opportunity to explore new \ncontexts, processes or craftsmanship. Ultimately this helps me to not be \nstatic and rigid with my design and allows me to look at new projects with \nfresh eyes.”\nImba, work in progress, handicraft lab from Dakar \n— Senegal, 2015\n",153,{"image":620,"text":621,"number":622},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.154.png","Moroso vol 1\u002F3          Sofas + Seating systems\n152\nAntonio Citterio\nAntonio Citterio nasce a Meda nel 1950. Si laurea \nin architettura al Politecnico di Milano e apre lo studio nel \n1972 occupandosi prevalentemente di disegno industriale. \nDal 1981 inizia l’attività di progettazione architettonica \ne di interni. Attualmente collabora con aziende italiane \ne straniere. Tra i riconoscimenti ottenuti, nel 1987 e nel \n1995 ottiene il Compasso d’Oro. Numerosi prodotti sono \nesposti nella collezione permanente di design del MoMA \ndi New York e nella collezione permanente del Centre \nGeorges Pompidou.\nAntonio Citterio was born in Meda, Italy in 1950. \nHe graduated in architecture from Milan Polytechnic and \nopened his studio in 1972, focusing on industrial design. \nHe later expanded his scope, incorporating architecture \nand interior design into his practice. He has worked for \nItalian and international companies. Citterio was awarded \nthe Compasso d’Oro in 1987 and 1995. He has numerous \ndesigns in the permanent collections of MoMA, New York; \nDesign Museum Centre Georges Pompidou, Paris, as well \nas several other museums worldwide.\nHa disegnato per Moroso\nHe designed for Moroso\nNovecento, Rich\nPhoto Giulio Boem\n",154,{"image":624,"text":625,"number":626},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.155.png","153\nCitterio — Designers overview\n \n“…in fondo lavorare nel furniture design è un continuo ridisegnare \ndelle tipologie esistenti oppure a volte c’è un minimo dell’evoluzione \ndella tipologia ed è quello che io tento di fare in determinate situazioni…\nsi ridisegna un oggetto che storicamente già esiste… per cui nel momento \nin cui si pone il problema di fare una nuova sedia devi avere una \ngiustificazione… credo che sia stata la mia fortuna, quello di non seguire \ndei trend… io faccio delle cose, che oggi possiamo dire tranquillamente \n‘timeless’ perché e legato a dei fatti di grande concretezza…”\n \n“…basically, designing furniture is a continuous redesigning of existing \ntypes or, sometimes, there’s the slightest advance in a type, which is what \nI strive to do in certain situations… you redesign something that already \nexists… so when the question arises of designing a new chair you must have \na justification… I think that not following the trends was something that \nbrought me luck… I do things that nowadays can undoubtedly be described \nas ‘timeless’ because they connected to very practical matters…”\nRich, crafting\nPhoto Alessandro Paderni \u002F Eye\n",155,{"image":628,"text":629,"number":630},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.156.png","Moroso vol 1\u002F3          Sofas + Seating systems\n154\nTom Dixon\nOssessionato dai materiali “onesti” e da un \nlavoro caratterizzato dall’impegno per un design e una \nproduzione innovativi, Tom Dixon si impone di ripensare e \nrilanciare l’industria britannica del mobile. Il marchio Tom \nDixon, creato nel 2002, si ispira alle tradizioni britanniche. \nLe nuove collezioni sono presentate ogni anno al Salone \ndel Mobile di Milano e i prodotti vengono venduti in \n63 Paesi. Nel settembre 2012 nasce il marchio di accessori \nEclectic by Tom Dixon, che presenta le sue collezioni \nannualmente alla fiera Maison et Object di Parigi.\nObsessed with honest materials, and a commitment \nto innovative design and manufacture, Tom Dixon is on \na self-propelled mission to rethink and revive the British \nFurniture Industry. Established in 2002, the Tom Dixon \nbrand is inspired by its unique British heritage, launching \nnew collections annually at the Milan International \nFurniture Fair and selling product across 63 countries. \nIn September 2012, a sister-brand of accessories, Eclectic \nby Tom Dixon, was established, launching collections \nannually at Maison et Object in Paris.\nHa disegnato per Moroso\nHe designed for Moroso\nSerpentine\n",156,{"image":632,"text":633,"number":634},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.157.png","155\nDixon — Designers overview\n \n“Voglio che il mio design duri nel tempo. \nVoglio qualcosa che sia controtendenza.”\n \n“I design for longevity, and I want something \nto be anti-fashion.”\nToulouse-Blagnac Airport — France, 2002\n",157,{"image":636,"text":637,"number":638},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.158.png","Moroso vol 1\u002F3          Sofas + Seating systems\n156\nRodolfo Dordoni\n \nRodolfo Dordoni, nasce nel 1954 a Milano, dove si \nlaurea in architettura. È stato responsabile della direzione \nartistica di Artemide, Cappellini, Fontana Arte, Foscarini. \nOggi lo è di Minotti (dal 1998), e Roda (dal 2006). \nCon lo studio di progettazione Dordoni Architetti, sviluppa \nprogetti per spazi residenziali, industriali e commerciali, \nnegozi e showrooms, hotels, ristoranti, yachts nonché \nallestimenti e stand fieristici.\n \nRodolfo Dordoni was born in Milan in 1954, where he \ngraduated in architecture. Responsible for the art direction \nof Artemide, Cappellini, Fontana Arte, Foscarini, Minotti \n(since 1998) and Roda (since 2006), he designs for various \ncompanies. Dordoni Architetti develops projects for houses, \nresidential complexes, industrial and commercial areas \nstores and showrooms, restaurants, hotels, yachts, as well \nas exhibit stands of diverse commercial fields.\n \nHa disegnato per Moroso\n \nHe designed for Moroso\nWaiting\n",158,{"image":640,"text":641,"number":642},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.159.png","157\nDordoni — Designers overview\n \n“Una filosofia progettuale che si riassume in un minimalismo sorridente \ne mai arcigno, un’essenzialità mai severa… L’understatement del suo modo \ndi fare si rispecchia nel lusso sobrio, senza orpelli né fronzoli, dei suoi \noggetti. Dentro e fuori le case.”\n \n“A design philosophy which can be summed up in a kind of minimalism \nthat is joyous and never dour, in a simplicity that is never severe. \nHis understated approach is reflected in the quiet, no-frills luxury of his \ndesigns. Inside and outside the home.” \nWaiting, 1991\nPhoto Tom Vack\n",159,{"image":644,"text":645,"number":646},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.160.png","Moroso vol 1\u002F3          Sofas + Seating systems\nNipa Doshi nasce nel 1971 a Bombay da una famiglia \nGujarati. Nel 1997 è a Londra, dove si laurea al Royal \nCollege of Art e dove rientra dopo un breve periodo \npassato in India per lavorare con alcuni artigiani. \nQui incontra Jonathan Levien, nato in Scozia, che ha da \npoco concluso un master anche lui presso il Royal College. \nLa sinergia fra Nipa e Jonatan funziona da subito: infatti \nnel 2000 creano un loro studio e si sposano. Assieme \nsviluppano un concetto di design particolare e innovativo \nche riunisce due approcci distinti e complementari al \nlavoro: Nipa, fortemente radicata nella cultura indiana, e \nJonathan, avviato alla progettazione del design industriale, \ncelebrano assieme un ibrido culturale che sintetizza \ntecnologia, narrazione, design industriale e artigianale.\nNipa Doshi was born in 1971 into a Gujarati family \nof Mumbai. She graduated from the Royal College of Art, \nLondon, in 1997 but she soon returned to India to work \nwith local craftspeople. After a short stay she went back \nto London where she met Jonathan Levien, a Scot who \nhad recently finished his Masters in furniture design at the \nRoyal College. The synergy between Nipa and Jonathan \nclicked immediately; in fact they set up Doshi Levien in \n2000 and got married. The combination of the two cultures \nand creativities generated a very special, innovative design \nconcept. Nipa’s is heavily influenced by the visual culture \nand materials of India, Jonathan’s is rooted in industrial \ndesign. Together, their work celebrates cultural hybridism \nand explores a combination of technology, narration and \nindustrial and craft design.\nNipa Doshi & Jonathan Levien\n158\nHanno disegnato per Moroso\nThey designed for Moroso\nArmada, Chandigarh, Charpoy, Impossible Wood, My Beautiful Backside, \nPaper Planes\nPhoto Kate and Camilla\n",160,{"image":648,"text":649,"number":650},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.161.png","Doshi & Levien — Designers overview\n159\n \n“Per me il design consiste nel prendermi cura del mio ambiente \nquotidiano. È il modo in cui faccio le cose: quando preparo la tavola \no rifaccio il letto, o mi godo il semplice gesto di cucinare. \nIl design è presente in tutto quello che facciamo.”\n \n“Design for me is very much about caring about our everyday \nenvironment and how I do things, whether it’s how I lay the table, \nhow I make the bed, or even enjoying the simple gesture of cooking. \nDesign seems to permeate everything we do.” \n \nNipa Doshi\nChandigarh, work in progress, 2012\nPhoto Alessandro Paderni \u002F Eye\n",161,{"image":652,"text":653,"number":654},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.162.png","Moroso vol 1\u002F3          Sofas + Seating systems\n160\nEnrico Franzolini\nNato a Udine nel 1952, Enrico Franzolini compie \ngli studi universitari a Firenze e Venezia dove nel 1979 \nsi laurea in architettura. Parallelamente al lavoro artistico \n(nel 1972 è invitato alla 36a Biennale di Venezia, nel \nsettore arti decorative), si sviluppa il suo impegno nei \ncampi dell’architettura e del disegno industriale, dove \nha avuto modo di collaborare con alcune delle più \nprestigiose aziende del mobile. Sono numerosi i progetti \ndi architettura e di interior design che vengono pubblicati \nnelle più autorevoli riviste di settore. Nel 1991 vince il \nprimo premio al concorso Top Ten indetto da Promosedia. \nDel 1999 è la menzione d’onore al premio Compasso d’Oro \nper la sedia Asia, mentre nel 2005 la sedia Lagoa ottiene \nil Reddot Design Award.\nBorn in Udine in 1952, Enrico Franzolini studied in \nFlorence and graduated in architecture from the University \nof Venice. Franzolini pursues projects in the field of art \n(La Biennale di Venezia, 1972), architecture and interior \ndesign, as well as product design. He has worked with some \nof the most important furniture companies. \nHis work has been published in Domus, Modo, Abitare \nand Interni. In 1991 he was awarded the first prize at \nPromosedia Intenational Fair. In 1999 he earned a honour \nfor the Compasso d’Oro award (Asia chair), and in 2005, \nhe won the Red Dot Design Award for the Lagoa chair.\nHa disegnato per Moroso\nHe designed for Moroso\nJules, Miss, Steel, Tia Maria collection\n",162,{"image":656,"text":657,"number":658},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.163.png","161\nFranzolini — Designers overview\nSteel, 2001\nPhoto Alessandro Paderni \u002F Eye\n",163,{"image":660,"text":661,"number":662},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.164.png","Moroso vol 1\u002F3          Sofas + Seating systems\n162\nFront\nSofia Lagerkvist e Anna Lindgren sono le \ncomponenti di Front, gruppo svedese di design. I loro \nprodotti si basano sulla condivisione di discussioni, \nesplorazioni ed esperimenti: collaborano insieme a tutti \ni progetti, dall’idea iniziale al prodotto finale. Gli oggetti \ndi Front spesso raccontano a chi osserva una storia sul \nprocesso del design, sul materiale in cui sono realizzati \no sulle convenzioni proprie del settore. Il lavoro di Front\nprende spunto in parte dagli animali, dai computer e dalle\nmacchine. Hanno creato interni in costante evoluzione,\noggetti con esplosioni, arredi robotici e una serie di mobili\nispirati al fascino della magia.\nSofia Lagerkvist and Anna Lindgren are the \nmembers of the Swedish design group Front. Their works \nare based on common discussions, explorations and \nexperiments and they collaborate in all projects from \ninitial ideas to the final product. Front’s design objects \noften communicate a story to the observer about the \ndesign process, about the material it is made of or about \nconventions within the design field. In their work they \nhave assigned part of the making of design to animals, \ncomputers or machines. They have made a constantly \nchanging interior, created objects with explosions, \nrobotic furniture and a range of furniture inspired by their \nfascination with magic.\nHanno disegnato per Moroso\nThey designed for Moroso\nAnomaly, Doodle, Soft Wood\nPhoto Mattia Campo\n",164,{"image":664,"text":665,"number":666},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.165.png","163\nFront — Designers overview\nDoodle, pattern, 2012\n \n“…uno stile eclettico, sempre diverso, quasi difficilmente classificabile, \nperché ogni prodotto è un piccolo sistema a sé, con un proprio codice da \ndecifrare, con aspettative da soddisfare.”\n \n“…an eclectic style, always different, almost hard to classify because \neach product is a range in its own right with a unique code to decipher and \nexpectations to satisfy.” \nPhoto Alessandro Paderni \u002F Eye\n",165,{"image":668,"text":669,"number":670},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.166.png","Moroso vol 1\u002F3          Sofas + Seating systems\nMartino Gamper\nMartino Gamper (nato a Merano nel 1971) vive e \nlavora a Londra. Inizia come apprendista da un produttore \ndi mobili di Merano e successivamente studia scultura \ncon Michelangelo Pistoletto all’Accademia di Belle Arti di \nVienna. Nel 2000 si laurea presso il Royal College of Art di \nLondra, dove ha avuto come insegnante Ron Arad.\nLavorando tra arte e design, Martino Gamper si impegna \nin svariati progetti dall’exhibition design all’interior \ndesign, commesse singole e design di prodotto in serie \nper l’avanguardia del settore internazionale dell’arredo. \nGamper ha presentato la sua opera e i suoi progetti a \nlivello internazionale in numerose mostre selezionate \ntra cui ‘100 Chairs in 100 days’, Touring Show, RMIT, \nMelbourne, Australia; ’Transformers’, MAXXI, Roma (2016); \n‘design is a state of mind’, Serpentine Sackler Gallery, \nLondra (2014); ‘In A State of Repair’, Rinascente, Milano \n(2014). Ha ottenuto il Moroso Award for Contemporary Art \nnel 2011 e il Brit Insurance Designs of the Year, Furniture \nAward nel 2008 per il progetto ‘100 Chairs in 100 day’.\nMartino Gamper, born in 1971, Merano, Italy, lives \nand works in London. Starting as an apprentice with a \nfurniture maker in Merano, Gamper went on to study \nsculpture under Michelangelo Pistoletto at the Academy \nof Fine Arts, Vienna. He completed a Masters in 2000 from \nthe Royal College of Art, London, where he studied under \nRon Arad. Working across design and art venues, Martino \nGamper engages in a variety of projects from exhibition \ndesign, interior design, one-off commissions and the design \nof mass-produced products for the cutting edge of the \ninternational furniture industry. Gamper has presented his \nworks and projects internationally; selected exhibitions \nand commissions include: ‘100 Chairs in 100 Days’, Touring \nShow, RMIT, Melbourne, Aus; ’Transformers’, MAXXI, \nRome (2016); ’design is a state of mind’, Serpentine Sackler \nGallery, London (2014); ‘In A State of Repair’, Rinascente, \nMilan (2014). Gamper was the recipient of the Moroso \nAward for Contemporary Art in 2011, and the Brit Insurance \nDesigns of the Year, Furniture Award in 2008 for his project \n‘100 Chairs in 100 days’.\nPhoto Angus Mill\n164\nHa disegnato per Moroso\nHe designed for Moroso\nSt. Mark\n",166,{"image":672,"text":673,"number":674},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.167.png","Gamper — Designers overview\n165\nMetamorphosis, 2013\n \n“Personalmente mi piace poter confrontare liberamente la mia \nesperienza di ebanista con i diversi know-how artigianali e lavorare insieme, \nper far nascere cose nuove dalla realtà che vivo ogni giorno. Mi piace pormi \ndavanti a un oggetto e rielaborare nuove esigenze e immaginare le situazioni \nche può creare, dove andrà a finire, l’ambientazione cui darà vita, come \ninteragirà e si integrerà nell’ambiente in cui sarà usato e collocato. Bisogna \nandare oltre l’oggetto.”\n \n“Personally, I enjoy being able to juxtapose my experience as a cabinet-\nmaker with the various artisan skills, and work together to create new things \nbased on the reality I see around me every day. I like looking at an object \nand rethinking new needs, imagining the situations it could create, where it \nwill end up, the setting it’ll create, how it will interact and integrate with the \nsetting where it will be placed and used. You have to go beyond the object.”\nPhoto Alessandro Paderni \u002F Eye\n",167,{"image":676,"text":677,"number":678},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.168.png","166\nMoroso vol 1\u002F3          Sofas + Seating systems\nConcetta Giannangeli\n \nArchitetto-designer, Concetta Giannageli \ntrasferisce nella creazione di oggetti la sua esperienza di \ncultural-educational designer: ne scaturisce un design \nche ricerca l’influenza dei processi maieutici, che guarda \nall’espressione creativa come generale approccio al fare \ne al produrre bellezza e sperimenta l’intersezione tra \ntecniche artigiane e nuove tecnologie. Produrre un nuovo \noggetto diviene allora un’occasione di sperimentazione \nper una comunità di pratica, con risultati inediti e \nsorprendenti, creati dalle interrelazioni che li precedono, \naffacciandosi all’estetica relazionale contemporanea.\nHa lavorato per Gregotti Associati International, Guido \nCanali Architetto, Prada, Villa Manin Centro d’Arte \nContemporanea, Modidi Creare Sostenibile.\nAttualmente è Head of Creative Team & Prototyping \nAtelier in Moroso.\n \nArchitect and designer Concetta Giannageli \nimbues the objects she creates with her experience as a \ncultural-educational designer. The outcome is designing \nwhich studies the influence of maieutic processes, that \nsees creative expression as a general approach to the \ncreation and production of beauty, and experiments \nwith the intersection of artisan techniques and new \ntechnology. Therefore, making a new object becomes an \nopportunity to experiment for a community of practice, \nproducing new, surprising results arising from their \npreceding interrelations, verging on contemporary \nrelational aesthetics. She has worked for Gregotti Associati \nInternational, Guido Canali Architetto, Prada, Villa Manin \nCentro d’Arte Contemporanea, Modidi Creare Sostenibile. \nShe is currently the head of Moroso’s creative team \nand prototyping department.\n \nHa disegnato per Moroso\n \nShe designed for Moroso\nJardin Suspendu\n",168,{"image":680,"text":681,"number":682},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.169.png","167\nGiannangeli — Designers overview\n \n“Jardin Suspendu… nasce dall’intenso desiderio di avere un giardino, \ndal tentativo di superare il susseguirsi delle stagioni… un microcosmo \ncolorato dove concentrare tutto quello che vorremmo: un angolo di frutteto, \nuna pergola, una siepe ombrosa, le aromatiche, i piccoli frutti, certe \nmagiche fragranze notturne.”\n \n“Jardin Suspendu… is the fruit of an intense yearning for a garden, \nof an attempt to transcend the cycle of the seasons… a colourful microcosm \nwhere we can put everything we want: a small fruit orchard, a pergola, \na shady hedge, herbs, berries, certain magical nocturnal fragrances.”\nJardin Suspendu, sketches, 2015\n",169,{"image":684,"text":685,"number":686},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.170.png","Moroso vol 1\u002F3          Sofas + Seating systems\n168\nGordon Guillaumier\nGordon Guillaumier è nato a Malta e ha studiato \nin Svizzera, in Inghilterra e in Italia. Si è laureato in \nDesign Industriale presso lo IED di Milano e in seguito \nha frequentato un master in design industriale alla \nDomus Academy di Milano. Nel 1993 ha collaborato \ncon l’architetto\u002Fdesigner Rodolfo Dordoni. In questo \nperiodo Gordon ha realizzato i suoi primi progetti per \nFoscarini e altri marchi. Nel 2002 ha fondato un proprio \nstudio a Milano, che opera nei campi del design di \nprodotto, consulenza e design d’interni. Il suo lavoro nel \ndesign d’interni si focalizza principalmente su progetti \nresidenziali: il suo studio ha sviluppato progetti di \narchitettura e interni per clienti privati. Gordon ha preso \nparte a varie esposizioni e fiere: “Pro-gettare” Abitare \nII Tempo, Verona (1999), Pandora Design, Milano (2001); \nMolteni Villa Torlonia (2002); Pamar, Palazzo Crivelli \n(2006\u002F2012); Roda, Salone del Mobile Milano (2006\u002F2013); \nMondadori\u002FInterni (2011\u002F2014). Nel 2006 è stato docente \npresso la facoltà di design industriale del Politecnico \ndi Milano. Il suo lavoro compare frequentemente su riviste \ndi design internazionali.\nGordon Guillaumier was born in Malta and educated \nin Switzerland, England and Italy. He graduated in \nindustrial design at the IED, Milan and later a Masters \nin industrial design at the Domus Academy, Milan. \nIn 1993 he collaborated with the architect\u002Fdesigner Rodolfo \nDordoni. It was during this period that Gordon presented \nhis first own designed products for Foscarini and others. \nIn 2002 he set up his own design studio in Milan, working \non product design, design consulting and interior design. \nHis works in interior design are mainly focused on \nresidential projects whereby his studio has developed \narchitecture and interiors for private clients. Gordon has \nparticipated in various exhibitions and trade fairs; \n“Pro-gettare” Abitare II Tempo, Verona (1999), Pandora \nDesign, Milano (2001); Molteni Villa Torlonia (2002); \nPamar, Palazzo Crivelli (2006\u002F2012); Roda, Salone del \nMobile Milano (2006\u002F2013); Mondadori\u002FInterni (2011\u002F2014). \nIn 2006 he has lectured at the faculty of industial design \nat the Politecnico di Milano. His work is regularly featured \nin the international design press.\n",170,{"image":688,"text":689,"number":690},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.171.png","169\nGuillaumier — Designers overview\n \n“La nostra missione è catturare le qualità sensoriali che derivano \ndalle passeggiate di tutti i giorni e trasformarle in progetti in grado \ndi far scaturire nuove emozioni e nuove riflessioni… questo vale per i piccoli \noggetti, così come per i grandi interni e dà un senso al nostro lavoro.”\n \n“Our mission is to capture the sensorial attributes that come from \nthe walks of everyday life and translate them into our projects to trigger \noff exciting new emotions and reasoning… be it for small objects or large \ninteriors, giving a new sense to our work.”\n \nHa disegnato per Moroso\n \nHe designed for Moroso\nFreeflow\nMassArt, Boston — USA, 2013\n",171,{"image":692,"text":693,"number":694},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.172.png","Moroso vol 1\u002F3          Sofas + Seating systems\nAlfredo Häberli\nL’argentino Alfredo Häberli (1964) è un designer di \nfama internazionale che vive e lavora a Zurigo. Designer \nparticolarmente produttivo, Häberli lavora per alcune \ndelle aziende leader sulla scena del design internazionale \ncome BMW, Georg Jensen, Kvadrat, Moroso e Vitra. \nNei suoi progetti cerca di unire tradizione e innovazione, \ngioia ed energia. Il suo lavoro è fortemente influenzato \ndagli anni della prima infanzia trascorsi in Argentina, così \ncome dalla sua curiosità e dai suoi studi. Il risultato è un \nlavoro di grande espressività ed emotività. I prodotti e \ni progetti di Alfredo Häberli sono stati esposti in numerose \nmostre in tutta Europa e, nel corso della sua lunga carriera, \nè stato insignito di numerosi premi. Nel 2014 Alfredo \nHäberli ha ricevuto il prestigioso Gran Premio Svizzero di \nDesign dall’Ufficio Federale della Cultura. Il suo più grande \nprogetto realizzato fino ad ora, il 25hours Hotel Zurich \nWest, è stato inaugurato nel novembre 2012. Oltre che \nresponsabile per tutta la progettazione d’interni, Häberli \nha creato per l’hotel oltre 60 prodotti.\nArgentinian-born Alfredo Häberli (1964) is an \ninternationally established designer based in Zurich. \nThe very productive designer is working for some of the \nleading companies of the international design industry \nsuch as BMW, Georg Jensen, Kvadrat, Moroso and Vitra. \nHe manages to unite tradition with innovation, joy and \nenergy in his designs. His work is strongly influenced by \nhis early childhood in Argentina as well as his curiosity \nand studies in everyday life. The results are works with a \nstrong expression and emotionality. Alfredo Häberli’s work \nand designs have been shown in numerous exhibitions \nthroughout Europe and he been awarded many times \nduring his extensive career. In 2014 Alfredo Häberli \nreceived the prestigious Swiss Grand Prix of Design from \nthe Swiss Federal Office of Culture. The most extensive \nproject to date, the 25hours Hotel Zurich West, was \ninaugurated in November 2012. He was responsible for \nthe overall interior decoration and designed more than \n60 products for the hotel.\nPhoto Jonas Kuhn\n170\nHa disegnato per Moroso\nHe designed for Moroso\nTake a line for a walk collection\n",172,{"image":696,"text":697,"number":698},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.173.png","Häberli — Designers overview\n171\n \n“Ultimamente, credo che il design sia semplicemente un altro modo \nper ritrovare se stessi, per guardarsi nel profondo e, non da ultimo, \nscoprire qualcosa di nuovo. Proprio come ho fatto io da bambino con le mie \nautomobiline.” \n \n“Ultimately, I believe that designing is yet another way of finding out \nabout ourselves, of carrying out in-depth examination and, not least, \nof discovering new things – as I did as a little boy with my Matchbox cars.”\nTake a line for a walk collection, work in progress, 2016\nPhoto Alessandro Paderni \u002F Eye\n",173,{"image":700,"text":701,"number":702},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.174.png","Moroso vol 1\u002F3          Sofas + Seating systems\n \nIl designer tedesco Sebastian Herkner è nato nel \n1981 e ha studiato design di prodotto all’Università di \nOffenbach per le Arti e il Design. Il suo studio si occupa \ndi progettazione di oggetti, elementi d’arredo e interni \nin grado di fondere contesti culturali diversi e abbinare \nnuove tecnologie a lavorazioni artigianali, allo scopo \ndi sottolineare la sfaccettata bellezza dei materiali e \nrinnovare l’attenzione verso i piccoli dettagli. \nI suoi progetti hanno ricevuto numerosi premi, tra cui il \nGerman Design Award nel 2011 per la categoria esordienti \ne l’EDIDA Award per il miglior esordiente internazionale. \nÈ stato Guest of Honor a IMM Cologne 2016. \n \nThe German designer Sebastian Herkner, born in \n1981, studied product design at the Offenbach University of \nArt and Design. His studio is focused on designing objects, \nfurniture and interiors merging various cultural contexts, \ncombining new technologies with traditional craftsmanship \nin order to highlight the multifaceted beauty of the \nmaterials and draw renewed attention to small details. \nHis designs have received multiple prizes, including the \n2011 German Design Award in the Newcomer category, \n2015 the EDIDA Award for Best International Newcomer \nand Guest of Honor at IMM Cologne 2016. \nSebastian Herkner\n172\nPhoto Ingmar Kurth\n \nHa disegnato per Moroso\n \nHe designed for Moroso\nBanjooli collection, Pipe\n",174,{"image":704,"text":705,"number":706},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.175.png","Herkner — Designers overview\n173\nBanjooli collection, 2014\n \n“…Sebastian Herkner non è influenzato dalle tendenze dei criteri \nstabiliti dal consumatore contemporaneo… La sua idea di sostenibilità \nconsiste nell’impiego di tecniche di produzione tradizionali e nel loro \ncarattere unico. Egli mette insieme e interpreta tutto ciò attraverso nuove \ntecnologie e nuove finiture…”\n \n“…Sebastian Herkner is not so much influenced by trends or current \nconsumer criteria… His idea of sustainability consists of employing \ntraditional manufacturing techniques and their unique character. \nHe then combines and interprets this by employing new technologies \nand finishing methods…”\nPhoto Alessandro Paderni \u002F Eye\n",175,{"image":708,"text":709,"number":710},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.176.png","Moroso vol 1\u002F3          Sofas + Seating systems\nBenjamin Hubert\nNato in Inghilterra nel 1984, Benjamin Hubert \nha studiato design industriale e tecnologia presso \nla Loughborough University, dove si è laureato nel 2006.\nBenjamin Hubert Ltd è specializzata in design industriale \nnei settori dell’arredamento, illuminazione, prodotto \ne installazioni e collabora con diversi produttori su scala \nmondiale. Lo studio lavora a svariate tipologie di progetti \nche comprendono sia produzioni in serie\u002Flotti che edizioni \nlimitate e pezzi unici. Benjamin Hubert ha riscosso \nconsensi a livello internazionale sia da parte della critica \nche dei media e ha esposto la sua opera in tutto il mondo \nricevendo una serie di prestigiosi riconoscimenti.\nBorn in the UK in 1984, Benjamin Hubert studied \nIndustrial Design and Technology at Loughborough \nUniversity and graduated in 2006.\nBenjamin Hubert Ltd specialises in industrial design across \nfurniture, lighting, product and installations working with \ninternational global manufacturers.\nThe studio works on a diverse range of projects including \nboth mass\u002Fbatch produced consumer products and \nlimited edition\u002Fone-offs. Benjamin Hubert has received \ninternational critical and media acclaim and has been \nexhibited internationally, receiving a number of \nprestigious awards.\n174\nPhoto Giovanni Gastel\nHa disegnato per Moroso\nHe designed for Moroso\nCradle, Net, Talma\n",176,{"image":712,"text":713,"number":714},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.177.png","Hubert — Designers overview\n175\n \n“Penso che svilupperemo ancora molto hardware ma l’aspetto software \ndi un prodotto è qualcosa su cui ci concentreremo sempre di più… \nil software ha emissioni di carbonio di gran lunga inferiori rispetto alla \nproduzione di oggetti che devono essere trasportati, rivenduti, rifatti, \nriutilizzati e infine riciclati.” \n \n“I think we’re still going to be developing a lot of hardware but the \nsoftware side of things is something we’re going to be increasingly focussed \non… software is something that has a much smaller carbon footprint than \nproducing more stuff that needs to go somewhere, then needs to be re-sold, \nre-made, re-used, recycled.”\nCradle collection, 2013\n",177,{"image":716,"text":717,"number":718},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.178.png","Moroso vol 1\u002F3          Sofas + Seating systems\n \nRichard Hutten, nato nel 1967, è uno dei designer \nolandesi più influenti e di successo. È noto per i suoi \nprogetti concettuali e divertenti allo stesso tempo. \nÈ un autentico innovatore che lavora nel settore del design \ndi prodotto, degli arredi e dell’interior design. \nI suoi prodotti sono iconici, intelligenti e funzionali. \nTra i premi ricevuti spiccano il Red Dot Award, il LAI, \nThe Great Indoors e The Golden Monkey. Hutten è \nprobabilmente uno dei designer della sua generazione con \nil maggiore numero di opere esposte, presenti in oltre 45 \nmusei in tutto il mondo, numero sicuramente destinato \na salire. Solo per citarne alcuni: MoMA New York, Victoria \n& Albert Museum Londra, Stedelijk Museum Amsterdam, \nChicago Art Institute, Design Museum Londra, Vitra \nDesign Museum Weil am Rhein, Rijksmuseum Amsterdam \ne MoMA San Francisco. \n \nRichard Hutten, 1967, is one of the Dutch most \nsuccessful and influential designers. He is known for his \nconceptual yet playful designs. He is a true innovator, \nworking in the field of product, furniture and interior \ndesign. His designs are iconic, intelligent and functional. \nThe awards won include Red Dot Award, The LAI award \nand The great Indoors Award and The Golden Monkey \naward. Hutten is probably one of the most collected \ndesigners of his generation, with works in over 45 museums \nin the World and still counting. To name a few: MoMA \nNew York, Victoria & Albert Museum London, Stedelijk \nMuseum Amsterdam, Chicago Art Institute, Design Museum \nLondon, Vitra Design Museum Weil am Rhein, Rijksmuseum \nAmsterdam and MoMA San Francisco. \nRichard Hutten\n176\n \nHa disegnato per Moroso\n \nHe designed for Moroso\nX Chair\n",178,{"image":720,"text":721,"number":722},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.179.png","Hutten — Designers overview\n177\n \n“Ironico, amichevole, sorprendente. Come la maggior parte \ndegli artisti olandesi, mi interessa la struttura, la forma che sta alla base. \nSe si segue la sintassi del processo di design, il design diventa \nimmediatamente comprensibile.”\n \n“Humorous, friendly, surprising. Like most Dutch artists I am more \nconcerned with the structure, the basic shape. You can follow the syntax \nof the design process – the design can be understood immediately.”\nX Chair, work in progress, 2015\nPhoto Alessandro Paderni \u002F Eye\n",179,{"image":724,"text":725,"number":726},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.180.png","Moroso vol 1\u002F3          Sofas + Seating systems\n178\nMassimo Iosa Ghini\nMassimo Iosa Ghini si laurea al Politecnico \ndi Milano. È considerato uno degli architetti e designer \nitaliani di maggior spicco nel panorama internazionale \ndel progetto. Dal 1985 partecipa alle avanguardie \ndell’architettura e del design italiano: fonda il movimento \nculturale Bolidismo e fa parte del gruppo Memphis \ndi Ettore Sottsass. Dal 1989 inizia le collaborazioni \ninternazionali; nello stesso anno tiene la sua prima mostra \nall’Inspiration Gallery presso l’Axis Building di Tokio \ne a Osaka gli vengono consegnate le Chiavi della Città. \nNel 1990 apre la Iosa Ghini Associati, che oggi opera \na Milano, Bologna, Mosca e Miami, sviluppando progetti \nper grandi gruppi e developer internazionali. \nSi occupa di progettazione di spazi architettonici \nresidenziali, commerciali e museali, installazioni culturali, \nprogettazioni di aree e strutture dedicate al trasporto \npubblico, nonché del design di catene di negozi realizzate \nin tutto il mondo. Molti dei suoi prodotti si trovano in \ndiversi musei e collezioni private internazionali ed hanno \nricevuto importanti riconoscimenti e menzioni, tra cui \nil Roscoe Award, USA, il Compasso D’Oro ADI, il Good \nDesign Award del Chicago Athenaeum, l’IAI Green \nDesign Award, Cina, l’iF Product Design Award e il Red \nDot Award, Germania. Nel 2013 la Triennale di Milano ha \ndedicato un’intera antologica ai suoi 30 anni di carriera \nprofessionalee nel 2015, la Fondazione Marconi \ne il Marconi Institute for Creativity gli hanno conferito \nil Premio Marconi per la Creatività come riconoscimento \nper le sue capacità ideative.\nMassimo Iosa Ghini graduated from the Politecnico \ndi Milano. He is considered one of the leading Italian \narchitects and designers on the international design scene. \nHe has worked in the Italian architectural and design \navant-garde since 1985: he founded the Bolidismo cultural \nmovement and was part of Ettore Sottsass’ Memphis group. \nIn 1989 he started working internationally; in the same year \nhe held his first solo at the Inspiration Gallery in the Axis \nBuilding, Tokyo, and Osaka bestowed the Keys to the City \nupon him. He opened Iosa Ghini Associati in 1990. \nToday the firm operates in Milan, Bologna, Moscow \nand Miami developing projects for large groups and \ninternational developers. He designs residential, \ncommercial and museum interiors, cultural installations, \npublic transport areas and structures, and store chains \nall over the world. Many of his designs are in international \nmuseums and private collections and have received major \nawards and accolades including the Roscoe Award, USA; \nthe ADI Compasso D’Oro; the Good Design Award of the \nChicago Athenaeum; the IAI Green Design Award, China; \nthe iF Product Design Award and the Red Dot Award, \nGermany. In 2013 the Milan Triennale held a retrospective \nof his 30-year career. Fondazione Marconi and the Marconi \nInstitute for Creativity awarded him the 2015 Premio \nMarconi per la Creatività (Marconi Prize for Creativity) \nin recognition of his creative talents.\nHa disegnato per Moroso\nHe designed for Moroso\nBig Mama, Papy, NewTone\n",180,{"image":728,"text":729,"number":730},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.181.png","179\nIosa Ghini — Designers overview\n \n“La mia è una visione estetica che parte dall’avanguardia… \nIl progetto non è altro che il dispositivo con cui migliorare il contesto, \nin qualsiasi campo lo andiamo ad applicare.”\n \n“I have an aesthetic vision which begins from the avant-garde…\nThe project is only a device used to improve the context, in whichever \nfield we apply the project to.”\nNewTone, sketches, 1989\n",181,{"image":732,"text":733,"number":734},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.182.png","Moroso vol 1\u002F3          Sofas + Seating systems\nTomita Kazuhiko si definisce un nomade che \nviaggia tra Est e Ovest e la storia della sua vita sostiene \npienamente questo concetto. A Milano apre lo studio \n2.5 – Dimensional Design lavorando con Alessandro \nMendini, Ettore Sottsass e Vico Magistretti. \nAlcuni dei prodotti che ha disegnato sono entrati a far \nparte della collezione permanente del Museum of Modern \nArt a New York. La semplicità per lui è importante, \nnon intesa come il minimalismo dello stile Bauhaus \nma in coerenza con la teoria dello shintoismo, secondo \nil quale gli oggetti inanimati contengono un’energia \nspirituale.\nKazuhiko Tomita describes himself as a nomad \nwandering between the East and the West. His life story \nbears this theory out. He opened his own studio in Milan, \n“2.5-dimensional design”, and was soon working with \nMasters like Alessandro Mendini, Ettore Sottsass and \nVico Magistretti. Many of his product designs are in the \npermanent collection of MoMA, New York. \nFor him, simplicity is an important factor. For Tomita, \nreduction to the essence is a feature of Japanese \nShintoism, a belief that even inanimate objects have \nspiritual energy.\nTomita Kazuhiko\n180\nHa disegnato per Moroso\nHe designed for Moroso\nUkiyo\n",182,{"image":736,"text":737,"number":738},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.183.png","Kazuhiko — Designers overview\n181\n \n“…essere globale, essere universale e speciale allo stesso tempo… \npossiamo unire il processo oggettivo a un design emotivo e di ispirazione.”\n \n“…be global, be universal and special at the same time… it is quite \npossible for us to combine the objective process with emotional and \ninspirational designing.”\nUkiyo, 2006\nPhoto Massimo Gardone \u002F Azimut\n",183,{"image":740,"text":741,"number":742},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.184.png","Moroso vol 1\u002F3          Sofas + Seating systems\nToshiyuki Kita ha iniziato a lavorare a Milano e in \nGiappone nel 1969. Ha disegnato per aziende europee e \ngiapponesi alcuni dei prodotti più venduti al mondo, molti \ndei quali sono stati selezionati per le collezioni permanenti \ndi musei come, tra gli altri, il MoMA di New York e il \nCentro Georges Pompidou di Parigi. È stato consulente \ngovernativo per il design a Singapore, in Tailandia e in \nCina. Ha giocato un ruolo fondamentale nel riportare in \nluce l’artigianato tradizionale giapponese. È direttore \ndella fiera internazionale Living & Design e del progetto \ndi restauro RENOVETTA. È professore presso l’Università \ndell’Arti di Osaka. Nel 2015 si è tenuta presso la Chiesa di \nSan Domenico ad Alba la mostra “Il Lusso Della Natura”. \nTra i riconoscimenti internazionali, Kita è stato insignito \ndel premio Delta de Oro in Spagna nel 1990 e, nel 2011, \ndel Compasso d’Oro alla Carriera. Tra le sue pubblicazioni \ncitiamo “Power of Design”, “Local Industry + Design” \ne “Venture for Design”.\nToshiyuki Kita began his work in Japan and, from \n1969, Milan. He has designed many internationally best-\nselling products for European and Japanese firms, many \nof which have been selected for the permanent collections \nof MoMA, New York and Centre Georges Pompidou, \nParis. He has served as governmental design advisor to \nSingapore, Thailand and China. He is also very active \nin revitalizing the Japanese traditional craftsmanship. \nHe was director of the international trade fair “Living & \nDesign” and the lifestyle renovation project “RENOVETTA”. \nProfessor, The Osaka University of Arts. In 2015, his \ninvitational exhibition “Il Lusso Della Natura” was held \nat Chiesa San Domenico Church in Alba. International \nawards include the 1990 Delta de Oro, Spain, 2011 and the \nprize “2011 career achievement Compasso d’Oro”, Italy. \nPublication include Power of Design, Local Industry + \nDesign, Venture for Design.\nToshiyuki Kita\n182\nHa disegnato per Moroso\nHe designed for Moroso\nSaruyama, Saruyama Giro, Saruyama Island\n",184,{"image":744,"text":745,"number":746},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.185.png","Kita — Designers overview\nJet Blue Terminal, JFK Airport, New York \n— USA, 2008\n183\n \n“La forma esprime il sentire. Quando disegno cerco di mettere nei \nprodotti quello che sento. Non mi piacciono i prodotti freddi. Amo i prodotti \namichevoli e umani.” \n \n“Form expresses feeling. When I design I try to put feelings into the \nproducts. I don’t like cold products. I like friendly, human products.”\n",185,{"image":748,"text":749,"number":750},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.186.png","Moroso vol 1\u002F3          Sofas + Seating systems\nDaniel Libeskind\nDaniel Libeskind è noto per la sua capacità \ndi evocare una memoria culturale attraverso edifici \ncontemporanei che sfidano il concetto di equilibrio. \nInfluenzato da una dedizione profonda per la musica, \nla filosofia e la letteratura, Libeskind mira a creare \nun’architettura e un design distintivi, originali e sostenibili. \nNato a Lód’z (Polonia) nel 1946, da adolescente è emigrato \nnegli Stati Uniti. Daniel Libeskind ha fondato il suo \nstudio di architettura a Berlino nel 1989, dopo aver vinto \nun concorso per la costruzione del Museo Ebraico di \nBerlino. Nel 2003, lo Studio Daniel Libeskind ha trasferito \nla sua sede da Berlino a New York, dopo che Libeskind \nfu selezionato per realizzare il master plan del nuovo \nWorld Trade Center. Lo Studio Libeskind si occupa \ndella progettazione e realizzazione di opere nel settore \nurbano, culturale e commerciale a livello internazionale. \nLo Studio ha realizzato edifici quali musei, sale da \nconcerto, centri congressi, edifici universitari, hotel, \ncentri commerciali e palazzi residenziali. Come primo \narchitetto dello Studio Libeskind, Daniel tiene conferenze \nsull’arte sull’architettura nelle università e nei summit di \nprofessionisti. Il suo stile e le sue idee sono state oggetto \ndi numerosi articoli e mostre e hanno influenzato il campo \ndell’architettura e lo sviluppo di città e culture. \nLibeskind vive a New York con Nina Libeskind, sua moglie \ne partner professionale. \nDaniel Libeskind is renowned for his ability to \nevoke cultural memory in buildings of equilibrium-defying \ncontemporaneity. Informed by a deep commitment to \nmusic, philosophy, and literature, Mr. Libeskind aims to \ncreate architecture and design that is resonant, original, \nand sustainable. Born in Lód’z, Poland, in 1946, Mr. Daniel \nLibeskind immigrated to the United States as a teenager.\nHe established his architectural studio in Berlin, Germany, \nin 1989 after winning the competition to build the Jewish \nMuseum in Berlin. In 2003, Studio Libeskind moved its \nheadquarters from Berlin to New York City when Daniel \nLibeskind was selected as the master planner for the \nWorld Trade Center redevelopment. Daniel Libeskind’s \npractice is involved in designing and realizing a diverse \narray of urban, cultural and commercial projects \ninternationally. The Studio has completed buildings that \nrange from museums and concert halls to convention \ncenters, university buildings, hotels, shopping centers \nand residential towers. As Principal Design Architect for \nStudio Libeskind, Mr. Libeskind speaks widely on the art \nof architecture in universities and professional summits. \nHis architecture and ideas have been the subject of many \narticles and exhibitions, influencing the field of \narchitecture and the development of cities and culture. \nMr. Libeskind lives in New York with his wife and business \npartner, Nina Libeskind.\n184\nHa disegnato per Moroso\nHe designed for Moroso\nGemma\nPhoto Stefan Ruiz\n",186,{"image":752,"text":753,"number":754},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.187.png","Libeskind — Designers overview\n185\n \n“…la memoria è una ricerca individuale non un readymade. Bisogna \nguardare la propria storia, il proprio modo di essere, il proprio vissuto \ne valorizzarli…è la base della luce, di noi stessi, del cielo e della terra. \nSenza quel senso di appartenenza non sapremmo nemmeno chi siamo e \ncosa facciamo.”\n \n“…memory is not ready-made, it’s an individual study. You have to look \nat your background, the way you are, your experience and build on them… \nit’s the foundation of the light, of ourselves, of the sky and the earth. \nWithout this feeling of belonging we wouldn’t even know who we are and \nwhat we do.”\nGemma, sketches, 2015\n",187,{"image":756,"text":757,"number":758},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.188.png","Moroso vol 1\u002F3          Sofas + Seating systems\n \nRoss Lovegrove, nato nel 1958, studia industrial \ndesign al Politecnico di Manchester e al Royal College \nof Art di Londra. Gli esordi della carriera lo vedono da \nFrogdesign, dove gli vengono affidati dei progetti per \nApple e Sony. Dopo aver lavorato in diversi paesi d’Europa, \nLovegrove è ora rientrato in Inghilterra. Dal 1986, anno di \nfondazione del suo studio privato, collabora con alcuni dei \npiù prestigiosi marchi del design internazionale. Si occupa \nattualmente di diversi progetti in Giappone dove è uno dei \npiù apprezzati designer europei.\n \nBorn in 1958, Ross Lovegrove studied industrial \ndesign at Manchester Polytechnic and at the Royal College \nof Art in London. He began his career at Frogdesign, where \nhe was assigned to projects for Apple and Sony. Lovegrove \nwent on to work throughout Europe, then later returned to \nEngland. Since founding his own design practice in 1986, he \nhas collaborated with some of the world’s most outstanding \ndesign manufacturers. He is currently working on a number \nof projects in Japan where he enjoys unparalleled success \nas a European designer.\nRoss Lovegrove\n186\n \nHa disegnato per Moroso\n \nHe designed for Moroso\nDiatom, Supernatural\n",188,{"image":760,"text":761,"number":762},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.189.png","Lovegrove — Designers overview\n187\n \nLa sua ricerca è ispirata dalla Natura, dove nulla è casuale e niente è \nsuperfluo. Più che un designer si considera un biologo evoluzionista guidato \nda una gestualità votata alla riduzione di volumi, forme e materiali. \n \nThe inspiration for his research is Nature, where nothing is accidental \nand nothing is superfluous. More than a designer, he considers himself an \nevolutionary biologist guided by an aesthetic focused on reducing volumes, \nshapes and materials.\nDiatom, work in progress, 2014\n",189,{"image":764,"text":765,"number":766},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.190.png","Moroso vol 1\u002F3          Sofas + Seating systems\nJavier Mariscal\nJavier Mariscal (Valencia, 1950) è, prima di tutto, \nun creatore di immagini che sviluppa il proprio lavoro \nusando ogni tipo di supporto e disciplina possibili. Design \nd’arredi, interior design, graphic design, progettazione \ndi paesaggi, pittura, scultura, illustrazione, web design, \nmultimedia e animazione: tutto è oggetto della sua attività \nprofessionale. Mariscal si esprime attraverso un linguaggio \npersonale complesso nelle intenzioni e semplice nelle \ndichiarazioni, innocente e provocatorio allo stesso tempo, \nche serve a innovare, correre rischi e comunicare; per \ncontinuare a emozionare gli occhi che guardano il suo \nlavoro e creare complicità con l’interlocutore. \nEgli suggerisce un legame con la nostra cultura \nmediterranea ed esprime una forma di comprensione dei \nmondi e della vita con cui possiamo entrare in contatto \nsenza alcuno sforzo. La sua opera è esposta nella \ncollezione permanente di musei internazionali come il \nMoMA, Fundación La Caixa a Barcelona, Colección Ricard \na Parigi, Colección Aigües a Barcelona, IVAM a Valencia, \nPhiladelphia Museum of Art.\nJavier Mariscal, born in Valencia in 1950, is, first \nand foremost, an image creator who develops his work \nusing all kinds of supports and disciplines. Furniture \ndesign, interior design, graphic design, landscaping, \npainting, sculpture, illustration, web design, multimedia \nand animation are all the object of his professional \nactivity. Mariscal expresses himself through a personal \nlanguage which is complex in its intention and simple in \nits statement, innocent yet provocative at the same time, \nwhich serves to innovate, take risks and communicate; \nto carry on exciting the eyes that look at his work and \nto create complicity with his interlocutor. He proposes a \nlink with our Mediterranean culture and expresses a form \nof understanding the worlds and life with which we can \nconnect effortlessly. His work is exhibited in the permanent \ncollections of international museums including MoMA, New \nYork; Fundación La Caixa, Barcelona; Colección Ricard, \nParís; Colección Aigües de Barcelona IVAM, València; and \nthe Philadelphia Museum of Art, Philadelphia.\n188\nHa disegnato per Moroso\nHe designed for Moroso\nLos Muebles Amorosos [Saula Marina, Alessandra]\n",190,{"image":768,"text":769,"number":770},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.191.png","Mariscal — Designers overview\n189\n \n“Essere creativo, innovativo, portare il linguaggio il più lontano \npossibile, cercando di sviluppare codici, segni e messaggi grafici \nrendendoli attuali. Questa è la mia specialità. Ascoltare, assorbire, \nosservare, esprimere in immagini ciò che la società respira, \nciò in cui crediamo, ciò che ci fa emozionare e le idee che cambiano. \nPer farlo sfrutto qualunque sistema, linguaggio o disciplina che siano \na portata di mano.”\n \n“My speciality is being creative, innovative, making language go as \nfar as possible, trying to develop codes, signs and graphic messages. \nBringing them up to date. Listening, absorbing, observing, expressing \nwhat society is breathing in images, what we believe, what makes us \nfeel emotions and the ideas that are changing. To do this I have used any \nsystem, language or discipline I have had within my reach.”\nLos Muebles Amorosos, sketches, 1995\n",191,{"image":772,"text":773,"number":774},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.192.png","Moroso vol 1\u002F3          Sofas + Seating systems\n190\nKarmelina Martina\n \nKarmelina Martina nasce a Sarajevo, ma vive e \nlavora a Udine. Nel 2001 consegue la laurea in Industrial \nDesign a Firenze a pieni voti. È stata allieva di Vanni \nPasca, Isao Hosoe, Paolo Deganello, e altri designers di \nfama internazionale. Dal 2006 segue l’ufficio sviluppo \nprodotto della Moroso. Lei cerca di perfezionare un design \nproprio attraverso lo spazio che separa la ragione tecnico \nstrumentale dalla motivazione simbolica ed emotiva. \nOltre ad attività di Product Development ha progettato \nanche gioielli, lampade e abitazioni private.\n \nKarmelina Martina was born in Sarajevo. She now \nlives and works in Udine. She graduated with full honours \nin industrial design from Florence University in 2001. \nShe studied under Vanni Pasca, Isao Hosoe, Paolo \nDeganello and other internationally-renowned designers. \nShe has worked in Moroso’s product development \ndepartment since 2006. She seeks to perfect a design \nprecisely in the border area that separates technical\u002F\nmanufacturing reasoning from symbolic\u002Femotive \nmotivations. In addition to her product development \nactivities, she also designs jewelry, lamps and private \nhomes.\n \nHa disegnato per Moroso\n \nShe designed for Moroso\nTwist Again\n",192,{"image":776,"text":777,"number":778},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.193.png","191\nMartina — Designers overview\n \n“Udine (Moroso) - Sarajevo (casa). Km 699. Questa è la distanza \nespressa in km tra due mondi che vivono in me. 17 anni vissuti a Sarajevo \ne 22 anni vissuti in Italia tra cui molti a Udine, in equilibrio tra est e Ovest, \ntra futuro e memoria”.\n \n“Udine (Moroso) - Sarajevo (home). 699 km. This is the distance in \nkilometres between the two worlds which coexist in me. 17 years spent \nin Sarajevo and 22 in Italy, including many in Udine, hovering between \nEast and West, between future and memory”.\nTwist Again, 2010\n",193,{"image":780,"text":781,"number":782},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.194.png","Moroso vol 1\u002F3          Sofas + Seating systems\nNendo\nOki Sato è capo designer e fondatore di nendo. \nÈ nato nel 1977 a Toronto (Canada). Si è laureato in \narchitettura alla Waseda University di Tokyo nel 2002 e, \nnello stesso anno, ha fondato lo studio di design “nendo”. \nLa sua attività nel mondo del design non si limita ad \nun’area specifica ma è poliedrica e spazia dalla grafica \nal design di prodotto, fino alla progettazione di prodotti \nd’arredo, installazioni, finestre e interni, fino a progetti \narchitettonici. È stato inserito da Newsweek Magazine \nnella lista dei 100 giapponesi più rispettati al mondo e ha \nvinto numerosi premi, tra cui “Designer of the Year” della \nrivista Wallpaper*. La sua opera è esposta al Museum \nof Modern Art a New York, al Musée des Arts Décoratifs \ne al Centre Pompidou di Parigi.\nOki Sato, chief designer and founder of Nendo, \nwas born in 1977 in Toronto, Canada. He received his \nMasters Architecture from Waseda University, Tokyo, \nin 2002, and in the same year, established the design \nstudio Nendo, Nendo’s activities in design have not been \nlimited to any one area but spans from graphic and product \ndesign to furniture design, installations, interiors and \narchitecture. Nendo was chosen by Newsweek magazine \nas one of the 100 Most Respected Japanese, and has won \nDesigner of the Year awards from Wallpaper magazine \nand MoMA, New York, as well as Musee des Arts Decoratifs \nand Centre Georges Pompidou in Paris.\n192\nHa disegnato per Moroso\nHe designed for Moroso\nByobu, Cloud, Dew, Float, Heel, Kub\n",194,{"image":784,"text":785,"number":786},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.195.png","Nendo — Designers overview\n193\nHeel, work in progress, 2013\n \n“…per me non fa differenza se disegno una confezione di gomme da \nmasticare oppure un retail store di gradi dimensioni. In fondo si tratta \nsempre di regalare un sorriso alle persone.” \n \n“…it really doesn’t make a big difference to me whether I design small \npackaging for chewing gum or huge retail store. It’s always about giving \nsmall smiles to people in the end.”\nPhoto Alessandro Paderni \u002F Eye\n",195,{"image":788,"text":789,"number":790},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.196.png","Moroso vol 1\u002F3          Sofas + Seating systems\nMarc Newson\n \nMarc Newson è stato descritto come uno dei \ndesigner più influenti della sua generazione. Ha lavorato \nnelle più svariate discipline, creando di tutto: dai pezzi \nd’arredo agli elettrodomestici, dalle biciclette alle \nautomobili, dagli aeroplani privati o commerciali agli \nyacht. Ha lavorato a progetti architettonici e creato \nsculture per clienti di tutto il mondo. Newson ha vissuto e \nlavorato a Tokyo, Parigi e Londra, dove vive attualmente, \nma continua a viaggiare incessantemente. Tra i suoi clienti \nannovera numerosi marchi tra i più conosciuti e prestigiosi \nal mondo, dall’industria manifatturiera alla tecnologia \ne ai trasporti, dalla moda ai beni di lusso. Nato a Sydney \nnel 1963, Newson ha trascorso l’infanzia viaggiando \nin Europa e in Asia. Ha iniziato ad avvicinarsi al design di \narredi fin da studente e grazie a una borsa di studio del \nAustralian Crafts Council ha partecipato alla sua prima \nmostra, in cui ha esposto Lockheed Lounge, un pezzo che \noggi, dopo vent’anni, ha stabilito quattro record mondiali \nconsecutivi ad un’asta. Oltre che gestire il proprio studio, \nMarc Newson Ltd, Newson detiene posizioni di prestigio \nanche in alcune aziende sue clienti: è, ad esempio, \nBrand Ambassador per Qantas Airways e Designer for \nSpecial Projects per Apple. Le sue opere sono esposte \nnelle più importanti collezioni internazionali, tra cui il \nMoMA di New York, il Design Museum e il V&A di Londra, \nil Centro Georges Pompidou di Parigi e il Vitra Design \nMuseum in Weil am Rhein. \n \nMarc Newson, CBE has been described as one of \nthe most influential designers of his generation. \nHe has worked across a wide range of disciplines, creating \neverything from furniture and household objects to bicycles \nand cars, private and commercial aircraft, yachts, various \narchitectural commissions, and signature sculptural pieces \nfor clients across the globe. Newson has lived and worked \nin Tokyo, Paris, and London where he is now based, and \nhe continues to travel widely. His clients include a broad \nrange of the best known and most prestigious brands in \nthe world - from manufacturing and technology \nto transportation, fashion and the luxury goods sector. \nBorn in Sydney in 1963, Newson spent much of his \nchildhood travelling in Europe and Asia. He started \nexperimenting with furniture design as a student and with \nthe aid of an Australian Crafts Council grant, staged his \nfirst exhibition which featured his Lockheed Lounge – a \npiece that has now, twenty years later, set four consecutive \nworld records at auction. As well as overseeing his own \ncompany, Marc Newson Ltd he holds senior management \npositions at client companies; including currently being \nBrand Ambassador for Qantas Airways and Designer for \nSpecial Projects at Apple. His work is present in many \nmajor museum collections, including MoMA, New York; \nDesign Museum and Victoria & Albert Museum, London; \nCentre Georges Pompidou, Paris; and Vitra Design \nMuseum, Weil am Rhein. \n194\n \nHa disegnato per Moroso\n \nHe designed for Moroso\nTV Chair\n",196,{"image":792,"text":793,"number":794},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.197.png","Newson — Designers overview\n195\nTV Chair, sketches, 1993\n \n“Un bravo scrittore ha bisogno di un buon vocabolario. Un bravo \ndesigner ha bisogno di conoscere i materiali e i processi. Andare nelle \nfabbriche e guardare come le persone effettivamente lavorano… \nUn designer di successo non può permettersi di starsene chiuso nel suo \nstudio e non può pretendere di guadagnarsi alcun rispetto se non conosce \nil lavoro effettivo che sta alla base.”\n \n“A good writer needs a good vocabulary. A good designer needs \nto understand his materials and processes. Going to factories and seeing \nhow people do things… You can’t, as a successful designer, stand there \nand pretend to get any respect if you don’t know how things are made.”\n",197,{"image":796,"text":797,"number":798},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.198.png","Moroso vol 1\u002F3          Sofas + Seating systems\nNumen\u002FFor Use\nNumen\u002FFor Use è un collettivo di design austro-\ncroato attivo nel settore della scenografia, del design \nindustriale, del design spaziale e dell’arte concettuale. \nIl gruppo nasce nel 1998 dalla collaborazione dei designer \nindustriali Sven Jonke, Christoph Katzler e Nikola \nRadeljković, riuniti sotto il nome di For Use.\nNel 1999 fondano Numen, identità collettiva il cui fine \nè occuparsi di tutti i progetti al di fuori della sfera \ndel design industriale. Dal 2004 in poi, dopo aver \nconcluso un progetto site-specific su larga scala per \nla produzione di “Inferno” presso il Centro Nazionale di \nArte Drammatica di Madrid, Numen\u002FFor Use ha iniziato \na dedicarsi prevalentemente alla scenografia. \nNel 2008 il collettivo rivolge la propria attenzione \nalla configurazione di oggetti e concetti privi di una \nfunzionalità predefinita, per abbracciare progetti più ibridi \ne sperimentali come ad esempio le serie N-Light \ne le installazioni Tape, Net e Tuft, esposte negli spazi \npubblici e nelle gallerie di tutto il mondo.\nNumen\u002FFor Use is a collective working in the \nfields of scenography, industrial and spatial design and \nconceptual art. The group first formed in 1998 as \na collaborative effort of industrial designers Sven Jonke, \nChristoph Katzler and Nikola Radeljković under the banner \nFor Use. In 1999, they established Numen as a collective \nidentity covering all projects actualised outside the sphere \nof industrial design. From 2004 after setting up a large \nscale site-specific project for the production of “Inferno”\nin the National Centre for Drama in Madrid, Numen\u002FFor \nUse became intensely involved with scenography. \nIn 2008 the collective turned its focus towards configuring \nobjects and concepts without a predefined function, \nan activity resulting in the more hybrid and experimental \nworks such as the N-Light series and Tape, Net and Tuft \nInstallations which were featured in public spaces and art \ngalleries around the globe.\n196\nHanno disegnato per Moroso\nThey designed for Moroso\nTransform, YY Chair\nPhoto Aurélie Cenno\n",198,{"image":800,"text":801,"number":802},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.199.png","For use\u002FNumen — Designers overview\nLone Hotel, Rovinj — Croatia, 2011\n197\n \n“…Il confine rigido tra arte e design è, a mio avviso, completamente \nfasullo e assurdo. Entrambe le discipline si occupano della comunicazione \nvisiva di concetti astratti, dei media e della società. Entrambe usano il \npotenziale creativo per articolare relazioni spaziali ed entrambe rimandano \ncostantemente l’una all’altra…”\n \n“…The strict border between art and design is, in my opinion, totally \nartificial and absurd. Both fields are about visual communication of abstract \nvalues, about media and society, both use creative potentials to articulate \nspatial relations and both constantly refer to one another…”\n \nNikola Radeljković\n",199,{"image":804,"text":805,"number":806},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.200.png","198\nMoroso vol 1\u002F3          Sofas + Seating systems\nDominique Pétot\nArchitteto e designer industriale di formazione, \nDominique Pétot affronta il design di mobili attraverso \nprestigiosi arredamenti correlati all’immagine e al \nmerchandising realizzando nuovi concetti per negozi: \nLe Bon Marché, Le Printemps. Residente a Dakar dal ’98, \ncrea mobili appetitosi privilegiando comodità, colori e \nmescolanze di materiali. Scoperto dalle biennali di Dakar \ne Saint Etienne poi da Messe Frankfurt si fa notare grazie \nalla grande esposizione itinerante: Design made in Africa \nnel 2005 creando Méridienne, che rivoluziona l’arte \ndell’intrecciatura dell’Africa occidentale. \nProgetta delle forme generose e accoglienti, organiche \ne floreali, poi adattate per le poltrone Iris e Ibiscus e in \n2010 per il divano Cardamone. Méridienne, l’esemplare \noriginale in acciaio inossidabile, è aquistata e selezionata \nnel 2015 per l’importante esposizione itinerante Making \nAfrica dal Vitra Design Museum con la Guggenheim \nFoundation.\nDominique Pétot, trained as an architect and \nindustrial designer, settled in Dakar, Senegal, in 1998 \nwhere he now creates furniture that emphasises comfort, \ncolour and a mixture of materials. His designs were \nfeatured in the Dakar and Saint Ettienne Biennales and \nat Ambiente, Frankfort. He also contributed to the 2005 \ntraveling exhibit Design Made in Africa. His designs for \nMoroso’s M’Afrique collection are distinguished by thier \ngenerous and comfortable shapes. One of the designs, \nMeridienne, was selected for Making Africa, the 2015 \ntraveling exhibition from the Vitra Design Museum with\nthe Guggenheim Foundation. He has also created major \nimage and merchandising concepts for Le Bon Marche \nand Le Printemps.\nHa disegnato per Moroso\nhe designed for Moroso\nIbiscus, Iris\n",200,{"image":808,"text":809,"number":810},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.201.png","199\n \n“A causa della mia formazione tecnica, volevo spingere all’estremo \nle difficoltà costruttive, superando i limiti tradizionali di questo artigianato.”\n \n“Because of my technical background, I wanted to push the constructive \nconstraints to their extremes, overcoming the limits of this traditional craft.”\nDominique Pétot — Designers overview\nWork in progress, handicraft lab from Dakar \n— Senegal, 2010\n",201,{"image":812,"text":813,"number":814},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.202.png","Moroso vol 1\u002F3          Sofas + Seating systems\nDopo la laurea al Royal College of Art nel 2007, non \nriuscendo a trovare un impiego nel settore, Yael e Shay \nhanno fondato un proprio studio di design affinché la loro \nimmaginazione potesse spiccare il volo: pezzi d’arredo, \ninstallazioni e prodotti hanno iniziato a svilupparsi con un \nforte accento sulla giocosità e lo stupore infantile.\nLo studio è diventato un luogo in cui la curiosità ha \npreso il sopravvento nella creazione dei prodotti, \nun luogo in cui poter intraprendere un infinito viaggio di \nscoperta, ribaltare il mondo sottosopra, aprire gli oggetti \nper vedere cosa c’è all’interno, alla costante ricerca di \nsorpresa, meraviglia, senso dell’umorismo. Colori, motivi \ne movimento sono una parte importante del DNA di \nRaw-Edges. L’energia e le illusioni provocatorie mirano \na far emergere il bambino che c’è dentro ognuno di noi \ne ad intraprendere insieme a lui una lotta contro la noia! \nAlcune idee consistono nell’inserire schiuma espansa tra \nle pieghe della carta, tingere il legno e realizzare stampi \ndi carta per la produzione industriale di piastrelle in \nceramica. Yael e Shay si sono conosciuti a Gerusalemme \ne si sono trasferiti a Londra per studiare al RCA, dove \nsono stati allievi di Ron Arad. Sotto la guida dei tutor \nDaniel Charney e Rober Feo, hanno iniziato a sperimentare \ncon la creazione di nuove tipologie, pensando come gli \nambienti che quotidianamente ci circondano possano \nessere arricchiti dai prodotti che utilizziamo e dagli oggetti \nche possediamo. In una mostra curata da Martino Gamper \ne tenutasi subito dopo la loro laurea, Yael e Shay hanno \npresentato Stack and Volume, che li ha aiutati a gettare \nle basi del loro studio.\nAfter graduating from the Royal College of Art in \n2007, and after not finding ‘proper’ jobs, Yael and Shay \nset up a design studio where their imaginations could \ntake flight: furniture, installations, and products began to \ndevelop with a strong accent on playfulness and childlike \nwonder. The studio became a place where curiosity would \nbe a prevalent factor in the creation of their designs, \na place where they could embark on a continuous journey \nof discovery, turning the world upside down and inside \nout, cracking things open and studying their structure, \nalways striving for surprise, wonder, humour. Colours, \npatternmaking and movement form a large part of the DNA \nat Raw-Edges. The ideas of energy and provocative illusion \nare aimed at bringing out the kid in all of us who engage \nwith it, an ongoing battle against boredom perhaps! Some \nideas include pouring expandable foam into folded paper \ncavities, cooking timber in boiling dyes, and making paper \nmoulds for the production of industrial ceramic tiles. Yael \nand Shay met in Jerusalem and moved to London to study \nat the RCA, where Ron Arad was head of the course at the \ntime. Under the guidance of their tutors Daniel Charney \nand Rober Feo, they began to experiment with creating \nnew typologies, by thinking how everyday surroundings \nmight be enriched by the products we use and the objects \nwe own. In a show curated by Martino Gamper, held just \nafter graduating, Yael and Shay presented Stack and \nVolume, which helped to establish the foundation\nof the studio.\nRaw Edges\n200\nHanno disegnato per Moroso\nThey designed for Moroso\nKenny\n",202,{"image":816,"text":817,"number":818},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.203.png","Raw Edges — Designers overview\n201\n \n“Il nostro lavoro parla di elementi sorprendenti che emergono. \nAd esempio, lavoriamo molto su idee che non vengono mai realizzate. \nLe chiamiamo “mostri”… Vogliamo solo creare un momento in cui le persone \ndiscutono su cosa sia un oggetto… Il design deve essere divertimento, \nci devono essere delle svolte, degli aspetti provocatori, altrimenti è noioso.”\n \n“Our work is all about the surprising elements that come through. \nWe work a lot on ideas that never come to realisation, for instance. \nWe call them ‘monsters’… We just want one moment of people questioning \nwhat an object is… Design has to be fun, you have to have some twist \nor some edgy aspect, otherwise it’s boring.”\nKenny, work in progress, 2013\nIl disegno del tessuto nasce dalla rimozione di alcuni fili della \ntrama, una de-tessitura che non intacca la bellezza del tessuto \nma ne mette a nudo l’ordito.\nThe design of the fabric comes from removing some of the threads \nfrom the weave, an un-weaving which doesn’t alter the beauty \nof the fabric but exposes the warp.\n",203,{"image":820,"text":821,"number":822},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.204.png","Moroso vol 1\u002F3          Sofas + Seating systems\nFondato a Mumbai nel 1995 da Rajiv Saini, \nil premiato studio Rajiv Saini and Associates (RSA) \nè diventato nel corso degli anni una delle più importanti \nrealtà di design del Paese. Specializzato nel design per \nla casa e il contract, RSA unisce design contemporaneo \ne squisiti dettagli artigianali. Purezza spaziale, sobri \nmateriali di lusso, tessuti dalla texture raffinata e qualità \nimpeccabile sono diventati il simbolo di questo studio di \ndesign. Guidato dal contesto e dalla specificità di ogni \nsingolo progetto, RSA si concentra sull’affinamento delle \nidee di design per sintetizzare una soluzione unica che \nsia architettonicamente coerente e socialmente rilevante. \nCon una forte presenza su tutto il territorio nazionale, \nnegli ultimi anni RSA si è confermato uno studio di livello \ninternazionale con numerosi progetti a Singapore, Dubai, \nin Tailandia e nel Regno Unito.\nFounded in Mumbai in 1995 by Rajiv Saini, the \naward winning practice of Rajiv Saini and Associates (RSA) \nhas over the years established itself as one of the leading \ndesign studios in the country. Blending contemporary \ndesign with exquisitely crafted details, the practice \nspecializes in residential and hospitality design. Spatial \npurity, a restrained luxurious material palette combined \nwith subtle textural tactility, and impeccable quality, have \nbecome the hallmark of the practices work. Guided by the \ncontext and specificity of each project, RSA focuses on \nrefining design ideas to synthesize a unique solution that \nis architecturally coherent and socially relevant. With a \nsuccessful nationwide presence, RSA has over the last few \nyears established itself as a global practice with a slew of \nprojects in Singapore, Dubai, Thailand and the U.K.\nRajiv Saini\n202\nHa disegnato per Moroso\nHe designed for Moroso\nCapitello\n",204,{"image":824,"text":825,"number":826},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.205.png","Saini — Designers overview\n203\nCapitello, 2010\nPhoto Alessandro Paderni \u002F Eye\n \n“Rajiv Saini è noto per i suoi arredi contemporanei che integrano \nle forme e i motivi indiani tradizionali.” \n \n“Rajiv Saini is known for his contemporary furniture which integrates \ntraditional indian forms and motifs.”\n",205,{"image":828,"text":829,"number":830},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.206.png","Moroso vol 1\u002F3          Sofas + Seating systems\n204\nJörg Schellmann\nL’opera di Jörg Schellmann, nato nel 1944, è \ninfluenzata dai principi che regolano gli oggetti industriali \ne commerciali piuttosto che da quelli dell’interior design. \nLa funzionalità non è solo lo scopo, ma una precondizione \ndel suo design. Ne risultano pezzi di alto valore pratico, \nradicale semplicità e austera bellezza. I riferimenti \nall’arte concettuale e minimalista si basano sulla grande \nesperienza di Schellmann in qualità di editore d’arte \n(Schellmann Art) a Monaco e a New York. In questa sua \nveste, ha prodotto edizioni limitate di stampe, oggetti e \npezzi d’arredo di designer internazionali tra cui Joseph \nBeuys, Daniel Buren, Liam Gillick, Donald Judd, Sol \nLeWitt, Gerhard Merz e Andy Warhol. Jörg Schellmann \ndisegna i suoi pezzi d’arredo dal 2006. Vive e lavora a \nMonaco.\nThe pieces of Jörg Schellmann, born 1944, are \ninfluenced by the principles of industrial and commercial \nobjects rather than by interior design. Functionality is not \nonly the aim, but a precondition of his designs. The result \nare pieces of high practical value, radical simplicity and \naustere beauty. References to Minimal and Conceptual \nArt are based upon Schellmann’s vast experience as an \nart publisher (Schellmann Art) in Munich and New York. \nIn this capacity, he has produced limited editions of \nprints, objects and furniture pieces by international artists \nincluding Joseph Beuys, Daniel Buren, Liam Gillick, Donald \nJudd, Sol LeWitt, Gerhard Merz and Andy Warhol. Jörg \nSchellmann has been designing his own furniture pieces \nsince 2006. He lives and works in Munich.\nHa disegnato per Moroso\nHe designed for Moroso\nConduit, Double Table, Library\n",206,{"image":832,"text":833,"number":834},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.207.png","205\nSchellmann — Designers overview\n“Vis-à-Vis: design meets art”, Moroso showrom, \nMilan — Italy, 2015\n \n“In matematica, la sorprendente semplicità di una soluzione viene \nconsiderata bellezza. Penso che valga lo stesso per il mondo dell’arredo.”\n \n“In mathematics, the surprising simplicity of a solution is considered \nbeauty. I think this should hold for furniture as well.”\n",207,{"image":836,"text":837,"number":838},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.208.png","206\nMoroso vol 1\u002F3          Sofas + Seating systems\nScholten & Baijings\nStefan Scholten e Carole Baijings hanno fondato \nlo studio di design Scholten & Baijings nel 2000 e sono \nconsiderati una delle coppie del design più interessanti, \ninnovative e dinamiche al mondo. Riconosciuti per i loro \nprodotti, contemporaneamente funzionali, discreti e \ndelicati, il deciso e insolito uso del colore e gli oggetti \ndi squisita fattura artigianale, hanno imposto il loro stile \nunico a svariati articoli, dalle ceramiche all’argenteria, \ndai tessuti alle automobili. Scholten & Baijings ha ricevuto \nnumerosi premi di prestigio, tra cui ELLE Decoration \nInternational Design Award (EDIDA) per i giovani talenti \nnel 2011, una nomination per Designer of the Year \nWallpaper* Design Awards 2015 e Oeuvre Award Sanoma \nWoon Awards 2014. I loro prodotti e le loro edizioni \nlimitate sono esposti in musei e gallerie del calibro di \nCooper-Hewitt National Design Museum a New York, Art \nInstitute a Chicago, Victoria & Albert Museum a Londra \ne il Museo Boijmans van Beuningen a Rotterdam. Tra i \nloro clienti spiccano Maharam, HAY, IKEA, Karimoku \nNew Standard, Georg Jensen, 1616 \u002F Arita Japan, Moooi, \nThomas Eyck e MINI.\nStefan Scholten and Carole Baijings established \ntheir eponymous studio for design Scholten & Baijings in \n2000, and are now widely regarded as of one of the most \nexciting, innovative and dynamic design duos in the world. \nRenowned for their sensitive and subtle yet functional \nproducts, their striking and often unexpected use of colour, \nand their exquisitely crafted objects, they have applied \ntheir distinctive style to everything from ceramics and \nsilverware to textiles and even a concept car. Scholten & \nBaijings have been awarded numerous prestigious prizes, \nsuch as the ELLE Decoration International Design Award \n(EDIDA) for Young Designer Talent 2011, a nomination for \nDesigner of the Year at the Wallpaper* Design Awards \n2015 and Oeuvre Award Sanoma Woon Awards 2014. Their \nproducts and limited editions are presented in museums \nand galleries such as the Cooper-Hewitt National Design \nMuseum, New York, the Art Institute of Chicago, the \nVictoria & Albert Museum, London and the Museum \nBoijmans van Beuningen, Rotterdam. Other clients include \nMaharam, HAY, IKEA, Karimoku New Standard, Georg \nJensen, 1616 \u002F Arita Japan, Moooi, Thomas Eyck and MINI.\nPhoto Freudenthal\u002FVerhagen\nHanno disegnato per Moroso\nThey designed for Moroso\nOttoman\n",208,{"image":840,"text":841,"number":842},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.209.png","207\nScholten & Baijings — Designers overview\nOttoman, sketches, 2015\n \n“Se guardi il colore del cielo e dei fiori – in Olanda siamo abbastanza \nfortunati da avere tanti fiori – vedrai che non sono mai volgari… non importa  \nquanto siano brillanti. È sempre una sfida per noi: quanto colore possiamo \nusare in un prodotto e mantenere comunque questo equilibrio… La cifra \nstilistica di Scholten & Baijings parla di colore, trasparenza, strati e griglie... \nCi piace l’idea che ci siano modi diversi di descrivere il nostro stile: le \npersone non dovrebbero riconoscerci solamente dai nostri colori.”\n \n“If you look at the colours of the sky and flowers – in Holland we’re \nfortunate enough to have a lot of flowers – they’re never vulgar… it doesn’t \nmatter how bright they are. That’s always a challenge for us: how much \ncolour we can use in a product and still have this balance…The Scholten \n& Baijings handwriting is all about colour, transparency, layers and grids… \nWe like the idea that there are many different ways to describe our \nhandwriting: people shouldn’t just recognise us from our colours.”\n \nCarole Baijings\n",209,{"image":844,"text":845,"number":846},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.210.png","Moroso vol 1\u002F3          Sofas + Seating systems\n208\nMarc Thorpe\nLo studio Marc Thorpe Design è stato fondato \nnel 2005 a New York dall’architetto Marc Thorpe. Thorpe \nè conosciuto a livello internazionale per il suo lavoro \ninnovativo e dinamico, per il suo approccio rigoroso \nall’integrazione tra architettura, design e tecnologia. \nThorpe e il suo team collaborano con il cliente per \nsviluppare e realizzare strategie di crescita del marchio. \nLo studio concettualizza il design nella creazione dei \nmarchi e dispone delle risorse per produrre piattaforme \ndi comunicazione coerenti in diversi settori: architettura, \ninterni, branding, arredamento, prodotto, retail ed \nesposizioni. Thorpe e il suo team hanno lavorato per \nmarchi leader a livello mondiale, tra cui Moroso, Tod’s, \nStella Artois, Mercedes Benz, Under Armour, Coca-\nCola, Infiniti, Saatchi & Saatchi, ABInBev, David Yurman, \nEsquire, L’Oreal, Yahoo, Patron, Davidoff e Cooper Hewitt, \nSmithsonian Design Museum.\nMarc Thorpe Design was founded in New York \nCity by architect Marc Thorpe in 2005. Thorpe is known \ninternationally for his innovative and dynamic work, taking \na rigorous approach to the integration of architecture, \ndesign and technology. Thorpe and his team collaborate \nwith clients to develop and execute brand growth \nstrategies. The studio conceptualizes design while building \nbrands, and has the resources to produce consistent \ncommunication platforms. These include architecture, \ninteriors, branding, furniture, product, retail and exhibit \ndesign. Thorpe and his team has designed for leading \ninternational brands including Moroso, Tod’s, Stella Artois, \nMercedes Benz, Under Armour, Coca-Cola, Infiniti, Saatchi \n& Saatchi, ABInBev, David Yurman, Esquire, L’Oreal, Yahoo, \nPatron, Davidoff and the Cooper Hewitt, Smithsonian \nDesign Museum.\nPhoto Craig Salmon\nHa disegnato per Moroso\nHe designed for Moroso\nBlur, Husk, Marc Table, Morning Glory\n",210,{"image":848,"text":849,"number":850},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.211.png","209\nThorpe — Designers overview\n \n“Il design per me è una storia fatta di relazioni, di amore e di rispetto \nper le persone con cui lavori.”\n \n \n“Design for me is a story of relationships and the love and respect \nfor the people you work with.”\nHusk, sketches, handicraft lab from Dakar \n— Senegal, 2015\n",211,{"image":852,"text":853,"number":854},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.212.png","Moroso vol 1\u002F3          Sofas + Seating systems\nPatricia Urquiola è nata a Oviedo (Spagna). Vive e \nlavora a Milano. Ha studiato Architettura al Politecnico di \nMadrid e al Politecnico di Milano, dove si è laureata nel \n1989 con Achille Castiglioni. È stata assistant lecturer per \nAchille Castiglioni; ha collaborato con Vico Magistretti; \nè stata responsabile Design per Lissoni Associati. Nel 2001 \napre il proprio studio lavorando nei settori del product \ndesign, interni e architettura. Tra i suoi progetti più recenti \nin architettura: Il museo del Gioiello di Vicenza, l’Hotel \nMandarin Oriental di Barcellona, l’Hotel Das Stue a Berlino, \nla Spa dell’Hotel Four Seasons di Milano; progetti retail e \nallestimenti per Gianvito Rossi, BMW, Cassina, Ferragamo, \nFlos, Missoni, Molteni, Officine Panerai, H&M, Santoni, \nPitti Uomo Firenze. Ha realizzato prodotti per le più \nimportanti società italiane e internazionali, tra cui: Agape, \nAlessi, Axor-Hansgrohe, Baccarat, Boffi, Budri, De Padova, \nDriade, Flos, Gan, Georg Jensen, Glas Italia, Haworth, \nKartell, Kvadrat, Listone Giordano, Louis Vuitton, Moroso, \nMutina, Rosenthal e Verywood. Alcuni dei suoi prodotti \nsono esposti nei maggiori musei di arte e design, tra cui il \nMoMa di New York, il Musée des Arts decoratifs di Parigi, \nil Museo di Design di Zurigo, il Vitra Design Museum di \nWeil am Rhein, il Victoria & Albert Museum di Londra, \nlo Stedelijk di Amsterdam, e il Museo della Triennale \ndi Milano. Ha vinto diversi premi internazionali tra cui: \nla Medalla de Oro al Mérito en las Bellas Artes del Governo \nSpagnolo: l’Ordine di Isabella la Cattolica, consegnato \nda Sua Maestà il Re di Spagna Juan Carlos I, “Designer \ndel decennio” per le riviste Home e Häuser, “Designer \ndell’anno” per le riviste Wallpaper, AD Spagna, Elle Decor \nInternational e Architektur und Wohnen. \nPatricia Urquiola was born in Oviedo, Spain, and \nshe lives and works in Milan. She studied Architecture at \nthe Technical University of Madrid and at the Polytechnic \nUniversity of Milan, where she graduated in 1989 under \nAchille Castiglioni. She was assistant lecturer for Achille \nCastiglioni; she worked with Vico Magistretti; and she \nwas also Head of Design for Lissoni Associati. In 2001 she \nopened her own studio, working in the fields of product \ndesign, interiors and architecture. Her most recent designs \ninclude: The “Museo del Gioiello” jewelry museum in \nVicenza, the Hotel Mandarin Oriental in Barcelona, the \nHotel Das Stue in Berlin, the Spa of the Hotel Four Seasons \nin Milan; retail and display designs for Gianvito Rossi, \nBMW, Cassina, Ferragamo, Flos, Missoni, Molteni, Officine \nPanerai, H&M, Santoni and Pitti Uomo Firenze. She has \ncreated products for numerous major companies in Italy \nand abroad, including Agape, Alessi, Axor-Hansgrohe, \nBaccarat, Boffi, Budri, De Padova, Driade, Flos, Gan, Georg \nJensen, Glas Italia, Haworth, Kartell, Kvadrat, Listone \nGiordano, Louis Vuitton, Moroso, Mutina, Rosenthal and \nVerywood. Some of her products are exhibited in the great \nmuseums of art and design, including MoMA, New York; \nMusee des Arts Decoratifs, Paris; Museum of Design, \nZurich; Vitra Design Museum, Weil am Rhein; Victoria & \nAlbert Museum, London; Stedelijk, Amsterdam; and the \nTriennale, Milan. She has won numerous international \naccolades, including The Medalla de Oro al Mérito en las \nBellas Artes from the Spanish government; the order of \nIsabella the Catholic, presented to her by His Majesty King \nJuan Carlos I of Spain; Designer of the Decade for the \nmagazines Home and Häuser; “Designer of the Year” for the \nmagazines Wallpaper, AD Spain, Elle Decor International \nand Architektur und Wohnen. \nPatricia Urquiola\n210\nPhoto Alessandro Paderni\nHa disegnato per Moroso\nShe designed for Moroso\nAntibodi, Belt, Biknit, Bloomy, Bohemian, Bold, Clarissa, Cocoon, Fishbone, Fjord, \nGentry, Highlands, Klara, Lilo, Lowland, Lowseat, M.a.s.s.a.s., Mafalda, Mathilda, \nPhoenix, Redondo, Rift, Sardinian Rugs, Shanghai Tip, Silver Lake, Smock, Spring, \nTender, Touti, Tropicalia, Volant\n",212,{"image":856,"text":857,"number":858},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.213.png","Urquiola — Designers overview\n211\n \n“Le persone dicono spesso che sensualità e sensibilità sono qualità \nfemminili, ma in realtà non sono legate al genere. Sono qualità individuali. \nTord Boontje è più sensuale di quanto lo sia io. Le donne sono diverse dagli \nuomini in quanto sono più flessibili, adattabili e mutitasking. Dobbiamo \nesserlo per sopravvivere e queste due qualità – flessibilità e adattabilità – \nmi piacciono molto nel design.”\n \n“People often say that sensuality and sensitivity are feminine qualities, \nbut they are not gender specific. They are individual qualities. Tord Boontje \nis more sensual than I am. Where women are different from men is that \nwomen are more flexible, adaptable, and able to multitask. We have to be \nto survive, and those two qualities – flexibility and adaptability – I like a lot \nin design.”\nBelt, work in progress, 2016\nPhoto Alessandro Paderni \u002F Eye\n",213,{"image":860,"text":861,"number":862},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.214.png","Moroso vol 1\u002F3          Sofas + Seating systems\nEdward van Vliet\n \nEdward van Vliet fa parte di una generazione di \ndesigner olandesi contemporanei che è stata capace \ndi attirare l’attenzione internazionale. Insieme allo studio \nche porta il suo nome, ha lasciato il segno sia nel campo \ndel design di prodotto che dell’interior design nei settori \ncontract, residenziale e ufficio. Il suo lavoro si distingue \nper l’elevata attenzione al dettaglio e per l’enorme spettro \ndi influenze che, contaminate insieme, hanno dato spazio \na un livello di espressività degno di nota. Grazie a \nventicinque anni di esperienza nel campo del design e delle \ntendenze del consumatore e alla stretta collaborazione \ncon marchi e aziende di livello internazionale, Edward van \nVliet apporta al destination design una mentalità fresca, \nraggiungendo risultati di altissimo livello.\n \nEdward van Vliet is part of a generation of \ncontemporary Dutch designers that has claimed the \ninternational limelight. With his namesake design studio, \nhe left his marks in both product and interior design for \nhospitality, residential, and office sectors. His work is \ncharacterized by a high attention to detail and a vast scope \nof influences that are mixed and matched to give spaces \na remarkable level of expression. With twenty five years \nof expertise in design and consumer behaviour \nand his close cooperation with world-class design brands \nand manufacturers, Edward van Vliet brings a fresh \nmindset to destination design with results of the highest \nstandard.\n212\n \nHa disegnato per Moroso\n \nHe designed for Moroso\nSushi collection [Ariel, Ayub, Donut, Joy, Ju Ju, Karmakoma]\n",214,{"image":864,"text":865,"number":866},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.215.png","van Vliet — Designers overview\n213\nSushi collection, work in progress, 2016\n \n“Edward ha un approccio molto leggero, libero e semplice al design \ne possiede anche un talento per amalgamare gli elementi più svariati. \nIl contrasto ne sottolinea le differenze e, come nella vita, diventa il lato \npiù attraente e interessante delle cose.”\n \n“Edward has a very light, free and easy approach to designing, \nand he also has a talent for amalgamating very different elements. \nThe contrast highlights their differences and, as in life, it becomes the \nmost attractive and interesting side of things.”\nPhoto Alessandro Paderni \u002F Eye\n",215,{"image":868,"text":869,"number":870},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.216.png","Moroso vol 1\u002F3          Sofas + Seating systems\nMarcel Wanders\n214\nMarcel Wanders, il fondatore dell’omonimo studio \nad Amsterdam, è un creativo visionario, pluripremiato \ne riconosciuto in tutto il mondo. È stato lodato per il suo \nutilizzo del design, dell’innovazione e della tecnologia \nda riviste come Business Week, Elle Decoration, \nThe Washington Post e WIRED. Collabora con marchi \nleggendari come Alessi, KLM Airlines, Baccarat, Bisazza, \nChristofle, Kose\u002FCosme Decorte, Mac, Puma, Swarovski \ne Louis Vuitton. Oltre 1700 prodotti portano il suo nome. \nHa co-fondato il brand di successo Moooi. Concepito come \nuna piattaforma destinata a ospitare talenti provenienti \nda tutto il mondo è presente in 79 Paesi, rendendo Marcel \nsinonimo dell’eccellenza del design internazionale.\nDopo la laurea con il massimo dei voti alla ArtEZ Academy \ndi Arnhem e dopo aver frequentato un Executive MBA \nalla INSEAD, è diventato consulente della THNK School \nof Creative Leadership; le sue collezioni di design e \narchitettura sono esposte al MoMA di New York e di San \nFrancisco, al Victoria & Albert Museum nel Regno Unito, \nal Centro Pompidou in Francia e allo Stedelijk Museum di \nAmsterdam. Il principale impegno di Marcel è quello di \nriportare un tocco umano nel design, accompagnandolo \nin quella che lui definisce la nuova era del design, in cui \ndesigner, artigiano e utente finale si riuniscono. Il suo \nlavoro emoziona, provoca, polarizza, ma non cessa mai \ndi sorprendere per la sua ingegnosità, il suo coraggio e \nla singolare ricerca di elevazione dello spirito umano. \nCon tutto quello che ha fatto e che farà in futuro, sta \nrispettando i suoi obiettivi: “creare un ambiente di amore, \nvivere con passione e fare in modo che i sogni più belli \nsi avverino”.\nMarcel Wanders, founder of the Marcel Wanders \nstudio in Amsterdam, is a world renowned, award-winning \ncreative luminary. He has been lauded for his use of design, \ninnovation and technology from publications such as \nBusiness Week, Elle Decoration, The Washington Post and \nWIRED magazine. Collaborating with iconic brands such \nas Alessi, KLM Airlines, Baccarat, Bisazza, Christofle, \nKose\u002FCosme Decorte, Mac, Puma, Swarovski and Louis \nVuitton, he has over 1,700 products to his name. \nHe has also co-founded the successful Design label Moooi. \nConceived as a platform to host design talent from around \nthe globe and present in 79 countries worldwide, making \nMarcel synonymous with international design excellence.\nGraduating cum laude from the ArtEZ Academy in Arnhem \nand holding an an Executive MBA from INSEAD, he is \nan advisory board member of THNK School of Creative \nLeadership with architecture and design collections at \nMoMA, New York, MoMA, San Francisco; Victoria & Albert \nMuseum, London; Centre Georges Pompidou, Paris; and \nStedelijk Museum, Amsterdam.\nWith every endeavor, Marcel is bringing the human touch \nback to design, and ushering in what he calls design’s ‘new \nage’, in which designer, craftsperson and user are reunited. \nHis work excites, provokes, and polarises, but never fails to \nsurprise for its ingenuity, daring and singular quest to uplift \nthe human spirit. With all he has done and is yet to do, \nhe is fulfilling his mission: “here to create an environment \nof love, living with passion and making our most exciting \ndreams come true”.\nHa disegnato per Moroso\nHe designed for Moroso\nShitake\nCourtesy Marte Visser\n",216,{"image":872,"text":873,"number":874},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.217.png","Wanders — Designers overview\n215\nShitake, stamp, 2007\n \n“Sono una sorta di dilettante. I dilettanti non sono tanto sicuri delle \ncose: allora ricercano e a volte trovano una soluzione interessante, \napportando nuove idee che gli esperti potrebbero lasciarsi sfuggire. \nHo un rispetto totale per noi stessi e il mondo e penso che questa sia la base \ndel ‘buon design’.”\n \n“I’m a sort of amateur, amateurs aren’t so sure about things so they \ninvestigate and sometimes find an interesting solution, bringing new ideas \nto it that experts might overlook. I have an overall respect for ourselves \nand the world and I think this is the basis of ‘good design’.”\n",217,{"image":876,"text":877,"number":878},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.218.png","Weisshaar & Kram\nIl lavoro di Clemens Weisshaar e Reed Kram \nridefinisce l’avanguardia del design. Sono stati definiti \ncome “l’avanguardia della futura generazione di designer \ndigitali” (rivista FORM) e “il ritratto di una nuova \ngenerazione di designer” (International Herald Tribune). \nIl lavoro di Weisshaar e Kram si concentra sulla sottile \nlinea che separa il mondo reale da quello digitale, senza \nmai perdere di vista l’obiettivo di “ri-progettare il design” \n(Arch+ magazine). La loro opera è stata esposta in tutto \nil mondo e si trova nelle collezioni permanenti del \nVitra Design Museum di Weil am Rhein, del Museum of \nModern Art di New York, della Pinakothek der Moderne \ndi Monaco di Baviera e del Centre Pompidou di Parigi. \nClemens Weisshaar è nato a Monaco di Baviera. \nDopo aver lavorato come apprendista metalmeccanico, \nha frequentato il St. Martins College of Art and Design e il \nRoyal College of Art di Londra. Dopo una collaborazione \ndi tre anni con Konstantin Grcic, nel 2000 ha aperto il suo \nstudio di design. Weisshaar vive tra Monaco e Londra. \nNato negli Stati Uniti, Reed Kram attualmente vive e \nlavora tra Stoccolma e Monaco. Kram ha studiato design \nal pioneristico MIT Media Lab ed è stato cofondatore del \ngruppo Aesthetics and Computation guidato da John \nMaeda. Ha frequentato la Harvard Graduate School per\nil design e nel 1998 ha vinto la borsa di studio Fulbright \nper le Arti e il Design nei Paesi Bassi.\nClemens Weisshaar and Reed Kram’s work redefines \ncutting-edge design. They have been referred to as \n“the vanguard of the next generation of digital designers” \nby FORM magazine, with projects that range from software \ndevelopment to process design, from product design \nto architecture and “the poster boys of a new breed of \ndesigners” (International Herald Tribune). Weisshaar \nand Kram’s work focusses on the vanishing line between \nthe digital and the physical, always remaining committed \nto “redesigning design” (Arch+ magazine). Their work \nhas been exhibited worldwide and can be found in the \npermanent collections of the Vitra Design Museum, \nWeil am Rhein, MoMA, New York; Pinakothek der Moderne, \nMunich; and Centre Georges Pompidou, Paris. \nClemens Weisshaar was born in Munich. After an \napprenticeship as a metal worker, he studied product \ndesign at Central Saint Martins College of Art and Design \nand the Royal College of Art in London. He worked with \nKonstantin Grcic for three years before founding his first \noffice for design in 2000. Weisshaar lives in Munich and \nLondon. Reed Kram, born in Columbus Ohio, U.S., now lives \nand works in Stockholm and Munich. Kram studied design \nat the trailblazing MIT Media Lab and co-founded the \nAesthetics and Computation Group led by John Maeda. \nHe attended the Harvard Graduate School of design \nand won the Fulbright Scholarship for Art & Design for \nthe Netherlands in 1998.\nPhoto Matthias Ziegler\n216\nMoroso vol 1\u002F3          Sofas + Seating systems\nHanno disegnato per Moroso\nThey designed for Moroso\nCountach\n",218,{"image":880,"text":881,"number":882},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.219.png","Weisshaar & Kram — Designers overview\n217\n \n“Il software è parte integrante dell’oggetto fisico… \ne non è il futuro, è il presente.”\n \n“Software becomes an integral part of a physical object… \nand that’s not even the future, it’s now.”\nCountach, supporting structure \nof the table, 2005\n",219,{"image":884,"text":885,"number":886},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.220.png","Moroso vol 1\u002F3          Sofas + Seating systems\nTokujin Yoshioka nasce in Giappone nel 1967. \nDopo aver studiato a lungo con Shiro Kuramata e Issey \nMiyake, con cui collabora da oltre vent’anni, nel 2000 apre \na Tokyo il proprio studio elaborando numerosi progetti \na fianco di stilisti di moda, progettando, tra l’altro, gli \nstore Issey Miyake e A-POC e realizzando l’installazione \nintitolata Issey Miyake Making Things per la fondazione \nCartier di Parigi. Tokujin Yoshioka ha ricevuto numerosi \nriconoscimenti e la sua opera è esposta nelle collezioni \npermanenti dei più prestigiosi musei di tutto il mondo: \nil Museum of Modern Art a New York, il Centre Pompidou \na Parigi, il Vitra Design Museum a Weil am Rhein e il \nVictoria & Albert Museum a Londra.\nTokujin Yoshioka was born in Japan in 1967 and, \nafter having studied at length with Shiro Kuramata \nand Issey Miyake, set up his studio in Tokyo in 2000. \nHis partnership with Issey Miyake has been in existence \nfor over twenty years. Tokujin Yoshioka has taken \npart in a number of projects by the fashion designer, \ndesigning Issey Miyake and A-POC stores and producing \nthe installation entitled Issey Miyake Making Things for \nthe Cartier foundation in Paris. Tokujin Yoshioka has \nreceived a number of awards and his works are displayed \nin the permanent collections of MoMA, New York; Centre \nGeorges Pompidou, Paris; Vitra Design Museum, Weil am \nRhein; and the Victoria & Albert Museum, London.\nTokujin Yoshioka\n218\nHa disegnato per Moroso\nHe designed for Moroso\nBouquet, Brook, Moon, Panna Chair\n",220,{"image":888,"text":889,"number":890},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.221.png","“Colgo la bellezza nella natura, cerco sempre di conciliare i miei lavori \ncon le sue leggi, di incorporarla nel design industriale. La bellezza, in natura, \nè mutevole, cambia sempre forma e non tornerà mai la stessa.” \n“I embrace Nature’s beauty, I always try to adapt my work to its laws, \nto incorporate it into industrial design. In Nature, beauty is something that \nevolves, it changes its shape constantly and will never be the same again.”\nYoshioka — Designers overview\n219\nTokujin for Moroso, Moroso showroom, Milan \n— Italy, 2007\nPhoto Alessandro Paderni \u002F Eye\n",221,{"image":892,"text":19,"number":893},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.222.png",222,{"image":895,"text":896,"number":897},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.223.png","221\nSofas + Seating systems — Technical info\nMoroso Index\nIntro\nSofas\nSeating systems\nDesigners \nInfo\n",223,{"image":899,"text":900,"number":901},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.224.png","222\nIndex\n→ 224    Belt\n→ 228    Big Mama\n→ 230    Blur\n→ 232    Bohemian\n→ 234    Bold\n→ 238    Doodle\n→ 240    Gemma\n→ 242    Gentry\n→ 246    Glider\n→ 248    Highlands\n→ 252    Los Muebles\nAmorosos – Saula Marina\n→ 254    Lowland\n→ 258    M.a.s.s.a.s.\n→ 262    My Beautiful\nBackside\n→ 266    NewTone\n→ 268    Redondo\n",224,{"image":903,"text":904,"number":905},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.225.png","223\nSofas — Technical info\n→ 270    Shanghai Tip\n→ 274    Schellmann\ncollection – Conduit\n→ 276    Silver Lake\n→ 280    Soft Wood\n→ 282    Spring\n→ 284    Sushi collection\n→ 288    Tender\n→ 292    Victoria and\nAlbert\n→ 294    Volant\n* Indichiamo con asterisco, materiali \nsostituiti perchè appartenenti alla \ncollezione storica della Moroso \nfuori produzione. \n* We mark with star all the materials \nwe replaced, which used to belong \nto the Moroso collection and which \nare no longer available. \n",225,{"image":907,"text":908,"number":909},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.226.png","224\nDesign Patricia Urquiola — 2016\nImbottiture in poliuretano espanso ignifugo, fibra \npoliestere e chip di memory foam. Struttura in alluminio \nestruso e piedi in fusione di alluminio verniciato a polveri. \nRivestimenti solamente in tessuto con cinture in pelle. \nLa collezione Belt è sfoderabile.\nFlame-retardant polyurethane foam, polyester \nfiberfill and memory foam chips on extruded aluminum \nframe. Feet are die-cast aluminum with powder coat \nfinish. Fabric covers only, belts in leather.\nBelt\n→ 082\ncode BE1\nFeet colours\nNCS S\n7010-Y90R\ncacao\nRAL 7030\nstone gray\nPantone 5463\nink\nRAL 3009\noxidored\nRAL 7016\nanthracite\nExamples of composition\n225\n335\n110\n110\n225\n190\n310\n110\n225\n335\n300\n110\n300\n110\n300\n110\n190\n190\n120\n200\n110\n120\n310×200 cm\n037\n023\n023\n967\n031\n957\n955\n0D3\n335×225 cm\n300×300 cm\n300×335 cm\n",226,{"image":911,"text":912,"number":913},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.227.png","225\nSofas — Technical info\nfabric: A8100\nbelt: B0253\nbase: Ink\n",227,{"image":915,"text":916,"number":917},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.228.png","226\nfabric: A8100\nbelt: B0253\nbase: Ink\n",228,{"image":919,"text":920,"number":921},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.229.png","227\nSofas — Technical info\nBelt\ncode BE1\nSofa\n110\n210\n120\n200\n110\n225\n300\n207\n262\n175\n225\n195\n110\n280\n210\n195\n280\n280\n300\n42\n73\n110\n210\n240\n300\n42\n73\n110\n002\n018\n003\n952 – 953\n956 – 957\n954 – 955\n033 – 032\n962 – 963\nOW9\n037 – 031\n960 – 961\nOM5\n023 – 022\n958 – 959\n07A\n964 – 965\nOD4 – OD3\n967 – 968\nModular elements\n",229,{"image":923,"text":924,"number":925},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.230.png","228\nDesign Massimo Iosa Ghini — 1992\nElementi in poliuretano espanso indeformabile \na densità differenziate e fibra poliestere con struttura \ninterna in legno. Piedi in faggio verniciato avvitati \nalla struttura, ad eccezione dei piedi posteriori di Papy \nche sono fissati alla struttura. I cuscini della seduta, \nnon reversibili, sono in poliuretano espanso a densità \ndifferenziate e fibra poliestere. I cuscini dello schienale \nsono in piuma d’oca. La collezione Big Mama è sfoderabile, \nad eccezione delle poltrone Papy e delle versioni in pelle.\nElements in stress-resistant polyurethane foam \nin varied densities and polyester fiber on wood frame. \nFeet are beech screwed to the structure, except back \nfeet of Papy, which are permanently fixed to the frame. \nSeat cushions, non-reversible, are polyurethane foam \nin varied densities and polyester fiber. Back cushions \nare goose down. Big Mama collection fabric covers are \nremovable with the exception of Papy armchairs and \nleather versions.\nBig Mama\nSofa\n166\n128\n45\n78\n57\n97\n81\n186\n147\n252\n214\nBig Mama collection\n0N9\n0N7\n0N3\ncode BI0\nBig Mama, sofa\nPouf\n→ vol. 02\nBig Mama, armchair\n→ vol. 02\nPapy, bergère\n→ vol. 02\nFeet colour\nbeech\nnatural\nmatt finish\nbeech\naged oak \nmatt finish\nBig\nBig\nBig\nB\nMa\nMa\nMa\nMama\nma\nma,\nma,\nma, so\nso\nso\nso\nsofa\nfa\nfa\nfa\nfa\n",230,{"image":927,"text":928,"number":929},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.231.png","229\nSofas — Technical info\nfabric: A8134\nfeet: matt aged oak finish beech\n",231,{"image":931,"text":932,"number":933},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.232.png","230\nDesign Marc Thorpe — 2013\nElementi in poliuretano espanso indeformabile \na densità differenziate e fibra poliestere con struttura \ninterna in legno. Piedi avvitati alla struttura in \npolipropilene nero. La collezione Blur è sfoderabile, \na eccezione delle versioni in pelle. È consigliato \nil tessuto Blur con sfumatura progettato appositamente \ndal designer. Possono essere utilizzati anche altri \ntessuti della collezione Moroso.\nElements in stress-resistant polyurethane foam \nin varied densities and polyester fiber on wood frame; \nblack polypropylene glides. Blur collection covers are \nremovable with the exception of the leather versions. \nThe designer’s Blur ombré fabric is recommended for \nthis collection. Other fabrics from the Moroso collection \ncan also be specified.\nBlur\n→ 025\nSofa\nArmchair\n89\n107\n58\n100\n43\n71\n240\nBlur\nSofa\nArmchair\n018 - 752\n001 - 751\ncode BL1\n",232,{"image":935,"text":936,"number":937},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.233.png","231\nSofas — Technical info\n↑ top\nfabric: A7187\n↓ bottom\nfabric: A7185\n",233,{"image":939,"text":940,"number":941},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.234.png","232\nDesign Patricia Urquiola — 2008\nEspanso schiumato a freddo ignifugo con struttura \ninterna in resina e legno. Piedi in polipropilene. I cuscini \nopzionali dello schienale e della seduta sono in piuma \nd’oca. La collezione Bohemian è sfoderabile. \nInjected flame-retardant polyurethane foam over \ninternal resin and wood frame; glides in polypropylene. \nThe optional back and seat pillows are in goose down. \nBohemian collection covers are removable.\nBohemian\n→ 102, 104, 105\nSofa\n165\n230\n37\n73\n70\n114\n215\n280\nBohemian collection\nSofa\nChaise longue\n→ vol. 02\nArmchair\n→ vol. 02\nSmall armchair\n→ vol. 02\n018 - 0VU\n003 - 0VZ\ncode BH0\n",234,{"image":943,"text":944,"number":945},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.235.png","233\nSofas — Technical info\nfront: B0216 \nback: A7865\n← page 232 (top)\nfront: A3278* \nback: A5087\n",235,{"image":947,"text":948,"number":949},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.236.png","234\nDesign Patricia Urquiola — 2015\nEspanso schiumato a freddo ignifugo e fibra \npoliestere con struttura interna in acciaio. Piedi in acciaio \nverniciato a polveri. Sottopiedi in polipropilene. I cuscini \nsono in poliuretano espanso a densità differenziate e fibra \npoliestere. La collezione Bold è sfoderabile.\nInjected flame-retardant polyurethane foam and \npolyester fiber over internal steel frame. Feet are steel \nwith powder coat finish; polypropylene glides. Cushions \nin polyurethane foam in varied densities and polyester \nfiber. Bold collection covers are removable.\nBold\n→ 085, 086\ncode BD1\nRAL 7006\nmud \nRAL 3009 \noxidored\nRAL 7016 \nanthracite\ndark bronze\nhigh gloss\nFeet colours\n",236,{"image":951,"text":952,"number":953},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.237.png","235\nSofas — Technical info\nfabric: A5081\nfeet: anthracite\n← page 234 (top)\nfabric: A8162\nfeet: oxidored\n",237,{"image":955,"text":956,"number":957},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.238.png","236\nfabric: A5081\nfeet: anthracite\n",238,{"image":959,"text":960,"number":961},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.239.png","237\nSofas — Technical info\nBold\ncode BD1\nSofa\nOttoman\n42\n160-184\n240\n70\n67\n107\n92\n92\n42\n83\n107\n220-245\n300\n190\n160\n92\n160\n184\n92\n160\n184\n107\n42\n70\n184\n184\n184\n184\n214\n214\n107\n42\n70\n160\n150\n188\n200\n39\n191\n110\n83\n69\n107\n184\n324\n190\n107\n107\n107\n160\n190\n267\n107\n321\n190\n184\n374\n107\n214\n002 - 018\n022 - 023\n037\n031\n0D1 - 0D2\n0D7 - 0D8\n0D4 - 0D3\n267×190 cm\n324×191 cm\n384×321 cm\n07A \n011\n0M5\n0TH - 0TG\n003\n017\n077\nExamples of composition\nChaise longue\nModular elements\nPeninsula\n07A\n037\n0D2\n0TG\n0D7\n0D3\n037\n",239,{"image":963,"text":964,"number":965},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.240.png","238\nDesign Front — 2013\nEspanso schiumato a freddo ignifugo e fibra \npoliestere con struttura interna in resina e acciaio. \nPiedi in tubo di acciaio verniciato nero a polveri \ncon sottopiedi in polipropilene. Utilizzata una pelle \nmolto morbida, la Elmo Soft o Soft Ciré con ricami \nsempre in tono al colore della pelle. La collezione \nDoodle non è sfoderabile.\nInjected flame-retardant polyurethane foam and \npolyester fiber over internal resin and steel frame. \nFeet are in tubular black steel with powder coat finish on \npolypropylene glides. Used a very soft leather, \nOnly Elmosoft or Soft Cire leather covers with embroidery \nto match leather color. Doodle collection covers are not \nremovable.\nDoodle\n→ 045\nSofa\nArmchair\n110\n40\n98\n70\n180\n130\n46\n98\n80\nDoodle\nSofa\nArmchair\n931\n930\ncode DU0\n",240,{"image":967,"text":968,"number":969},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.241.png","239\nSofas — Technical info\n→\nleather: B0303\n↓ bottom\nleather: B0242\n",241,{"image":971,"text":972,"number":973},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.242.png","240\nDesign Daniel Libeskind — 2015\nPoliuretano espanso ignifugo indeformabile a \ndensità differenziate con struttura interna in polistirene \nresinato. La collezione Gemma non è sfoderabile.\nStress-resistant flame-retardant polyurethane foam \nin varied densities on resin-treated polystyrene. Gemma \ncollection covers are not removable.\nGemma\n→ 076\nGemma\nSofa\nArmchair\n→ vol. 02\nSofa\nArmchair\n40\n42\n93\n80\n53\n74\n54\n42\n264\n80\n50\n86\n53\n003\n061\ncode GM0\n",242,{"image":975,"text":976,"number":977},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.243.png","241\nSofas — Technical info\nfabric: A7187\n← page 240 (top)\nleather: B0242\n",243,{"image":979,"text":980,"number":981},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.244.png","242\nDesign Patricia Urquiola — 2011\nEspanso schiumato a freddo ignifugo e fibra \npoliestere con struttura interna in acciaio. Piedi a ponte \nin tubo di acciaio cromato o verniciato a polveri. \nI cuscini della seduta sono in piuma d’oca con inserto \nin poliuretano espanso. I cuscini dello schienale, \ndel bracciolo e quelli opzionali sono in piuma d’oca. \nLa collezione Gentry è sfoderabile.\nInjected flame-retardant polyurethane foam \nand polyester fiber over internal steel frame. Front-back \ntwo leg base is tubular steel with chrome or varnished \nsteel powder coat finish. Seat cushions are in goose down \nover polyurethane foam. Back, armrest and optional \ncushions are goose down. Gentry collection covers \nare removable.\nGentry\n→ 023, 065, 066, 068, 069\nExamples of composition\n90\n225\n165\n330\n105\n225\n330\n165\n225\n345\n105\n330\n300\n105\n300\n195\nC20\nB80\nC51\nA50\ncode GE0\nFeet colours\nnatural steel\nchrome\nblack steel\nchrome\nRAL 3009\noxidored\n",244,{"image":983,"text":984,"number":985},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.245.png","243\nSofas — Technical info\nfabric: A5224\n← page 242 (top)\nfabric: A5224\nfeet: chromed steel\n",245,{"image":987,"text":988,"number":989},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.246.png","244\n↑ top\nleather: B0240\nfeet: chromed steel\n↓ bottom\nfabric: A7328* \nfeet: chromed steel\n",246,{"image":991,"text":992,"number":993},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.247.png","245\nSofas — Technical info\n60\n90\n75\n105\n90\n120\n90\n105\n120\n105\n105\n75\n90\n90\n75\n105\n105\n40\n67\n210-240\n76\n300-345\n60\n90\n75\n105\n90\n120\n90\n135\n165\n105\n105\n165\n195\n90\n105\n180-210\n105\n120\n195-225\n90\n40\n16\nGentry\n858\n395\n331\n855 - 856\n002 - 018\n598 - 599\nC30 - 672\nC40 - 673\n882 - 883\nC71 - C81\n880 - 881\n0D4 - 0D3\n862 - 863\n397 - 398\n391 - 399\n859\n011\n396\n864 - 865\n053\n387 - 388\n872 - 873 - 874 - 875\n626 - 627 - 628 - 629\n646 - 647 - 648 - 649\n866 - 867\n334 - 335\n052\n017\n076\n077\n772\n214\nModular elements\nSofa\nChaise longue\nPouf\ncode GE0\n",247,{"image":995,"text":996,"number":997},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.248.png","246\nDesign Ron Arad — 2015\nEspanso schiumato a freddo ignifugo con struttura \ninterna in acciaio e sottopiedi in PVC trasparenti. \nSul divano cod. 951 è montato un meccanismo a dondolo.\nLa collezione è prodotta con i tessuti Blur o Pitch e non è \nrealizzabile in pelle. La collezione Glider non è sfoderabile.\nInjected flame-retardant polyurethane foam over \ninternal steel frame on transparent PVC glides. \nSofa code 951 has steel glider mechanism. The collection \nis produced with Blur or Pitch fabrics and it is not available \nin leather. Glider collection covers are not removable. \nGlider\n→ 028\ncode GD0\nSofa\n65\n43\n115\n81\n240\n150\n950 - 951\n",248,{"image":999,"text":1000,"number":1001},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.249.png","247\nSofas — Technical info\n↑ top\nfabric: A7188\n↓ bottom\nfabric: A7187\n",249,{"image":1003,"text":1004,"number":1005},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.250.png","248\nDesign Patricia Urquiola — 2003\nDivani. Seduta in poliuretano espanso \nindeformabile a densità differenziate e fibra poliestere \ncon struttura interna in legno. Schienale e bracciolo \nin espanso schiumato a freddo ignifugo con struttura \ne meccanismo d’inclinazione in acciaio. I piedi avvitati \nalla struttura sono in polipropilene nero. La collezione \nHighlands è sfoderabile.\nLetti. Testiera reclinabile e sponde del letto \nimbottite. Possono contenere solo materassi con \nmisure standard europee.\nSofa. Seat in stress-resistant polyurethane foam \nin varied densities and polyester fiber on wood frame. \nBack and arm in injected flame-retardant polyurethane \nfoam and polyester fiber over internal steel frame \nwith articulated reclining mechanism. Feet are black \npolypropylene screwed to the frame. Highlands collection \ncovers are removable.\nBed. Headboard with articulated reclining mechanism.\nAccommodates standard European mattresses only.\nHighlands\n→ 041, 042\nHighlands\nSofa\nPouf\nBed\ncode HL0\n",250,{"image":1007,"text":1008,"number":1009},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.251.png","249\nSofas — Technical info\nfabric: A5226\n",251,{"image":1011,"text":1012,"number":1013},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.252.png","250\n↑ top\nfabric: A3386\n↓ bottom\nfabric: A8302\n",252,{"image":1015,"text":1016,"number":1017},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.253.png","251\nSofas — Technical info\n73\n73\n240\n90\n90\n275\n38\n70\n101\n65\n100\n120\n73\n120\n73\n115\n150\n83\n73\n70\n101\n73\n120\n100\n90\n73\n120\n83\n73\n65\n100\n73\n120\n70\n101\n73\n120\n100\n90\n90\n137\n137\n90\n137\n90\n120\n73\n120\n73\n90\n137\n50\n50\n38\n100\n100\n38\n83\n100\n38\nHighlands\n018\n06E\n06W\n152\n154\n153\n034\n06V\n04S\n0D4\n0D3\n06C\n06D\n011\n143\n142\n013\n012\n141\n140\n003\nSofa\nModular elements\nChaise longue\nPouf\ncode HL0\n",253,{"image":1019,"text":1020,"number":1021},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.254.png","252\nDesign Javier Mariscal — 1995\nPoliuretano espanso indeformabile a densità \ndifferenziate e fibra poliestere con struttura interna \nin legno. Piedi in faggio naturale o laccato nero avvitati \nalla struttura.\nStress-resistant polyurethane foam in varied \ndensities and polyester fiber on wood frame. Feet in beech \nwith natural or black lacquer finish screwed to the frame.\nLos Muebles Amorosos – Saula Marina\n→ 049\nSofa\n45\n68\n94\n195\n95\nLos Muebles Amorosos collection\nS10027\nSaula Marina, sofa\nAlessandra, armchair\n→ vol. 02\n",254,{"image":1023,"text":1024,"number":1025},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.255.png","253\nSofas — Technical info\nfabric: version A\n",255,{"image":1027,"text":1028,"number":1029},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.256.png","254\nDesign Patricia Urquiola — 2000\nDivani. Poliuretano espanso indeformabile a densità \ndifferenziate e fibra poliestere con struttura interna \nin legno. Piedi a slitta in tubo di acciaio inox. Sottopiedi \nin PVC su richiesta. La collezione Lowland è facilmente \nsfoderabile smontando i braccioli e lo schienale.\nLetti. Testiera e sponde del letto imbottite. Può \ncontenere solo materassi con misure standard europee.\nSofas. Elements upholstered in flame-retardant \npolyurethane foam in varied densities, polyester fiber \non wooden frame. Sled base in tubolar stainless steel. \nLowland collection has covers that can be removed by \ndismantling the arms and the back.\nBeds. Upholstered headboard and sides. \nAccommodates standard European mattresses only.\nLowland\n→ 020, 100, 124\nLowland\ncode LL0\nSofa\nPouf\nBed\nFeet colours\nstainless steel\n",256,{"image":1031,"text":1032,"number":1033},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.257.png","255\nSofas — Technical info\n* fabric: A6081\nfeet: stainless steel\n← page 254\n* fabric: A5550\nfeet: stainless steel\n",257,{"image":1035,"text":1036,"number":1037},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.258.png","256\nfabric: A6081*\nfeet: stainless steel\n",258,{"image":1039,"text":1040,"number":1041},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.259.png","257\nSofas — Technical info\n41\n51\n66\n96\n224-244-274\n73\n148\n148\n108\n41\n60\n188\n302\n154\n96\n238\n333\n244\n96\n382\n268\n154\n314\n96\n260\n472\n154\n224\n96\n188\n238\n96\n284\nLowland\nC18 - C03 - CM1\nCA1\nCE1\nCTT\nSC1\nCC4\n017\n077\nSofa\nExamples of composition\nPouf\nBed\ncode LL0\n",259,{"image":1043,"text":1044,"number":1045},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.260.png","258\nDesign Patricia Urquiola — 2012\nDivani. Seduta in poliuretano espanso ignifugo \nindeformabile a densità differenziate e fibra poliestere \ncon struttura interna in legno. Schienale e braccioli in \nespanso schiumato a freddo ignifugo con struttura interna \nin acciaio.\nPoltrone. Le poltrone sono in espanso schiumato \na freddo ignifugo con struttura interna in acciaio. \nPiedi in polipropilene nero avvitati alla struttura.\nLa collezione M.a.s.s.a.s. è sfoderabile.\nSofas. Seat in flame-retardant polyurethane \nfoam in varied densities and polyester fiber on wood \nframe. Backrest and arms are in injected flame-retardant \npolyurethane foam over internal steel frame.\nArmchairs. The armchairs are in injected \nflame-retardant polyester foam over internal steel frame. \nFeet in black polypropylene screwed to the structure.\nM.a.s.s.a.s. collection covers are removable.\nM.a.s.s.a.s\n→ 026, 071, 072, 074, 075\ncode MA1\nM.a.s.s.a.s. \nSofa\nArmchair\nSmall armchair\n",260,{"image":1047,"text":1048,"number":1049},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.261.png","259\nSofas — Technical info\nfabric: A4141\n",261,{"image":1051,"text":1052,"number":1053},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.262.png","260\nfabric: A5877\n",262,{"image":1055,"text":1056,"number":1057},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.263.png","261\nSofas — Technical info\nM.a.s.s.a.s\ncode MA1\n157\n187  \n123\n162\n120\n245\n40\n70\n40\n65\n105\n82\n46\n79\n47\n70\n314\n40\n70\n65\n105\n162\n300\n162\n285\n340\n80\n65\n68\n100\n100\n220\n180\n134\n40\n70\n66\n105\n003\nA50\nC30\nE54 - E55\n011\nE52 - E53\nE56 - E57\nE50 - E51\n0D3 - 0D4\n001\n061\n017\nSofa\nModular elements\nExamples of composition\nChaise longue\nArmchair\nPouf\nA10\n",263,{"image":1059,"text":1060,"number":1061},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.264.png","262\nDesign Nipa Doshi and Jonathan Levien — 2008\nSedili in poliuretano espanso indeformabile a \ndensità differenziate e fibra poliestere con struttura \ninterna in legno. Schienali in espanso schiumato a freddo \nignifugo con struttura interna in acciaio. Piedi in noce \nnaturale con sottopiedi in metallo ottonato. La collezione \nMy beautiful backside non è sfoderabile.\nElements in stress-resistant polyurethane foam in \nvaried densities and polyester fibrefill on hardwood frame. \nBacks in injected flame-retardant foam over internal steel \nframe. Feet are walnut with natural finish and have metal \nglides. My beautiful backside collection covers are not \nremovable.\nMy Beautiful Backside\n→ 122, 123\nBench\n40\n99\n60\n75\n89\n160\n210\n261\n307\n0T6\n0T7\n0T8\n0T9\ncode MD0\nMy Beautiful Backside\nBench 160\nBench 210\nBench 261\nBench 307\n",264,{"image":1063,"text":1064,"number":1065},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.265.png","263\nSofas — Technical info\nfabric: Light  Blue  version\n",265,{"image":1067,"text":1068,"number":1069},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.266.png","264\n",266,{"image":1071,"text":1072,"number":1073},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.267.png","265\nSofas — Technical info\nMy Beautiful Backside\ncode MD0\nfabric: Deep Blue version\n",267,{"image":1075,"text":1076,"number":1077},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.268.png","266\nDesign Massimo Iosa Ghini — 1989\nElementi in poliuretano espanso indeformabile \na densità differenziate e fibra poliestere con struttura \ninterna in legno. Piedi in alluminio satinato avvitati alla \nstruttura. Il cuscino della seduta è in poliuretano espanso \nindeformabile a densità differenziata e fibra poliestere. \nI cuscini opzionali dello schienale sono in piuma d’oca. \nLa collezione NewTone non è sfoderabile.\nStress-resistant polyurethane foam in varied \ndensities and polyester fiber on wood frame. Aluminium \nfeet with satin finish screwed to the frame. Seat cushion \nis stress-resistant polyurethane foam in varied densities \nand polyester fiber. Optional back pillows are goose down. \nNewTone collection covers are not removable.\nNewTone\nNewTone\nDrop sofa\nOval sofa\nArmchair\ncode NT0\n15\n93\n45\n87\n136 - 187 - 215 \n179 - 226 - 257\n245\n93\n45\n100\n287\n45\n50\n75\n15\n60\n61\n81\n78\nSofa\nArmchair\n05X\n05D - 05E\n05G - 05F\n05A - 05B - 05C\nFeet colours\naluminium \nsatin finish\n",268,{"image":1079,"text":1080,"number":1081},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.269.png","267\nSofas — Technical info\nfabric: A7783\nfeet: satin-finished aluminium \nfabric: A8256\nfeet: satin-finished aluminium\n← page 266 (top)\nfabric: A8253* \nfeet: satin-finished aluminium\n",269,{"image":1083,"text":1084,"number":1085},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.270.png","268\nDesign Patricia Urquiola — 2010\nDivani. Elementi in poliuretano espanso a densità \ndifferenziate e fibra poliestere con struttura interna in \nlegno. I cuscini della seduta sono in poliuretano espanso \ne fibra poliestere. I cuscini opzionali dello schienale sono \nin piuma d’oca.\nLa collezione Redondo è sfoderabile. Il tessuto \nutilizzato per rivestire la collezione è trapuntato su \ndisegno della designer Patricia Urquiola.\nSofas. Elements upholstered in stress-resistant \npolyurethane foam in varied densities and polyester \nfiber on wood frame. Seat cushions are in polyurethane \nfoam and polyester fiberfill. Optional back pillows are \nin goose down.\nFabric covers are quilted in a specific pattern \ndesigned by Patricia Urquiola and is an integral esthetic \nof this collection. \nRedondo\n→ 107, 108\nRedondo\nSofa\nSofa\nSmall armchair\n→ vol. 02\nArmchair\n→ vol. 02\ncode RD0\n53\n42\n75\n75\n54\n74\n95\n40\n75\n60\n66\n94\n77\n40\n104\n84\n172\n215\n70\n40\n90\n202\n245\nSofa\nArmchair\nPouf\n061\n001\n017\n003\n0M1\n",270,{"image":1087,"text":1088,"number":1089},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.271.png","269\nSofas — Technical info\nfabric: A4284\n",271,{"image":1091,"text":1092,"number":1093},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.272.png","270\nDesign Patricia Urquiola — 2006\nSedute in poliuretano espanso indeformabile \na densità differenziate e fibra poliestere con struttura \ninterna in legno. Schienale e bracciolo in espanso \nschiumato a freddo ignifugo e fibra poliestere con \nstruttura interna in acciaio. Lo schienale è dotato \ndi meccanismo d’inclinazione. Piedi in tubo di \nacciaio cromato o verniciato opaco con sottopiedi \nin polipropilene. I cuscini della seduta sono in piuma \nd’oca con inserto in poliuretano espanso. I cuscini dello \nschienale e i cuscini opzionali sono in piuma d’oca o, \nsu richiesta, in fibra poliestere. La collezione Shanghai \nTip è sfoderabile.\nSeats in stress-resistant polyurethane foam in \nvaried densities and polyester fiber on wood frame. \nBack and arm are in injected flame-retardant polyurethane \nfoam and polyester fiber over internal steel frame. \nBackrest has a reclinable headrest mechanism. Feet are \nin tubular steel with chrome finish or matt powder coat \nfinish; on polypropylene glides. Seat cushions are goose \ndown over polyurethane foam. Back cushions and optional \npillows are in goose down or, on request, in polyester \nfiberfill. Shanghai Tip collection covers are removable.\nShanghai Tip\n→ 119, 120\nShanghai Tip\nSofa\nPouf\nTable\n→ vol. 02\ncode SH0\nFeet colours\nTable colours\nnatural steel\nchrome\nRAL 5020 \nocean blue \nRAL 9005 \nblack\ngold steel \nchrome\nnatural steel\nchrome \nRAL 9018 \npapyrus\nRAL 5020 \nocean blue\nNCS S \n5010-Y70R\nblush\n",272,{"image":1095,"text":1096,"number":1097},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.273.png","271\nSofas — Technical info\nfabric: A8110\nfeet: chromed steel\n← page 270 (top)\nfabric: A8114* \nfeet: chromed steel\n",273,{"image":1099,"text":1100,"number":1101},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.274.png","272\n↑ top\nfabric: A8162* \nfeet: chromed steel\n↓ bottom\nfabric: A8110* \nfeet: chromed steel\n",274,{"image":1103,"text":1104,"number":1105},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.275.png","273\nShanghai Tip\ncode SH0\nSofas — Technical info\n100\n200\n107\n107\n100-107\n50\n157\n75\n150\n82\n207\n107\n100\n214\n244\n60\n100\n60\n100\n60\n100\n39\n69\n85\n14\n107\n207\n112\n162\n60\n110\n39\n69\n39\n69\n39\n69\n39\n69\n39\n32\n43\n32\n35\n48\n64\n38\n53\n110\n110\n018\n025 - 024\n013 - 012\n0D4 - 0D3\n242 - 342\n244\n04S\n243 - 343\n0TH - 0TG\n011\n04D\n022 - 023\n010\n077\n280 - 017\n04A\n04P\n038 - 039\n003\nSofa\nModular elements\nChaise longue\nPeninsula\nPouf\nTable\nCorner\n",275,{"image":1107,"text":1108,"number":1109},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.276.png","274\nDesign Jörg Schellmann — 2013\nConduit, poltrona e divano. Poliuretano espanso \nindeformabile a densità differenziate e fibra poliestere \ncon base in legno. Struttura esterna in tubo di acciaio \nverniciato. La collezione Conduit è sfoderabile.\nConduit, tavoli. Struttura in acciaio verniciato \ncon vassoio in ABS termoformato.\nConduit, armchair and sofa. Stress-resistant \npolyurethane foam in varied densities and polyester \nfibrefill on hardwood base. External frame is tubular steel. \nConduit covers are removable.\nConduit, small tables. Structure in varnished steel \nwith table tray in thermoformed ABS.\nSchellmann collection – Conduit\n→ 046\nSofa\nSmall table\nArmchair\n98\n62\n125\n76\n42\n71\n200\n120\n240\n160\n51\n54\n81\n34\nSchellmann collection\nConduit, sofa\nConduit, armchair\nConduit, small table\nDouble Table\n→ vol. 02\nLibrary\n→ vol. 02\n002\n003\n0GT\n0GS\n001\ncode CO1\nFrame colours\nTable tray colours\nRAL 9002\nwhite chalk\nRAL 7030\nstone grey\nRAL 5020\nocean blue\nRAL 6002 \nleaf green\nPantone 718\norange\nRAL 1012\nlemon yellow\nRAL 7016\nanthracite\nRAL 7015\nslate grey\n",276,{"image":1111,"text":1112,"number":1113},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.277.png","275\nSofas — Technical info\nfabric: A7395\ntube: orange\n← page 274 (top)\nfabric: A7395\ntube: stone grey\n",277,{"image":1115,"text":1116,"number":1117},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.278.png","276\nDesign Patricia Urquiola — 2010\n Poliuretano espanso ignifugo indeformabile \na densità differenziate e fibra poliestere con struttura \ninterna in legno. Braccioli e piedi in acciaio verniciato \na polveri. I cuscini opzionali sui braccioli dei divani sono \nin fibra poliestere. I fianchi possono essere: imbottiti \ne rivestiti (versione SLA) in legno (versione SLB). \nLa collezione Silver Lake non è sfoderabile.\nStress-resistant flame-retardant polyurethane foam \nin varied densities and polyester fiber on wood frame. \nArm\u002Flegs are steel with powder coat finish. Optional \nsofa armrest pillows in polyester fiber. The sides are: \nfully upholstered (codes SLA) or wood panels in selected \nfinishes (codes SLB). Silver Lake collection covers are not \nremovable. \nSilver Lake\n→ 111, 112\nFianco imbottito, \nsenza braccioli\nUpholstered side, \narmrests without\nSLA\nPiccola\nSmall\nAlta\nHigh\nBassa\nLow\nPouf\nDivano 2p\n2 seater sofa\nDivano 3p\n3 seater sofa\nFianco imbottito\ncon braccioli\nUpholstered side\nwith armrests\nSLA\nFianco legno\nSide wood\nSLB\ncode SL0\nArm\u002Fleg colours\nRAL 7047\ntele grey\nRAL 7008\nkhaki\nNCS \nS 7010-Y90R\ncacao\nRAL 3009\noxidored\nPantone 5463\nink\nRAL 7016\nanthracite\n",278,{"image":1119,"text":1120,"number":1121},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.279.png","277\nSofas — Technical info\n↑ leather (top): B0218\nbase: oxidored\n↗ fabric (bottom): A3277\nbase: anthracite \n← page 276 (top)\nfabric: A3188* \nbase: oxidored\n",279,{"image":1123,"text":1124,"number":1125},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.280.png","278\n↑ top\nleather: B0211\nbase: oxidored\n↓ bottom\nfabric: A5634\nbase: khaki\n",280,{"image":1127,"text":1128,"number":1129},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.281.png","279\nSofas — Technical info\nSilver Lake\n41\n95\n56\n61\n87\n63\n40\n75\n54\n83\n51\n44\n84\n45\n71\n40\n48\n76\n72\n106\n65\n44\n60\n84\n45\n71\n77\n41\n56\n95\n56\n87\n39\n46\n52\n83\n41\n56\n75\n54\n83\n200-230\n260\n045\n091\n209\n208\n207\n017\n096\n061\n044 - 087\nSofa\nArmchair\nPouf\ncode SL0\n",281,{"image":1131,"text":1132,"number":1133},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.282.png","280\nDesign Front — 2010\nPoliuretano espanso ignifugo indeformabile a \ndensità differenziate e fibra poliestere con struttura \ninterna in legno. Piedi e struttura esterna in abete \nbianco naturale. Tessuto con stampa secondo il progetto \nspecifico delle designer Front. La collezione Soft Wood \nnon è sfoderabile.\nStress-resistant flame retardant polyurethane foam \nin varied densities and polyester fiber on wood frame. \nFeet and exposed frame are in natural silver fir. Special \ndigitally printed fabric designed by Front. Soft Wood \ncovers are not removable.\nSoft Wood\n→ 116, 117\ncode S12\nSoft Wood\nSofa\nSofa\n44\n85\n56\n86\n194\n003\n",282,{"image":1135,"text":1136,"number":1137},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.283.png","281\nSofas — Technical info\n",283,{"image":1139,"text":1140,"number":1141},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.284.png","282\nDesign Patricia Urquiola — 2010\nEspanso microcellulare ottenuto da oli di origine \nvegetale e fibra poliestere con struttura in legno. Piedi in \npolipropilene nero. La collezione Spring è sfoderabile.\nMicrocellular polyurethane foam from vegetable \noil and polyester fiber on wood frame. Feet in black \npolypropylene. Spring collection covers are removable.\nSpring\n→ 092, 123\nModular elements\nChaise longue\nPouf\ncode S11\n120\n120\n41\n70\n95\n112\n140\n75-90\n67       28\n95\n41\n95\n95\n95\n41\n70\n67       28\n95\nModular elements\nChaise longue\nPouf\nCorner\n334 - 332\n335 - 333\n330 - 331\n017\n339\n336\n337\nSpring\n105-120\n105-120\n41\n70\n67       28\n95\n",284,{"image":1143,"text":1144,"number":1145},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.285.png","283\nSofas — Technical info\nfabric: A8128*  \n← page 282 (top)\nfabric: A8316* \n",285,{"image":1147,"text":1148,"number":1149},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.286.png","284\nDesign Edward van Vliet — 2008\u002F2016\nKarmakoma, Donut pouf, Juju bench, Sushi block, \nSolomon, Marshmallow. Poliuretano espanso ignifugo \nindeformabile a densità differenziate e fibra poliestere \ncon struttura interna in legno. Karmakoma ha i piedi in \nfaggio verniciato avvitati alla struttura, mentre gli altri \nmodelli hanno i piedi in polipropilene.\nKarmakoma, Donut pouf, Juju bench, Sushi block,\nSolomon, Marshmallow. Stress-resistant flame-retardant \npolyurethane foam in varied densities and polyester fiber \non wood frame. Karmakoma has varnished beech feet \nscrewed to the frame. Other models: feet in polypropylene. \nSushi collection\n→ 114, 115\ncode S30\nSushi collection\nDonut \npouf round\nKarmakoma sofa\nJuju fauteuil\n→ vol. 02\nKarmakoma \narmchair\nAyub\n→ vol. 02\nDonut \npouf round\nJoy \nround stool\nJuju rendez-vous\n→ vol. 02\nAriel\n→ vol. 02\nBonobo\n→ vol. 02\nMimi\n→ vol. 02\nJuju bench\nSolomon\nMarshmallow\nSushi Block\nCubikoo round\n→ vol. 02\nfabric: version A\n",286,{"image":1151,"text":1152,"number":1153},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.287.png","285\nSofas — Technical info\n",287,{"image":1155,"text":1156,"number":1157},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.288.png","286\n↑ top\nSolomon blue edition\nfabrics: A6301, A8219\n↓ bottom\nJuju red edition\nfabrics: A7391, A8219, A6301\n",288,{"image":1159,"text":1160,"number":1161},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.289.png","287\nSofas — Technical info\n75\n68\n68\n50\n70\n45\n75\n50\n70\n45\n105\n79\n77\n51\n61\n80\n46\n73\n77\n51\n61\n46\n81\n71\n65\n95\n150\n150\n71\n42\n42\n80\n82\n50\n79\n41\n5\n77\n43\n80\n86\n82\n43\n57\n80\n82\n77\n45\n42\n80\n100\n210\n166\n39\n65\n74\n60\n105\n206\n250\n94\n45\n50\n140\n45\n94\n50\n44\n260\n80\n52\n70\n350\n64\n50\nSushi collection\nOM1\n07U\n0M7\n0P5\n003\n001\nKarmakoma\nJoy round stool\nDonut pouf round\nSolomon\nSushi Block\n0C3\n0C4\n0C5\n0C6\nAriel\nAyub\nBonobo\nMimi\n06Y\n06N\n061\nJuju rendez-vous\nJuju bench\nJuju fauteuil\nCubikoo round\ncode S30\n214\n214\nMarshmallow\n",289,{"image":1163,"text":1164,"number":1165},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.290.png","288\nDesign Patricia Urquiola — 2014\nSeduta in poliuretano espanso ignifugo a densità \ndifferenziate e fibra poliestere su telaio in alluminio \ncon rete tesata in composito poliestere\u002FPVC. Schienali \nin espanso schiumato a freddo ignifugo e fibra poliestere \ncon struttura interna in acciaio. Le gambe sono in fusione \ndi alluminio verniciata a polveri, con rivestimento \nopzionale in frassino tornito verniciato naturale. \nSottopiedi in polipropolene regolabili. La collezione \nTender è sfoderabile.\nTavolini di appoggio. Base in tubo di alluminio \nverniciato a polveri o con rivestimento opzionale in \nfrassino verniciato naturale. Piano in frassino naturale \ncon il bordo laccato per i tavoli cod. 0VP-0VQ, laccato \nmonocromo per il tavolo doppio cod. 0VR.\nSeat in flame-retardant polyurethane foam in \nvaried densities and polyester fiber on aluminium frame \nwith polyester\u002FPVC composite mesh. Backs in injected \nflame-retardant polyurethane foam and polyester fiber \nover internal steel frame. Feet are in die-cast aluminum \nwith powder coat finish or with covers of ash with natural \nvarnished finish. Height adjustable polypropylene glides. \nTender collection covers are removable.\nSofa tables. Legs are in tubular aluminum with \npowder coat finish or with covers of ash with natural \nvarnished finish. Tops are ash with natural finish. Tables \n0VP-0VQ have beveled edge finished same color as leg; \ndouble table 0VR has all-over lacquer finish.\nTender\n→ 016, 019\nTender\nSofa\nVis à vis\ncode LD0\nSteel version: feet and top table\nWood version: frame, feet and covering\nRAL 7006 \nmud\nRAL 3009 \noxidored\nRAL 7008 \nkhaki\nRAL 7016 \nanthracite\nash \nnatural \nmatt finish\nRAL 7006\nmud\nExample of composition\n",290,{"image":1167,"text":1168,"number":1169},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.291.png","289\nSofas — Technical info\nfabric: A7391\n← page 288 (top)\nfabric: A7390\nfeet: ash natural matt finish\n",291,{"image":1171,"text":1172,"number":1173},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.292.png","290\n↑ top\nfabric: A8173\nfeet: ash natural matt finish\n↓ bottom\nfabric: A8170\nfeet: ash natural matt finish\n",292,{"image":1175,"text":1176,"number":1177},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.293.png","291\nSofas — Technical info\nTender\n225\n240\n40\n83\n96\n68\n294\n171-192\n198-211\n226\n96\n68\n97\n48\n54\n35\n35\n36\n185-197\n212-225\n110\n68\n40\n83\n171-183\n198\n273\n288\n96\n68\n40\n83\n0WA\n0WB\n0WC\nSofa\nDormeuse\nModular elements\nSofa tables\nVis à vis\n0XP - 0XQ - 0XN - 0XO\n0XR - 0XS - 0XT - 0XU\n0XV - 0XW\n0WD - 0WE - 0WF - 0WG\n0WH - 0WJ - 0WK - 0WL\n0VQ\n0VP\n0VR\n0WM - 0WN - 0WO - 0WP\n0WQ - 0WR\n0WS - 0WT\n0XC - 0XD\ncode LD0\n",293,{"image":1179,"text":1180,"number":1181},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.294.png","292\n107\n142\n43\n107\n95\n205-255\n43\n125\n297\n297\nDesign Ron Arad — 2000\nPoliuretano espanso indeformabile a densità \ndifferenziate con struttura interna in vetroresina \nrinforzata e acciaio. Piedi in tubo di acciaio verniciato con \nsottopiedi in acciaio cromato regolabili. La collezione dei \ndivani è sfoderabile, ad eccezione delle versioni in pelle.\nStress-resistant polyurethane foam in varied \ndensities on fiberglass-reinforced resin and steel frame. \nLegs are tubular varnished steel on chromed finish steel \nadjustable glides. All covers are removable with the \nexception of leather versions.\nVictoria and Albert\n→ 034\nVictoria and Albert collection\nSofa\nArmchair\n→ vol. 02\nSofa \nSofa\n048\n047\n044 - 045\ncode VA0\nSmall armchair\n→ vol. 02\nLittle Albert\n→ vol. 03\nChair\n→ vol. 02\nLeg colours\nsteel\nRAL 9005\nblack\n",294,{"image":1183,"text":1184,"number":1185},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.295.png","293\nSofas — Technical info\nfabric: A3735* \n",295,{"image":1187,"text":1188,"number":1189},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.296.png","294\nDesign Patricia Urquiola — 2007\n Poliuretano espanso ignifugo indeformabile a \ndensità differenziate e fibra poliestere con struttura \ninterna in acciaio. Basamento in tubo di acciaio cromato \no verniciato. La collezione Volant è sfoderabile.\nStress-resistant flame-retardant polyurethane \nfoam in varied densities and polyester fiber on steel frame. \nBase in tubular steel with chrome or varnished finish. \nVolant collection covers are removable.\nVolant\n→ 079, 080\nVolant\nSofa\nArmchair\ncode VO0\nSofa\nArmchair\n41\n79\n53\n81\n64\n103\n110\n225\n255\n295\n296\n297\nBase colours\ngold steel\nchrome\nsteel\nRAL 7016\nanthracite\n",296,{"image":1191,"text":1192,"number":1193},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.297.png","295\nSofas — Technical info\nfabric: A4153 + A0875* \n← page 294 (top)\nfabric: A8116 + Velvet 12314-0320* \nA4248 band\n",297,{"image":1195,"text":1196,"number":1197},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.298.png","296\n",298,{"image":1199,"text":1200,"number":1201},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.299.png","297\n→ 298    Bikini Island\n→ 304    Do-lo-rez\n→ 306    Freeflow\n→ 310    Lowseat\n→ 312    Misfits\n→ 314    Rift\n→ 316    Saruyama\n→ 318    Saruyama Island\n→ 320    Serpentine\n→ 322    Teo\n→ 324    Waiting\nSeating systems — Technical info\nIndex\n* Indichiamo con asterisco, materiali \nsostituiti perchè appartenenti alla \ncollezione storica della Moroso \nfuori produzione. \n* We mark with star all the materials \nwe replaced, which used to belong \nto the Moroso collection and which \nare no longer available. \n",299,{"image":1203,"text":1204,"number":1205},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.300.png","298\nDesign Werner Aisslinger — 2013\nElementi in poliuretano espanso ignifugo \nindeformabile a densità differenziate e fibra poliestere con \nstruttura interna in legno; piedini avvitati alla struttura in \npolipropilene nero. Basi e piedi di panche e divanetti in \nfrassino massiccio laccato con finitura a polveri (cod. M23, \nM32, M35, M36). \nMobiletto (cod. M52): struttura in rovere naturale \ncon base in acciaio verniciato a polveri. \nPiano in acciaio verniciato. \nLibrerie (cod. M53 - M54): struttura in rovere \nnaturale con base in acciaio verniciato a polveri. \nPiano in acciaio verniciato. \nPorta tenda (cod. M50): tubo in acciaio verniciato\na polveri.\nTavoli (cod. 06I - 06U): piano e base in acciaio \nverniciato. I cuscini opzionali dello schienale sono in \npiuma d’oca.\nLa collezione Bikini island è sfoderabile, ad \neccezione delle panche cod. M23-M32-M35-M36 che \nhanno la seduta sfoderabile tramite zip. \nElements in stress-resistant flame-retardant \npolyurethane foam in varied densities and polyester fiberfill \non wood frame; feet screwed to the frame \nin black polypropylene. Benches and settees bases and \nfeet in lacquered solid ash with powder coat finish \n(codes M23, M32, M35, M36).\nCabinet (code M52): structure in natural oak, base \nis steel with powder coat finish. Top in varnished steel.\nBookshelves (codes M53 - M54): structure in natural \noak, base is steel with powder coat finish. Top in varnished \nsteel.\nCurtain hanger (code M50): tubular steel with \npowder coat finish.\nTables (codes 06I - 06U): top and base in varnished \nsteel. Optional back pillows are in goose down.\nThe Bikini island collection covers are removable \nwith the exception of benches codes M23-M32-M35-M36 \nwhose seat covers are removable through zip.\nBikini Island\n→ 094, 095\ncode BK1\nBase and table colours\nCabinet\nTable colours\nRAL 5014\npigeon blue\nRAL 3009\noxidored\nNCS S \n5005-Y20R\nsand grey\nRAL 7016 \nanthracite\noak\nnatural \nmatt finish\ncopper\nhigh gloss\ngold\nhigh gloss\ndark bronze\nhigh gloss\n",300,{"image":1207,"text":1208,"number":1209},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.301.png","299\nSeating systems — Technical info\n",301,{"image":1211,"text":1212,"number":1213},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.302.png","300\n",302,{"image":1215,"text":1216,"number":1217},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.303.png","301\n68 - 100\n38\n93\n80\n67\n68 - 100\n160\n67\n33\n13\n147\n68 - 100\n38\n80\n67\n80\n61\n147\n33\n64\n80\n15\n42\n46\n42\n35\n33\n147\n38\n80\n38\n60\n44\n28\n67\n67\n67\n38\n67\n35\n68\n33\n147\n147\n67\n28\n67\n80\n68\n33\n80\n100\n33\n147\n80\n13\n67\n80\n13\n67\n80\n13\n67\n147\n134\n38\n67\n51\n67\n35\n51\n67\n35\n51\n67\n35\n140\n100\n20\nSeating systems — Technical info\nBikini Island\nModular elements\nPeninsula\nPouf\nBench\nTable\nCurtain\nCabinet\nBookshelf\nSofa\nM28 - M08\nM19 - M28\nM11\nM23\nM32\n06I\n06U\nM50 + M51\nM52\nM53\nM54\nM03\nM37\nM21\nM41\nM60\nM29 - M05\nM17 - M16\nM15 - M14\nM20\nM36 - M35\ncode BK1\n",303,{"image":1219,"text":1220,"number":1221},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.304.png","302\n",304,{"image":1223,"text":1224,"number":1225},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.305.png","303\nSofas — Technical info\n68\n147\n214\n100\n61\n147\n80\n294\n100\n51\n67\n80\n329\n100\n147\n67\n13\n294\n140\n100\n214\n331\n100\n68\n33\n160\n80\n281\nBikini Island\nExamples of composition\nA\nC\nE1\nB\nD\nF\ncode BK1\n",305,{"image":1227,"text":1228,"number":1229},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.306.png","304\nModular elements\nIsland\nArmchair\nExample of composition\n23\n23\n138\n161\n35\n56\n138\n138\n138\n34\n76\n92\n92\n92\n001\n103\n104\n104 + 103\n107\n101\n102\n34\n76\n207\n207\n92\n299\n207\n34\n76\n92\nDesign Ron Arad — 2008\nElementi modulari con effetto pixel per innumerevoli \ncomposizioni. Elementi in espanso schiumato a freddo \nignifugo con struttura interna in legno e fibra poliestere. \nBase in legno multistrato nero con piedi in polipropilene. \nOgni singolo modulo Do-lo-rez è sfoderabile. \nIl rivestimento dei moduli è disponibile nel colore e nelle \ncombinazioni tessili predefinite dal designer. Per grandi \nprogetti è possibile realizzare elementi personalizzati \nutilizzando i moduli standard. \nModular items with pixel effect for countless \ncompositions. Elements in injected flame-retardant \npolyurethane foam and polyester fiber on wood frame. \nBlack plywood base on polypropylene glides. \nThe covers of each individual Do-lo-rez module are \nremovable. Module covers are in designer-specified color \nand fabric combinations. For large projects, you can create \npersonalized items by using standard modules.\nDo-lo-rez\n→ 032\nDo-lo-rez\ncode DO0\nArmchair\nIsland\nLeft + Right element\n",306,{"image":1231,"text":1232,"number":1233},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.307.png","305\nSeating systems — Technical info\n",307,{"image":1235,"text":1236,"number":1237},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.308.png","306\nDesign Gordon Guillaumier — 2009\nSeduta in poliuretano espanso ignifugo \nindeformabile a densità differenziate e fibra poliestere \ncon struttura interna in legno. Schienale in espanso \nschiumato a freddo ignifugo e fibra poliestere con \nstruttura interna in legno. Basamento in acciaio verniciato \na polveri. Piedi in tubo triangolare di alluminio verniciato \no cromato. Sottopiedi in polipropilene regolabili in\naltezza. La collezione Freeflow non è sfoderabile.\nSeat in stress-resistant flame-retardant \npolyurethane foam in varied densities and polyester \nfiber on wood frame. Back in injected flame-retardant \npolyurethane foam and polyester fiber over internal wood \nframe. Base is varnished steel powder coated. Legs are \ntriangular tubular varnished aluminium or chrome finish. \nLevelling glides are polypropylene. Freeflow collection \ncovers are not removable.\nFreeflow\n→ 054\ncode WM0\n54\n54\n165\n146\n43\n66\n43\n73\n146\n146\n231\n165\n165\n43\n66\n202\n54\n90°\n54\n112\n90°\n106\n54\n91\n165\n112\nModular elements\nBench\nPouf\n480\n486\n487\n482\n483\n484\n481\n485\nLegs colours\nBase colours\nnatural steel\nchrome\nRAL 9003\ntraffic white\nRAL 9005 \nblack\nRAL 9003\ntraffic white\nRAL 9005\nblack\n",308,{"image":1239,"text":1240,"number":1241},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.309.png","307\nSeating systems — Technical info\n487 – seat: A0923\n486 – seat: A0939\n485, 486 – seat: A3333\nbackrest: A3333\n480, 481 – seat: A2446\nbackrest: A3333\n← page 306 (top)\nseat: A3177\nbackrest: B0064\nfeet: black\n",309,{"image":1243,"text":1244,"number":1245},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.310.png","308\n480, 482 – seat: A3177\nbackrest: B0064\n480, 481 – seat: A3332\nbackrest: B0064\n481, 483 – seat: A3332\nbackrest: A3331\nfeet: black\n",310,{"image":1247,"text":1248,"number":1249},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.311.png","309\nSeating systems — Technical info\nFreeflow\nFreeflow\nDouble face \nbench\nExamples of composition\nClosed corner\nOpen corner\ncode WM0\nStraight\nCircular stool\nSemicircular \nstool\nDuale\n",311,{"image":1251,"text":1252,"number":1253},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.312.png","310\nDesign Patricia Urquiola — 2000\nEspanso schiumato a freddo ignifugo con struttura \ninterna in acciaio. Piedi a slitta in tubo di acciaio inox. \nSu richiesta, sottopiedi in PVC. La collezione Lowseat \nè sfoderabile, ad eccezione delle versioni in pelle.\nInjected flame-retardant polyurethane foam over \ninternal steel frame. Sled base feet in tubular stainless \nsteel. Glides in PVC on request. Lowseat collection covers \nare removable with the exception of leather versions.\nLowseat\n→ 060, 126\nArmchair\nCorner\nChaise longue\n91\n21\n91\n91\n145\n111\n41\n59\n91\n57\n57\n001\n04Q\n036\nLowseat\nCorner\nChaise longue\nExample of composition\nArmchair\ncode LS0\nFeet colours\nstainless steel\n",312,{"image":1255,"text":1256,"number":1257},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.313.png","311\nSeating systems — Technical info\nleather: B0064\nfabric: A0469\nfabric: A3866\nfabric: A0863\n← page 310 (top)\nfabric: A0863\n",313,{"image":1259,"text":1260,"number":1261},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.314.png","312\n44\n90\n61\n100\n100\n43\n98\n57\n100\n100\n43\n88\n68\n100\n30\n36\n100\n100\n44\n97\n68\n100\n100\n34\n43\n100\n100\n100\nDesign Ron Arad — 2007\nElementi dai volumi plastici per un sistema di \nsedute scultoree ma di grande comfort. Gli elementi sono \nin espanso schiumato a freddo ignifugo con struttura \ninterna in acciaio. Piedi in polipropilene nero avvitati alla \nstruttura. La collezione viene prodotta, per la particolarità \ndelle forme, solo in panno di lana. La collezione Misfits \nnon è sfoderabile.\nElements with pliable volumes for a sculptural yet \nhighly comfortable seating range.Elements are in injected \nflame-retardant polyurethane foam over internal steel \nframe. Feet, screwed to the frame, in black polypropylene. \nDue to the special nature of the shapes, the collection\nis produced in wool only, Divina by Kvadrat. Misfit covers\nare not removable. The Misfits collection covers are not \nremovable.\nMisfits\n→ 031, 096, 098, 099\nMisfits\nCorner 2\nCentral 2\nCentral 1\nPouf 1\nPouf 2\nCorner 1\nCorner\nPouf\nCentral\n270\n275\n271\n272\n273\ncode MF0\n",314,{"image":1263,"text":1264,"number":1265},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.315.png","313\nSeating systems — Technical info\nfabric: A0867\n← page 312\nfabric: A0869\n",315,{"image":1267,"text":1268,"number":1269},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.316.png","314\n285\n39\n62\n213\n360\n39\n213\n69\n344\n39\n69\n170\nDesign Patricia Urquiola — 2009\nComposizioni. Elementi in poliuretano espanso \nignifugo indeformabile a densità differenziate e fibra \npoliestere con struttura interna in legno. Piedi in \npolipropilene nero avvitati alla struttura.\nCompositions. Elements in stress-resistant flame-\nretardant polyurethane foam in varied densities and \npolyester fiber on wood frame. Feet in black polypropylene \nscrewed to the frame.\nRift\n→ 089, 090\nSofa\nArmchair\n→ vol. 02\nSmall armchair\n→ vol. 02\nRift collection\nSofa\n345\n346 - 347\n348 - 349\ncode RF0\nChair\n→ vol. 02\n",316,{"image":1271,"text":1272,"number":1273},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.317.png","315\nSeating systems — Technical info\nfabrics: A0917, \nA0944, A0866 \nfabrics: A5859, \nA0892, A0916\n← page 314 (top)\nfabric: A0940\ncs: A0917, \n",317,{"image":1275,"text":1276,"number":1277},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.318.png","316\nDesign Toshiyuki Kita — 1989\nL’isola si compone di tre elementi a forma libera \nche si combinano a formare una grande unità di seduta \ndi forma circolare. Sedute in espanso schiumato a \nfreddo ignifugo. Base in legno multistrato. La collezione \nSaruyama non è sfoderabile.\nThe island is comprised of three free-form molded \nelements which combine to form one large circular seating \nunit. Seats in injected flame-retardant polyurethane foam \non plywood base. Saruyama covers are not removable.\nSaruyama\n→ 015, 036\nSofa\n90\n200\n240\n04N\ncode SY0\n",318,{"image":1279,"text":1280,"number":1281},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.319.png","317\nSeating systems — Technical info\nfabric: A0921\n← page 318 (top)\nfabric: A0867\n",319,{"image":1283,"text":1284,"number":1285},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.320.png","318\nDesign Toshiyuki Kita — 2006\nSaruyama Island è un gruppo di sedute d’attesa \ncomposto da poltrona, divanetto, divano e pouf piccoli \ne medi. Sedute in espanso schiumato a freddo ignifugo \ncon struttura interna in acciaio e base in legno. \nLa collezione Saruyama Island non è sfoderabile.\nSaruyama Island is a lounge group comprised \nof armchair, settee, two-seat sofa and small and medium \nfootstools. Injected flame-retardant polyurethane foam \nover internal steel frame and wood base. Saruyama Island \ncovers are not removable.\nSaruyama Island\n→ 015, 062, 063\nSaruyama Island\nSaruyama Giro\nSofa\nPouf\nPouf\nPouf\n→ vol. 02\nArmchair\nSettee\nSofa\nSettee\nArmchair\nPouf\n85\n118\n186\n105\n39\n39\n42\n86\n96\n35\n35\n35\n57\n50\n77\n66\n85\n42\n90\n018\n078\n001\n076\n214\ncode S40\n",320,{"image":1287,"text":1288,"number":1289},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.321.png","319\nSeating systems — Technical info\n018 – fabric: A0863\n078 – fabric: A0922 \u002F A0872\n001 – fabric: A5877\n214 – fabric: A0866 \u002F A0929\n076 – fabric: A0889\n← page 320\n018 – fabric: A0863\n001 – fabric: A0913\n076 – fabric: A0939\n",321,{"image":1291,"text":1292,"number":1293},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.322.png","320\nDesign Tom Dixon — 2003\nEspanso schiumato a freddo ignifugo e fibra \npoliestere con struttura interna in acciao. Piedi color \ncanna di fucile in acciaio verniciato a polveri con \nsottopiedi regolabili in altezza. La collezione Serpentine \nnon è sfoderabile.\nInjected flame-retardant polyurethane foam and \npolyester fiber over internal steel frame. Feet with height-\nadjustable glides are rifle brown powder coated finish. \nSerpentine collection covers are not removable.\nSerpentine\n→ 038, 039, 058\ncode SR0\n44\n70\n180\n75\n61\n85\n120\n61\n85\n95\n133\n61\nModular elements\nCorner\n04A\n0W7\n04T\n04H\n04I\nBase colours\nriffle brown\n",322,{"image":1295,"text":1296,"number":1297},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.323.png","321\nSeating systems — Technical info\n↑ top\nfabric: A0914\n↓ bottom\nfabric: A0867\n",323,{"image":1299,"text":1300,"number":1301},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.324.png","322\nDesign Atelier Oï — 2016\nBasamento in alluminio estruso anodizzato \nverniciato naturale. Piedi in pressofusione di alluminio \nverniciato naturale. Sottopiedi in polipropilene. \nSedile\u002Fschienale in poliuretano espanso ignifugo a densità \ndifferenziate e fibra poliestere con struttura interna in \nlegno. La collezione Teo non è sfoderabile.\nTavolo. Basamento in alluminio estruso anodizzato \nverniciato naturale. Piedi in pressofusione di alluminio \nverniciato naturale. Piano in cristallo.\nBase in extruded anodized aluminum with natural \nvarnished finish. Feet in are die-cast aluminum with \nnatural varnished finish. Glides in polypropylene.\nSeat\u002Fback in flame-retardant polyurethane foam in varied \ndensities and polyester fiber on wood frame.\nTeo collection covers are not removable.\nTable. Base in extruded anodized aluminum with \nnatural varnished finish. Feet are die-cast aluminum with \nnatural varnished finish. Top in tempered glass. \nTeo\n→ 057\ncode TE1\n85\n41\n7\n74\n85\n400\n425\n23\n85\n85\n41\n7\n74\n85\n315\n340\n41\n7\n74\n85\n145\n170\n60\nSeating system\n002\n797\n016\n796\nGlass colours\nBase\nsatin glass\nRAL 9018\npayirus grey\nsatin glass\nPantone 451\ngreen reed\naluminum \nanodized\n",324,{"image":1303,"text":1304,"number":1305},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.325.png","323\nSeating systems — Technical info\nleather: B0240 \nfeet: aluminum anodized\n",325,{"image":1307,"text":1308,"number":1309},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.326.png","324\nWaiting\n→ 051, 053\ncode WA0\nWaiting\n1 seater element\nClosed corner \nBench \nDouble face bench\n2 seater element\nOpen corner \nHalf circle element\nFeet colours\naluminium\npolished\nDesign Rodolfo Dordoni — 1989\nElementi di seduta con o senza schienale. \nPoliuretano espanso ignifugo indeformabile a densità \ndifferenziate e fibra poliestere con struttura interna \nin acciaio. Piedi in pressofusione di alluminio lucidato \ncon sottopiedi regolabili in altezza. La collezione Waiting \nnon è sfoderabile.\nSeating elements with and without back. Stress \nresistant flame-retardant polyurethane foam in varied \ndensities and polyester fiber on steel frame. Legs are \npolished die-cast aluminium with height-adjustable glides. \nThe Waiting collection covers are not removable.\n",326,{"image":1311,"text":1312,"number":1313},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.327.png","325\nSeating systems — Technical info\nleather: B0200\n← page 326 (top)\nfabric: A0781\n",327,{"image":1315,"text":1316,"number":1317},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.328.png","326\nfabric: A0781\n",328,{"image":1319,"text":1320,"number":1321},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.329.png","327\nSeating systems — Technical info\nWaiting\n04F\n04A\n04H\n0P9\n0T3\n0U1\n0S9\n04I\n04B\n04C\n04D\n04E\n04G\n04L\n04M\nModular elements\ncode WA0\n42\n75\n52\n75\n78\n100\n200\n275\n42\n52\n61\n42\n52\n135\n75\n125\n275\n200\n275\n200\n125\n75\n42\n75\n52\n78\n108\n216\n61\n256\n110\n206\n206\n180\n42\n189\n189\n61\n180\n95\n256\n256\n98\n42\n180\n180\n291\n115\n42\n",329,{"image":1323,"text":1324,"number":1325},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.330.png","328\n→ 015\nSaruyama: fabric A7652\nSaruyama Islands: fabric A5863, A5877, \nA5876, A0918, A5861\n→ 016\u002F017\nTender: fabric A7873, cushions A5081, \nA8134, A5025, A5222, base anthracite\nFishbone: FB0 T37 version 1, FB0 T37 \nversion 2, FB0 T39 version 1, FB0 T40\nversion 2\nNet table: NE1 06U oxidored\n→ 019\nTender: fabric A7391, feet ash natural \nmatt finish, cushions A7296, A739, special \nedition, A7940\nSaruyama Islands: fabric A5861, A5877\nNet table: NE1 06I pearl white\n→ 020\u002F021\nLowland: fabric A0942, cushions: fabric\nA7743, African fabric, feet stainless steel \nBiknit: fabric red acquatic \u002F A7959\nbase oak, graphite matt finish \u002F oxidored\nDew: leather B0255 \u002F B0252\n→ 023\nGentry: fabric A5211, A5211, base natural \nsteel chrome, cushions A5211, A7885, A7767\nFjord relax: fabric B0213 \u002F African fabric \nbase oxidored\nFjord pouf: leather B0213 \u002F African fabric \nMorning glory: oxidored\n→ 025\nBlur: fabric A7187\nSaruyama Islands: fabric A5876, A5861\nByobu: BY0 T34, black smoke crystal \u002F\nblack grey\n→ 026\u002F027\nM.a.s.s.a.s.: fabric A5877, cushions A5956, \nA7391\nKenny: fabric A6087 \u002F A6252, base oak, \nnatural matt finish\nDew: leather B0251\nSaruyama Islands: fabric A5876\n→ 028\u002F029\nGlider: fabric A7188\nBiknit: fabric red acquatic \u002F A7959 \nbase ak, graphite matt finish \u002F oxidored\n3 Nuns stool: NU0 020\n→ 031\nMisfits: fabric A0463, A7652, A0461, \nA0969, A7931, A0468, A0932\n→ 032\u002F033\nDo-lo-rez: version light red + dark red\n→ 034\u002F035\nVictoria and Albert: fabric A3735\nbase aluminium polished\n→ 036\u002F037\nSaruyama: fabric A7652\n→ 038, 039\nSerpentine: fabric A7652\nbase riffle brown\n→ 041\nHighlands: fabric A0469\n→ 042\u002F043\nHighlands: fabric A0469\n→ 045\nDoodle: leather Z B242, legs white\nKub: KU0 325-326, traffic white\nTextiles\n",330,{"image":1327,"text":1328,"number":1329},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.331.png","329\n→ 046\u002F047\nSchellmann collection – Conduit: \nfabric A0865, A0883 \u002F tube orange\nConduit tables: CO1 0GT, slate grey \u002F \ntube orange\n→ 049\nLos Muebles Amorosos – Saula Marina: \nfabric version A, feet black\nAlessandra: leather version B0064+B0110\nfeet black\n→ 051\nWaiting: leather B0115\nbase alluminum\n→ 053\nWaiting: fabric A0914\nbase aluminum\n→ 054\u002F055\nFreeflow: fabric A0751, A0751* (C.O.L.)\nfeet black\n→ 057\nTeo: fabric A3333\nbase aluminium\n→ 058\u002F059\nSerpentine: fabric A0914\nbase riffle brown\n→ 060\u002F061\nLowseat: leather B0250, \nfabric A8310, A8296, A8297\nbase stainless steel\n→ 062, 063\nSaruyama Islands: fabric A0970, A0902, \nA0903, A0897\n→ 065\nGentry: fabric A5224, A5621, A1957\nDo-lo-rez: fabric version light blue\nFergana* (Moroso archive): FE0 546, \ncameo white \u002F natural oil finish \nFE0 547, nocturne \u002F natural oil finish \n→ 066\u002F067\nGentry: leather B0240, fabric A5133, A8117 \ncushions A8117, base stainless, steel satin\nDew: leather B0251\n→ 068, 069\nGentry: fabric A5225\nbase oxidored\nBasks* (Moroso archive): BK0 T05\n→ 071\nM.a.s.s.a.s.: fabric A4150\n→ 072\u002F073\nM.a.s.s.a.s.: fabric A4150\ncushions A7390, A1072, A7450, A7591\n3 Nuns stool: NU0 020\nNet table: NE1 06U, sapphire blue\nFishbone: FB0 T39, version 3 \u002F black\n→ 074, 075\nM.a.s.s.a.s.: fabric A7296\ncushions A7591, A1065, A5623\nTia Maria: TI0 T72, top agata grey\nbase RAL 7030\nFjord pouf: FJ0 214, leather B0218, \nfabric A7510\n→ 076\u002F077\nGemma: leather B0260, A5873\nShadowy: tweed oxyde\u002Fturquoise\nSofas + Seating systems — Technical info\n",331,{"image":1331,"text":1332,"number":1333},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.332.png","330\n→ 079\nVolant: fabric A6253 \u002F A5101\u002F A7867\ncushions A7391, AG0 04K, A6084,  A1065\nbase traffic red\nX Chair: XC0 061, leather B0236\nNet table: NE1 06U oxidored\nBasks* (Moroso archive)\n→ 080\u002F081\nVolant: fabric A6253 \u002F A5101 \u002F 7867\ncushions A7391, A1065, base traffic red\nX Chair: leather B0236\nNet table: oxidored\nBasks* (Moroso archive)\n→ 082\u002F083\nBelt: fabric A8100, belt B0234\ncushions African fabric, A5133, A1065\nfeet anthracite\nLilo: ver. L107, base ash, aged oak matt finish\nMorning glory: MG0 06H, ocean blue\nNet table: NE1 06U, pearl white\n→ 085\nBold: fabric A8100\ncushions A5222, feet anthracite\nNet table: NE1 06I, milk mint\nNE1 06U, pearl white\n→ 086\u002F087\nBold: fabric A8100\ncushions A5222, A8100, A7391, A6083\nfeet anthracite\nLilo: L107E, base ash, natural matt finish\nNet table: NE1 06I, milk mint\nNE1 06U, pearl white\n→ 089\nRift: fabric A0969\nNanook: NA0 06H, traffic red gloss\n→ 090\u002F091\nRift: fabric A0969 \nRift: NA0 06H, traffic red gloss\nAntibodi: African fabric, base stainless steel\nNanook: NA0 06H, traffic red gloss\nNo waste: NW0 06J, black steel matt\nFjord H.: shell white\u002Fblack, \nbase traffic white \n→ 092\u002F093\nSpring: fabric A6068, cushions A6080, \nA6082, cushions Tropicalia* (Moroso \narchive) recommended fabric A8110\n→ 102\u002F103\nBohemian: leather B0216 \u002F A7865\nback cuschions A7865\ncushions A8115, A8115, A7296\nShanghai Tip: NCS S 5010-Y 70R blush\nNo Waste: NW0 06J, black steel matt\n→ 104, 105\nBohemian: leather B0216 \u002F A7865\nback cuschions A7865\ncushions A8115, A8115, A7296\nShanghai Tip: NCS S 5010-Y 70R blush\nNo Waste: NW0 06J, black steel matt\n→ 107\nRedondo: fabric A4284\ncushions A4284, A4284\n→ 108\u002F109\nRedondo: fabric A4284\ncushions A4284, A4284, A5115, A8306, \nA8115\nCapitello: NCS S 3010-Y70R shell glossy*\nTextiles\n→ 094, 095\nBikini Island: leather B0193 \u002F fabric A7276 \n\u002F NCS S 5005-Y20R, BK1 M53-M52, natural \noak \u002F galvanized copper, fabric A7295 \u002F \nNCS S 5005-Y20R \u002F A5868, A7296, A7279, \nA5233, cushions A7360, A7296, A4369\nBK1 M50, oxidored\n→ 096\u002F097\nMisfits: fabric A0935, A0872\nMoon: MU0 042, graphite* \n(Moroso archive)\nFishbone: FB0 T40, versione 3\n→ 098, 099\nMisfits: fabric A0867\n3 Nuns stool: NU0 020\nPhoenix: PH0 0HL, Laminam® black \u002F black\n→ 100\u002F101\nLowland: fabric A3183\ncushions A1065, A1061, A5712\nbase stainless steel\nFjord pouf: leather B0124 \u002F fabric A7466, \nB0218 \u002F A7510\nThe fool on the hill* (Moroso archive) \n",332,{"image":1335,"text":1336,"number":1337},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.333.png","331\n→ 116, 117\nSoft Wood: special digitally printed fabric\nKub: KU0 325, traffic red\n→ 119\nShanghai Tip: fabric A8160\ncushions A8160, 4 A8160, A8160, A8110* \nrecommended fabric,\nSH0 244, papyrus grey, natural steel \nchrome\n→ 120\u002F121\nShanghai Tip: fabric A8161, A7581, A7290\ncushions A8130, A8120, A8110, A8163, \nA7283, A8161\nSH0 242-243-244* (Moroso archive)\nNCS S 5010-Y 70R blush recommended colour\nSH0 343, natural steel chrome\nSH0 240, green matt* (Moroso archive)\n→ 122, 123\nMy Beautyful Backside: version \nyellow - green\n→ 124\u002F125\nLowland: fabric A6081\ncushions A5147, A5124\nSmock: leather bianco puro 110\nbase white chalk\nUkiyo: UK0 0S2, imperial grey\n→ 126\u002F127\nLowseat: leather B0250 \u002F fabric: A0924, \nA7652, A7652\nbase stainless steel\nSofas + Seating systems — Technical info\n→ 111\nSilver Lake, sofa: fabric A3277 \u002F oak, \nnatural matt finish, frame ink\nSilver Lake, armchair: fabric A3278 \u002F oak, \nnatural matt finish, frame oxidored\nFergana* (Moroso archive): nocturne \u002F \nvarnished graphite-grey \n→ 112\u002F113\nSilver Lake, sofa: fabric A3278 \u002F leather \nB0184 \u002F oxidored\nSilver Lake, armchair: leather B0218 oak, \nnatural matt finish, oxidored\nDew: leather B0251, B0255 \u002F B0254\n→ 114, 115\nKarmakoma (Sushi collection): version \nblack\u002Fwhite\nDonut pouf round* (Moroso archive)\nJoy round stool: version A \nShanghai Tip: NCS S 5010-Y 70R blush*\n(*recommended colour for Moroso archive)\nCapitello: CP0 057, ocean blue glossy\nFergana* (Moroso archive): nocturne \u002F \nnatural oil finish \n \n* per maggiori informazioni sui\nmodelli presenti a catalogo,\nconsultare il nostro portale dedicato\nhttp:\u002F\u002Fmonet.moroso.it \n* for furniture information concerning\nthe models described on the\ncatalogue, please check our portal\nhttp:\u002F\u002Fmonet.moroso.it \n",333,{"image":1339,"text":1340,"number":1341},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.334.png","Moroso 1. Sofas\nand seating systems\nart direction\nPatrizia Moroso\nset coordinator\nMarco Viola\nphotography\nAlessandro Paderni\n[studio Eye]\ntextile and colour advisor\nGiulio Ridolfo\ngraphic design\nChiara Caucig\n[Designwork]\ngraphic layout\nJessica Etro\ntext\nElena Commessatti\nLorenzo Taucer\nenglish translation\nStudio Intra\ncolour separation\nLucegroup.it\nthanks to\nGiuliana De Luca\nNatasa Srebro\nTanja Mlinar\nfor technical support\nprinted in Italy \nby Grafiche Filacorda\nwith H-UV Technology\n2017 ©Moroso Spa\nWho’s Afraid of Red, Yellow and Blue II\n1967\nBarnett Newman\nMoroso Spa\nvia Nazionale 60\n33010 Cavalicco, Udine \nItaly\nT +39 0432 577 111\ninfo@moroso.it\nMilano showroom\nvia Pontaccio 8\u002F10\n20121 Milano \nT +39 02 7201 6336\nMoroso Ltd\n7-15 Rosebery Avenue\nLondon EC1R-4SP\nT +44 (0)20 3328 3560\ninfo@moroso.co.uk\nMoroso USA\n146 Greene Street\nNew York, Ny 10012\nT +1 212 334 7222\ninfo@morosousa.com\nAmsterdam showroom\nCruquiusweg, 109\nR 1019 AG Amsterdam\nThe Netherlands\nT +31 (0)20 694 64 00\namsterdam@moroso.nl\nKöln showroom\nDesign Post\nDeutz-Mülheimer-Straße 22A\nD-50679 Köln\nT +49 221 690 650\ninfo@designpostkoeln.de\nwww.moroso.it\n",334,{"image":1343,"text":19,"number":1344},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.335.png",335,{"image":1346,"text":19,"number":1347},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.336.png",336,{"image":1349,"text":19,"number":1350},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.337.png",337,{"image":1352,"text":15,"number":1353},"\u002Fmedia\u002Fimages\u002F2c\u002Fdb643179b1b53ee374afd34208041c.338.png",338,[],0,false,true,{"success":1357,"data":1359,"meta":1563,"count":1564,"next":1565,"previous":1566,"results":1598,"brand_chips":1659},[1360,1373,1382,1391,1400,1409,1418,1428,1438,1449,1461,1473,1482,1494,1506,1515,1524,1533,1542,1554],{"id":1361,"title":1362,"slug":1363,"image":1364,"source":1365,"brand_name":1366,"brand":1367,"brand_slug":1368,"file_size":1369,"pages":1370,"pages_count":1371,"matched_pages":1372,"match_count":1355,"two_pages":1356,"show_text":1357},26607,"Working 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