[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-tacchini-design-masters-umberto-riva-2019":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":89},{"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":84,"matched_pages":85,"match_count":86,"two_pages":87,"show_text":88},25969,"Design Masters - Umberto Riva 2019","tacchini-design-masters-umberto-riva-2019","\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fff\u002F6261bdfc561abd13b5d04409b69dea-290916111e.pdf","Tacchini",602,"tacchini","4.0 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81],{"image":7,"text":15,"number":16},"Riva\nUmberto\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.2.png","Umberto Riva\nDesign Masters\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.3.png","Umberto Riva\n“I almost forced myself to like the job of architect. The world of painting would have been more suitable \nbecause, as I told before, the approach would have been completely private and I would have been \ntotally responsible for what I was doing. Meanwhile if you are an architect or a designer, there are lots \nof aspects that influence the final result: the client, the manufacturer, the economic issue, usually \nvery significant, the responsibility of understanding which will be the final result, and the final result itself. \nIf you do a painting or make a sculpture, you have the control, especially on architectural works: they \ndo not come out from a private formal process, but from precise requirements.” \nA master of lighting, Umberto Riva was born in Milan in 1928 and has worked in \ndesign since 1960. Having studied with Carlo Scarpa, Riva pursued his own person-\nal research process via the most widely differing disciplines, from urban spaces \nto buildings, landscape to interiors, outfitting to the design of lamps and furniture. \nHis most important creations include Casa Frea in Milan, considered to be one \nof his masterpieces, the redevelopment of Piazza San Nazaro in Milan, restoration \n \nUmberto Riva, Apartment Riva, via Paravia, 1965-67 (ph. Giorgio Casali\n– Università IUAV di Venezia, Archivio Progetti, Fondo Giorgio Casali).\nof the historic Caffè Pedrocchi in Padua, the design for the work on the Viale \ndel Ministero degli Esteri and Piazza della Farnesina in Rome, the Biblioteca \nEuropea at Porta Vittoria in Milan, the thermal power plants in Catanzaro \nand Campobasso and a long line of houses, from Milan to Sardinia and Puglia, \nas well as various designs of lamps and furniture for the biggest names in \n3\nDesign Masters\nTacchiniEdizioni\nUmberto Riva\nForewords\n \nObjects, Stories\nTacchini is a philosophy. Behind \nevery object there’s a story and \nbehind every story there’s a person. \nWe also fall in love with our prod-\nucts, their stories and the stories \nof those who have produced them \nand continue to make things by \nhand so that this story continues, \nis passed on by the designer to \nthe creator and from the creator \nto the future owner of the product. \nAnd then it continues further.\nThe design is Italian, the rest is \nproduction. And in Italy, design com-\npanies bear the names of the \nfamilies that founded the brands. \nLike Tacchini, created in 1967 by \nAntonio, when production, too, was \nalmost entirely Italian, and the most \npoetic and soul-stirring passages \nin the story of design were written. \nNaturally in time the children \nbecome the heirs, and the new \nfounders, in a rationale of continu-\nous updating and redefinition of \nthe underlying idea, and that is what \nis actually handed down. Equally \nnaturally, those who frequent the \nfamily become a part of it: team \nmembers, consultants, suppliers, \nemployees, workers and clients. \nStill today, in this family, the strength \nof the idea is central to every crea-\ntive process, in a logical process of \nevolution, from the analysis of the \nidea to the three dimensions of the \nobject, before ultimately becoming \nthe essence of living. \n \nUmberto Riva \n \n \nOpere e progetti\n1962 \nCasa per vacanze, Stintino (Sassari)\n1962  \nCasa per vacanze, Oliveto Lario (Como)\n1966  \nCooperativa d’abitazione, \n \nvia Paravia, Milano\n1966 \nProgetto di un edificio per uffici\n1967 \nCasa Berrini, Taino (Varese)\n1968 \nCasa Giorgio Riva, Lesmo \n \n(Monza Brianza)\n1969 \nOfficina C & B, Novedrate (Como)\n1971 \nCase di Palma, Stintino, (Sassari)\n1974  \nAppartamento per un collezionista d’arte\n1975 \nCasa Ferrario, Osmate (Varese)\n1978 \nScuola elementare e media, \n \nFaedis (Udine)\n1980 \nProgetto per l’area della marina \n \ndi Petrarolo, Castellammare \n \ndel Golfo (Trapani)\n1980  \nProgetto per l’area della \n \ncirconvallazione esterna, Vita (Trapani)\n1980  \nNuovo insediamento residenziale, \n \nvalle dell’Oued Touil (Algeria)\n1982  \nPalazzo d’abitazione, \n \nvia Conchetta, Milano\n1983  \nRistrutturazione casa Frea, Milano\n1985  \nCasa De Paolini, via Tantardini, Milano\n1985  \nStudio Frea, Milano, 1985\n1986  \nRistrutturazione di un \n \nappartamento, via Arena, Milano\n1986  \nRistrutturazione di un \n \nappartamento, via Crema, Milano\n1986  \nCasa d’abitazione nel centro storico, \n \nOtranto (Lecce)\n1986  \nCasa Insinga, via Arena, Milano\n1987  \nProgetto per lo Sperone \n \nDel Guasco, Ancona\n1988 \nAppartamento Poggi\u002FDragone, \n \nCorso di Porta Ticinese, Milano\n1989  \nPlanivolumetrico del Centro Civico, \n \nSalemi, (Trapani)\n \nRiconoscimenti\n2003 \nMedaglia d’Oro all’Architettura Italiana\n2018 \nMedaglia d’Oro alla Carriera\n1989 \nSistemazione di Piazza San \n \nNazaro in Brolo, Milano\n1989  \nCasa Miggiano, Otranto (Lecce)\n1991  \nNegozio I. B. Office, Padova\n1992  \nRistrutturazione di Casa Frea, \n \nOtranto (Lecce)\n1993 \nRistrutturazione di un \n \nappartamento, New York (USA)\n1994  \nPorta d’ingresso e vetrina della \n \ngalleria A.A.M. Architettura Arte \n \nModerna, Milano\n1997 \nRestauro del piano terreno \n \ndel Caffè Pedrocchi, Padova\n1998 \nProgetto per la sistemazione del \n \nviale del Ministero degli Esteri \n \ne di piazza della Farnesina, Roma\n1998 \nSistemazione dell’ambito \n \ncircostante la chiesa di Santa Maria \n \ndi Castello, Alessandria\n1998  \nNuova Officina PRF-UMO, \n \nCastellammare di Stabia, (Napoli)\n2001  \nPorta Vittoria, Milano\n2004 \nCentrale termoelettrica \n \nEDISON, Simeri Crichi, (Cosenza)\n2004  \nRisistemazione dell’asse monumentale \n \ndel centro urbano, Montpellier (Francia)\n2006  \nNuova Centrale Termoelettrica \n \nTermoli, (Campobasso)\n2011  \nChiesa di San Corbiniano, \n \nQuartiere Infernetto, (Roma)\n \nAllestimenti\n1975 \nBar Sem, via Piermarini a Milano\n1992 \nNegozio per IB Office, Padova\n1994 \nSistemazione della hall di accesso \n \nal castello di Schönbrunn\n1994 \nSistema di arredi per ufficio, IB Office \n1996 \nRistrutturazione dell’atrio, della sala \n \nconferenze e della libreria del palazzo \n \ndella Triennale di Milano, Milano\n1996 \nAllestimen to della mostra “Frederick \n \nKiesler: arte, architettura, ambiente”, \n \nTriennale di Milano, Milano\n1998 \nProgetto di riorganizzazione \n \nfunzionale e adattamento museale \n \ndi Palazzo Barbaran da Porto, Vicenza\n2000 \nAllestimento della mostra “Carlo \n \nScarpa”, Centro Internazionale di Studi \n \ndi Architettura Andrea Palladio, Vicenza\n2000 \nAllestimento della mostra “John Soane \n \narchitetto (1753-1837)”, Palazzo Barbaran \n \nda Porto, Vicenza\n2001 \nAllestimento della mostra “John Soane \n \nmodern architecture in the making”, \n \nCentre Canadien d’Architecture, \n \nMontréal, Quebec (Canada)\n2008 \nAllestimento della mostra “Carlo \n \nScarpa e l’origine delle cose”, \n \nBiennale Architettura, Giardini di \n \nCastello, Venezia\n2012 \nAllestimento della mostra “L’Italia \n \ndi Le Corbusier”, Museo MAXXI, Roma\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.4.png"," \nUmberto Riva \n \n \nOpere e progetti\n1962 \nCasa per vacanze, Stintino (Sassari)\n1962  \nCasa per vacanze, Oliveto Lario (Como)\n1966  \nCooperativa d’abitazione, \n \nvia Paravia, Milano\n1966 \nProgetto di un edificio per uffici\n1967 \nCasa Berrini, Taino (Varese)\n1968 \nCasa Giorgio Riva, Lesmo \n \n(Monza Brianza)\n1969 \nOfficina C & B, Novedrate (Como)\n1971 \nCase di Palma, Stintino, (Sassari)\n1974  \nAppartamento per un collezionista d’arte\n1975 \nCasa Ferrario, Osmate (Varese)\n1978 \nScuola elementare e media, \n \nFaedis (Udine)\n1980 \nProgetto per l’area della marina \n \ndi Petrarolo, Castellammare \n \ndel Golfo (Trapani)\n1980  \nProgetto per l’area della \n \ncirconvallazione esterna, Vita (Trapani)\n1980  \nNuovo insediamento residenziale, \n \nvalle dell’Oued Touil (Algeria)\n1982  \nPalazzo d’abitazione, \n \nvia Conchetta, Milano\n1983  \nRistrutturazione casa Frea, Milano\n1985  \nCasa De Paolini, via Tantardini, Milano\n1985  \nStudio Frea, Milano, 1985\n1986  \nRistrutturazione di un \n \nappartamento, via Arena, Milano\n1986  \nRistrutturazione di un \n \nappartamento, via Crema, Milano\n1986  \nCasa d’abitazione nel centro storico, \n \nOtranto (Lecce)\n1986  \nCasa Insinga, via Arena, Milano\n1987  \nProgetto per lo Sperone \n \nDel Guasco, Ancona\n1988 \nAppartamento Poggi\u002FDragone, \n \nCorso di Porta Ticinese, Milano\n1989  \nPlanivolumetrico del Centro Civico, \n \nSalemi, (Trapani)\n \nRiconoscimenti\n2003 \nMedaglia d’Oro all’Architettura Italiana\n2018 \nMedaglia d’Oro alla Carriera\n1989 \nSistemazione di Piazza San \n \nNazaro in Brolo, Milano\n1989  \nCasa Miggiano, Otranto (Lecce)\n1991  \nNegozio I. B. Office, Padova\n1992  \nRistrutturazione di Casa Frea, \n \nOtranto (Lecce)\n1993 \nRistrutturazione di un \n \nappartamento, New York (USA)\n1994  \nPorta d’ingresso e vetrina della \n \ngalleria A.A.M. Architettura Arte \n \nModerna, Milano\n1997 \nRestauro del piano terreno \n \ndel Caffè Pedrocchi, Padova\n1998 \nProgetto per la sistemazione del \n \nviale del Ministero degli Esteri \n \ne di piazza della Farnesina, Roma\n1998 \nSistemazione dell’ambito \n \ncircostante la chiesa di Santa Maria \n \ndi Castello, Alessandria\n1998  \nNuova Officina PRF-UMO, \n \nCastellammare di Stabia, (Napoli)\n2001  \nPorta Vittoria, Milano\n2004 \nCentrale termoelettrica \n \nEDISON, Simeri Crichi, (Cosenza)\n2004  \nRisistemazione dell’asse monumentale \n \ndel centro urbano, Montpellier (Francia)\n2006  \nNuova Centrale Termoelettrica \n \nTermoli, (Campobasso)\n2011  \nChiesa di San Corbiniano, \n \nQuartiere Infernetto, (Roma)\n \nAllestimenti\n1975 \nBar Sem, via Piermarini a Milano\n1992 \nNegozio per IB Office, Padova\n1994 \nSistemazione della hall di accesso \n \nal castello di Schönbrunn\n1994 \nSistema di arredi per ufficio, IB Office \n1996 \nRistrutturazione dell’atrio, della sala \n \nconferenze e della libreria del palazzo \n \ndella Triennale di Milano, Milano\n1996 \nAllestimen to della mostra “Frederick \n \nKiesler: arte, architettura, ambiente”, \n \nTriennale di Milano, Milano\n1998 \nProgetto di riorganizzazione \n \nfunzionale e adattamento museale \n \ndi Palazzo Barbaran da Porto, Vicenza\n2000 \nAllestimento della mostra “Carlo \n \nScarpa”, Centro Internazionale di Studi \n \ndi Architettura Andrea Palladio, Vicenza\n2000 \nAllestimento della mostra “John Soane \n \narchitetto (1753-1837)”, Palazzo Barbaran \n \nda Porto, Vicenza\n2001 \nAllestimento della mostra “John Soane \n \nmodern architecture in the making”, \n \nCentre Canadien d’Architecture, \n \nMontréal, Quebec (Canada)\n2008 \nAllestimento della mostra “Carlo \n \nScarpa e l’origine delle cose”, \n \nBiennale Architettura, Giardini di \n \nCastello, Venezia\n2012 \nAllestimento della mostra “L’Italia \n \ndi Le Corbusier”, Museo MAXXI, Roma\nUmberto Riva\n“I almost forced myself to like the job of architect. The world of painting would have been more suitable \nbecause, as I told before, the approach would have been completely private and I would have been \ntotally responsible for what I was doing. Meanwhile if you are an architect or a designer, there are lots \nof aspects that influence the final result: the client, the manufacturer, the economic issue, usually \nvery significant, the responsibility of understanding which will be the final result, and the final result itself. \nIf you do a painting or make a sculpture, you have the control, especially on architectural works: they \ndo not come out from a private formal process, but from precise requirements.” \nA master of lighting, Umberto Riva was born in Milan in 1928 and has worked in \ndesign since 1960. Having studied with Carlo Scarpa, Riva pursued his own person-\nal research process via the most widely differing disciplines, from urban spaces \nto buildings, landscape to interiors, outfitting to the design of lamps and furniture. \nHis most important creations include Casa Frea in Milan, considered to be one \nof his masterpieces, the redevelopment of Piazza San Nazaro in Milan, restoration \n \nUmberto Riva, Apartment Riva, via Paravia, 1965-67 (ph. Giorgio Casali\n– Università IUAV di Venezia, Archivio Progetti, Fondo Giorgio Casali).\nof the historic Caffè Pedrocchi in Padua, the design for the work on the Viale \ndel Ministero degli Esteri and Piazza della Farnesina in Rome, the Biblioteca \nEuropea at Porta Vittoria in Milan, the thermal power plants in Catanzaro \nand Campobasso and a long line of houses, from Milan to Sardinia and Puglia, \nas well as various designs of lamps and furniture for the biggest names in \n3\nDesign Masters\nThis ongoing process ensures  \na sense of connection with \ncontemporary style, which is then \nfurther enhanced by the choice of \nquality materials and leading-edge \ntechnology, and always referencing  \nan all-important tradition, so as  \nto avoid the danger of confusing  \nstyle with fleeting fashions and  \ndesign with simple mass production. \nInevitably, the story of a family is \nreflected in the places they inhabit: \nthe headquarters of a company \nmirrors the people who work there \nand the philosophy to which they \naspire. The Tacchini building features \nan architecture structured into two \nstoreys, a fusion of materials and \nspaces that blend into a complete \nwhole, expressing its ethos and \nessence. In the background, Brianza, \nbetween Como and Milan, too \nblindingly green in summer, too grey \nand inward-looking in winter; these \nplaces with their extremes form \nthe backdrop to this story, the very \nbirthplace of design, where people  \nand ideas merge with the design \nculture. Each object, each piece of \nfurniture created in this building \ncarries within it the hallmark of \nItalian design: the ability to give any \nspace a sense of place, be it public \nor private, domestic or communal, \nfilling it with presence.\n \nTacchini Italia Forniture Srl\n19, v. Domodossola, 20822 \nBaruccana di Seveso (MB), Italy\nT. +39 0362 50 41 82 \nF. +39 0362 55 24 02\ninfo@tacchini.it – www.tacchini.it\nTacchiniEdizioni\nUmberto Riva\nForewords\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.5.png","Umberto Riva, Apartment Riva, via Paravia, 1965-67 (ph. Giorgio Casali\n– Università IUAV di Venezia, Archivio Progetti, Fondo Giorgio Casali).\nItalian design. The more recent works include the church of San Corbiniano \nin Rome, outfitting of the exhibition L’Italia di Le Corbusier at the MAXXI in Rome \nand the solo show at the Canadian Centre for Architecture in Montreal, Canada. \nConsidered an out-of-the-ordinary architect, Riva has retained an artisan dimen-\nsion in architecture and design work. His designs are “born drawn”, pencil sketches \nof a pure and poetic research.\n \n(Ita)\nMaestro della luce, Umberto Riva è nato a Milano nel 1928 e dal 1960 si occupa \ndi progettazione. Allievo di Carlo Scarpa, Riva ha sviluppato una sua personale \nricerca, percorrendo i più diversi ambiti disciplinari: dagli spazi urbani agli \nedifici, dal paesaggio agli interni, dall’allestimento al design di lampade e mobili. \nTra le sue realizzazioni più importanti si segnalano casa Frea a Milano, \nconsiderato uno dei suoi capolavori, la sistemazione di piazza San Nazaro  \n5\nDesign Masters\n4\n \nUmberto Riva, Casa Insinga, Milan, 1987-89 (ph. Francesco Radino).\na Milano, il restauro dello storico Caffè Pedrocchi di Padova, il progetto per la \nsistemazione del viale del Ministero degli Esteri e di Piazza della Farnesina a Roma, \nla Biblioteca Europea di Porta Vittoria a Milano, le centrali termoelettriche \ndi Catanzaro e Campobasso e una lunga serie di case, da Milano alla Sardegna \ne alla Puglia, oltre a vari progetti di lampade e arredi per i più importanti nomi del \ndesign italiano. Tra i lavori più recenti ci sono la chiesa di San Corbiniano a Roma,\n \nUmberto Riva, project of the entrance area of Palazzo \ndell’Arte, Milan, 1994-95 (ph. Francesco Radino).\nl’allestimento della mostra L’Italia di Le Corbusier al MAXXI di Roma e la mostra \npersonale al Canadian Centre for Architecture di Montreal, in Canada. \nConsiderato un architetto fuori dal comune, Riva ha conservato una dimensione \nartigianale del fare architettura e del fare design. I suoi progetti nascono “disegna-\nti”, schizzi a matita di una ricerca pura e poetica.\nTacchiniEdizioni\nAuthors\nTacchiniEdizioni\nUmberto Riva\nForewords\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.6.png","7\nDesign Masters\n6\nUmberto Riva, Casa Insinga, Milan, 1987-89 (ph. Giovanni Chiaramonte). \nUmberto Riva, Renovation of Caffè Pedrocchi, Padua, 1994-98 (ph. Paola De Pietri). \nTacchiniEdizioni\nAuthors\nTacchiniEdizioni\nUmberto Riva\nForewords\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.7.png","TacchiniEdizioni\nAuthors\n“I almost forced myself to like the job of architect. The world \nof painting would have been more suitable because, as I told \nbefore, the approach would have been completely private \nand I would have been totally responsible for what I was doing.\nMeanwhile if you are an architect or a designer, there are lots \nof aspects that influence the final result: the client, the manu-\nfacturer, the economic issue, usually very significant, the \nresponsibility of understanding which will be the final result, \nand the final result itself. If you do a painting or make a sculp-\nture, you have the control, especially on architectural works: \nthey do not come out from a private formal process, but from \nprecise requirements.”\nFrom ‘An open shape’, \nTacchini T’Journal n.8, 2017\nTacchiniEdizioni\nUmberto Riva\nForewords\nUmberto Riva, Bar Sem, Milan, 1975-77. Detail of the \nsheet metal volume for the coffee machine (ph. Umberto Riva).\nUmberto Riva, E63 lamp, 1963.\n9\nDesign Masters\n8\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.8.png","10\nE63\n“I love this lamp, and it doesn’t happen so often. I feel it as a friend. This lamp represents much of my profes-\nsional history, my approach to the realization of the first projects. Initially this lamp should have been made \nof plastic, but with metal it obtained dry shapes and precision of the edges. Think about the power obtained \nwith these rigid materials, a result which is impossible to have with plastic. It is an open shape. A mould \nshould have been a mould. If I would have done a plastic sample when I draw it, I would have met big difficul-\nties, also because I didn’t know plastic.” \nThe design for this lamp dates back to 1963, and today it is reissued with the name \nE63. This alphanumeric code is a reflection of the intellectual complexity of its \ndesigner, Umberto Riva: part architect, part designer, part artist, part light-tamer, \nand a whole lot of all these things. A table lamp designed with great precision,  \nfeaturing simple lines around broad surfaces, that seemingly give a solid form to \nthe light itself: steel, almost armour, protecting the precious source.\n11\nE63\nT64 Brush Matt Copper\nNel 1963 nasce il modello di questa lampada, oggi rieditata con \nil nome E63. In una sigla alfanumerica, si racchiude la comples-\nsità intellettuale del suo progettista, Umberto Riva: un po’ \narchitetto, un po’ designer, un po’ artista, un po’ addomesti-\ncatore della luce, e molto di tutto ciò. Una lampada da tavolo \ndisegnata in modo esatto, con linee semplici per contenere \nsuperfici ampie, che sembrano dare forma solida alla luce stes-\nsa: acciaio, quasi come una corazza a proteggere la preziosa \nfonte.\nTacchiniEdizioni\n2017\nTransparent light bulb E14 \nLED 5w 2700k included. \nEuropean plug with three poles \nhaving the center as grounded. \nLampadina trasparente E14 \nLED 5w 2700k inclusa. \nSpina europea con tre poli \navente il centrale come messa \na terra.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.9.png","12\n13\nE63\nT23 Polished Chrome\nT24 Satin Chrome\nT75 Zinc Yellow\nT76 Pastel Green\nT25 Matt Champagne Gold\nT64 Brush Matt Copper\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.10.png","14\n15\nE63\nT23 Polished Chrome\nT75 Zinc Yellow\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fae\u002F38cf5366f79fc7317d5bcfcf297bf2-2909168602.11.png","16\nNarciso\nTacchini Edizioni expands its collection of designer rugs with a new creation from \nUmberto Riva: Narciso. It draws inspiration from the picture of the same name, \npainted in 1994 by the famous architect and designer, who has always had a  \nsecret passion for pictorial art. Narciso rug interweaves geometries and colours  \nin an abstract image of subtle elegance, in delicate pastel tones that seem to por-\ntray a contemplation of beauty and its value, a reflection of truth and illusion.  \nNarciso is entirely hand-knotted in Nepal, according to a complex, ancient oriental \nwool-knotting process. It is made of 100% Himalayan wool, a naturally robust  \nand rugged material due to the high concentration of lanolin found in every fibre, \nthus guaranteeing the long-term durability of the rug. A work of contemporary art, \nperfectly combining pictorial art, design and craftsmanship.\n \nTacchini Edizioni arricchisce la collezione di tappeti d’autore \ncon una nuova creazione firmata da Umberto Riva, Narciso. \nIspirato all’omonimo dipinto del 1994 del celebre architetto \ne designer, da sempre privatamente appassionato all’arte \npittorica, il tappeto Narciso intreccia geometrie e colori in un \nsoggetto astratto di sottile eleganza, dai delicati toni pastello, \nche sembra rappresentare una riflessione sulla bellezza e il \nsuo valore, riflesso di verità e illusione. Manufatto interamen-\nte annodato a mano, prodotto in Nepal, realizzato secondo \nl’antico e complesso processo orientale di annodatura della \nlana, Narciso è realizzato in lana 100% himalayana, un materiale \nnaturalmente robusto e resistente per l’alta concentrazione di \nlanolina presente in ogni fibra, garanzia di estrema durevolezza \ndel tappeto nel tempo. 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In his works, geometric patterns \nand colors intertwine, creating delicately beautiful abstract subjects, as in Rituale. \nDrawing upon the painting of the same name, the rug is completely hand made, \nin keeping with an ancient, intricate wool-knotting process. The ultimate distilla-\ntion of art, artisan craftsmanship and design.\nTacchiniEdizioni\n2018\n \nUn anno dopo la riedizione della lampada E63, Tacchini Edizioni \nriscopre il lato più privato di Umberto Riva. Conosciuto come \narchitetto e designer, Riva non ha mai nascosto la sua predile-\nzione per l’arte e la pittura. Nelle sue opere, geometrie e colori \ns’intrecciano creando soggetti astratti di delicata bellezza, \ncome in Rituale. Ispirato all’omonimo dipinto, il tappeto è fatto \ncompletamente a mano, seguendo un processo di annodatura \ndella lana antichissimo e complesso. Una sintesi perfetta tra \narte, artigianalità e design.\n21\nRituale\nFleece 100% Himalayan wool, cotton \nweave. 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The result of a long and detailed process, \nthe rug is entirely hand made, following a thousands-year-old tradition that \nonly adds to the charm of more contemporary subjects, like the abstracts by \nUmberto Riva.\nTacchiniEdizioni\n2018\nPrima di essere un architetto, Umberto Riva è un pittore. \nI suoi dipinti ritraggono soggetti astratti, collage di linee, spazi \ne campiture di colore. A una delle sue opere, Nello Spazio, \nè ispirato l’omonimo tappeto di Tacchini Edizioni, annodato \ncon lana himalayana in Nepal. Frutto di un processo lungo \ne complesso, il tappeto è completamente fatto a mano seguen-\ndo una tradizione millenaria che non fa che accrescere il \nfascino dei soggetti più contemporanei, come quelli astratti \ndi Umberto Riva.\n25\nRituale\nFleece 100% Himalayan wool, cotton \nweave. Handmade with loom \nin Nepal (Handknotted technique). \n100% lana himalayana, tessuto \ndi cotone. 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