[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-tacchini-design-classics-2020":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":185},{"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":180,"matched_pages":181,"match_count":182,"two_pages":183,"show_text":184},25987,"Design Classics 2020","tacchini-design-classics-2020","\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ff7\u002F68161621df70ecaa61f88269b69a03-29091b8f61.pdf","Tacchini",602,"tacchini","10.7 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177],{"image":7,"text":15,"number":16},"Classics\nDesign\nTacchini Design Classics \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.2.png","Authors\nAchille and Pier \nGiacomo Castiglioni\nGianfranco Frattini\nCarlo De Carli\nMartin Eisler\nUmberto Riva\nProducts\nBabela \n03\nSancarlo \n11\nAgnese \n18\nGio \n42\nGiulia \n36\nLina \n48\nOliver \n44\nSesann \n26\nSella \n50\nCostela \n57\nReversível \n62\nE63 \n67\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.3.png","“If you are not curious,\nforget it.”\nAchille Castiglioni\n(Eng) Maestri or “masters” are those charismatic figures capable of teaching and handing \ndown an art through their direct actions and also through the inheritance of their actual \nworks. In design the maestri communicate through the classics, timeless designs  \nfar from any idea of fashions and trends yet so powerful as to produce a style naturally. \nTacchini has set aside some rooms in its living environment for the classics and the \nmasters who have designed them, in a process of revivals which are a challenge and  \na lesson on contemporary style.\nTacchini Re–Editions\nDesign Classics\n01\n(Eng) I maestri sono quelle figure carismatiche, capaci di \ninsegnare e trasmettere un’arte: attraverso il proprio agire \ndiretto, ma anche nel lascito delle loro opere stesse.  \nNel design, i maestri parlano attraverso i classici: progetti \nsenza tempo e fuori da qualsiasi logica di mode e tendenze, \nma talmente potenti da determinare naturalmente uno stile. \nTacchini ha riservato alcune stanze del suo abitare ai  \nclassici e ai maestri che li hanno disegnati, in un percorso  \ndi riedizioni che sfida e insegna alla contemporaneità.\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.4.png","Achille and Pier Giacomo Castiglioni\n(Eng) The hero of Italian design, Achille Castiglioni, along with \nhis brothers Pier Giacomo and Livio, was able to find irony and \nbeauty into the simplicity of everyday life. From the simplest \nelectrical switches to the most iconic project of modern design, \nCastiglioni brothers transformed their uncontrollable curiosity  \nin a series of timeless pieces. Tacchini proposes the revival  \nof two famous pieces of Achille Castiglioni, realized inside \na larger project dedicated to the reproduction of classics of \nmodern design. Babela, designed in 1958 along with his brother \nPier Giacomo, and Sancarlo, created for the first time in 1970, \nsum up the spirit of the period joining the formal experimentation  \nto technical innovation.  \n1. From the simplest electrical switches to the most iconic project\nof modern design, Castiglioni brothers transformed their uncontrollable curiosity\nin a series of timeless pieces. 2. Babela (1958), technical drawing.\n(Ita) L’eroe del design italiano, Achille Castiglioni, assieme ai \nsuoi fratelli Pier Giacomo e Livio, ha saputo trovare l’ironia e la \nbellezza nella semplicità della vita di tutti i giorni. Dai più banali \ninterruttori elettrici ai progetti più iconici del design moderno, \ni fratelli Castiglioni hanno trasformato la loro incontrollabile \ncuriosità in una serie di artefatti senza tempo. Tacchini propone \nla riedizione di due famosi pezzi di Achille Castiglioni, realizzati \nall’interno di un più ampio progetto dedicato alla riproduzione \ndei classici del design moderno. Babela, disegnata nel 1958 \nassieme al fratello Pier Giacomo, e Sancarlo, che vede luce per \nla prima volta nel 1970, riassumono lo spirito dell’epoca unendo \nla sperimentazione formale all’innovazione tecnica.\n02\n03\n(Eng) Starting from the avant-garde artistic \ngroups of the last century, Italian design \nis an endless source of inspiration for \nmovements, expressions and ways of \nbeing. They find  the Italian line into the \nauthentic manifestation of the culture  \nof project. What is, then, the secret of \nItalian design? Where does its timeless \nspirit hide: a spirit that keeps on driving \nthe evolution of the discipline? From \nthe confidence in a better future to \nthe technological precision; from the \nwillingness to experiment and get involved \nto the inimitable formal coherence, the \nItalian line is the material expression of \na collective thought, shared among the \nmost important figures of that period. \nAchille and Pier Giacomo Castiglioni, \nCarlo De Carli, Umberto Riva e Gianfranco \nFrattini belong to this group of enlightened \ndesigners of the last century. They \nshared ideas, thoughts and hopes for the \ndiscipline of design. They were able to \ncombine the manual know-how, related \nto the industrial production of belpaese \nwith the technical science. Their hope was \nto translate the myth of the Italian “good \ndesign” into everyday reality. Today, half  \na century after their creation, the projects \nrealized by these great masters of the \npast continue to keep alive the soul of \nthe Italian line through a series of revivals \nmade by Tacchini. Tacchini proposes these \npieces with the desire to preserve and \ncommunicate the ideals that have guided \ntheir creation. Maintaining the integrity \nof the original projects, Tacchini has \nadapted the designer’s drawings to modern \nproduction. In this way, it has transferred \nthe past design culture to the present.\n(Ita) A partire dalle avanguardie artistiche del \nsecolo scorso, il design italiano continua \na ispirare movimenti, espressioni e modi \nd’essere che trovano nella linea italiana \nla manifestazione più autentica della \ncultura del progetto. Qual è, dunque, \nil segreto del design italiano? Dove si \nnasconde il suo intramontabile spirito che \ntutt’oggi continua a guidare l’evoluzione \ndella disciplina? Dalla fiducia in un futuro \nmigliore al rigore tecnologico; dalla \nvolontà di sperimentare e mettersi  \nin gioco all’inimitabile coerenza formale, \nla linea italiana rappresenta l’espressione \nmateriale di un pensiero collettivo, \ncondiviso all’unanimità tra i più importanti \nprotagonisti dell’epoca. Pier Giacomo \ne Achille Castiglioni, Carlo De Carli, \nUmberto Riva e Gianfranco Frattini fanno \nparte di questo gruppo di progettisti \nilluminati del secolo scorso che hanno \ncondiviso idee, pensieri e speranze per la \ndisciplina progettuale, unendo il saper-fare \nmanuale – caratteristico della produzione \nindustriale del belpaese – all’ingegno \ntecnico, con la speranza di trasportare \nil mito del ‘buon design’ italiano nella \nrealtà di tutti i giorni. Oggi, mezzo \nsecolo dopo la loro creazione, i progetti \nrealizzati da questi grandi maestri del \npassato continuano a rendere viva l’anima \ndella linea italiana attraverso una serie \ndi riedizioni realizzate da Tacchini, con \nla volontà di preservare e comunicare gli \nideali che hanno guidato la loro creazione. \nMantenendo l’integrità dei progetti \noriginali, Tacchini ha adattato i disegni \ndei designer alla produzione odierna, \ntrasportando la cultura del design dal \npassato alla contemporaneità.\n2\n1\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.5.png","04\n05\nThere are designs which are born classics in name only. Babela is one of those designs  \nand one of those names. In 1958 Achille Castiglioni designed this small armchair to add  \nto the furniture of the Milan chamber of commerce. Comfort meets form and function which  \nis revealed in the possibility of stacking this seat up like a tower. Its design was simple  \nand archetypical, with a particular mixture of materials, visual texture and tactile effects.\n3\n4\n5\n3. Achille Castiglioni in studio (photograph G. Widmer).\n4, 5. Babela, historical pictures.\n“A piece of design is the result of the joint effort of many people with different and specific \ntechnical skills, industrial, commercial and aesthetic. The designer’s work is the  \nexpressive synthesis of this collective effort. The main feature of a project is based on  \nthe relationship among several operators: from the manager to the last worker.”\nDesign Classics\nTacchini Re–Editions\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.6.png","Babela (cat. Chair) designed by Achille + Pier Giacomo Castiglioni (1958), base T46 White. \nShown with: Split (cat. Low Table), base T02 White, top T57 White.\n06\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.7.png","09\nBabela and Sancarlo\n(Eng) Achille and Pier Giacomo Castiglioni designed Babela, \na stackable chair, for the Milan chamber of commerce. \nThey imagined a tower made by seats, stackable and easily \ntransportable. Its design was simple and archetypical, with  \na particular mixture of materials, visual texture and tactile \neffects. On the other hand, Sancarlo, plays with rounded and \norganic shapes to allow a flexible seat, and, at the same time, \nsuitable to the comfort of person.\n6, 7. Achille Castiglioni and Diabolo (photograph H. Findletar) \n6\n7\n(Ita) Per Babela, una sedia impilabile disegnata in origine \nper la Camera di commercio di Milano, Achille e Pier Giacomo \nCastiglioni immaginano una torre fatta di sedute, facilmente \ntrasportabili e impilabili, caratterizzata da un design lineare  \ne archetipico, reso interessante da una particolare interazione  \ntra materiali, texture visive ed effetti tattili. Sancarlo,  \ndall’altro lato, gioca con forme organiche e tondeggianti  \nper costruire una seduta flessibile e adattabile alle esigenze  \ndel corpo umano.\nBabela (cat. Chair) designed by Achille + Pier Giacomo Castiglioni (1958), base T43 Dark Walnut. \nShown with: Nastro (cat. Table), base T03 Grey, top T53 Grey.\n08\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.8.png","11\n9. Sancarlo, drawings.\n8, 10. Sancarlo, re-edition by Tacchini (2010). \n“My method is to take out,  \nagain and over again, until  \nI will find the main design component.  \nThe minimum sign, the minimum  \nshape, required by the function.  \nI want to get to say: less than this \nI can’t do it.”\nAchille Castiglioni\n8\n10\n9\n10\nDesign Classics\nTacchini Re–Editions\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.9.png","12\n(Eng) The Castiglioni studio was established in 1938 by brothers \nLivio and Pier Giacomo, while for certain projects, Luigi Caccia \nDominioni also worked alongside them. In 1944 Achille joined the \nstudio: the partnership between the three brothers continued \nuntil 1952, when Livio set up on his own, while continuing to work \nwith Pier Giacomo and Achille for some special projects. Achille \nand Pier Giacomo worked together without any clear division \nof roles, but with equal participation, and constant discussion \nand exchange of ideas. This collaboration continued until Pier \nGiacomo died in 1968. Achille continued to work in the same way \nas he always had done with his brother, and indeed it is almost \nimpossible to detect any difference in his approach to projects, \nother than the natural social and technological changes that \ncame about with the evolving times.\n11. Sancarlo (Armchair), historical picture.\n11\n(Ita) Lo studio Castiglioni viene fondato nel 1938 dai fratelli Livio e \nPier Giacomo, ai quali si affianca, in occasione di alcuni progetti, \nLuigi Caccia Dominioni. Nel 1944 anche Achille entra a far parte \ndello studio: la collaborazione fra i tre fratelli continuerà fino \nal 1952, quando Livio inizia un’attività parallela, lavorando con \nPier Giacomo e Achille in occasione di particolari allestimenti. \nIl lavoro di Achille e Pier Giacomo si svolge senza una reale \ndivisione di compiti ma con una comune partecipazione ed un \ncontinuo scambio e confronto. Questa collaborazione si prolunga \nfino nel 1968, anno della morte di Pier Giacomo. Achille continua \nil suo lavoro nello stesso modo in cui l’aveva sempre condotto \ncon il fratello, a tal punto che sembra impossibile reperire,  \nnella lettura dei suoi progetti, cambiamenti nel modo di operare, \nse non quelli prodotti dall’evoluzione tecnologica e sociale.\nSancarlo (cat. Armchair) designed by Achille Castiglioni (1982), base T07 Black. \nShown with: Ruler (cat. Low Table), base T44 Light Walnut, top T34 Shiny Biancone Marble \nand Quartier (cat. Ottoman).\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.10.png","Sancarlo (cat. Sofa) designed by Achille Castiglioni (1982), base T13 Bordeaux. \nShown with: E63 (cat. Lamp) and Daze (cat. Coffe Table) developed by Tacchini Edizioni.\n14\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.11.png","Sancarlo (cat. Sofa) designed by Achille Castiglioni (1982), base T02 White. \n16\n17\n12, 13, 14. Sancarlo (Armchair), historical pictures.\nThe Sancarlo armchair is a treatise on statics, ergonomics, function and geometry. \nCommissioned at the time by Driade, Achille Castiglioni has taken up again the idea of the \nSanluca, designed a few decades earlier with his brother Pier Giacomo. The result is the \nbreaking-down of the seat into a series of cushions which curve to each part of the body  \nthey have to support.\n14\n13\n12\nDesign Classics\nTacchini Re–Editions\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.12.png","18\nGianfranco Frattini \n(Eng) Gianfranco Frattini is one of that skilled generation of \narchitects and designers, who have marked the Italian design \nmovement of the last century. Frattini’s projects are characterized \nby a formal elegance, which is able to transmit clearly, and simply \nthe ideas and thoughts that led to their creation. At the beginning \nof his career, he was a collaborator of Giò Ponti. Over the years, \nGianfranco Frattini will develop a personal and symptomatic \napproach to the design based on a careful formal and structural \nresearch.\n15. Gianfranco Frattini, portrait.\n15\n(Ita) Gianfranco Frattini fa parte di quell’abile generazione di \narchitetti e designer che hanno segnato il movimento del \ndesign italiano del secolo scorso. I progetti di Frattini vantano \nun’eleganza formale che comunica con chiarezza e semplicità \nle idee e le riflessioni che hanno portato alla loro creazione. \nCollaboratore di Giò Ponti all’inizio della carriera, Gianfranco \nFrattini svilupperà nel corso degli anni un personale e \nsintomatico approccio alla progettazione guidato da un’attenta \nricerca formale e strutturale.\nAgnese is the name of the new version of the 849, the armchair designed by Gianfranco \nFrattini around 1956 in his Milan studio, in via Sant’Agnese in fact. All the style and radiance \nof an age take shape in the lines of this armchair which is much more than a classic and \nalmost an archetype.\nAgnese (cat. Armchair) designed by Gianfranco Frattini (1956), base T43 Dark Walnut. \n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.13.png","Agnese (cat. Armchair) designed by Gianfranco Frattini (1956), base T43 Dark Walnut. \n20\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.14.png","Agnese (cat. Armchair) designed by Gianfranco Frattini (1956), base T49 Grey. \nShown with: Cage (cat. Low Table) base T28 Polished Black Chrome, top T41 Smoked Mirror.\n22\n23\nAgnese and Sesann\n(Eng) Agnese and Sesann have the same soul of design, \nwith two different visual configurations. Designed in 1956,  \nin the studio in via Sant’Agnese in Milan, Agnese comes out from \nthe idea to realize the archetype of the informal armchair.  \nIt is characterized by an upholstery seat – geometric and basic \n– with a classical linear and wooden base. On the other hand, \nSesann is characterized by an organic and informal shape, made \nby wrapping a tubular metal around a soft and upholstered seat. \nAgnese, the armchair, is produced in a very accurate way and \nwith extreme fidelity to the original design; moreover, following \nfrom Frattini’s original project, the armchair is accompained \nby a matching ottoman. Agnese is just the beginning of a \ncomprehensive project that aims to support the revival of a great \ndesigner’s style but also an entire atmosphere of interior decor. \n16. Mod. 849 (1956), nominated for the Compasso d’oro Prize (photograph Masera).\n16\n(Ita) Agnese e Sesann condividono la stessa anima progettuale, \ndeclinata in due diverse configurazioni visive. Agnese, disegnata \nnel 1956 nello studio in via Sant’Agnese a Milano, nasce dall’idea \ndi proporre l’archetipo della poltrona informale, caratterizzata  \nda una seduta imbottita – geometrica ed essenziale – supportata \nda una base in legno classica e lineare. Sesann, dall’altro lato, \npresenta una forma organica e informale, realizzata avvolgendo \nuna struttura in tubolare di metallo attorno a una morbida \nseduta imbottita. Proposta da Tacchini con una fedeltà filologica \nall’originale ed una realizzazione accurata in ogni dettaglio, \naccompagnata da un pouf coordinato, sempre su progetto \noriginale di Gianfranco Frattini, la poltrona Agnese vuole essere \nsolo l’inizio di un completo progetto di riscoperta dello stile di un \ngrande designer e di un’intera atmosfera d’arredo.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.15.png","24\nAgnese, the armchair, is produced in a very accurate way and with extreme fidelity  \nto the original design; moreover, following from Frattini’s original project,  \nthe armchair is accompained by a matching ottoman. Agnese is just the beginning  \nof a comprehensive project that aims to support the revival of a great designer’s  \nstyle but also an entire atmosphere of interior decor.\nDesign Classics\nTacchini Re–Editions\n17. Restaurant, St. Andrews, Milano (1963). 18. Private house, Milano \n(photograph P. Monti). 19, 20. Agnese, drawing and Tacchini re-edition (2014).\n17\n19\n20\n18\nAgnese (cat. Armchair) designed by Gianfranco Frattini (1956), base T49 Grey. \n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.16.png","Sesann (cat. Sofa) designed by Gianfranco Frattini (1970), structure T28 Polished Black \nChrome, feet T49 Grey. Shown with: Shelter (cat. Armchair), base T27 Matt Black Chrome \nand Cage (cat. Low Table), base T07 Black, top T41 Smoked Mirror.\n26\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.17.png","Sesann (cat. Armchair) designed by Gianfranco Frattini (1970), structure T28 Polished \nBlack Chrome, feet T43 Dark Walnut. Shown with: Cage (cat. Low Table), base T28 Polished \nBlack Chrome, top T32 Black Marquinia Marble.\n28\n29\n(Eng) Respecting the thought of Gianfranco Frattini, the new edition \nof Sesann keeps the spirit of the product intact. Characterized \nby a fabric or leather upholstery, Sesann owes its typical soft \nand enveloping form to the cold foam structure, encircled with \nan architectural tubular steel (chrome or painted), with feet in \nash wood. The particular configuration of Sesann – both formal \nand functional – constitutes the basis for a system of products \ncharacterized by the same structural elements, but declined  \nin unique and fascinating objects. This approach of synthesis \nand reduction, proposed by Frattini, produced a formally elegant \ndesign, conceptually elaborated and, above all, unique. \n21, 22. Sesann, edited by Tacchini (2015). \n22\n21\n(Ita) Rispettando il pensiero di Gianfranco Frattini, la nuova \nriedizione di Sesann è stata realizzata mantenendo intatto lo \nspirito del prodotto. Caratterizzato da un rivestimento in tessuto \no pelle, Sesann deve la sua tipica forma, soffice ed avvolgente, \nallo scheletro schiumato a freddo, contenuto da una struttura \narchitettonica in tubolare di acciaio (cromato o verniciato), \nche poggia sui piedini in legno di frassino. La particolare \nconfigurazione di Sesann – allo stesso tempo formale e funzionale \n– costituisce le basi per un sistema di prodotti caratterizzati \ndagli stessi elementi strutturali, declinati, però, in oggetti unici \ne affascinanti. Questo approccio di sintesi e riduzione proposto \nda Frattini ha prodotto un design formalmente elegante, \nconcettualmente elaborato e, soprattutto, irripetibile.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.18.png","30\nDesign Classics\nTacchini Re–Editions\n23, 24, 25, 26. Sesann, historical pictures.\n23\n25\n26\n24\nSesann (cat. Sofa) designed by Gianfranco Frattini (1970),\nstructure T11 Orange, feet T43 Dark Walnut. \n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.19.png","Sesann (cat. Sofa) designed by Gianfranco Frattini (1970), structure T28 Polished Black \nChrome, feet T49 Grey. Shown with: Cage (cat. Low Table), base T27 Matt Black Chrome, top T32 \nBlack Marquinia Marble and base T28 Polished Black Chrome, top T41 Smoked Mirror; \nAgnese (cat. Armchair), base T43 Dark Walnut; E63 (cat. Lamp), Tarsia (cat. Tray) and Umbra \n(cat. Rug) developed by Tacchini Edizioni.\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.20.png","Sesann (cat. Sofa) designed by Gianfranco Frattini (1970), structure T28 Polished Black \nChrome, feet T49 Grey. Shown with: Soap (cat. Low Table), base T03 Grey, top T74 Sahara Noir \nMarble and Umbra (cat. Rug) developed by Tacchini Edizioni.\n34\n“Design is… above all an effort  \nto improve reality… I always try to begin \nwith considerations of its function. \nI ask myself, who needs it, which \nmaterials best suit its functions and  \nso on.”\nGianfranco Frattini\n35\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.21.png","36\nGiulia and Gio\n(Eng) Relaunch of an original project of Gianfranco Frattini dated \n1957, but still actual for its shapes and spirit, Giulia armchair \ncreates in the contemporary space a timeless feeling of beauty, \ncomfort and harmony. A flawless realization, typical of Tacchini’s \ntradition, from the choice of materials for the embrace-shaped \nstructure, to the ash wood basis dyed dark walnut or grey with \nartisan taste. Inspired by a classic piece of Italian design designed \nin 1957 by Gianfranco Frattini and nominated the same year  \nfor Compasso d’Oro, Gio is a low table which expresses an idea  \nof rationalist rigor and refined elegance, creating the emotion  \nof a warm bourgeois atmosphere. It is characterized by the linear \nwood structure and by the ash double face plan dyed dark walnut \nor grey on one side, or yellow, grey or steel blue laminated  \non the other side. \n27, 28. Mod. 877 and Mod. 740, designed by Gianfranco Frattini (1957), historical pictures. \n27\n28\n(Ita) Riedizione di un progetto originale di Gianfranco Frattini \nrisalente al 1957, ma ancora attuale nelle forme e nello spirito,  \nla poltrona Giulia fa rivivere nello spazio contemporaneo  \nuna sensazione senza tempo di bellezza, comfort ed armonia. \nImpeccabile la realizzazione, come nella tradizione Tacchini,  \ndalla scelta dei materiali per la scocca dalle forme avvolgenti, \nalla base in legno di frassino tinto noce scuro o grigio, di sapore \nartigianale. Tratto da un classico del design italiano, progettato \nnel 1957 da Gianfranco Frattini e segnalato lo stesso anno  \nper il Compasso D’Oro, Gio è un tavolo basso che esprime \nun’idea di rigore razionalista e di eleganza raffinata, suscitando \nl’emozione di una calda atmosfera borghese. È caratterizzato  \ndalla lineare struttura in legno e dal piano bifacciale in frassino \ntinto noce scuro o grigio da un lato, oppure in laminato giallo, \ngrigio e blu acciaio dall’altro.\nGiulia (cat. Armchair) designed by Gianfranco Frattini (1970), base T43 Dark Walnut. \nShown with: Gio (cat. Low Table), base T43 Dark Walnut, top T67 Shiny Yellow. \n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.22.png","Giulia (cat. Armchair) designed by Gianfranco Frattini (1970), base T49 Grey. \nShown with: Gio (cat. Low Table), base T49 Grey, top T69 Shiny Grey, Linea (cat. Rug) \nand Nebula Interiors (cat. Screen), developed by Tacchini Edizioni.\n38\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.23.png","Giulia (cat. Armchair) designed by Gianfranco Frattini (1970), base T49 Grey. \n40\n29\n30\n31\nDesign Classics\nTacchini Re–Editions\n29, 30, 31. Mod. 877, designed by Gianfranco \nFrattini (1957), historical pictures.\n41\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.24.png","42\nInspired by a classic piece of Italian design designed in 1957 by Gianfranco Frattini  \nand nominated the same year for Compasso d’Oro, Gio is a low table which expresses \nan idea of rationalist rigor and refined elegance, creating the emotion of a warm \nbourgeois atmosphere.\nCompasso d’Oro (Golden Compass) is the name of an Industrial Design award \noriginated in Italy in 1954 by the La Rinascente company from an original idea of Gio \nPonti and Alberto Rosselli. From 1964 it has been hosted exclusively by Associazione \nper il Disegno Industriale (ADI). It is the first and most recognized award in its field. \nThe prize aims to acknowledge and promote quality in the field of industrial designs \nMade in Italy and is awarded by ADI.\nDesign Classics\nTacchini Re–Editions\n32, 33, 34. Mod. 740, designed by Gianfranco \nFrattini (1957), historical pictures.\n32\n34\n33\nGio (cat. Low Table) designed by Gianfranco Frattini (1957), base T49 Grey, \ntop T68 Shiny Blue. Shown with: Agnese (cat. Armchair), base T49 Grey; E63 (cat. Lamp) \nand Umbra (cat. Rug) developed by Tacchini Edizioni.\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.25.png","Oliver (cat. Sofa) designed by Gianfranco Frattini (1957), structure T02 White, \nfeet T43 Dark Walnut. Shown with: Gio (cat. Low Table), base T43 Dark Walnut, top T67 Shiny \nYellow; Vasum (cat. Vase) and Linea (cat. Rug), developed by Tacchini Edizioni.\n44\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.26.png","Oliver (cat. Sofa) designed by Gianfranco Frattini (1957), structure T02 White, \nfeet T43 Dark Walnut. \n46\n47\nOliver\n(Eng) Designed by Gianfranco Frattini in 1957 and produced as from \nthe following year, the 872 sofa has achieved a huge success \nover the years. Minimalist and elegant, it features a lightweight \nstructure in steel with end feet in wood and tufted upholstery on \nthe seat and back, a detail requiring great craft expertise.\n35, 36. Mod. 872, designed by Gianfranco Frattini (1957), historical pictures. \n36\n35\n(Ita) Disegnato da Gianfranco Frattini nel 1957 e prodotto a partire \ndall’anno successivo, il divano 872 ha riscosso negli anni un \ngrandissimo successo. Essenziale ed elegante, è caratterizzato \nda una struttura leggera in acciaio con piedini terminali in legno \ne dall’imbottitura capitonné di seduta e schienale, un dettaglio di \ngrande sapienza artigianale.\nLooking at the work of Gianfranco Frattini, the great master of modern Italian design,  \nwe find that this metaphysical spirit shines through every rounded shape, every  \ndetail and combinations of materials that characterize his projects. Frattini’s products \nsummarize, in their particular formal configuration, thoughts, dreams and concerns  \nof modern design: the utopian vision and confidence in a better future, the daily quality  \nof life and the satisfaction that can be drawn from the smallest familiar action.\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.27.png","48\nLina\n(Eng) Lina is a re-edition of one of the earliest projects designed \nby Gianfranco Frattini, one of the great masters of Italian design. \nNominated in 1955 for the Compasso d’oro, the armchair features \nan unusual wood frame that lends it a solid, yet lightweight, \nappearance. Its singularity lies in the slender legs and bent \nplywood element that supports the side of the seat back and \ncurves up to become the ‘wing’ upon which the armrests sit.  \nA very innovative workmanship technique for its time, carried out \ntoday with historical accuracy. An armchair that makes a bold \nstatement, thanks to its timeless style, Lina can be paired with \nunaffected ease with all the sofas in the Tacchini collection,  \nin residential and contract settings.\n37. Lina, designed by Gianfranco Frattini (1955), historical picture. \n37\n(Ita) Lina è la riedizione di uno dei primi progetti disegnati da \nGianfranco Frattini, uno dei grandi maestri del design italiano. \nSegnalata nel 1955 per il Compasso d’oro, la poltrona  \nè caratterizzata da una struttura in legno molto particolare che  \nle conferisce un aspetto solido eppure leggero. Merito delle \ngambe sottili e dell’elemento in multistrato curvato, che sorregge \nil fianco dello schienale e diventa al contempo ala d’appoggio dei \nbraccioli. Una lavorazione molto innovativa per l’epoca, eseguita \noggi con attenzione filologica. Poltrona di grande presenza,  \nper il suo stile senza tempo Lina si abbina con naturalezza a tutti \ndivani della collezione Tacchini, sia in ambienti domestici che  \nin aree contract.\nLina (cat. Armchair) designed by Gianfranco Frattini (1955), structure T43 Dark Walnut. \n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.28.png","Carlo De Carli \n(Eng) Born in Milan, Carlo De Carli (1910-1999) graduated in 1934 in \narchitecture from the Polytechnic University of Milan, worked for \na year in the studio of Gio Ponti and took over the chair in interior \narchitecture, furniture and decoration from him in 1962. Curator \nof the X and XI Milan Triennale, he was head of the architecture \nfaculty from 1965 to 1968. Editor of the magazine Interni from \n1967 to 1971. Design, research, teaching and promotion were the \nareas of action of his work, carried out with a broad communality \nof thinking and focused on people and the social and production \ncontext in which they operate. \n38. Carlo De Carli, portrait.\n38\n(Ita) Nato a Milano, Carlo De Carli (1910-1999) si laurea nel 1934 \nin Architettura presso il Politecnico di Milano, lavora per un anno \nnello studio di Gio Ponti, cui nel 1962 succede nella cattedra \ndi Architettura degli Interni, Arredamento e Decorazione. \nCuratore della X e XI Triennale di Milano è Preside della Facoltà \ndi Architettura nel 1965-1968. Dal 1967 al 1971 dirige la rivista \n‘Interni’. Progetto, ricerca, didattica e promozione sono gli ambiti \ndi azione del suo lavoro svolto in una sostanziale unità di pensiero \nattento alla persona e all’ambito sociale e produttivo in cui opera.\nAn important addition to the collections is this prestigious reissue, which Tacchini \nis excited to announce: Sella sofa by Carlo De Carli. Sella illustrates the concept \nof “primary space” from De Carli’s philosophy – that of a “relational space” –, \na principle true to Tacchini’s vision of the function of furniture and interior design. \nSella is inspired by the armchair of the same name designed in 1966 by the famous \nItalian architect. \n51\nSella (cat. Sofa) designed by Carlo De Carli (1966), \nbase T116 Canaletto Walnut, shiny black chromed feet. \n50\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.29.png","52\nSella (cat. Sofa) designed by Carlo De Carli (1966), base T116 Canaletto \nWalnut, shiny black chromed feet. Shown with: Joaquim (cat. Low Table), \nbase T27 Matt Black Chrome, Top T119 Elegant Brown.\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.30.png","54\nSella\n(Eng) The highly elegant sofa is made using the very finest of \nmaterials: exposed walnut, elegant metal chromed details finish \nshiny black and belts for the support of the backrest in refined \nnatural leather. The cushions are filled with feathers, and the \ncoverings could be in leather, fabric or velvet. Its soft, generous \nline offers the utmost refinement, and is designed to guarantee \nextraordinary comfort, conducive to a slow tempo that will \nreconcile us with ourselves and others, in a more intimate and \nprivate spatial dimension.\n39. Carlo De Carli, portrait. 40. Historical Sella armchair brochure, cover.\n40\n39\n(Ita) Il divano si presenta come un arredo di grande eleganza, \nrealizzato con materiali di assoluto pregio: legno di noce a vista, \ndettagli in elegante metallo cromato finitura nera lucido e cinghie \ndi supporto dello schienale in raffinato cuoio. Le cuscinature \nsono in piuma e i rivestimenti possono essere in pelle, tessuto \no velluto. La sua linea morbida e generosa è estremamente \nraffinata ed è progettata per regalare un comfort straordinario, \ndedicato a un tempo lento, che riconcilia con se stessi e con  \ngli altri, nella dimensione di uno spazio di relazione più intimo  \ne privato.\nSella (cat. Sofa) designed by Carlo De Carli (1966), \nbase T116 Canaletto Walnut, shiny black chromed feet. \nFor De Carli the attitude behind the design of a house or of a chair does not change: \n“I love any form of architecture, provided it’s researched, tested and essential (…) furniture \ntoo… I’ve designed a lot… it only seeks measure and not any effect… above all the \nmeasure that relates to the space of the home, in the sense of a tree” (Creatività, 1973).\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.31.png","Martin Eisler \n(Eng) Born in Vienna in 1913, the son of the famous art historian  \nMax Eisler, one of the founding members of the Austrian \nWerkbund, Martin Eisler studied in Vienna under the noted \narchitects Oskar Strnad and Clemens Holzmeister. In 1938 he \nmoved to Buenos Aires, where he immediately set about holding \nhis first exhibition of designs and furniture at the Mueller Gallery, \nwhich became the National Office of Fine Arts in 1940, in the \nPalais de Glace. In 1945 he founded the business Interieur with \nArnold Hackel, which sold furniture and objects designed by  \nthe duo, launching his career as a designer. His work also took \nhim to Brazil, where in 1955 he went into partnership with  \nCarlo Hauner from the company Moveis Artesanais, and became \nArt Director of the company Forma in São Paulo.\n41. Martin Eisler, portrait.\n41\n(Ita) Nato a Vienna nel 1913, figlio del famoso storico dell’arte Max \nEisler, uno dei fondatori dell’Austrian Werkbund, Martin Eisler \nstudia a Vienna come allievo dei noti architetti Oskar Strnad  \ne Clemens Holzmeister. Nel 1938 si trasferisce a Buenos Aires, \ndove tiene subito la sua prima mostra di disegni e arredi presso  \nla Galleria Mueller, che diventerà il futuro Salone delle Belle \nArti nel 1940, presso il Palais de Glace. Nel 1945 fonda, insieme \nad Arnold Hackel, Interieur, azienda che vende mobili e oggetti \nprogettati dal duo, iniziando così la sua carriera di designer, \nche lo porterà anche in Brasile, dove nel 1955 si associa a Carlo \nHauner della compagnia Moveis Artesanais, diventando Direttore \nArtistico della società Forma, a San Paolo.\n57\nCostela (cat. Armchair, Ottoman) designed by Martin Eisler \n(1952), structure T115 Walnut, base T07 Black. \n56\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.32.png","58\n(Eng) Eisler’s experience in Brazil aroused his interest in exotic \nwoods and varnishing and lacquering techniques on wood, glass \nand bronze. Also greatly appreciated as an architect for his \nprojects characterised by their all-encompassing creativity, which \ncustomised every detail, from buildings to furniture, Eisler also \nworked as a set designer and opera director. His most famous \ndesign pieces include the Reversível and Costela chairs, which \nwere awarded the prestigious Milanese Compasso d’Oro. \n42, 43. Costela and Reversível, illustrations. \n43\n42\n(Ita) L’esperienza brasiliana approfondisce l’interesse di Eisler per \ni legni esotici e le tecniche di verniciatura e laccatura di legno, \nvetro e bronzo. Molto apprezzato anche come architetto, per \ni suoi progetti caratterizzati da una creatività totalizzante, che \npersonalizza ogni dettaglio, dalla costruzione agli arredi, Eisler  \nè anche scenografo e regista operistico. Tra i pezzi più celebri del \nsuo design si ricordano le sedute Reversível e Costela, vincitrice \ndel prestigioso Compasso d’Oro milanese.\nCostela (cat. Armchair, Ottoman) designed by Martin Eisler \n(1952), structure T115 Walnut, base T07 Black. \nTacchini is delighted to reissue Costela by Martin Eisler, icon of Brazilian 1950s design, \nand winner of the Milanese Compasso d’Oro award. An elegant yet informal armchair. \nWith its sensual aesthetic, natural materials and intelligent design, it offers sophisticated \npersonalization.\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.33.png","Costela and Reversível \n(Eng) Costela is a paradigm of creative design. The fundamental \nidea on which the chair is built is the beautiful wooden structure \nwith its wooden ribs embracing both the seat and the back, \nand the functional and aesthetic completion of the detail, the \nlarge cushions, set horizontally and vertically, ensuring absolute \ncomfort with an extremely natural style in their almost random \nposition. The structure is easy to dismantle and recycle, a \ncharacteristic perfect for the current need and tendency to \nproduce furniture that gives due consideration to the principles \nof sustainability and durability. The possibility to play with the \nfabric coverings makes Costela not only an unmistakable piece of \nhistory, but also an item of renewed and irresistible modernity.\n44. Costela, detail, historical picture.\n44\n(Ita) Costela rappresenta la sintesi della natura di un progetto \ncreativo. L’idea portante, dalla quale parte tutto, la bellissima \nstruttura in legno a fasce arrotondate in un ideale abbraccio \nche accoglie sia nella seduta che nello schienale, e il \ncompletamento funzionale ed estetico del dettaglio, i grandi \ncuscini da appoggiare orizzontalmente e verticalmente, a \ngaranzia di un comfort completo e dallo stile estremamente \nnaturale nella loro posizione quasi casuale. La parte portante è \nfacilmente smontabile e riciclabile, caratteristica in linea con la \nfondamentale tendenza e necessità contemporanee di produrre \narredi che considerino i principi di sostenibilità e durata nel \ntempo.  La possibilità di poter giocare con i rivestimenti tessili \nrende poi Costela non solo un pezzo dalla storia inconfondibile, \nma anche un arredo di rinnovata e irresistibile tendenza.\n61\nCostela (cat. Armchair, Ottoman) designed by Martin Eisler \n(1952), structure T115 Walnut, base T07 Black. \n60\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.34.png","Reversível (cat. Armchair) designed by Martin Eisler \n(1955), structure T07 Black, feet T25 Matt Champagne Gold. \n62\n(Eng) The dynamic, flexible reissue of Reversível offers dual comfort \nwith two possible seat positions, to sit in the chair with the back \nupright, or really relax in a semi-reclining position, parallel with \nthe backrest. The simple, natural movement makes it seem an \nobvious solution, but it actually represents as ground-breaking \nan intuition now as then. This original, informal seat with its \ndistinctive lines is completed with a metal structure and fabric \ncoverings. Reversível bears witness to the soft, sensuality of \nBrazilian 1950s design, a combination of tradition and creativity, \nfolk craft and visionary innovation. \n45. Vintage Reversível armchair inside Katinsky house in São Paulo, for AD Spain. \nPhotography: Ricardo Labougle. Styling: Leandro Favaloro.\n45\n(Ita) Dinamica, flessibile, la riedizione di Reversível propone un \ndoppio comfort grazie alla seduta posizionabile in due modi, per \nutilizzare la poltrona da seduti con schiena eretta, o in modo più \nrilassato in una posizione semi-sdraiata, trasversale allo schienale. \nLa semplicità e la naturalezza del movimento ne fanno sembrare \novvia la funzionalità, che costituisce in realtà una intuizione \nassolutamente all’avanguardia oggi come ieri. Una seduta \ninformale, dalle linee caratteristiche, con struttura in metallo e \nrivestimenti tessili che ne completano l’originalità. Reversível \ntestimonia la morbidezza e la sensualità del design brasiliano \nanni ’50, combinazione di tradizione e creatività, tra artigianato \npopolare e visionaria innovazione.\nFruit of the creative genius of the architect and designer Martin Eisler, Reversível is an historic \npiece of Carioca design, and Tacchini fell in love with its incredibly innovative style.  \nWith the simplicity of its lines and movement, this armchair transforms with casual elegance. \n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.35.png","64\nReversível (cat. Armchair) designed by Martin Eisler (1955), \nstructure T07 Black, feet T25 Matt Champagne Gold. Shown with: Soap \n(cat. Low Table) base T03 Grey, top T118 Shiny Patagonia Marble.\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.36.png","I love this lamp, and it doesn’t\nhappen so often. I feel it as a friend. \nUmberto Riva\n66\n67\nUmberto Riva \n(Eng) A master of lighting, Umberto Riva was born in Milan in \n1928 and has worked in design since 1960. Having studied with \nCarlo Scarpa, Riva pursued his own personal research process \nvia the most widely differing disciplines, from urban spaces \nto buildings, landscape to interiors, outfitting to the design of \nlamps and furniture. His most important creations include Casa \nFrea in Milan, considered to be one of his masterpieces, the \nredevelopment of Piazza San Nazaro in Milan, restoration of the \nhistoric Caffè Pedrocchi in Padua, the design for the work on \nthe Viale del Ministero degli Esteri and Piazza della Farnesina \nin Rome, the Biblioteca Europea at Porta Vittoria in Milan, the \nthermal power plants in Catanzaro and Campobasso and a long \nline of houses, from Milan to Sardinia and Puglia, as well as \nvarious designs of lamps and furniture for the biggest names in \nItalian design. Considered an out-of-the-ordinary architect, Riva \nhas retained an artisan dimension in architecture and design \nwork. His designs are “born drawn”, pencil sketches of a pure and \npoetic research. \n46. Umberto Riva, portrait.\n46\n(Ita) Maestro della luce, Umberto Riva è nato a Milano nel 1928  \ne dal 1960 si occupa di progettazione. Allievo di Carlo Scarpa, \nRiva ha sviluppato una sua personale ricerca, percorrendo i \npiù diversi ambiti disciplinari: dagli spazi urbani agli edifici, dal \npaesaggio agli interni, dall’allestimento al design di lampade \ne mobili. Tra le sue realizzazioni più importanti si segnalano \ncasa Frea a Milano, considerato uno dei suoi capolavori, la \nsistemazione di piazza San Nazaro a Milano, il restauro dello \nstorico Caffè Pedrocchi di Padova, il progetto per la sistemazione \n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.37.png","68\ndel viale del Ministero degli Esteri e di Piazza della Farnesina  \na Roma, la Biblioteca Europea di Porta Vittoria a Milano, le \ncentrali termoelettriche di Catanzaro e Campobasso e una lunga \nserie di case, da Milano alla Sardegna e alla Puglia, oltre a vari \nprogetti di lampade e arredi per i più importanti nomi del design \nitaliano. Considerato un architetto fuori dal comune, Riva ha \nconservato una dimensione artigianale del fare architettura e del \nfare design. I suoi progetti nascono “disegnati”, schizzi a matita di \nuna ricerca pura e poetica. \nE63\n(Eng) The design for this lamp dates back to 1963, and today it \nis reissued with the name E63. This alphanumeric code is a \nreflection of the intellectual complexity of its designer, Umberto \nRiva: part architect, part designer, part artist, part light-tamer, \nand a whole lot of all these things. A table lamp designed with \ngreat precision, featuring simple lines around broad surfaces, \nthat seemingly give a solid form to the light itself: steel, almost \narmour, protecting the precious source.\n47. Umberto Riva’s apartment, via Paravia, Milan (ph. Giorgio Casali).\n48. E63, original drawing.\n48\n47\n(Ita) Nel 1963 nasce il modello di questa lampada, oggi rieditata con \nil nome E63. In una sigla alfanumerica, si racchiude la complessità \nintellettuale del suo progettista, Umberto Riva: un po’ architetto, \nun po’ designer, un po’ artista, un po’ addomesticatore della luce, \ne molto di tutto ciò. Una lampada da tavolo disegnata in modo \nesatto, con linee semplici per contenere superfici ampie, che \nsembrano dare forma solida alla luce stessa: acciaio, quasi come \nuna corazza a proteggere la preziosa fonte.\nE63 (cat. Lamp) designed by Umberto Riva, structure T64 Brush Matt Copper, \ndeveloped by Tacchini Edizioni.\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.38.png","E63 (cat. Lamp) designed by Umberto Riva, structures T23 Polished Chrome, \nT24 Satin Chrome, T64 Brush Matt Copper, T25 Matt Champagne Gold, T75 Zinc Yellow, \nT76 Pastel Green. Developed by Tacchini Edizioni.\n70\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.39.png","E63 (cat. Lamp) designed by Umberto Riva, structure T25 Matt \nChampagne Gold, developed by Tacchini Edizioni.\n72\n73\n1939 — 2020\n(Eng) Today, half a century after their creation, the projects realized \nby these great masters of the past continue to keep alive the soul \nof the Italian line through a series of revivals made by Tacchini. \nCastiglioni brothers’ Babela and Sancarlo, Gianfranco Frattini’s \nAgnese, Gio, Giulia, Lina, Oliver and Sesann, Carlo De Carli’s \nSella, Martin Eisler’s Reversível and Costela, Umberto Riva’s E63 \nlamp, represent the result of a meticulous collaboration among \ndesigners, artisans and producers. Tacchini proposes these pieces \nwith the desire to preserve and communicate the ideals that have \nguided their creation. Maintaining the integrity of the original \nprojects, Tacchini has adapted the designer’s drawings to modern \nproduction. In this way, it has transferred the past design culture \nto the present. \n(Ita) Oggi, mezzo secolo dopo la loro creazione, i progetti realizzati \nda questi grandi maestri del passato continuano a rendere  \nviva l’anima della linea italiana attraverso una serie di riedizioni \nrealizzate da Tacchini. Babela e Sancarlo dei fratelli Castiglioni, \nAgnese, Gio, Giulia, Lina, Oliver e Sesann di Gianfranco  \nFrattini, Sella di Carlo De Carli, Reversível e Costela di Martin \nEisler, E63 di Umberto Riva rappresentano il frutto di una \nmeticolosa e visionaria collaborazione tra progettisti, artigiani \ne produttori, ripresa da Tacchini con la volontà di preservare \ne comunicare gli ideali che hanno guidato la loro creazione. \nMantenendo l’integrità dei progetti originali, Tacchini ha adattato \ni disegni dei designer alla produzione odierna, trasportando la \ncultura del design dal passato alla contemporaneità.\n“I love this lamp, and it doesn’t happen so often. I feel it as a friend. This lamp represents \nmuch of my professional history, my approach to the realization of the first projects.  \nIt was born from an open contest by Artemide, I was 35 years old. Initially this lamp should \nhave been made of plastic, but with metal it obtained dry shapes and precision of the edges. \nThink about the power obtained with these rigid materials, a result which is impossible  \nto have with plastic. ” Umberto Riva, “An open shape”, T’Journal 8\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002F69\u002F86fc54b63d45c94fde1cc65497530b-29091c0442.40.png","Maestri or “masters” are those charismatic figures capable of teaching and handing down an art through their  \ndirect actions and also through the inheritance of their actual works. 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