[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-rimadesioitalia-shapes-of-light-2024":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":171},{"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":166,"matched_pages":167,"match_count":168,"two_pages":169,"show_text":170},15559,"Shapes of Light 2024","rimadesioitalia-shapes-of-light-2024","\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fb9\u002F45ff2a87a39d83b2e28ce76aeb79f7-285ddd5dda.pdf","Rimadesio",1569,"rimadesioitalia","7.0 MB",[14,17,21,25,29,33,37,40,43,47,51,55,59,63,67,71,75,79,83,86,89,93,97,101,105,109,113,117,121,125,128,131,135,139,143,147,151,155,159,163],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.2.png","SHAPES \nOF \nLIGHT\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.3.png","3\n2\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.4.png","5\n4\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.5.png","7\n6\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.6.png","9\n8\n",6,{"image":38,"text":15,"number":39},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.7.png",7,{"image":41,"text":15,"number":42},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.8.png",8,{"image":44,"text":45,"number":46},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.9.png","15\n14\n",9,{"image":48,"text":49,"number":50},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.10.png","17\n16\n",10,{"image":52,"text":53,"number":54},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.11.png","19\n18\n",11,{"image":56,"text":57,"number":58},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.12.png","21\n20\n",12,{"image":60,"text":61,"number":62},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.13.png","BACK \nTO \nMODERNITY\nP\nA\nS\nT\nSTEFANO SALIS IN CONVERSATION WITH GIUSEPPE LUPO.\nIN PURSUIT OF A NEW LIFESTYLE.\nBorn in 1970 in Sant’Antioco in Sardinia, Stefano Salis is a journalist for Il Sole 24 Ore where he edits Commenti, the \nopinion and editorial page. In the newspaper’s Sunday culture insert, he writes frequently on bibliophilia, publishing, \nart, design, and literature. He has led conferences on these topics around the world and taught university courses \non journalism at the Università di Milano and the Università Cattolica.\nStefano’s contributions in book form include curating (with Barnaba Fornasetti) Piero Fornasetti: Certi paraventi \nsono stati disegnati due volte (pub. Henry Beyle). His latest book is Sulla Scacchiera (pub. Franco Maria Ricci). \nPending publication is a book on Roger Caillois’ stones (Franco Maria Ricci). He is on the advisory committee of \nFMR magazine.\nBorn in Lucania, Giuseppe Lupo lives in Lombardy, where he teaches Theory and History of Modernity in Literature \nat the Università Cattolica in Milan. In 2018, he won the Premio Viareggio with Gli Anni del Nostro Incanto and, in 2011, \nthe Selezione Campiello prize with L’Ultima Sposa di Palmira. Giuseppe is the author of numerous other novels, \nincluding L’Americano di Celenne, La Carovana Zanardelli, Viaggiatori di Nuvole, L’Albero di Stanze, Breve Storia del \nMio Silenzio, and Tabacco Clan (2022).\nHis most recent book is La Modernità Malintesa (2023). He has published many essays on the culture of the 20th \ncentury and industrial modernism, and he collaborates with the cultural sections of Il Sole 24 Ore.\nTalkingAbout 2023\nMILANO, 23.11.2023\n \nSTEFANO SALIS: This evening, on my way here for our conversa-\ntion launching this series on Modernity — a keyword of the 20th century — I ran \ninto an interesting book in the second-hand bookstore next to my house.\nBy Roberto Vacca, one of Italy’s most eminent futurologists, it is a book I \nread when it first came out. In the 1970s and 80s, Vacca authored several \nbooks that convincingly described possible futures. \nIl Medio Evo prossimo venturo (published in 1974 as The Coming Dark Age) \nattracted a following with its speculation on dystopian post-technology \nscenarios and foreshadowed environmental and social issues that, at the \ntime, were not exactly “front and center”. I mention it not because this \nbook predicted the future, which has brought surprises no one could have \nforeseen, but because it traced several distinguishing aspects of moder-\nnity, at least as they have been perceived in Italy. For our conversation, I \nhave brought a series of images, but even without seeing them a simple \ndescription is enough to convey the heart of the matter. \n \nLet me give you an example with two objects that are precisely the \nsame age: Picasso’s Les Demoiselles d’Avignon and a 1907 Ford. Whoever \nsees them cannot help but notice something. The car appears hopelessly \nantiquated: a technology that was groundbreaking at the time but today \nseems ridiculous and inadequate. In contrast, Picasso’s painting still strikes \nmany of us as not merely contemporary, but futuristic. We are not accus-\ntomed to seeing faces and bodies fragmented in this manner, and art has \ncertainly preceded its times, achieving a dynamism that even today seems \nprojected toward what is to come.\n \nMy point is that when speaking of modernity, we must carefully con-\nsider the limitations, accepted meanings, anachronisms, and objective dys-\nfunctions that we encounter. This theoretical knot is what makes the concept \nof modernity something we have not already surpassed (it is no coincidence \nwe say we live in a post-modern, or even a post-post-modern world). Indeed, \nit urges us to continue reflecting on the topic. Establishing what “modernity” \nwas, what it is, and what it will become enables us to orient ourselves in a \ndialogue that unfolds over time without losing its future prospects.\n \nIn your new book, La modernità malintesa [Misunderstood Modernity], \nyou cite a quote by Fernand Léger that I know you hold dear. It appears in a \nchapter called “A matter of trains and hats”, in which you discuss how, in the \nearly 20th century, the train was a disruptive symbol of progress and modernity. \nWas it the direct result of a process of industrialization that emancipated indi-\nviduals who possessed only the strength of their arms, their labor? Or might \nthe train instead have marked the beginning of a slow retreat from an Arcadian \ncivilization based on agriculture and craftsmanship?\n \nGIUSEPPE LUPO: Léger’s expression should be rewritten as a ques-\ntion: is it the train’s fault if a hat blows away? Do we need to rein it in as it speeds \nacross the plain? In my opinion, no. I believe the problem is another, yet in the \nmajority of instances over the past century and in the new millennium as well, \nthe train has been scapegoated. It is the train’s fault, say the authors of stories \nset in factories. This is the train’s symbolic function, if it is true that progress \nand technology (or shall we say more precisely, modernity) have ruined the \nlandscape, destroyed the environment, and made humankind a miserable \ninhabitant of what T.S. Eliot called the waste land, a place of desolation.\n \nBut this does not mean that when a hat blows away as a train \npasses that our reaction should be: stop the train! The train can keep going. \nWhat we need to do is modify the hats. However, to get to this point, to \ndefend modernity’s primacy over all that preceded it, we must set aside \nthe misconceptions that surrounded it in the 20th century. We must declare \nits inalienable existence. We must overcome the temptation to feel nostalgia \nfor a past that appears perfect only in hindsight. And, at the same time, we \nmust envision a compromise between the need to build, improve, and pro-\nduce and the respect that our planet asks of us. A human-centered approach \nto technology, without shadows and without prejudice.\n \nExhaustively defining modernity and postmodernity is a singular \nchallenge. Modernity is as much the invention of the wheel as the discovery \nof America, shifts that took place in different historical periods. However, \nthere is a widely acknowledged fact: at the close of the 20th century, the \nconcept of the factory changed and, together with divestment and globali-\nzation, a new era began, the era “after” modernity. The reaction from \nmodernity’s narrators — the intellectuals, writers, and philosophers who \nhave described its phenomena — did not always depict its complexity. \nOften, it was colored by ideological bias, leading to confusion. \n \nMy impression as I read the books published in the last two decades \nis of their fundamental continuity. A corrosive attitude toward workplaces \nremains, as if the 20th century were still ongoing and its mechanisms \ncontinuing to operate. Unfortunately, only a few writers avoided this view \n— Leonardo Sinisgalli, Primo Levi, Italo Calvino, Elio Vittorini — as most \nintellectuals have taken an anti-modern stance.\n \n \nSS: This problem with our perception of modernity’s processes, \ncosts, and the benefits we have reaped (the latter routinely omitted) not \nonly risks undermining the debate, but almost always severs it from its \nhistorical context. Not only that: it seems to me that in Italy, alongside the \nenthusiasm that coincided with its post-war economic miracle — a few \nyears in which the country progressively regained its youth and, with \nspeed and agility, seized the moment — many intellectuals delayed \nmourning for the passing era or for production systems that could no \nlonger keep pace with the times.\n \nWhat is so striking is that nearly all the writers, thinkers, and also \nmany artists, publicly declared their skepticism, and even outright opposition, \nto the new modes of production and social life. Little did they realize that, \nspeaking of trains, as a nation and society it was imperative that we not miss \nthe arriving train, which would continue forward whether or not we were on it. \nThis shortsighted attitude, if not utter misunderstanding, is absent in the \npoint of view of the general public, with its basic common sense. \n  \nToday, for example, it is fashionable to condemn the use of toxic \nand indestructible plastic that pollutes the environment. However, we forget \nthat plastic was the 20th century material that, democratically and economi-\ncally, enabled the public to enter the age of modernity. Of course we cannot \nflip the argument on its head: at the time, we could not have foreseen \nneeding to keep the potential harm in mind. And without plastic, the factory, \nand technology, we would not have achieved the ease of our current era.\n \nGL: Undoubtedly, circumstances continue to change very rapidly, which leads \nto tools, methods, and systems becoming prematurely obsolete, despite having been \ncutting edge not long before. Yet this is the price we pay on the altar of technology, which \nhas the power to both aid and damn humanity. It depends on how we use technology and \nhow we approach it.\n \nShifting focus to a topic directly affecting us today, this argument is also valid  \nor artificial intelligence. In theory, the dialogue between productivity and cultural \nevolution is still a path we can follow. Here as well, it depends on our approach.\nA company that seeks to align itself with its current context cannot base its strategy on \ntraditional methods.\n \nIf ever there was a time for culture and humanism, it is now. Entrepreneurs have \ngrasped this: it is not enough to produce and make profits. They need to engage in a \ndialogue with the realm of ideas, with the language of art, and even with proposals from \nvisionaries. Put simply, I believe that apparently unrelated worlds must collaborate, provided \nthey respect and cooperate with each other.\n \nHowever, the books I read these days give me the impression that today’s intellectual \nefforts are leading to outdated points of view. Even the narratives about our present times \nretain many elements of anti-modernity. Factories continue to be characterized as \nde-humanizing places that promote drudgery, exploitation, and suffering. A factory worker \nis either fired or felled. This does not necessarily mean it is true, except in rare cases. \nThe real problem is that many of today’s authors who write about industrial labor have never \nset foot in a factory. Consequently, they write according to old 20th century coordinates, \nadhering to stereotypes that the publishing industry encourages (because readers can \neasily grasp them) but that do not correspond to reality.\n \nHow this anomaly came to be is destined to make us ponder. However, one \nthing is certain: not only has there been, and continues to be, an intellectual culture inca-\npable of recognizing the potential generated by the proliferation of industrial systems, but the \nsuspicion remains that this attitude originated in some kind of misconception — a misunder-\nstanding generated by prejudices descending from an ideological humus, a political culture \nthat sees the factory as capitalism’s most inhuman icon, the heart of the conflict between \nsocial classes and exploitation, the battlefield of a cynical and unscrupulous middle class.\n \nThis is not to say that all this has not happened before, nor that it should not con-\ntinue. However, this 20th century way of thinking, speaking, and acting cannot be our only guide \nfor understanding the workplace in an era that has long superseded the 20th century. It may \nseem paradoxical, but this is what we read in the writings of Ritanna Armeni, Simona Baldanzi, \nGianfranco Bettin, Angelo Ferracuti, Alberto Prunetti, Stefano Valenti, and Massimiliano \nTerrarossa. We are and remain an anti-modern country, most likely influenced by Benedetto \nCroce’s philosophy that encouraged avoiding technology, rather than embracing it. \n \nWe are anti-modern because the temptation to return to a pastoral Arcadia persists \nin the dreams of far too many writers dissatisfied with our current reality and alarmed by \nthe advance of progress. Unfortunately, this point of view risks poisoning the wells:  \nit confuses reason with the sophisms of an abstract and unrealistic rhetoric, and it derails \nattempts to mitigate negative outcomes, thereby causing worse consequences.\nFaced with modernity’s perils, we have two alternatives: negate modernity (but can we \ntruly renounce the benefits it offers us?) or seek to redeem its errors and imperfections. \nThis is the true challenge on which our future depends.\n \nSS: Another dimension comes into play here that I want to reiterate. We are \nlooking at Uliano Lucas’ famous photograph of a laborer, a migrant from Southern Italy \nholding a cardboard suitcase, with the stunning Pirelli Tower, the utmost in innovation at \nthe time, rising starkly behind him. Therefore: the Italian South versus Milan, the labor of \nthe soil versus that of the city, the land versus tram tracks, an anthropological mutation \nunderway before our very eyes. Yet I ask myself and you: what is the modern element in \nthis image? Undoubtedly, it is Gio Ponti’s glass and cement “Pirellone”, a slender cuttlebone \ntowering over Italy’s most industrialized city. But I assert that it is the person standing in \nthe foreground who truly embodies modernity. Even if constrained by circumstances, \nthis individual chose to begin a new life under an unknown sky — impelled by necessity, \nbut also attracted by a better future.\n \nPost-war Italy launched itself thanks to these individuals, who hailed from a  \nDark Age that was not coming, as Vacca would have said, but already present. In exchange \nfor the disruption of traditional, at times millennial, paradigms, they leapt headfirst into the \nfuture: a future not only filled with electrical appliances — washing machines and electric \novens, stoves and telephones, later the television — but one that gave their children access \nto education, liberating them from a societal condition that had become far too obsolete.\n \nGL: The conversation around what “modern” means can occur at two levels: on \none hand, ordinary people, living each day in a technological euphoria; on the other, a \ndialogue between intellectuals that implies a judgment on technology and on our country’s \naltered anthropology. Observing the panorama of literature, film, and art, it is easy to think \nthat this attitude originates in a distant ideological prejudice that distinguishes a priori \nbetween “poetry and not-poetry”, as Benedetto Croce posited in his Estetica (1902) [pub-\nlished in English in 1909 as Aesthetic: As science of expression and general linguistic]. \nCroce’s philosophy made this sharp distinction based on a principal of exclusivity, con- \nforming to a tendency to segregate, creating hierarchies that would inevitably lead to a \nsociety stratified from highest to lowest.\n \nThe entire 20th century can and must be understood as an extended struggle \nbetween contamination and purity, between destructive impulses and the restoration of \norder. On this watershed, the intellectuals could have played their hand. Choosing which \nside to take would have had ethical and political value, giving meaning to their individual \nefforts, as well as to the country’s prospects. Yet, despite being aware of its significance, \nin response to modernity’s revelations that converge around manufacturing, the most \nwidespread attitude among intellectuals has been that of denial and outrage, as if \nmodernity were a fault to avoid, a structural error that only returning to an uncontaminated \nnatural state can erase completely. \n \nThey deemed it better to reject the unknown rather than to accompany its trajec-\ntory toward a hyper-technological dimension that would have implicated coming to \nterms with machines, debasing themselves to the same level of objects enslaved to \nutilitarian logic. Little mattered that, already, these tools had indelibly modified our percep-\ntion of time and our relationship to reality. The machines’ fault was being the ma- \nnifestation of a capitalism to be opposed on ideological grounds.\nThey have even become the principal cause of human suffering, the suffering of the century, \nas portrayed by Simone Weil in La condition ouvrière (1951, translated in Italy by Fortini in 1952) \n[transl. The Worker’s Condition].\n \nThat the 20th century was a century running away from itself — to the extent that \nit seems difficult to characterize, if not undefinable — underscores the challenges of dis-\ncussing a chaotic, pluralistic era, the majority of whose voices are dissonant. The fact that \nwe mistrust any attempt to neatly describe the 20th century is a symptom of its complexity. \nWalter Benjamin understood this mid-century, identifying its key in Paul Klee’s Angelus \nNovus [New Angel]. This “Angel of History” is a creature without mythology (or with a \nmythology falsified by horror), a cross-eyed monster that is both witness of calamity and \nharbinger of death. \n \nIf indeed the 20th century bears the stigmata of its conflict with tradition — as the \navant-garde movements have pictured it — its rebel nature and its revolutionary furies \ncannot help but instigate an irreparable process of rupture. The more all trace of the \nhuman is abolished, the more the sacred dimension is lost. Then literature’s only task \nbecomes the illusion of keeping alive a relic of the past, taking refuge in that veneer of \neternal secularism that is the realm of memory.\n \nSS: The dimension of memory, to conclude, is sacrosanct, provided it is not \nall-absorbing. Constantly asking the question — what is modernity and what is it becoming — \nis a cultural endeavor that requires great self-awareness. Particularly when it is undertaken by \ncompanies that must continually make sense of this paradigm shift through innovation, exper-\nimentation, design, and production. Without disregarding the past, they must create \nnew ways of life that help us adapt to our era, while accompanying us toward the future.\n23\n22\n",13,{"image":64,"text":65,"number":66},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.14.png","25\n24\n",14,{"image":68,"text":69,"number":70},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.15.png","27\n26\n",15,{"image":72,"text":73,"number":74},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.16.png","29\n28\n",16,{"image":76,"text":77,"number":78},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.17.png","31\n30\n",17,{"image":80,"text":81,"number":82},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.18.png","33\n32\n",18,{"image":84,"text":15,"number":85},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.19.png",19,{"image":87,"text":15,"number":88},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.20.png",20,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.21.png","39\n38\n39\n",21,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.22.png","41\n40\n",22,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.23.png","43\n42\n",23,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.24.png","45\n44\n",24,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.25.png","BACK \nTO \nMODERNITY\nP\nR\nE\nS\nE\nN\nT\n \nWhat follows is a conversation. On this occasion, the people \nwho interpreted modernity from a contemporary perspective as well as \nthe challenges it offers, were an editorial director, Emilia Terragni, publisher \nof Phaidon, a British publishing house dedicated to the arts and the promo-\ntion of creativity, and a museum director, Marco Sammicheli, superintendent \nof the Museum of Italian Design at the Triennale Milano, a century-old \ninstitution established to give an international home to the disciplines of \ndesign, applied arts and everyday life.\n \nThe exchange between Terragni and Sammicheli provided an \nopportunity to narrate how the Phaidon publishing house and the \nTriennale cultural institution have, for the past century, succeeded in inter-\npreting their time and telling the story of its transformation into new artefacts, \nnew languages and new knowledge. Books and exhibitions, research and \ntrends have become commodities to offer their communities moments in \nwhich to meet and reflect and opportunities to engage in discussion. \nA venue, the museum, and objects, namely books, have become increas-\ningly widespread and popular educational platforms that are crucial in the \nprocesses of corporate evolution. \nExhibitions, publications and podcasts, architecture, gardens and shops, \narchitects, designers and artists, follow one another in the Q&A session \nbetween Terragni and Sammicheli, drawing on both historical cases and \ncontemporary anecdotes. They offered viewers of the London conversa-\ntion and today’s readers vivid scenarios of cultural design, tangible \nactions to reach out to the public, and experimental activities all focused \non bringing the arts and everyday life together.\n \nEMILIA TERRAGNI: In the context of design, modernity traditionally \nrefers to particularly approach or style that was more or less shaped at the \nbeginning of the 20th century. Modern design is characterized by starting from \ntraditional shape and forms, but it becomes an embrace of new technology, \nnew form, functionalism. Modern design is also considered to be global, dem-\nocratic, and bringing new useful object to a larger audience. \n \nBut modernity is actually an action. It’s an attitude. It anchored to \nhis progressive principles, but it’s always in constant evolution. It is much \nmore than a style, even if it is often confounded with a style: in my opinion, \nmodernity is an approach to life. Modernity is about being innovative, both in \nthe sense of the thinking and in the making. It is about being ahead of the \ntime and timeless, at the same time. Modernity is intellectual and cultural \ntimeframe, characterized by progress, by reason, but also by collaboration. \n \nModernity involves the desire to embrace new ideas, new values, \nnew approaches to very different aspects of life, in the fields of art, philosophy, \nscience, politics, or even social organization. It is very challenging to stay \nmodern when you get to a certain age. I am not talking about myself, only.\nPhaidon this year is turning 100 years old: it was founded in 1923 on the \nvery principle of modernity, of being innovative, democratic, functional, \nopen to embrace new forms and new technologies, and very... collabora-\ntive. All these principles continue to influence what we do. Actually, it is \nnot only Phaidon that is 100 years old, but it is also Triennale Milano. We \nshare the same birth date. We organized an exhibition in New York and in \nLondon for our 100th anniversary: it was very interesting because we went \nback to our archives to look for the books that somehow made our history. \nIt turned out being an incredible journey through our publications, and \nwhile we were walking through the exhibition, we noticed a fantastic story \nbehind each book.\nMARCO SAMMICHELI: As we can see, modernity is in all disciplines. It is \npart our life. It’s everywhere. I personally think that is very interesting to talk \nabout modernity in the context of design, since design is one of the most \npowerful embodiments of modernity. Between exhibitions and books, this \nis exactly what we do, since we have the chance to do that in many differ-\nent ways. And when we write books about design or we realize exhibitions \non design, we are really bringing modernity to another level.\nThe purpose of design is always to be innovative, democratic, progressive. \nAnd at its best, design solves problem and is trying to build a better and \nmore sustainable future. In doing so, it really needs to establish a new rela-\ntionship, more responsible, more respectful, and even more dynamic with \nnature, exploring innovative ways to minimize the harm to the environment.  \n \nWe have at our disposal well-planned urban spaces, sustainable \ninfrastructures, and thoughtful design that really can contribute to a harmo-\nnious coexistence. But we also have to be more flexible. \nReal progress has to do with respect for nature: when I talk about nature, \nI include both human beings and avoiding waste and pollution. But while \nthe concept of modernity is in constant evolution, its mission is always to \nwork for progress, quality, social justice, and our modern society has \ncome along from where we were in the past century. For sure, we know \nthat there is still a lot to do. \n \nIf we think about an institution like the Triennale or a publishing \nhouse like Phaidon, and the role that an exhibition or a book can have in \nbringing the arts to a wide audience, we understand how important is the \nrole that these exhibitions or books have in making culture even more \navailable. There is always an interesting tension between being in con-\nstant evolution and being faithful to our principles and values: in the \nmoment we stop evolving, we stop being relevant. For this reason, we \ncan never stop. \n \nET: People think that modernity is all about new materials, simple \nlines, but these are just tools constantly evolving. They stay, they go away, \nthey come back. What is important is always to have a clear idea, a mission, \na purpose. Our main mission as a publishing house is really to deliver \ninteresting contents in an innovative way, as we have seen in the past, the \nstory of art, the art books. The other important issue is always how to \norganize the materials: in the end, it is all about design. Sometimes there \nis no need to change. But occasionally the best way of being modern is \nalso to invent a new concept.\n \nEspecially when you are dealing with books, you really ask your-\nself the question, are books still relevant? Are books still the best way to \ndeliver contemporary content in a digital era? Of course, being a publisher, \nmy answer is yes, but that doesn’t mean that we do not question about it \nevery day. The technology maybe changed, but the support is more or \nless the same. It is very interesting to see how you can deliver very \ncontemporary and relevant content through books: an item that a lot of \npeople think that are quite obsolete.  \n \nWhat we can say about contemporary books is that they are very close and very \nfar away at the same time from the Gutenberg Bible. As much as a contemporary book is a \ncontemporary book, it’s still a contemporary book. It is very interesting to see how a con-\ntemporary chair is very close and very far away from a Roman chair. It’s more or less four \nlegs, a seat and a back, sometimes three legs, sometimes one leg. For us, it is important \nto understand if the books are still serving the purpose that they are for.\nI’ve been at Phaidon for 20 years and I can say that the way in which we do books has \nactually changed quite a lot. I remember that when we started, we were working on all the \nbooks with Renzo Piano and there was this idea of displaying his work; every three, four years \nwe were coming up with a new volume with his best works. It was a huge project, if we \ncompare it to a modern website: there is no question about it because a digital site can be \nupdated, and continually changed. This matter pushes us to really rethink the role of the book: \nwhat is really important is not just displaying things, but the narrative, the storytelling, the \nediting, the care that you put into it. \n \nThe core of the issue is the tension between what is already there, what we can \ndo in the present, but also how we can innovate a medium that is actually quite old and \nquite obsolete. There is always a tension between innovation, technology, and the fact \nthat the book is immortal, is forever: a very interesting concept is also that once a book is \nprinted, is there with us forever. Every mistake will be there forever, and this is a way of \nworking. So the ephemeral of the digital world is fantastic, but it also allowed people to be \na little bit sloppy because it’s there and then it’s not there anymore. So there is this, and \nthen it’s not there anymore. And I think that is the permanence of the book really oblige us \nto have a very different approach in the content.\nThat is fact checking, proofreading, all of the things that it becomes an obsession, but also \na service. And the idea it’s real to always have something in which you continues to reno-\nvate the concept of the book, but actually at the end of the day, it’s not. And I think that’s the \nkey to the book. And so, at the end of the day, the book is the book. And you can keep it, it \ncan remind you things, you can enjoy, you can go back, and it’s there forever to be enjoyed. \n \nMS: Yeah, I mean it’s, I also have an example in this sense because there’s not \na drop of nostalgia in what we are seeing tonight. No, it’s just a combination of factors and \ndifferent elements. Like two and a half years ago, we did a big, a exhibition on Saul \nSteinberg. Saul Steinberg for the one that knows this great artist and illustrator is, you \nknow, you are, there’s a lot of people obsessed with him, but would say is a niche, it’s a \ngroup of lovers. Then the rest of the people, maybe they don’t even know who he was or \nif he was an architect or an illustrator or if he was European or American. Yeah.\nAnd he was actually a great Romanian architect that was trained in Milan and then he \nbecame probably the most New Yorkese artist in the recent history of contemporary art \nand developed, the author of incredible New Yorker covers and so on.\n \nWe did this show, we did exhibition at Triennale, and we were aware that this \nfigure was not probably as popular as could be, you know, an Italian maestro of design. \nSo we invited a young journalist, Francesco Costa, to develop a podcast. And this pod-\ncast was an incredible success, but was also an access for a completely diverse audi-\nence that were coming at the beginning of this. So we had a lot of people that were \ninterested in the exhibition. So at the beginning, whether, you know, people that they \nwere into illustration, people that they knew, Sol Steinberg. And then later came people \nthat they were, okay, we heard about this man because of Francesco podcast.\n \nSo what was actually designed by Triennale as a complementary experience to \nthe real experience, to the physical experience, it became actually the access and the \nway that pushed people to the exhibition. So that’s how we do it. We also have a lot of \npeople who come to the exhibition to see the exhibition. It’s a great way to encourage people \nto come to Triennale. So as you said, like now there’s, you will continue to do books forever.\n \nThis also will be the job of Triennale. We won’t ever, ever stop to publish catalogs \nand arrange exhibitions and install physical experience in a building because we know \nthat people, especially Milanese citizens, when it’s 6 o’clock on a weekday, they’re like, \nwhat to do? Oh, I can go to Triennale, I can have an aperitivo, and I can see an exhibition, \nor I can come for lunch, and they feel that that is a very familiar space, but it is also a place \nwhere there’s many, can happen many encounters, let’s say, with art, with architecture, \nand with different formats.\n \nThat’s why I mentioned the podcast. Yeah, I think that’s also interesting, because \na structure like the Triennale, it’s a place where you go, you enter, maybe you go for a specific \nexhibition, but then you always have any other three or four things that you don’t know, you \nlearn, but it’s really the physical experience of going there, and look at things that really \nenrich you, and the summer was really a very interesting show, because you heard about it, \nyou knew it, you saw it, it reminds you of the New Yorker, but it was not really a mainstream \ndesigner or illustrator, but a lot of people went there because it wasn’t the Triennale, because \nit was in a space, and then discovered it, so there is this continuous chain of events and of \nphysical experience that really makes it a very interesting place.\n \nAnd I think that’s what’s so interesting about the Triennale, because it’s a place \nwhere you can learn and have knowledge that maybe you wouldn’t have had if you don’t \nreally stumble into it, and this is the beauty of this, and it’s also the beauty when you are in a \nbookshop, in which you just see something that you have never, never heard about it, and \nyou are just attracted because it’s a curious cover, or because it’s a strange title, or for many \nother reasons, or because that day you are in a specific mood. But it’s really this physical \nexperience. And then it’s not about being against the digital, or the digital is a fantastic thing. \nMARCO SAMMICHELI IN CONVERSATION WITH EMILIA TERRAGNI.\nA FLUID CONCEPT: COMPLEXITY AND TURNOVER.\nTalkingAbout 2023\nLONDON, 30.11.23\nMarco Sammicheli is curator of the design, fashion, crafts sector at Triennale Milano and Director of Museo del \nDesign Italiano. After graduating in Communication Science from the University of Siena and specializing in History \nof Design at the Bauhaus in Weimar, he earned a doctorate in design and technology for the development of cultural \nheritage at Politecnico di Milano.\nHe curated shows and essays on catalogs for museums in Europe, Latin America and the Middle East. Columnist \nfor “Wallpaper*” and for Il Sole 24 Ore. He wrote monographs on designers and publications on Milan as an urban \nplatform for creative industries.\nEmilia Terragni is Associate Publisher for Architecture, Design and Food titles at Phaidon Press — the world’s premier \npublisher of books on the visual arts. She worked previously as a Curator at the Barragan Foundation and Vitra \nDesign Museum and studied art history at the University Ca' Foscari in Venice.\nAt Phaidon, she founded the design list and then went on to create and develop the culinary list, publishing books that \ncombine lifestyle, food, and hospitality, while being beautiful objects in their own right. \n47\n46\n",25,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.26.png","49\n48\n",26,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.27.png","51\n50\n",27,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.28.png","53\n52\n",28,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.29.png","55\n54\n",29,{"image":126,"text":15,"number":127},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.30.png",30,{"image":129,"text":15,"number":130},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.31.png",31,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.32.png","61\n60\n",32,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.33.png","63\n62\n",33,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.34.png","BACK \nTO \nMODERNITY\nF\nU\nT\nU\nR\nE\n  \nThe future does not belong to the cities. The future belongs to \nhumans, and humans love cities. What if we think about a new way to look \nat cities, and a new way to approach the concept of modernity? We have \nto overpass the idea of modernity we had in the XX century: “tabula rasa”, \ndestroy everything, get rid of everything. Think of Le Corbusier in the \n1920s and his “Plan Voisin” for rethinking Paris: here we can see a picture \nof an architect behaving like an omnipotent god calling forth the floods to \nwipe the earth clean and build something new in its place. But architects \naren’t gods — and we can’t think like that anymore. We have to forget this \n“rip it up and start again” attitude. Instead, my idea is to find a different \nkind of modernity, to get into a better future.\n \nSo, what about the cities? People say that cities are growing,  \nbut they aren’t growing uniformly. In Japan, Europe, and the United  \nStates, cities are not growing — and the population is declining. So,  \nare cities booming? Yes. But not everywhere. When we hear about \nnew neighborhoods rising around the world, we do not hear of neighbor-\nhoods, but slums or favelas. So we have to think about how cities  \nare growing, and what architecture as a profession can address their \nneeds as they grow.\n \nWe know the planet is spinning out of control, and what once \nseemed to be problems for the future, are now problems for the present. \nTemperature rising; overpopulation…\nLet me give a little example — ever since I was a child, I would go to the \nmountains, but these days I can’t bring myself to see how the glaciers that \ndominated them are diminishing — in the last two years we lost as much \nice in the European Alps as the previous 20. These problems are acceler-\nating and architecture is at the core of that because it deals with the  \nbuilt environment.\n \nWe know that cities are responsible for the majority of global \nemissions, and we also know that the architecture that shaped them has \nbeen part of the problem. I think that now architecture can be part of the \nsolution. What comes to my mind is what Richard Buckminster Fuller said \nabout “Utopia or Oblivion”. If all architects think about is designing door \nhandles, well, it’ll be oblivion. But if architecture properly confronts the \nproblems we are facing, then we could make a real difference.\n \nThinking about modernity also means to think about technology. \nDo we have all the technology that we need, or do we need new ones?  \nThe first thing I would say is that architecture is technology. But technology \nis not the solution. As English architect Cedric Price asked in 1966, \n“Technology is the answer, but what is the question?” His quip is just as \nrelevant today as it was then. We have all the technology we need, but it \nis up to human beings to fix our problems. And climate change is a crucial \nchallenge, together with social challenges… and I don’t think they are just \nabout technology. They’re about us.\n \nHow do we start? By collecting information. Ildefonso Cerdà, the \nvisionary urbanist who designed and expanded Barcelona, hoped in  \nhis 1867 book, the General Theory of Urbanization, that the future would \nbe something different — through data. Today, looking into data is part  \nof our daily routine. But this wasn’t the case in 2006 when we started  \na project called “Real Time Rome” at our lab at Massachusetts Institute  \nof Technology. In that project, we showed a different way to look at cities, \nbecause data helped us to see not only the physical city — bricks, stones, \nroads, etc. — but a city made of flows, of connections, of people. For  \nthe first time, Ildefonso Cerdà’s dream was a reality. Analyzing data allows \nus to understand and describe relationships and connections between \npeople as part of the complexity of cities, to design better ones.\n \nI am not saying that data could solve everything. We know there is \na huge danger in collecting data. When we did “Real Time Rome” we had \nless data than today. It’s no mystery that with a smartphone in our pockets, we \ncollect tons and tons of data every single day: where we are, what we are look-\ning at, how we are moving (by foot, by bike, by car)... information that goes in \nservers in Silicon Valley, creating a “digital twin” of ourselves. How we allow \ndata to be collected is a big problem and we need to ask for a better way to \ndeal with data on a global scale (e.g. GDPR in Europe).\n \nThis discussion needs to be consistent, but I think many dangers \nare not related to the study of city architecture. First of all, because we are \ndealing with anonymous flows, and secondly, because this information \nallows architects to see the built environment in a non-monolithic way. \nThere is a big group of people — in academia and architecture schools — \nwho want to bring nature into the building world. Others are looking to \nopen source to build a better environment. These two paths get to  \nthe same point and I think the two approaches have to work together, \nbridging the natural and the artificial.\n \nWhat is a smart building but one that can respond like a living \nthing? Thanks to sensors and artificial intelligence, buildings become like \nliving organisms. Furthermore, we can use nature as building blocks for \nwhat we are designing. How can we get into a dimension that is a coevo-\nlution between the natural and the artificial? The key point is the concept of \n“intelligence”: the natural intelligence, the artificial intelligence, the collective \nintelligence. It’s crucial to think of them not as different things but as a whole.\n \nMany projects follow this idea. Projects that create smarter build-\nings, create energy, and also provide spaces for people to come together \nand connect. Cities are about people, as I said in the beginning. When we \n— as CRA-Carlo Ratti Associati — completed a big project in Singapore \ncalled CapitaSpring we not only built somewhere that merged natural \nand artificial, but we created a gathering space for people, in the tropical \nforest we designed in the middle of the skyscraper.\nWe are also developing the Hot Heart, a system of floating islands outside \nthe bay of Helsinki, that will sustainably heat the city with batteries for \nenergy storage and a new public space. Gathering people in a place like \nthat allows them to learn about infrastructure, heating systems, and climate \nchange as well. The Hot Heart is the biggest urban decarbonization project \nin Europe — so we have to involve people: the public dimension is always \ncrucial to fostering collective intelligence.\n \nPeople need to come together. And we have proof that when \npeople come together, interesting things happen — and without that,  \nwe lose those things. Before COVID we did an experiment at MIT: we  \ncollected data from emails — anonymously, of course — to analyze networks \nand connections in a public space. Then, when COVID struck, something \nout of the ordinary happened: we were forced to remove the public space. \nNetworks and connections dramatically decrease when people do not \ncome together. Physical space is very important because it allows each \none of us to exit our personal “echo chambers”. \n \n \n \nAnother topic we have to deal with is the way we use space in cities. Do we need \nskyscrapers? How will we use empty ones? Let’s take two completely different cities: \nNew York and Barcelona. Which one is the densest? As Leslie Martin once analyzed in a \npaper, when you imagine filling a plot of land with a building, you have two options. \nThe first option is a pavilion, when you build in the center of the plot with empty space \naround. The second option is a courtyard, when you build around the periphery and leave \nempty space in the middle. With simple geometrical analysis, you can see that given the \nsame amount of surface — the same amount of volume, the same amount of square \nmeters — if you build in the pavilion shape, you end up with a building that is very, very tall. \nBut then if you build in the courtyard shape, in the same amount of square meters, square \nfeet, or the same amount of people, with actually much lower rise.\nThis is an interesting example because the difference between Manhattan and Barcelona \nis that the latter is organized in courtyards — Barcelona has more or less the same den-\nsity as Manhattan, but while in Manhattan, you get very, very tall, very, very thin, and in \nBarcelona the buildings are all mid-rise.\n \nWe can have a big density, a very exciting city and a lot of urban life, even with \nlow rise and Barcelona is one example of that. One other thing about the discussion over \na vertical or non-vertical city is what the great Jan Gehl wrote: the closer you are to the \nstreet, the more you’re connected to public space. Once, there was a psychological \nexperiment, to verify how far you can live above the street and still feel connected with \nthe city — if you live on the 17th floor, or above... well, the connection is lost! The bottom line \nis: stop measuring density with the high rise or low rise, sometimes you can be very \ndense in low rise. Also, let’s remember the importance of connection with other people. \n \nWhen you think about a building, you want to make it more sustainable.  \nTo do this, you don’t need to follow regulations that sometimes force you to do some-\nthing that’s not necessarily optimized. Things have changed in a smarter way in the last \n50 years, but I don’t think we need a new set of rules. Adding rules is like generating \nentropy: every time you add things, you remove degrees of freedom and you end up in  \na condition where you are no longer able to do a lot of positive things. And this happens \nbecause a new set of things, a different system, sometimes is dragged from  \nwhat comes from the past.\n \nWe have to work with what we have — with the buildings we have. Six months \nago, I wrote an opinion piece for the New York Times with my colleague Ed Glaeser, the \nChairman of the Department of Economics at Harvard. We called our idea “The \nPlayground City”. We started from the empty space in New York buildings and the fact \nthat people still want to come together. The towers are empty but life in the streets of \nManhattan is still really, really busy — because the city still performs its functions.\nCities were invented almost 10,000 years ago as a way for people to come together, but \ncities changed so much over the years: they were markets; they were religious places; \nthey were industrial places. That’s why Ed and I think that we are at the beginning of a \ntipping point. We will see the 20th century cities changing their skin once again, but they \nwill still be the magnetic force that bonds us together.\n \nPeople today can work everywhere, but they still want to be in cities. A lot of \ninteresting things are still happening in cities, including interesting, spontaneous, unpre-\ndictable conversations that can’t happen if we just connect via Zoom. According to \nsociologists, you can pick all your connections and put them in two buckets that they call \n“strong ties” and “weak ties”. What are they? A strong tie is a friend who’s also a friend of \nyour friends: I’m person A, you are person B, I know person C... and now B and C know \neach other. If you draw this on a piece of paper it comes out as a perfect triangle. A weak \ntie, instead, is a person who’s not a friend of your friends, but actually becomes a bridge \nto another community. Getting back to our MIT research: when you remove physical \nspace, weak ties disappear. As you can imagine, weak ties are very important because \nthey are the one that exposes us to new ideas! If you’ve only got strong ties you get things \ngoing around in circles and you reinforce your echo chamber. Weak ties bring creativity \nand they can challenge our preconceptions. And this happens in physical space, like the \none we’re in today. You meet somebody you didn’t expect, and this person becomes a \nbridge toward new ideas, creativity... And maybe this is the key function of the architecture \nof tomorrow: bringing us together in a way that increases the randomness of encountering \nnew people, and new ideas.\n \nThis is why I think the modernity we’re looking at today is much more complex. \nModernity is more about networks and is more about something that will be similar to \nnatural evolution. Natural evolution never does “tabula rasa”: it is something that keeps \non evolving, trying things, making mistakes, doing things again, making new mistakes, \nand so on. What we can learn from nature also is a process: a process that never throws \naway anything but actually keeps on changing and looking at what works, and what \ndoesn’t work now is part of that.\n \nSchumpeter once said that innovation is about doing things that don’t exist yet, \ndoing all things in a new way. And so I think the first thing I suggest to students is to \nimagine cities as a canvas, a living lab where we can use all possible creativity. And I \nknow that what hasn’t been done before is much more difficult, but I also think it is much \nmore fun. Maybe that’s actually what remains to all of us in a world in which with a press \nof a button you can collect all the prior intelligence and immediately turn it into a sketch \nor tomorrow into plans to build a building.\nAm I optimistic? I would answer in the words of the great Karl Popper, who wrote \noptimism is a duty... and is a duty because the future is not predetermined.\nCARLO RATTI IN CONVERSATION WITH JOANN GONCHAR.\nNEW VISIONS, THE MODERNITY OF TOMORROW.\nTalkingAbout 2023\nNEW YORK, 08.02.24\nAn architect and engineer by training, Professor Carlo Ratti teaches at the Massachusetts Institute of Technology \n(MIT), where he directs the Senseable City Lab, and is a founding partner of the international design and innovation \noffice Carlo Ratti Associati.\nA leading voice in the debate on new technologies’ impact on urban life and design, Carlo has co-authored over \n500 publications, including The City of Tomorrow (Yale University Press, with Matthew Claudel), and holds several \ntechnical patents.\nJoann Gonchar, FAIA, LEED AP, is deputy editor at Architectural Record. She joined RECORD in 2006, after working \nfor eight years at its sister publication, Engineering News-Record. Before starting her career as a journalist, Joann \nworked for several architecture firms and spent three years in Kobe, Japan, with the firm Team Zoo, Atelier Iruka. \nShe earned a Master of Architecture degree from the University of Pennsylvania and a Bachelor of Arts from Brown \nUniversity. She is licensed to practice architecture in New York State.\n65\n64\n",34,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.35.png","67\n66\n",35,{"image":148,"text":149,"number":150},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.36.png","69\n68\n",36,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.37.png","71\n70\n",37,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.38.png","73\n72\n",38,{"image":160,"text":161,"number":162},"\u002Fmedia\u002Fimages\u002Fd4\u002F0b81f33b22258efb11f1cb74f6a7fb-285de01c28.39.png","CONTENTS\n3-4 \nAIR SYSTEM PURE, PARTITION WALL SYSTEM  \n \nstructure: 301 peltro \n \nglass: 63 grigio trasparente\n \nAIR PURE, DOOR\n \nstructure: 301 peltro\n \nglass: 63 grigio trasparente\n6-8-9 \nMODULOR, BOISERIE\n \nstructure: 304 platino \n \nwood cladding: 701 rovere taiga\n \nSELF, SUSPENDED CABINET\n \nstructure: 13 nero \n \ntop, sides and fronts: 46 nero lucido \n \nflap door cabinet: 00 trasparente \n \ncabinet internal sides and\n \nback panel: 102 nero opaco  \n \ncabinet internal base in\n \nsynthetic leather: 154 argilla\n \nRADIUS, DOOR\n \nstructure: 304 platino \n \ndoor panel: 701 rovere taiga\n \nSIXTY, COFFEE TABLE\n \nstructure: 304 platino \n \nmarble top: 198 calacatta opaco \n \nglass lower top: 137 platino opaco\n7 \nMOODBOARDS\n \n304 platino\n \n891 acidato taiga  \n \n159 similpelle etna\n \n701 rovere taiga  \n \n306 terracotta lucido\n \n198 calacatta opaco\n15 \nAIR SYSTEM PURE, PARTITION WALL SYSTEM\n \nstructure: 301 peltro\n \nglass 63: grigio trasparente\n \nAIR PURE, DOOR\n \nstructure: 301 peltro\n \nglass: 63 grigio trasparente\n16  \nMOODBOARDS\n \n304 platino\n \n17 noce sahara  \n \n191 nero marquinia opaco\n \n64 riflettente grigio\n \n490 diamante trasparente \n \nrafia magnolia\n17-18-19 \nAIR REGULAR, DOOR \n \nstructure: 15 noce\n \nglass: 490 diamante trasparente\n \nRIALTO, COFFEE TABLE\n \nstructure: 301 peltro \n \nglass top: 63 grigio trasparente \n \nwooden lower top: 15 noce \n \ntrays: 15 noce, lining 153 castoro\n21 \nAIR SYSTEM PURE, PARTITION WALL SYSTEM\n \nstructure: 301 peltro\n \nglass 63: grigio trasparente\n \nALIANTE, DISPLAY UNIT\n \nstructure: 303 bronzo \n \nbase, top, drawer unit and\n \nback panel: 15 noce \n \nglass internal shelves: 63 grigio trasparente \n \nglass: 67 riflettente chiaro \n \nlower top in synthetic leather: 153 castoro\n22-23 \nBACK TO MODERNITY - PAST\n \nStefano Salis in conversation with  \n \nGiuseppe Lupo\n24-25 \nAIR SYSTEM PURE, PARTITION WALL SYSTEM\n \nstructure: 301 peltro\n \nglass 63: grigio trasparente\n \nAIR PURE, DOOR\n \nstructure: 301 peltro\n \nglass: 63 grigio trasparente\n26 \nMOODBOARDS \n \n160 similpelle miele\n \n187 verde lepanto\n \n60 rete alluminio\n \n148 verde scuro 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