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Located on the frst foor of the Solaria \nTower in Porta Nuova, a district symbol of Milan’s \nrenaissance, it was born to turn food into an \nextraordinary experience.   \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.6.png","6\n7\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.7.png","8\n9\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.8.png","10\n11\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.9.png","12\n13\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.10.png","14\n15\n“Light comes from below or is \naimed at the centre of the table, \nthe stage upon which the act of \neating is played out”. \n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.11.png","16\n17\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.12.png","18\n19\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.13.png","20\n21\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.14.png","22\n23\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.15.png","24\n25\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.16.png","26\n27\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.17.png","28\n29\n“I liked the idea of a fuid \nenvironment, where the eye is \nfree to wander, without seeing \nwhat’s on the other side”. \n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.18.png","30\n31\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.19.png","32\n33\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.20.png","34\n35\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.21.png","36\n37\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.22.png","38\n39\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.23.png","40\n41\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.24.png","42\n43\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.25.png","44\n45\nMAURIZIO LAI ARCHITECTS\nMaurizio Lai is one of Italy’s most interesting contemporary ar-\nchitects and designers. \nHe trained between Venice and Milan, where he lives and works. \nAfter a long stint working as a set designer – an experience which \ntaught him an appreciation for craft, intended as the art of making – \nhe founded Lai Studio in 1990. \nHe believes that an architect’s job is more similar to that of a di-\nrector than to that of an artist. Maurizio Lai’s projects, in fact, like \nthe best ﬁlms, are about expression rather than form.  \nIn his many award-winning restaurant designs, experience comes \nbefore consumption, with light sculptures, plays of volumes and \nglass, mirrors and crystals reﬂecting the light and the gaze, cre-\nating spectacular optical effects and perspectives.    \nThis philosophy also runs through the new IYO Aalto, Claudio \nLiu’s second restaurant following the Michelin-starred IYO Taste \nExperience, and the subject of this interview. Located on the ﬁrst \nﬂoor of the Solaria Tower – Italy’s tallest residential tower – in the \nheart of the new Porta Nuova district, IYO Aalto offers the people \nof Milan, and not only, a new and exciting vision of contemporary \nJapan. \nWhat was Claudio Liu’s brief and how did you interpret it? \nI’ve known Claudio Liu for a long time, he is a class act who has nev-\ner put a foot wrong. When he decided to open the new restaurant \nin Piazza Alvar Aalto, in Porta Nuova, he still didn’t have a clear idea. \nHe knew the restaurant would be a twin of IYO Taste Experience \nand that the cuisine would have a strong Japanese inﬂuence, but \nthe project itself developed along the way.  \n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.26.png","46\n47\nYou wanted to convey a different, contemporary idea of Japan. \nWhat does that mean? \nI found myself thinking about how, often, in restaurants inspired \nby a speciﬁc cuisine, there’s an effort to recreate the atmosphere \nof that certain country. The outcome is necessarily a fake, not just \nbecause the original style is moulded to our taste, but because we \nlive in a society that is so contaminated that cultures, tastes and \ninﬂuences mix constantly. This happens in cooking as well as in \narchitecture. With IYO Aalto, I knew I didn’t want to design a set. I \nasked myself: what is it that we associate with Japan, at a deep-\ner level? A gentle touch, gracefulness, attention to detail, natural \nmaterials. So that was what I worked on and though I never spoke \nwith the chef, it turned out I was on the right path: his philosophy in \nthe kitchen is the same. The sushi counter was a different story: it \nexplicitly reproduces the model of Tokyo’s Edomae sushi. \nHow did you organize the interiors? \nThe organization was dictated by the restaurant’s ﬂoor plan, made \nof two separate areas connected by a corridor, by workplace reg-\nulations and study of the workﬂow. One area is almost entirely \ntaken up by the 40 m2 open kitchen, the other by the actual dining \narea, comprising the sushi counter and the 38 cover ﬁne dining \nrestaurant. I didn’t want to use blind partitions between the bar and \nthe dining room, so I went for a modular glass system to divide the \nspace. I liked the idea of a ﬂuid environment, where the eye is free \nto wander without seeing what’s on the other side. \nI played with volumes on an emotional level: when you walk into the \nrestaurant, the space seems compact, then it appears to expand \nthanks to the hanging ﬂoat glass panels. Once you enter the dining \narea, the ceiling looks higher. But it’s an optical illusion, the ceiling \nis actually the same height throughout. \nHow did you design the lighting and what’s the relationship \nbetween natural and artiﬁcial light? \nThis project, unlike many others, wasn’t about sensational lighting \nat all costs. Light comes from below or is aimed at the centre of \nthe table, the stage upon which the act of eating is played out. \nThe big windows overlooking the city let in plenty of natural light: \nsliding black walnut panelling acts as brise soleil, allowing to ﬁlter \nthe light from outside depending on the moment or the occasion. \nCanaletto walnut, brass, leather, Trentino porphyry: why did \nyou choose these materials and what is their role?  \nEating in a ﬁne dining restaurant is an all-encompassing experi-\nence: as a client, you don’t just want to be comfortable; you want \nto take everything in – the materials, the details. I chose natural \nmaterials because they are what we most deeply associate with \nan Oriental aesthetic: because of the small size of the premises I \ncould only pick one type of wood – so I went for canaletto walnut. \nBut rather than on the materials, I would say I focused more on \nthe details, which I curated almost obsessively. Even the screws \nin the furnishings are custom made.    \nWhat’s the restaurant’s relationship with the city? \nIYO Aalto’s extraordinary location, on the ﬁrst ﬂoor of the Solaria \nTower, in the middle of the Porta Nuova axis, is key. I think this is \nthe most interesting urban development of the last few years. It’s a \ncosmopolitan and contemporary neighbourhood, a new business \ncentre. As well as being the only place in Milan from where you \ncan see the sky.   \nWhat do you think of the new Milan? \nMilan has experienced a magical transformation, which has coin-\ncided with the rethinking of the Porta Nuova area. The ﬁnal, great \nstep will be the completion of the refurbishment of the Galfa Tower, \nled by the architect Maurice Kanah.   \nWhat was Poliform Contract’s contribution to the project? \nPoliform Contract’s contribution was vital: if I looked at the plan, \nI would struggle to point out things they didn’t do. Tables, seating, \ncarpenting, glass and stone work – they took care of everything. \nPoliform Contract and I were the “craftsmen” of this project.\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F68\u002F8ccb812bbf47b3607239a9bb14c27f-285d6a01e1.27.png","Poliform Spa\nContract Division\nvia Trento 2 - ang. via Magni\nCasella postale n. 1\n22044 Inverigo (CO) Italy\nt +39 031 695601\nf +39 031 695354\ninfo.contract@poliform.it\npoliform.it\nAll the Poliform collections are  \nmanufactured 100% in Italy  \nusing top-class components  \nand materials. \nCreative Direction\nApartamento Studios\nGraphic Design\nApartamento Studios\nText\nLisa Cadamuro\nInteriors Photography\nMatteo Imbriani\nAndrea Martiradonna\nMarco Varoli\nPortrait Photography\nYuma Migliaccio\n1st edition April 2020\ncod. 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