[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-cassina-simon-collezione-2013":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":267},{"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":262,"matched_pages":263,"match_count":264,"two_pages":265,"show_text":266},1648,"Simon Collezione 2013","cassina-simon-collezione-2013","\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Faa\u002Fecac8ab4389e1cfa686c409f22594f.pdf","Cassina",1134,"cassina","5.1 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,116,120,124,128,132,136,140,144,148,151,155,159,163,167,171,175,179,183,187,191,195,199,203,207,211,215,219,223,227,231,235,239,243,247,251,255,259],{"image":7,"text":15,"number":16},"Cassina S.p.A.\nVia Busnelli, 1 \nI -20821 Meda (MB)  \nTel. +39 0362372.1  \nFax +39 0362342246  \ninfo@cassina.it\nwww.cassina.com\nwww.simoncollezione.com\nwww.cassina.com\nwww.simoncollezione.com\nGraphic Design\nBlackspace \nPhoto\nMauro Marzocchi\nStefano Stagni\nMiro Zagnoli\nRenai & Renai\nPrinted in Italy\nGrafiche Boffi \nVIII.2013\nCopyright © \nCassina S.p.A. 2013\nAll rights reserved\nCassina SimonCollezione\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.3.png","INDEX\nSEDIE E POLTRONCINE\nCHAIRS AND SMALL ARMCHAIRS \nCHAISES ET PETITS FAUTEUILS\nTULU LG\nJANO LG\nLJIN LG\nGAJA\u002FGAJA BAR\nTOMASA\nERACLEA \nKAZUKI\nLACCATURA\nLACQUERING\nLAQUAGE\nMOBILI\nFURNITURE\nMEUBLES\n \nBRAMANTE\nDECO \nRIALTO\nCASSINA E SIMON: LE RAGIONI \nDELL’INCONTRO DI DUE ECCELLENZE \nDEL DESIGN DEL MOBILE \nCASSINA AND SIMON: THE REASONS \nBEHIND THE MEETING OF TWO ITALIAN \nFURNITURE DESIGN EXCELLENCES \nCASSINA ET SIMON: LES RAISONS DE \nLA RENCONTRE ENTRE DEUX EXCELLENCES \nDU DESIGN DU MEUBLE ITALIEN\nSIMON: UN PATRIMONIO DI PROGETTI \nE PRODOTTI – ICONE DEL DESIGN\nSIMON: A HERITAGE OF PROJECTS\nAND PRODUCTS – DESIGN ICONS\nSIMON: UN PATRIMOINE DE PROJETS \nET DE PRODUITS – ICÔNES DU DESIGN\nTAVOLI E SCRIVANIE\nTABLES AND DESKS \nTABLES ET BUREAUX\nDOGE\nSARPI \nDELFI\nVALMARANA\nORSEOLO\nSANSOVINO \nANTELLA\nLOOP\nDESIGNERS\n4\n10\n17\n18\n24\n30\n34\n38\n42\n44\n46\nI\n49\n50\n52\n54\n56\n58\n60\n62\nIX\n65\n66\n70\n74\n79\n80\n82\n83\n84\n85\n87\n88\n89\n90\n91\n93\n94\nXIII\nTAVOLINI\nCOFFEE TABLES, SIDE TABLES\nPETITES TABLES\nTRACCIA \nCONSTANTIN \nFLORIAN \nDJUNA\nMARCEL T \nSPECCHI\nMIRRORS\nMIROIRS\nLES GRANDS TRANS-PARENTS\nLE MIROIR “S” \nISEO\nOTERO\nLETTI\nBEDS\nLITS\nVANESSA \nULTRARAZIONALE \nULTRAMOBILE\nMETAMOBILE\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.4.png","Simon International nacque nel 1968 dall’incontro di Dino Gavina \ne Maria Simoncini (da cui prese il nome) con alcuni fra i maggiori \nrappresentanti dell’architettura e dell’arte moderna per continuare \nla grande tradizione del disegno italiano e proseguire le fantastiche \nesperienze degli anni ‘60 della Gavina S.p.A., la fabbrica fondata a \nSan Lazzaro di Savena vicino a Bologna.\nIn questa avventura imprenditoriale confluiscono tutte le esperienze \nculturali e le testimonianze produttive che hanno dato vita ad una \ncollezione di culto per gli amanti del design. Oggi questi oggetti \nd’arredo, sinonimi di un’attività industriale che è stata capace di farsi \nveicolo di promozione culturale, rappresentano dei classici, perché \ncustodi di valori sempre attuali a cui ispirarsi e attingere. Qualità, \nperfezione, proporzione, poesia, ironia sono le orme depositate \nall’interno di questo prezioso contenitore. E ancora eccellenza del \nfare e del pensare il mobile, intuizione e capacità di creare sinergie \nculturali.\nQuesti sono i comportamenti riscontrabili in questa importante \nrealtà produttiva che si possono osservare anche nel percorso \ndocumentato di un’altra storica realtà industriale: Cassina. \nSimon International naît en 1968 de la rencontre de Dino Gavina et Maria \nSimoncini (dont elle tire son nom) avec certains des représentants les \nplus illustres de l’architecture et de l’art moderne, dans l’optique de \nfaire perdurer la grande tradition du design italien et de poursuivre les \nexpériences fantastiques des années 60 de Gavina S.p.A., l’usine crée \nà San Lazzaro di Savena, près de Bologne.\nCette aventure entrepreneuriale réunit toutes les expériences \nculturelles et les témoignages de production qui ont donné vie à \nune collection culte pour les passionnés de design. Aujourd’hui, \nces objets de mobilier, synonymes d’une activité industrielle qui a \nsu se poser comme vecteur de promotion culturelle, font figure de \nclassiques car ils ont su préserver des valeurs toujours actuelles, dans \nlesquelles il est possible d’aller puiser et qui sont également sources \nd’inspiration. Qualité, perfection, proportion, poésie, ironie : telles sont \nles empreintes laissées dans cet écrin précieux. Et encore l’excellence \ndans l’art de faire et de penser le meuble, intuition et capacité à créer \ndes synergies culturelles.\nTelle est la conduite propre à cette importante réalité productive, une \nconduite que l’on peut également observer sur le parcours d’une autre \nréalité industrielle historique renommée: Cassina. \nSimon International was established in 1968 when Dino Gavina and \nMaria Simoncini (from whom the company took its name) met some \nof the most influential names in architecture and modern art, to \nadvance the great tradition of Italian design and emulate the success \nof Gavina S.p.A., the factory established in San Lazzaro di Savena \nnear Bologna, in the 1960s. \nThe contribution of both cultural experience and manufacturing \nexpertise converged to generate a cult collection for enthusiasts of \ndesign. The furniture designs became synonymous with a company \nthat managed to act as a cultural promotional vehicle. They are now \nconsidered to be classic designs, repositories of those values still \nrelevant in today‘s world. The designs produced by the company \nare indelibly marked with elements of quality, perfection, proportion, \npoetry and irony, and display the highest standards of design and \nmanufacture, with the insight and ability to create cultural alliances. \nThis was not the only company to encompass all the above values \nas is evident from the path taken by another historical company: \nCassina.\nCASSINA \nE SIMON: \nLE RAGIONI \nDELL’INCONTRO \nDI DUE \nECCELLENZE \nDEL DESIGN \nDEL MOBILE \nITALIANO\nCASSINA AND SIMON: \nTHE REASONS BEHIND \nTHE MEETING OF \nTWO ITALIAN FURNITURE \nDESIGN EXCELLENCES \n\u002F\nCASSINA ET SIMON: \nLES RAISONS DE \nLA RENCONTRE ENTRE \nDEUX EXCELLENCES DU \nDESIGN DU MEUBLE ITALIEN\nMAN RAY, MARCEL DUCHAMP, DINO GAVINA IN PARIS, 1963 © FRANCESCA COL DI TANA\n4\n5\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.5.png","Con l’acquisizione del marchio Simon da parte di Cassina (luglio \n2013), si congiungono due storie fondamentali per comprendere il \ndesign italiano: quella dell’azienda di Meda che dal 1927 produce \ncultura delle idee, dei materiali e del lavoro, e quella di Simon, sorta \na Calcinelli nel 1968 per cercare di superare i limiti del razionalismo \nriportando il progetto da un lato ai grandi valori tradizionali (con la \ncollezione Ultrarazionale) dall’altro ad un dialogo fra ricerca artistica \ne produzione industriale (con la collezione Ultramobile).\nDue aziende i cui fondatori, Dino Gavina e Cesare Cassina, \navevano dato un forte contributo alla nascita del design italiano \ndel mobile a cavallo tra gli anni ’50 e ’60, nel periodo di amicizia e \ngrande frequentazione. In quegli anni infatti questi due personaggi \ndiscussero a lungo sugli orientamenti del design pensando a piani \nstrategici. Nelle loro riunioni ipotizzarono che a Cassina sarebbe \ntoccato il compito di qualificare gli imbottiti e le sedie e a Gavina \nquello di produrre mobili, non dimenticandosi di immaginare e \nfondare un’azienda che si occupasse industrialmente di illuminazione \n(la Flos da loro fondata nel 1962) per completare la qualificazione dei \nnuovi ambienti domestici.\nDue incredibili imprenditori che negli anni ’60, gli anni del boom \ndel mobile italiano del mondo, operarono per proporre un \nnuovo rapporto tra consumo e cultura intuendo la necessità di \nun’internazionalizzazione del catalogo e di un recupero della \nmemoria storica.\nIl primo inserì nel 1962 nel catalogo Gavina gli arredi degli anni ’20 \ndi Marcel Breuer; rifiutò però di fare lo stesso con gli arredi di \nLe Corbusier, Pierre Jeanneret e Charlotte Perriand, da lui considerati \ntroppo artigianali e li passò di fatto, nel 1964, al secondo che intuì le \npotenzialità ancora inespresse degli arredi del 1929 e ne decretò il \nsuccesso mondiale.\nLorsque Cassina achète la marque Simon en juillet 2013, ce sont alors \ndeux histoires qui se rejoignent, fondamentales pour comprendre le \ndesign italien : celle de l’entreprise de Meda, près de Milan, qui depuis \n1927 s’applique à la culture des idées, des matières et du travail ; celle \nde Simon, née à Calcinelli, dans les Marches, en 1968, dans l’optique de \ndépasser les limites du rationalisme en ramenant le projet, d’une part, \naux grandes valeurs traditionnelles (avec la collection Ultrarazionale) \net de l’autre, à un dialogue entre recherche artistique et production \nindustrielle (avec la collection Ultramobile). Deux entreprises dont les \nfondateurs, Dino Gavina et Cesare Cassina, ont fortement contribué \nà la naissance du design italien du meuble entre les années 50 et \n60, période pendant laquelle les deux hommes étaient très amis et \nse fréquentaient beaucoup. En effet, tout au long de ces années, \nces deux personnages ont longuement discuté des orientations \ndu design, réfléchissant par la même à des plans stratégiques. Au \ncours de leurs réunions, ils ont imaginé que Cassina s’occuperait de \nvaloriser les assises rembourrées et les chaises tandis que Gavina \nse chargerait des meubles. Naturellement, ils ont pris soin, en outre, \nde penser et de créer une entreprise qui s’intéresserait de l’éclairage, \nabordé sous un angle industriel (la société Flos, qu’ils fondèrent en \n1962) pour compléter la valorisation des nouvelles habitations. Deux \nentrepreneurs incroyables qui, dans les années 60, les années du \nboom mondial du meuble italien, ont œuvré pour instaurer un nouveau \nrapport entre consommation et culture, pressentant la nécessité \nd’une internationalisation du catalogue et d’une récupération de la \nmémoire historique. En 1962, le premier inséra au catalogue Gavina le \nmobilier des années 20 de Marcel Breuer; il refusa toutefois de faire de \nmême avec le mobilier de Le Corbusier, Pierre Jeanneret et Charlotte \nPerriand, qu’il considérait trop artisanal, le passant, de fait, en 1964, \nau deuxième qui, lui, comprit les potentialités encore inexplorées du \nmobilier de 1929, lui assurant ensuite le succès mondial qu’on lui \nconnaît.\nThe acquisition by Cassina of the Simon brand (in July 2013) merges \ntwo significant contributors to the history of Italian design: Cassina, \nwhich has been promoting the awareness of ideas, materials and \ncraftsmanship since 1927 and Simon – established in Calcinelli in \n1968 – created to go beyond the limits of rationalism and regain \na link with the great traditional values (Ultrarazionale collection), \nestablishing a dialogue between artistic research and industrial \nproduction (Ultramobile collection).\nThe founders of these two companies, Dino Gavina and Cesare \nCassina, provided unprecedented contributions to the burgeoning \nworld of Italian furniture design between the 1950s and the 1960s \nas their friendship blossomed. Their long discussions during those \nyears focused on the direction that design was taking, and dreaming \nup creative direction and strategy. They decided that Cassina would \nbe the company to develop padded items and chairs while Gavina \nwould take care of the furniture; they also established a contemporary \nlighting company (Flos, founded in 1962) to provide a complete \nrange of interior furnishings for the new domestic environments of \nthe era. Two incredible businessmen who worked hard to forge a \nnew alliance between consumption and culture in the global boom \nof Italian furniture in the 1960s; they understood they had to provide \ntheir catalogues with an international appeal and establish links with \nhistorical memory. \nGavina put the 1920s furniture designed by Marcel Breuer into its \n1962 catalogue, but decided against including the 1929-designed \nfurniture of Le Corbusier, Pierre Jeanneret and Charlotte Perriand \nconsidered to be too artisanal at the time; these designs were \ntherefore transferred to Cassina in 1964 where they understood the \nuntapped potential and set out to make the designs a worldwide \nsuccess. \n“Con l’acquisizione del marchio Simon da parte di Cassina, \nsi congiungono due storie fondamentali per comprendere\nil design italiano”\nCASSINA E SIMON: \nLE RAGIONI DELL’INCONTRO \nDI DUE ECCELLENZE \nDEL DESIGN \nDEL MOBILE ITALIANO \n\u002F\nCASSINA AND SIMON: \nTHE REASONS BEHIND \nTHE MEETING OF \nTWO ITALIAN FURNITURE \nDESIGN EXCELLENCES \n\u002F\nCASSINA ET SIMON: \nLES RAISONS DE \nLA RENCONTRE ENTRE \nDEUX EXCELLENCES DU \nDESIGN DU MEUBLE ITALIEN\n6\n7\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.6.png","Consapevoli del ruolo fondamentale dell’imprenditore industriale \ncome operatore estetico, entrambi hanno inciso un solco nella \nstessa direzione per il rinnovamento del linguaggio progettuale con \nl’intento di diffusione dello spirito e del significato della modernità, \nintesa come assimilazione del verbo moderno contestualmente alla \nsalvaguardia di alcuni valori della tradizione. Un intento ampiamente \ndocumentato nel catalogo Cassina con gli arredi di Vico Magistretti, \nMario Bellini, Gianfranco Frattini e Tobia Scarpa e dalla collezione \nUltrarazionale di Simon, con i tavoli di Carlo Scarpa in cui anche il \nminimo e raffinato dettaglio ha una forza figurativa di importanza e \nsignificato pari a quelli dell’insieme.\nEntrambi realizzarono manifestazioni, mostre, pubblicazioni quindi \noccasioni culturali importantissime per comunicare i motivi di un \ncomportamento estetico.\nEntrambi indagarono nuove possibilità espressive attraverso oggetti \ntrasformati in artefatti culturali: Cassina attraverso la collezione \nBracciodiferro (una società di Cassina fondata nel 1971 da Gaetano \nPesce in seno al centro di ricerca e sviluppo per sfidare le logiche \ndi produzione industriali e sperimentare nuove tecniche e vie di \ndistribuzione dell’arredo come le gallerie d’arte) e Dino Gavina \nattraverso la collezione Ultramobile di Simon che lo vide collaborare \ncon insigni artisti del surrealismo, da Man Ray a Meret Oppenheim \nper portare un oggetto di poesia, che può essere usato anche come \nmobile, nell’ambito domestico e superare il freddo rigore figurativo \ndel razionalismo.\nDue imprenditori e due aziende che ci hanno educato al bello, alla \nqualità e all’autenticità, per contribuire alla valorizzazione complessiva \ndella cultura del progetto.\nBarbara Lehmann \nCuratrice Archivio Storico Cassina\nConscients du rôle fondamental de l’entrepreneur industriel en tant \nqu’opérateur esthétique, tous deux ont tracé un sillon travaillant dans la \nmême direction pour renouveler le langage conceptuel, avec la ferme \nintention d’insuffler un esprit de modernité et de faire comprendre la \nsignification de cette modernité, entendue au sens du mot moderne \nassocié à l’idée de préserver certaines valeurs de la tradition. Cette \nintention trouve très largement sa place dans le catalogue Cassina \navec le mobilier de Vico Magistretti, Mario Bellini, Gianfranco Frattini et \nTobia Scarpa, mais aussi dans la collection Ultrarazionale de Simon, \navec les tables de Carlo Scarpa, où même le moindre détail, aussi \nraffiné qu’il soit, exprime une force figurative ayant la même importance \net la même signification que l’ensemble.\nTous deux ont organisé des manifestations, des expositions, édité \ndes publications, autrement dit, ils ont créé des occasions culturelles \nextrêmement importantes pour faire connaître les motifs d’un \ncomportement esthétique. Tous   deux   on t   étudié   de   nouvelles   possibilités \nd’expression à travers des objets transformés en artifices culturels : \nCassina, avec la collection Bracciodiferro (une société de Cassina \nfondée en 1971 par Gaetano Pesce, au sein du centre de recherche \net développement pour défier les logiques de production industrielles \net expérimenter de nouvelles techniques et voies de distributions du \nmobilier, comme les galeries d’art) et Dino Gavina, avec la collection \nUltramobile de Simon qui a conduit à la collaboration avec d’éminents \nartistes du surréalisme, de Man Ray à Meret Oppenhaim pour \napporter un objet de poésie, qui peut faire office de meuble, dans le \ncadre domestique et dépasser la froideur de la rigueur figurative du \nrationalisme.\nDeux entrepreneurs et deux entreprises qui nous ont donné le goût \ndu beau, de la qualité et de l’authenticité, afin de contribuer à la \nvalorisation globale de la culture du projet.\nBarbara Lehmann \nCuratrice des Archives Historiques Cassina\nAware of the fundamental role played by the industrial businessman \nin developing a refined sense of taste, both worked towards renewing \nthe language of design in order to give life to the spirit and meaning \nof modernity, intended as the incorporation of the modern aesthetic \ninto traditional values that deserve preservation. \nThe fruits of this idea can be seen in the Cassina catalogue which \nincluded creations by Vico Magistretti, Mario Bellini, Gianfranco \nFrattini and Tobia Scarpa and in the Simon Ultrarazionale collection \nwith Carlo Scarpa’s tables, where the tiniest detail packs a figurative \npunch that is as equally as significant as that of the complete design. \nBoth men organised shows, exhibitions and publications to create \ncultural occasions where they could explain the reasons behind their \npromotion of aesthetic ideals. \nBoth explored new ways of expression via everyday designs that \nwere transformed into cultural talking points: Cassina through the \nBracciodiferro collection (a Cassina company established in 1971 \nby Gaetano Pesce as a research and development centre set up \nto challenge industrial production logic and experiment with new \ntechniques and furniture distribution channels such as art galleries); \nDino Gavina through the Ultramobile collection by Simon, which led \nit to collaborate with renowned surrealist artists such as Man Ray \nand Meret Oppenheim so that a poetic item – that could also be \nutilised as a piece of furniture – could be found in the home and \nextend beyond the cold figurative rigour of rationalism. Two creative \nbusinessmen and two companies that taught us about beauty, quality \nand authenticity to help raise our overall cultural consciousness. \nBarbara Lehmann \nCassina Historical Archive Curator\n“Due imprenditori e due aziende che ci hanno educato \nal bello, alla qualità e all’autenticità, per contribuire alla \nvalorizzazione complessiva della cultura del progetto”\nCESARE CASSINA \u002F DINO GAVINA\nCASSINA E SIMON: \nLE RAGIONI DELL’INCONTRO \nDI DUE ECCELLENZE \nDEL DESIGN \nDEL MOBILE ITALIANO \n\u002F\nCASSINA AND SIMON: \nTHE REASONS BEHIND \nTHE MEETING OF \nTWO ITALIAN FURNITURE \nDESIGN EXCELLENCES \n\u002F\nCASSINA ET SIMON: \nLES RAISONS DE \nLA RENCONTRE ENTRE \nDEUX EXCELLENCES DU \nDESIGN DU MEUBLE ITALIEN\n8\n9\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.7.png","Nel panorama del design italiano e internazionale Simon si caratterizza \nper una precisa identità e riconoscibilità. Qualità certo da ricondurre \nin primis al carattere unico di Dino Gavina, l’imprenditore che l’ha \nideata nel 1968. Fin dal principio degli anni Cinquanta aveva iniziato \na lavorare con architetti e designer – come Luigi Caccia Dominioni, \nPier Giacomo e Achille Castiglioni, Ignazio Gardella, Carlo e Tobia \nScarpa, Kazuhide Takahama o Marco Zanuso – e nel 1960 aveva \nfondato l’azienda che portava il suo nome, presieduta proprio da \nCarlo Scarpa. \nPer primo Gavina riporta l’attenzione sul lavoro dei Maestri del \ndesign: nel 1962 è a New York per incontrare Marcel Breuer e \nsuccessivamente mette in produzione i pezzi del Bauhaus anni Venti \nin metallo curvato (la poltrona Wassily, la sedia Cesca, il tavolino \nLaccio) che pur essendo già delle icone della modernità non avevano \nconosciuto che la piccolissima serie.\nSempre nel 1962, con Cesare Cassina, dà vita a Flos coinvolgendo \nPier Giacomo e Achille Castiglioni, autori proprio nell’anno di \nfondazione di alcuni modelli di lampade divenute presto dei “classici”, \ncome Arco, Toio e Taccia. Ancora negli stessi anni Gavina intensifica \ni suoi rapporti con il mondo dell’arte e gli artisti – da Lucio Fontana a \nGianni Colombo, a Man Ray – culminati nel 1969 nella costituzione \ndel Centro Duchamp. Nonostante tale iniziativa sia principalmente \nrivolta a produrre i prototipi sperimentali degli artisti, ben presto \nle proposte si moltiplicano facendone un centro di vero e proprio \nmecenatismo: eventi, mostre e pubblicazioni. Tra le realizzazioni del \nCentro troviamo, fra l’altro, le lampade di Man Ray e i fiori futuristi di \nGiacomo Balla.\nDans le panorama du design italien et international, Simon se démarque \npar son identité et son style incomparables. Des qualités imputables \navant tout au caractère unique de Dino Gavina, le chef d’entreprise \nqui l’a créée en 1968. Déjà au début des années cinquante, il avait \ncommencé à travailler avec des architectes et des designers. Luigi \nCaccia Dominioni, Pier Giacomo, Achille Castiglioni, Ignazio Gardella, \nCarlo, Tobia Scarpa, Kazuhide Takahama ou Marco Zanuso font partie \nde ceux-là. En 1960, il a fondé la société portant son nom, présidée par \nCarlo Scarpa.\nGavina commence par porter son attention sur le travail des Maestri du \ndesign: en 1962, il est à New York pour rencontrer Marcel Breuer; il met \nensuite en production les pièces du Bauhaus des années vingt en tubes \nd’acier pliés (le fauteuil Wassily, la chaise Cesca, la table basse Laccio). \nDéjà reconnues comme des icônes de la modernité, elles n’avaient \ntoutefois connu qu’une diffusion à échelle réduite.\nEn 1962, toujours, avec Cesare Cassina, il donne vit à Flos, s’entourant \négalement de Pier Giacomo et Achille Castiglioni. Cette même année, \nces derniers sont les auteurs de certains modèles de lampes qui \ndeviennent, au fil des ans, des classiques du luminaire ; c’est le cas des \nlampes Arco, Toio et Taccia.\nToujours dans la même période, Gavina intensifie ses rapports avec le \nmonde de l’art et avec les artistes – de Lucio Fontana à Gianni Colombo \net Man Ray – arrivant à leur apogée en 1969 avec la fondation du \nCentre Duchamp. Cette initiative est principalement mise en œuvre \ndans l’optique de produire les prototypes expérimentaux des artistes, \nmais bientôt, les propositions affluent, au point de le transformer en un \nvéritable centre de mécénat qui propose évènements, expositions et \npublications. Parmi les réalisations du Centre, on retrouve entre autres, \nles lampes de Man ray et les fleurs futuristes de Giacomo Balla.\nSimon has always had a strong instantly recognisable identity in the \ndesign world both in Italy and abroad thanks to the unique input of its \nfounder Dino Gavina, the man who conceived the idea for the company \nin 1968. Already in the early fifties he had begun working with designers \nand architects – such as Luigi Caccia Dominioni, Pier Giacomo and \nAchille Castiglioni, Ignazio Gardella, Carlo and Tobia Scarpa, Kazuhide \nTakahama and Marco Zanuso – and in 1960 he founded a company in \nhis own name, with Carlo Scarpa as its president. \nAt first Gavina concentrated on the work of Masters of design: flying \nto New York in 1962 to meet with Marcel Breuer and subsequently \nputting a series of curved tubular steel twenties Bauhaus designs into \nproduction (the Wassily armchair, the Cesca chair, and the Laccio table) \nwhich, while they had already become icons of modernity, had so far \nonly been manufactured in very limited editions. \nTogether with Cesare Cassina, 1962 was also the year in which he \nfounded Flos, calling upon the help of Pier Giacomo and Achille \nCastiglioni, who were to design, in that very same year, some of the \ncompany’s most well-known lamps: Arco, Toio and Taccia, all of which \nwere soon to become design classics. Over that same period Gavina \nalso came into contact more and more frequently with a great many \nfigures from the art world – from Lucio Fontana and Gianni Colombo, \nto Man Ray – building relationships which culminated in 1969 with the \nconstitution of the Centro Duchamp. Even though this centre’s main aim \nwas that of manufacturing the artists’ experimental prototypes, soon \noffers came rolling in and the centre became an important arts base, \nhosting events, exhibitions and publications. Among the many pieces \nmanufactured at the centre are examples of lamps by Man Ray as well \nas Giacomo Balla’s futurist flowers. \nDINO GAVINA RITRATTO DA MAN RAY © MAN RAY TRUST BY SIAE 2013\nSIMON: \nUN PATRIMONIO \nDI PROGETTI \nE PRODOTTI- \nICONE \nDEL DESIGN\nSIMON: \nA HERITAGE OF \nPROJECTS AND \nPRODUCTS, \nDESIGN ICONS\n\u002F\nSIMON: \nUN PATRIMOINE DE \nPROJETS ET DE \nPRODUITS – ICÔNES \nDU DESIGN\n10\n11\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.8.png","Gavina da una parte è attento alle direzioni più avanzate delle \nricerche del design e dei suoi protagonisti – che nel corso del \ndecennio sessanta si andavano indirizzando anche a riflessioni \ncritiche rispetto al progetto funzionalista – ; dall’altra è sensibile agli \nstimoli che arrivano dalla creatività artistica. \nPunto d’incontro fra questa duplice tensione è certo costituita \ndall’esperienza di Simon e delle sue collezioni Ultrarazionale (1968), \nUltramobile (1971) e Metamobile (1974), progressivo scandaglio di \npossibili indirizzi di indagine e sperimentazione.\nUltrarazionale presenta pezzi “scultorei”, disegnati da Scarpa (come \ni monumentali tavoli Doge, Valmarana e Delfi), frutto di estrema cura \nnella scelta dei materiali, nelle soluzioni di dettaglio e nelle lavorazioni. \nPur rimanendo in sostanza all’interno di una concezione non radicale \no di rottura del design, intendono proporre una complessità di \nlinguaggio volta a fornire concreta alternativa a un certo razionalismo \ndi maniera. \nQualche anno dopo le “opere d’arte funzionale” di Ultramobile \nguardano al dialogo fra ricerca artistica e produzione per l’ambiente \ndomestico con esiti ispirati e di forte impatto visivo. Oggetti tratti \ndalla poetica surrealista diventano mobili-opere d’arte dalle forti \nvalenze simboliche, rendendo omaggio ad artisti come René \nMagritte, Constantin Brancusi, Man Ray, Sebastian Matta e Meret \nOppenheim. Le sedute pop di Matta, lo specchio Les grands trans-\nParents di Ray o il tavolino dorato con le zampe della Oppenheim \nsono riusciti a ritagliarsi, assieme all’attenzione critica, interessanti e \nin parte inaspettati spazi di mercato.\nD’une part, Gavina est attentif aux tendances les plus avant-gardistes \nissues de la recherche du design et de ses protagonistes, donnant lieu \négalement, au cours des années soixante, à des réflexions critiques par \nrapport au projet fonctionnaliste. D’autre part, il est fortement stimulé \npar les nouveautés émanant de la créativité artistique.\nAu carrefour de cette double dynamique, convergent l’expérience \nde Simon et ses collections Ultrazionale (1968), Ultramobile (1971) \net Metamobile (1974) qui permettent d’examiner au fil de l’eau les \norientations possibles en termes d’étude et d’expérimentation.\nUltrarazionale révèle des pièces sculpturales, dessinées par Scarpa – \ncomme ces tables monumentales que sont Doge, Valmarana et Delfi \n– fruit d’un soin extrême dans le choix des matériaux, dans les solutions \nde détail mais également dans la manière dont elles sont travaillées. \nElles restent substantiellement fidèles à une conception non radicale ou \nde rupture du design, mais se proposent toutefois de mettre en avant \nune complexité de langage visant à offrir une alternative concrète à un \ncertain rationalisme maniériste.\nQuelques années plus tard, les « œuvres d’art fonctionnel » d’Ultramobile \ns’ouvrent sur un dialogue entre la recherche artistique et la production \npour les habitations dont le résultat s’avère éloquent et à fort impact \nvisuel. Des objets d’inspiration surréaliste se transforment en meubles-\nœuvres d’art à la symbolique forte, rendant hommage à des artistes \ncomme René Magritte, Constantin Brancusi, Man Ray, Sebastián \nMatta et Meret Oppenheim.Le miroir Les grands trans-Parents de Ray \nou la table dorée aux pattes d’oiseaux ont réussi, non seulement à \nsusciter l’attention des critiques mais aussi à se faire une place, aussi \nintéressante qu’inattendue, sur le marché.\nWhilst on the one hand Gavina followed carefully the advanced design \nresearch his artists were drawn to – which in the sixties meant heading \nincreasingly towards a critical response to functionalist design – on \nthe other hand he could not ignore the many stimuli resulting from \nthis artistic creativity. Somewhere in the middle of this dual tension, \ndoubtlessly also influenced by these experiences, came Simon and \nits collections Ultrarazionale (1968), Ultramobile (1971) and Metamobile \n(1974), which acted as progressive testing pieces, experimenting and \nexploring in every possible way. \nUltrarazionale was a collection of “sculptural” works designed by \nScarpa (such as his monumental tables Doge, Valmarana and Delfi), \nwhich were the result of carefully chosen materials, combined with \nwell planned attention to detail and execution. At the same time these \nwere substantially still within the confines of a non radical conception, \nnot breaking away from design, but rather, proposing a complexity of \nlanguage which offered a solid alternative to a certain type of mannered \nRationalism. \nA few years later Ultramobile’s “functional works of art” aimed to \ncreate a dialogue between artistic research and manufacturing for \nthe home, achieving inspired eye-catching results. The designs drew \non poetic surrealist inspiration to create furniture -cum- works of art \nwith a strong symbolic presence, paying homage to artists like René \nMagritte, Constantin Brancusi, Man Ray, Sebastian Matta and Meret \nOppenheim. Matta’s pop chairs, Man Ray’s mirror Les grands trans-\nParents or Oppenheim’s golden birdfoot table all caught the imagination \nof the critics, as well as, somewhat unexpectedly, gaining recognition in \nthe marketplace. \nSIMON: \nUN PATRIMONIO \nDI PROGETTI E \nPRODOTTI – ICONE \nDEL DESIGN\n\u002F\nSIMON: \nA HERITAGE OF \nPROJECTS AND \nPRODUCTS, \nDESIGN ICONS\n\u002F\nSIMON: \nUN PATRIMOINE DE \nPROJETS ET DE \nPRODUITS – ICÔNES \nDU DESIGN\nDINO GAVINA, MARCEL BREUER AND MARIA SIMONCINI \nAT CARLO SCARPA’S SHOWROOM IN BOLOGNA, 1963 © WALTER BREVIGLIERI\n12\n13\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.9.png","Ultramobile ha aperto un filone che ancora oggi si presenta di grande \nattualità, con l’esplorazioni di direzioni “altre” volte ad allargare \na territori laterali e di confine rispetto alla cultura del progetto e al \ntempo stesso arricchirla e liberarla dai vincoli stretti imposti dai \nmodelli culturali, dai metodi produttivi e dal mercato.\nMetamobile infine è una precisa proposta di mobili semplici e a \nbasso prezzo, addirittura autoprodotti. Come i progetti di Enzo \nMari – provocatoriamente emblematici dell’intera collezione – per \nl’autocostruzione nell’arredamento, sfida alle regole del mercato e \ndella distribuzione. \nDentro la sua storia e il suo presente, Simon contiene elementi \ndi grande interesse e vitalità dal punto di vista del “contenuto” e \nsignificato sotteso alle proprie scelte culturali e imprenditoriali; inoltre \nvanta un patrimonio di progetti e prodotti che hanno esplorato strade \ninnovative e al tempo stesso sono stati capaci di imporsi, presso \ncritica e pubblico, come icone del design. \nAlberto Bassi\nStorico e critico del design\nUltramobile a ouvert une voie qui reste aujourd’hui encore de grande \nactualité, avec l’exploration d’autres pistes visant à s’ouvrir à des \nterritoires riverains et frontaliers par rapport à la culture du projet et \npar la même l’enrichir et la libérer de l’étau des modèles culturels, des \nméthodes de production et du marché. \nMetamobile, quant à elle, est une proposition précise de meubles \nsimples et à bas prix, et même autoproduits. Comme les projets d’Enzo \nMari – délibérément emblématiques de toute la collection – pour l’auto-\nconstruction dans le mobilier, c’est un véritable défi lancé aux règles du \nmarché et de la distribution.\nL’histoire de Simon, passée ou présente, compte des éléments \nextrêmement intéressants et au tempérament bien trempé, du point de \nvue du « contenu » et de la signification qu’impliquent ses propres choix \nculturels et entrepreneuriaux. \nEn outre, elle vante un patrimoine de projets et de produits qui ont \nexploré des pistes innovantes tout en sachant s’imposer, aux yeux de la \ncritique et du public, comme des icônes du design.\nAlberto Bassi\nHistorien et critique du design\nUltramobile started a trend which, even today, is still contemporary, \nby exploring alternative directions with the aim of widening territories \nnormally pushed to one side by design culture, at the same time \nenriching that very same culture, freeing it from the narrow confines \nimposed on it by cultural models, methods of production and market \ndemands. \nFinally came Metamobile, which offered straightforward sets of \naffordable furniture, designs that could be assembled at home. Like the \ndesigns by Enzo Mari – provocative emblems of the whole collection – for \nready to assemble furniture parts, a challenge to the rules of marketing \nand distribution. From its past right up until this day Simon has many \nelements of great interest and vitality, both in its “content” and its actual \nmeaning, all of which are influenced by the choices that were taken in \nterms of both business and culture; what is more, it hosts a collection \nof designs and products which have explored many innovative routes, \nwhilst at the same time making their marks as true design icons, with \ncritics and members of the public alike. \nAlberto Bassi\nDesign Historian and Critic\nDINO GAVINA’S PORTRAIT © ALFA CASTALDI  \nSIMON: \nUN PATRIMONIO \nDI PROGETTI E \nPRODOTTI- ICONE \nDEL DESIGN\n\u002F\nSIMON: \nA HERITAGE OF \nPROJECTS AND \nPRODUCTS, \nDESIGN ICONS\n\u002F\nSIMON: \nUN PATRIMOINE DE \nPROJETS ET DE \nPRODUITS – ICÔNES \nDU DESIGN\n14\n15\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.10.png","TABLES \nAND\nDESKS\n\u002F\nTABLES \nET\nBUREAUX\nTAVOLI \nE \nSCRIVANIE\n17\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.11.png","DOGE\nDESIGN CARLO SCARPA 1968\nULTRARAZIONALE COLLECTION\nTavolo con struttura in metallo trafilato collegata per mezzo di viti \nbrunite a vista. Inserti distanziatori in ottone. Piano in vetro float.\nSimon inizia la propria attività produttiva nel 1968 con questo tavolo: \nil primo segno tangibile dell’operazione “Ultrarazionale”, nata con \nl’intenzione precisa di superare con rigorosa coerenza i limiti del \nrazionalismo, ormai ridotto soltanto a fenomeno di maniera in cui \npersistevano tendenze di recupero e rielaborazione di un movimento \nstoricamente e poeticamente esaurito.\nTable with drawn metal frame held together with visible burnished \nscrews. Decorative brass inserts. Float glass table top.\nIn 1968 this was the first piece manufactured by Simon: the first solid \npiece in the “Ultrarazionale” collection, which came into being with \nthe aim of breaking away from the strict limits of Rationalism, which \nby now had become nothing more than a mannered phenomenon \nstill rehashing the same tired trends of a movement past its prime \nboth in historical and poetical terms.\nTable avec structure en métal tréfilé tenue par des vis polies visibles. \nInserts de cuivre décoratifs. Plateau en verre flotté.\nCette première pièce fabriquée par Simon en 1968 marqua le réel \nlancement de la collection “Ultrarazionale”, une collection née de \nl’intention de dépasser le cadre strict du rationalisme, devenu un \nsimple phénomène maniéré réutilisant sans cesse les tendances d’un \nmouvement obsolète du point de vue historique et poétique.\n72  28.3”\n \n \n110  43.3”\n102  40.2”\n102  40.2”\n220  86.6”\nDoge 220\n260  102.4”\nDoge 260\n306  120.5”\nDoge 306\n \n \n102  40.2”\n102  40.2”\n346  136.2”\nDoge 346\n432  170.1”\nDoge 432\n18\n19\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.12.png","DOGE\n20\n21\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.13.png","DOGE\n22\n23\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.14.png","DESIGN CARLO SCARPA 1974 \nULTRARAZIONALE COLLECTION\nTavolo con struttura in metallo trafilato satinato protetta con vernice \ntrasparente e collegata per mezzo di viti brunite a vista. Piano in \nvetro float in appoggio. \nIn alternativa al piano originale di forma ottagonale è stata aggiunta \nnel 2009 una versione definita “Elistella”, disegnata da Tobia Scarpa, \nla cui forma rotondeggiante di tipo ovale è ricavata sulla base della \nspirale di Bernoulli (spira mirabilis). Sarpi è disponibile anche con il piano \nrettangolare, quadrato o rotondo.\nTable with drawn brushed metal frame lacquered over with protective \ntransparent gloss and held together with visible burnished screws. \nA float glass top rests over the base. \nAs an alternative to the original model with an octagonal glass top, a \nnew version named “Elistella”, designed by Tobia Scarpa in 2009, has \nbeen added with a rounded oval table top which follows Bernoulli’s \nspiral (spira mirabilis). Sarpi is also available with a rectangular, square \nor round top.\nTable dont la structure en métal tréfilé brossé, recouverte d’un vernis de \nprotection brillant et transparent, est tenue par des vis polies visibles. \nUn plateau en verre flotté repose sur la structure.\nUne alternative au plateau original, avec la forme octagonale, a été ajoutée \nen 2009, c’est una version appellée “Elistella”, conçue par Tobia Scarpa. \nDont la forme arrondie ovale est inspirée de la spirale de Bernoulli (spira \nmirabilis). Sarpi est aussi diponible avec le plateau rectangulaire, carré ou \nrond.\nSARPI\n200  78”\nSarpi 200 tondo\n 72  28.3”\n133  52.4”\n213  83.9”\nSarpi ottagonale\n163  64.2”\n213  83.9”\nSarpi elistella\n110  43.3”\n220  86.6”\nSarpi 220\n150  59”\n150  59”\nSarpi 150\n200  78”\n200  78”\nSarpi 200\n24\n25\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.15.png","SARPI\n27\n26\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.16.png","SARPI\n29\n28\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.17.png","DELFI\nDESIGN MARCEL BREUER & CARLO SCARPA 1969 \nULTRARAZIONALE COLLECTION\nIl tavolo è composto da due basi monolitiche in marmo di Carrara bianco \ngioia, in marmo nero o in pietra di Vicenza bianca. Il piano è in marmo, in \npietra, oppure in vetro float. Il piano è fissato alle basi con boccole in ottone \ne perni in nylon.\nDelfi è un ridisegno di un modello di tavolo razionalista degli anni ‘30 \nprogettato da Marcel Breuer, su cui Carlo Scarpa nel 1968 apportò alcune \nvariazioni condivise con lo stesso Breuer. Un’ulteriore evoluzione del tavolo \nDelfi con piano di cristallo è stata realizzata nel 2009 su disegno di Tobia \nScarpa.\nTwo monolithic bases in white Carrara gioia marble, in black marble or \nwhite Vicenza stone. Top in marble, stone or float glass held in place by \nbrass axle boxes and nylon supports.\nDelfi is the revision of a 1930’s Rationalist table by Marcel Breuer, which \nCarlo Scarpa worked on in 1968 changing it with the help of Breuer \nhimself. A further evolution of the Delfi table with a crystal top, was \ndesigned in 2009 by Tobia Scarpa.\nDeux socles monolithiques en marbre blanc de Carrara gioia, en marbre \nnoir ou en pierre blanche de Vicenza. Plateau en marbre, en pierre ou en \nverre flotté maintenu par des bases en cuivre et des supports en nylon.\nDelfi est une création réalisée à partir du modèle rationaliste de Marcel \nBreuer datant de 1930, sur lequel Carlo Scarpa travailla en 1968 en \ncollaboration avec Marcel Breuer lui-même. Une autre variante de la table \nDelfi avec plateau en cristal, a été réalisée en 2009 par Tobia Scarpa.\n \n74  29.1”\n \n \n220  86.7”\n90  35.4”\n30\n31\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.18.png","DELFI\n102  40.2”\n306  120.5”\nDelfi 306\n163  64.2”\n213  83.9”\nDelfi vetro \u002F elistella\n \n74  29.1”\nDelfi vetro \u002F glass\n110  43.3”\n220  86.6”\nDelfi 220\n \n102  40.2”\n260  102.4”\nDelfi 260\n32\n33\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.19.png","VALMARANA\nDESIGN CARLO SCARPA 1971\u002F1972 \nULTRARAZIONALE COLLECTION\nStruttura e piano impiallacciati in frassino; pertica e giunzioni ad \nincastro in legno massello. Finitura acrilica opaca a poro semi-aperto.\nUn tavolo dall’indiscutibile solidità ed essenzialità.\nStructure and top available in ashwood; solid wood circular section and \njoints. Semi-open pore acrylic matt finish.\nSolid reliable table you can count on to look good wherever you put it.\nStructures et plateaux disponibles en bois de frêne; charnières et \nchâssis massifs en bois de section circulaire.\nFinition acrylique mate à pores semi-ouverts.\nTable massive et fiable qui saura habiller votre intérieur, où qu’elle soit.\n77  30.3”\n73  28.7”\n250  98.4”\n34\n35\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.20.png","VALMARANA\n37\n36\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.21.png","ORSEOLO\nDESIGN CARLO SCARPA 1972\u002F1973 \nULTRARAZIONALE COLLECTION\nTavolo, verniciato poliestere con finitura lucida specchiata o opaca, \nrealizzato per assemblaggio di pannelli geometrici elementari a forte \nspessore con giunzioni in fusione di alluminio satinato.\nUn capolavoro assoluto, un insuperato modello di bellezza formale \nche nasce da una grande intuizione di Carlo Scarpa.\nPolyester lacquered table available with gloss or matt finish, made \njoining thick geometrically shaped panels together with extruded \nbrushed aluminium.\nA true work of art, its classic formal beauty highlights Carlo Scarpa’s \nstrong feel for design.\nTable laquée disponible en version brillante ou mate, composée \nd’épais plateaux de forme géométrique joints avec de l’aluminium \nbrossé extrudé.\nUne véritable œuvre d’art, dont la beauté formelle, classique, \nmet en avant la passion de Carlo Scarpa pour le design.\n73  28.7”\n77  30.3”\n241  94.9”\nOrseolo 241\n \n92  36.2”\n240  94.9”\nOrseolo 240\n \n92  36.2”\n280  110.2”\nOrseolo 280\n38\n39\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.22.png","ORSEOLO\n40\n41\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.23.png","SANSOVINO\nDESIGN CARLO SCARPA 1972-1998\nLa base è composta da pannelli assemblati rifiniti con bordo frontale \na sezione semicircolare. Il piano è realizzato per accoppiamento di \ndue spicchi sagomati e può essere bicolore o monocromatico, con un \ninserto in metallo a rimarcarne la suddivisione.\nTavolo tratto da una serie di disegni di Carlo Scarpa del 1972. È interamente \nverniciato a poliestere con finitura lucida specchiante o opaca.\nBase composed by elements finished with semi-circular front edge. \nThe surface has been designed for coupling of the two shaped pieces \nand can be bicolour or one colour, with metal inserts to mark the \ndivision.\nTable inspired by a series of Carlo Scarpa’s designs dated 1972. Entirely \npolyester lacquered with gloss or matt finish.\nLa structure est composée de panneaux assemblés avec un bord de \nsection semi-circulaire. Le plateau est construit avec l’union de deux \nsecteurs façonnés et peut être en couleur ou monochrome, avec un \ninsert métallique à souligner la subdivision.\nTable inspirée par une série de Carlo Scarpa datant de 1972. Table \nentièrement laquée, disponible en version brillante ou mate.\n180  70.9”\n73  28.7”\n132  52”\n43\n42\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.24.png","ANTELLA\nDESIGN KAZUHIDE TAKAHAMA 1975\nConsolle verniciata poliestere con finitura lucida specchiante o opaca. \nStruttura e piani con bordo frontale a sezione semicircolare composta \nda elementi incernierati, bloccati tra loro per mezzo di un magnete, \ne da due piani semiellittici.\n… in caso di necessità si trasforma in un comodo ed ampio tavolo. \nPolyester lacquered table available with gloss or matt finish. Frame \nand top with rounded front edge made of two hinged elements held \ntogether by a magnet, and the two halves of the elliptical table top \npanels.\n… whenever you need to this opens out into a handy full sized table. \nTable laquée disponible en version brillante ou mate. Socle et \nplateau aux bords arrondis, composés de deux éléments à charnière \nmaintenus par un aimant ; une fois rassemblées, les deux parties du \nplateau ont une forme elliptique.\n… Se transforme en une table ronde très pratique en un clin d’œil.\n169  66.5”\n72  28.3”\n63  24.8”\n122  48”\n44\n45\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.25.png","LOOP\nDESIGN KAZUHIDE TAKAHAMA 1977\nStruttura composta da elementi verniciati poliestere con finitura lucida \nspecchiante o opaca, con giunzione piano-fianchi realizzata con taglio \na 45°. La superficie d’uso del piano è rivestita in pelle.\nLoop, icona storica della scrivania per uffici direzionali.\nPolyester lacquered base and frame available with gloss or matt \nfinish, with 45° angle joining sides to top. Leather covered table \ntop.\nLoop, historical icon for desks for executive offices.\nLa base et le cadre de la structure laquée sont disponibles en version \nbrillante ou mate; les bords latéraux forment un angle de 45° avec le \nplateau. Plateau recouvert de cuir.\nLe modèle Loop est une icone des bureaux de dirigeants.\nLoop 214\n74  29.1”\nLoop 178\n74  29.1”\n66  26”\n64  25.2”\n58,5  23”\nOrseolo cassettiera\n \n82  32.3”\n178  70.1”\n82  32.3”\n214  84.2”\n46\n47\n",25,{"image":114,"text":19,"number":115},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.26.png",26,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.27.png","CHAIRS \nAND \nSMALL ARMCHAIRS\n\u002F\nCHAISES \nET \nPETITS FAUTEUILS\nSEDIE\nE \nPOLTRONE\n49\n",27,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.28.png","Chaise empilable avec barres en acier plaqué soudées par résistance \net chromées. Housses entièrement amovibles, disponibles en tissu ou \nen cuir.\nC’est l’une des premières chaises fabriquées à partir de barres en \nacier, une révolution par rapport aux tubes en métal brossé. L’utilisation \nde barres en acier a permis de façonner des courbes plus serrées et \nde concevoir des structures d’un seul tenant, puisqu’il était possible de \nsouder les barres à divers endroits.\nTULU LG\nDESIGN KAZUHIDE TAKAHAMA 1968 \nSedia impilabile con struttura in tondino metallico piegato, elettrosaldato \na induzione e cromato. Rivestimento in tessuto o pelle. Completamente \nsfoderabile.\nUno dei primissimi modelli che hanno aperto la strada all’uso del tondino. \nUn’evoluzione rispetto alla piegatura del tubo. Il tondino permette una \ncurva strettissima e l’uso di saldatrici automatiche multiple che possono \nrealizzare le strutture in un solo colpo.\nStackable armchair with resistance welded chrome plated steel bar \nframe. Fully removable covers available in fabric or leather.\nOne of the first chairs to begin using steel bars. This was a revolutionary \nstep up from bent metal tubes. The use of steel bars made it possible \nto tighten the curves and could also be welded in more than one place \nso that the frames could be made in one single sitting.\n77  30.3”\n46  18.1”\n51.5  20.3”\n51  20.1”\n50\n51\n",28,{"image":125,"text":126,"number":127},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.29.png","Chaise empilable avec barres en acier plaqué soudées par résistance \net chromées. Housses entièrement amovibles, disponibles en tissu et \nvéritable cuir. Également disponible avec des accoudoirs en bois d’Iroko \nteinté de couleur sombre et recouvert d’une finition acrylique mate.\nJANO LG\nDESIGN KAZUHIDE TAKAHAMA 1969 \nSedia impilabile con struttura in tondino metallico piegato, elettrosalda-\nto a induzione e cromato. Rivestimento in tessuto o vera pelle. Comple-\ntamente sfoderabile. Disponibile anche con braccioli in legno massello \ntinto iroko scuro. Finitura acrilica opaca.\nStackable chair with resistance welded chrome plated steel bar \nframe. Fully removable covers available in fabric or real leather. \nAlso available with dark stained solid iroko wood arms with acrylic \nmatt finish.\n81  31.8”\n81  31.8”\n48  18.9”\n48  18.9”\n64  25.2”\n62  24.4”\n54  21.3”\n54  21.3”\nJano Lg\nJano Lg Br\n52\n53\n",29,{"image":129,"text":130,"number":131},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.30.png","Chaise avec barres en acier plaqué soudées par \nrésistance et chromées. Housses entièrement amovibles, \ndisponibles en tissu ou en véritable cuir. \nInspirée du modèle Jano. Siège confortable au châssis \nultra léger et à l’allure aérienne avec ses accoudoirs \ntapissés.\nLJIN LG\nDESIGN KAZUHIDE TAKAHAMA 1971 \nSedia con struttura in tondino metallico piegato, elettrosaldato \na induzione e cromato. Rivestimento in tessuto o vera pelle. \nCompletamente sfoderabile. \nConcepita sulla stessa seduta della Jano. Risolta con braccioli \ncompletamente imbottiti per dare un’immagine “alata” a questa \ncomoda poltroncina dai piedi aerei.\nChair with resistance welded chrome plated steel bar frame. \nFully removable covers available in fabric or real leather. \nBased on the same idea as the Jano chair. Finished off with fully \nupholstered armrests to give a winged look to this comfortable \narmchair with extra light feet.\n \n \n81  31.8”\n48  18.9”\n64  25.2”\n54  21.3”\n54\n55\n",30,{"image":133,"text":134,"number":135},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.31.png","Chaise avec barres en acier plaqué soudées par résistance et \nchromées, housse amovible, disponible avec dossier en mousse ou \nen version tabouret.\nLégère et empilable. Élément de la collection de chaises avec barres en \nacier. Conçue à l’origine pour un petit restaurant, cette chaise connut \nun tel succès qu’elle fut intégrée à la collection Simon. Disponible avec \nou sans dossier molletonné, et en version chaise haute.\nGAJA\u002FGAJA BAR\nDESIGN KAZUHIDE TAKAHAMA 1974 \nSedia in tondino d’acciaio elettrosaldato a induzione e cromato e \nsfoderabile. Disponibile nella versione con inserto schienale imbottito in \nresina espansa tappezzata oppure nella versione sgabello.\nLeggera, aerea, impilabile. Della famiglia di sedie realizzate in tondino \nd’acciaio. Nata per un piccolo ristorante e riuscita così bene da essere \ninserita nella collezione Simon. Aperta o con il piccolo schienale imbot-\ntito, in versione più alta per il bar.\nChair with resistance welded chrome plated steel bar frame and \nremovable cover, available with upholstered foam resin backrest, or \nas a stool.\nLight, stackable. Part of a collection steel bar framed chairs. Originally \nmade for a small restaurant this chair was so successful that it was \nadded to the Simon collection. With or without padded backrest, or in a \nhigh bar stool version.\n67  26.4”\n46  18.1”\n51  20.1”\n44  17.3”\nGaja\n67  26.4”\n46  18.1”\n51  20.1”\n44  17.3”\nGaja S\n64  25.2”\n51  20.1”\n44  17.3”\n85  33.5”\nGaja Bar\n64  25.2”\n51  20.1”\n44  17.3”\n85  33.5”\nGaja Bar S\n56\n57\n",31,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.32.png","Chaise pliable en ardoise avec assise et dossier incurvés en chêne \nmassif lustré.\nLe modèle Tomasa est un superbe exemple d’adaptation discrète \nmais efficace: seule l’incurvation a été modifiée et le nombre de lattes \nréduit. Cette création démontre que redessiner des pièces du passé \nse justifie dès lors que ces pièces peuvent devenir des produits \nindustrialisés.\nTOMASA\nDESIGN IGNOTO \u002F ANONYMOUS 1983 \nHOMAGE TO PAOLO UCCELLO\nSedia pieghevole con schienale e seduta in listelli di rovere massello \ncurvato. Finitura a cera.\nLa sedia Tomasa è un preciso esempio di ridisegno, un modello \nappena modificato nelle curvature e ridotto nel numero degli elementi \nlignei. Si tratta, inoltre, di un perfetto esempio di come, ancora oggi \nsia possibile produrre modelli appartenenti ad altre epoche, alla \ncondizione che siano industrializzabili.\nSlatted folding chair with solid curved beeswax oak seat \nand back.\nThe Tomasa chair is a clear example of re-design that works, this \nmodel has been only slightly modified by changing its curves and \nreducing the number of slats. It exemplifies how the re-styling of \npieces from the past can be justified where these can be brought \nto life using industrial manufacturing processes. \n85  33.5”\n32.5  12.8”\n54  21.3”\n12.5  4.9”\n32.5  12.8”\n58\n59\n",32,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.33.png","ERACLEA\nDESIGN GIAMPIERO PISTACCHI 2007\nChaise confortable, recouverte d’une housse facilement amovible avec \nfermeture éclair et Velcro, disponible en cuir ou en tissu. Châssis à \nbase carrée en métal tréfilé avec barres en acier plaqué soudées par \nrésistance et chromées.\nComoda sedia imbottita con rivestimento in tessuto o vera pelle, \nfacilmente sfoderabile a zip e velcro. La base è in trafilato metallico e \nla struttura interna in tondino elettrosaldato a induzione e cromato.\nComfortable upholstered chair available with easily removable zip and \nVelcro fastened cover in leather or fabric. Base with square section in \ndrawn metal, inner frame with resistance welded chrome plated steel bar. \n \n97  38.2”\n47  18.5”\n46  18.1”\n52  20.5”\n60\n61\n",33,{"image":145,"text":146,"number":147},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.34.png","KAZUKI\nDESIGN KAZUHIDE TAKAHAMA 1969\nChaise laquée disponible en version brillante ou mate, avec assise en \nfeutre.\nSuperbe exemple de chaise rationaliste, avec la touche brillante de la \nfinition laquée utilisée ici pour la première fois pour ce modèle moderne \net industrialisé.\nStruttura verniciata poliestere con finitura lucida a specchio o opaca, \ncon copertura sedile in feltro bianco.\nUno stupendo esempio di assoluto razionalismo, con in più \nl’applicazione della lacca lucida, usata per la prima volta in un mobile \nmoderno di serie.\nPolyester lacquered chair frame available in gloss or matt finish, \nseat cover in white felt.\nA great example of a totally Rationalist chair with just the addition \nof a gloss lacquer finish, which was used for the first time in this \nindustrially manufactured modern version of the chair.\n107  42.1”\n46  18.1”\n43,5  17.2”\n47  18.5”\n45  17.7”\n45  17.7”\n62\n63\n",34,{"image":149,"text":19,"number":150},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.35.png",35,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.36.png","FURNITURE\n\u002F\nMEUBLES\nMOBILI\n65\n",36,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.37.png","La partie centrale de cette armoire modulaire est encadrée par \ndeux blocs biseautés; la laque polyester colorée utilisée pour la \nfinition est disponible en version brillante ou mate.\nDe fortes influences classiques sous-tendent cet ensemble de \nstyle moderne, dont la conception met en valeur l’effet laqué de la \nfinition. Comme tous les grands classiques, il est fait pour durer. \nContrairement aux autres meubles, cette armoire laquée trouve sa \nplace dans toute maison, même aux côtés d’antiquités.\nBRAMANTE\nDESIGN KAZUHIDE TAKAHAMA 1974\u002F1975 \nMobile formato da elementi centrali ed elementi angolari \ncomponibili verniciati poliestere con finitura lucida specchiante \no opaca.\nUn mobile modernissimo, dai riferimenti classici, studiato per dare \nmassimo risalto alla lacca. Come tutti i grandi classici è destinato \na rimanere nel tempo. Il mobile laccato, più di ogni altro, \nsi accorda perfettamente con l’antico.\nTwo angled units flank the central section of this modular cupboard \nunit, its bright polyester lacquer finish comes in gloss or matt \nversions.\nThis stylish modern unit has strong classic overtones, and has been \ndesigned to make the most of its bright lacquer finish. Like all great \nclassics it has been built to last. Unlike other pieces of furniture, this \nlacquered cupboard, looks right at home even when placed side by \nside with antiques.\nBramante 3\n167  65.7”\n132  52”\n167  65.7”\n44  17.3”\n126  49.6”\n \n66\n67\n",37,{"image":160,"text":161,"number":162},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.38.png","BRAMANTE\nBramante 2\n100  39.4”\n132  52”\n100  39.4”\n59  23.1”\n44  17.3”\nBramante 4\n234  92.1”\n  \n132  52”\n234  92.1”\n193  76”\n44  17.3”\nBramante 88\nBramantino\nBramantino 3\nBramantino 4\n234  92.1”\n88.5  34.8”\n234  92.1”\n193  76.1”\n44  17.3”\n100  39.4”\n88,5  34.8”\n100  39.4”\n59  23.1”\n44  17.3”\n167  65.7”\n88,5  34.8”\n167  65.7”\n126  49.6”\n44  17.3”\n88,5  34.8”\n193  76”\n44  17.3”\n234  92.1”\n68\n69\n",38,{"image":164,"text":165,"number":166},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.39.png","Structure modulaire empilable avec finition à la laque polyester, \ndisponible en version brillante ou mate. Disponible dans plusieurs \ntailles, en version ouverte, avec des portes, avec deux ou trois tiroirs.\nDECO\nDESIGN HIROYUKI TSUGAWA 1971 \nIl mobile è componibile e sovrapponibile ed è verniciato a poliestere \ncon finitura lucida specchiante o opaca. Disponibile in diverse \ndimensioni, nelle versioni a giorno, con ante, con due o tre cassetti.\nStackable modular unit with polyester lacquer finish available in gloss \nor matt versions. Comes in different sizes, in open versions, with \ndoors, with two or three drawers.\n \n  \n108  42.5”\n108  42.5”\n432  170”\n432  170”\n55  21.6”\n55  21.6”\n55  21.6”\n101  39.8”\n55  21.6”\n101  39.8”\n55  21.6”\n108  42.5”\n108  42.5”\n108  42.5”\n162  63.8”\n270  106.3”\n70\n71\n",39,{"image":168,"text":169,"number":170},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.40.png","DECO\nDESIGN HIROYUKI TSUGAWA 2011 \nCollezione di contenitori notte verniciati poliestere con finitura lucida \nspecchiante o opaca. La maniglia è ricavata sul bordo longitudinale \ndel frontale cassetto. \nCollection of storage units with polyester lacquer finish available in \ngloss or matt versions. Machined handle on longitudinal edge drawer \nfront’s.\nCollection de casiers vernis en polyester avec finition brillante effet \nmiroir ou bien mate. La poignée se trouve sur l’avant longitudinal du \ntiroir.\n54  21.2”\n44  17.3”\n42  16.5”\n \n  \n  \n77  30.3”\n77  30.3”\n123  48.4”\n42  16.5”\n42  16.5”\n123  48.4”\n130  51.2”\n55  21.6”\n78  30.7”\n73\n72\n",40,{"image":172,"text":173,"number":174},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.41.png","RIALTO\nDESIGN CARLO SCARPA* 1974 \nQuesto modello fu realizzato inizialmente da Carlo Scarpa negli \nanni ’70 per la sua casa e successivamente ridisegnato per Gavina, \nrendendolo compatibile con la produzione seriale.\nElementi componibili mediante un distanziatore, impiallacciati in frassino \noppure interamente laccati opachi.\nDisponibili in due profondità:\n- 22 cm. (8.7”) a giorno, corredati di blocco centrale e di 2 cassetti \nverniciati in finitura opaca.\n- 33 cm. (13”) in tre versioni : a giorno, semiaperti o completi di ante (in \nfrassino, in laccato opaco o in cristallo trasparente temprato).\n*Rialto CH: versione con ante realizzata con la collaborazione di Carlo \nBagnoli.\nCarlo Scarpa designed this in the 70’s for his own house, it was \nlater re-designed by Gavina to make it more suitable for industrial \nproduction.\nModular shelf system with units that link using spacer insert, available in \nashwood or painted matt finish.\nAvailable in two depths:\n- 22 cm. (8.7”) open, with central block and 2 lacquered drawers in matt \nfinish.\n- 33 cm. (13”) in three versions: open, semiopened version or complete \nwith doors (in ashwood, matt lacquered or in transparent tempered \nglass).\n*Rialto CH:  version with doors designed in collaboration with Carlo \nBagnoli.\nConçu dans les années 1970 par Carlo Scarpa pour sa maison, ce \nmodèle fut ensuite retravaillé par Gavina en vue d’une production à \nl’échelle industrielle.\nBibliothèque modulaire composée de plusieurs blocs reliés entre eux par \nune traverse, disponible en bois de frêne ou bien entièrement laqué mat.\nDisponibles en deux profondeurs:\n- 22 cm. (8.7”) à jour, dotés de bloc central et deux tiroirs vernis en \nfinition mate.\n- 33 cm. (13”) en trois versions: à jour, semi-ouverts ou bien \ncomplètement fermés avec des portes (en frêne, en laqué mat ou bien \nen verre transparent trempé).\n*Rialto CH: version avec portes réalisée  en collaboration avec Carlo \nBagnoli.\n55  21.6”\n55  21.6”\n249  98”\n22  8.7”\n4  1.6””\n40  15.7”\n22  8.7”\n249  98”\n232  91.3”\n232  91.3”\n4  1.6”\n249  98”\n22  8.7”\n114  44.9”\n114  44.9”\nRialto 22 AP\n55  21.6”\n33  13”\n249  98”\n55  21.6”\nRialto 33 AP\u002FCH\n75\n74\n",41,{"image":176,"text":177,"number":178},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.42.png","77\n76\n",42,{"image":180,"text":181,"number":182},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.43.png","COFFEE TABLES\nSIDE TABLES\n\u002F\nPETITES TABLES\nTAVOLINI\n79\n",43,{"image":184,"text":185,"number":186},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.44.png","TRACCIA\nDESIGN MERET OPPENHEIM 1939\u002F1972\nULTRAMOBILE COLLECTION\nTavolo con gambe in fusione di bronzo lucidato e con piano ellittico \nin multistrati rivestito di foglia d’oro zecchino 24 carati sulla superficie \nsuperiore. Produzione in serie dell’opera surrealista del 1939.\nTable with polished cast bronze bird’s legs with finish on upper side \nof plywood table top in 24 carat gold leaf. Serial production of the \noriginal 1939 Surrealist model.\nPied de table en bronze moulé en forme de pattes d’oiseau; plateau en \ncontreplaqué recouvert d’une feuille d’or 24 carats. Production en série \ndu modèle surréaliste original datant de 1939.\n68  26.8”\n65  25.6”\n53  20.9”\n68  26.8”\n81\n80\n",44,{"image":188,"text":189,"number":190},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.45.png","FLORIAN\nTavolo basso con struttura in metallo trafilato satinato protetta con \nvernice trasparente e collegata per mezzo di viti brunite a vista. Piano \nin vetro float in appoggio.\nCoffee table with drawn brushed metal frame lacquered over with \nprotective transparent gloss and held together with visible burnished \nscrews. A float glass top rests over the base.\nTable basse dont la structure en métal tréfilé brossé, recouverte d’un \nvernis de protection brillant et transparent, est tenue par des vis \npolies visibles. Un plateau en verre flotté repose sur la structure.\nCONSTANTIN\n1971 HOMAGE TO CONSTANTIN BRANCUSI \nULTRAMOBILE COLLECTION\nTavolino realizzato con una base in legno massiccio di rovere, finitura \na cera. Piano circolare in lamina di ottone: due elementi realizzabili in \nserie che riconducono all’universo del lavoro di Brancusi.\nTable with base in solid waxed oak. Round sheet brass table top.\nPaying tribute to the work of Brancusi two elements which could be \nmanufactured industrially have been put together to create this piece.\nSocle en chêne massif lustré. Plateau circulaire en cuivre. \nCes deux éléments, qu’il est possible produire en série, ont été réunis \npour rendre hommage à l’univers de Brancusi.\nDESIGN CARLO SCARPA 1973\nULTRARAZIONALE COLLECTION\n48  18.9”\n59  23.2”\n155  61”\n44  17.3”\n114  44.9”\n114  44.9”\n155  61”\nFlorian rettangolare\n114  44.9”\n150  59”\nFlorian elistella\n120  47.2”\n120  47.2”\nFlorian rotondo\n82\n83\n",45,{"image":192,"text":193,"number":194},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.46.png","DJUNA\nDESIGN KAZUHIDE TAKAHAMA 1983\nQuesto piccolo tavolo è dedicato, per il suo equilibrio, \nla sua “gentilezza” e la sua eleganza alle delicate pagine della scrittrice \nDjuna Barnes.\nWith its poised “polite” and delicate look this coffee table \nis dedicated to the pages of the writer Djuna Barnes.\nPar sa “droiture”, sa délicatesse et son élégance, \ncette table basse est dédiée à la romancière Djuna Barnes.\nTavolino con struttura in tondino d’acciaio piegato e cromato, \ndisponibile con piano ellittico in marmo nero oppure con piano \nverniciato poliestere con finitura lucida specchiante oppure opaca.\nTable with bent resistance welded chrome plated steel bar frame \navailable with elliptical table top in either black marble or with matt or \ngloss polyester lacquer finish.\nTable avec barres en acier plaqué incurvées soudées par résistance \net chromées; plateau elliptique disponible en marbre noir ou version \nlaquée brillante.\nMARCEL T\nDESIGN KAZUHIDE TAKAHAMA 1974\nTrittico di tavolini sovrapponibili in tondino d’acciaio cromato, disponibili \ncon piani in vetro float trasparente o sabbiato oppure con piani verniciati \npoliestere con finitura lucida specchiante oppure opaca.\nThree nesting tables with bent resistance welded chrome plated steel \nbar frames, table tops available in transparent or sandblasted float \nglass or come with gloss or matt polyester lacquered finish.\nTrois tables empilables avec barres en acier plaqué incurvées soudées \npar résistance et chromées, et plateau en verre flotté sablé ou \ntransparen; disponible en version brillante ou mate.\n45  17.7”\n48  18.9”\n58  22.8”\n43  16.9”\n37  14.6”\n31  12.2”\n43  16.9”\n46  18.1”\n43  16.9”\n43  16.9”\n43  16.9”\n40  15.7”\n84\n85\n",46,{"image":196,"text":197,"number":198},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.47.png","MIRRORS\n\u002F\nMIROIRS\nSPECCHI\n87\n",47,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.48.png","LES GRANDS TRANS-PARENTS\nDESIGN MAN RAY 1938\u002F1971\nULTRAMOBILE COLLECTION\nSpecchio ellittico serigrafato con supporto in poliuretano rigido. \nproduzione in serie dell’opera originale di Man Ray del 1938: un \ngioco di parole scritto su uno specchio più grande.\nSilk-screened elliptical mirror with hard polyurethane backing.\nSerial production of the original piece of art by Man Ray from \n1938. A play on words written on a larger mirror.\nMiroir elliptique en écran de soie avec revers en polyuréthane \nrigide. Production en serie de l’œuvre originale de Man Ray du \n1938: un “calembour” ecrit sur un miroir de plus grande taille.\nLE MIROIR “S”\nDESIGN MAN RAY\nULTRAMOBILE COLLECTION\nSpecchio che riprende la forma ellittica di Les Grands Transparents, \nriproducendo la “S” di Simon come era stata disegnata da Man Ray. \nÈ rifinito a filo lucido, serigrafato con un supporto in poliuretano rigido. \nMirror that takes the elliptical shape of Les Grands Transparents, \nreproducing the “S” of Simon as it was designed by Man Ray. It is \nfinished with serigraph bright wire with hard polyurethane backing.\nMiroir reprenant la forme elliptique du modèle « Les Grands \nTransparents », avec un « S » reproduit à la manière de Man Ray. \nRevers en polyuréthane rigide et finition brillante en \nfil sérigraphié.\n181  71.3”\n91  35.8”\n91  35.8”\n4  1.6”\n181  71.3”\n91  35.8”\n91  35.8”\n4  1.6”\n88\n89\n",48,{"image":204,"text":205,"number":206},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.49.png","ISEO\nDESIGN HIROYUKI TOYODA 1982\nSpecchio ellittico in due parti applicato su supporto in ABS con parte \nsuperiore inclinata per regalare un diverso punto di vista. Disponibile in \ndue dimensioni.\nElliptical mirror divided into two parts resting on ABS stand with tilt-top \nfeature allowing for regulated viewpoint. Available in two sizes.\nMiroir elliptique divisé en deux parties soutenues par un support en \nplastique ABS, avec volet inclinable offrant divers angles de vue. \nDeux tailles disponibles.\nOTERO\nDESIGN STUDIO SIMON 1980\nSpecchio molato su un lato verticale. Supporto verniciato poliestere \ncon finitura lucida specchiante. Simula una feritoria, un taglio di luce \nnel muro. Un lungo rettangolo che riflette ciò che ci circonda.\nMirror with bevelled edge along vertical side, with matt or gloss \npolyester lacquered stand. Like an arrow-loop letting light peep \nthrough the wall. This elongated rectangle reflects back all that \nsurrounds it.\nMiroir aux bords verticaux, avec support laqué brillant ou mat. \nCe miroir longiligne reflète tout ce qui l’entoure.\nIseo 76\n64  25.2”\n75,5  29.7”\n7  2.7”\nIseo 101\n100,5  39.6”\n9  3.5”\n76  29.9”\n19  7.5”\n4  1.6”\n180  70.9”\n90\n91\n",49,{"image":208,"text":209,"number":210},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.50.png","BEDS\n\u002F\nLITS\nLETTI\n93\n",50,{"image":212,"text":213,"number":214},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.51.png","VANESSA\nDESIGN TOBIA SCARPA 1959\u002F2005\nStruttura, pediera e testiera in metallo verniciato. \nDisponibile in versione singola e matrimoniale, nel colore rosso cina, \noppure in bianco, o in nero.\nLacquered metal frame, headboard and foot rest. \nAvailable in single and double version, in the colours China red, white \nor black.\nStructure, tête de lit et repose-pieds en métal laqué. \nDisponible en version simple et double, dans les couleurs rouge de \nChine, blanc ou noir.\n  \n \n \n  \n60  23.6”\n180  70.9”\n70  27.5”\n100  39.4”\n70  27.5”\n210  82.7”\n210  82.7”\n94\n95\n",51,{"image":216,"text":217,"number":218},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.52.png","Sarpi \nDoge\nULTRAMOBILE\nLes grands trans-Parents\nLe Miroir “S”\nTraccia\nConstantin\nULTRARAZIONALE\nDelfi\nOrseolo\nValmarana\nFlorian\n",52,{"image":220,"text":221,"number":222},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.53.png","DE-\nSI-\nGNE-\nRS\nI\n",53,{"image":224,"text":225,"number":226},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.54.png","CARLO SCARPA\n\u002F\nKAZUHIDE TAKAHAMA\n\u002F\nTOBIA SCARPA\n\u002F\nMAN RAY\n\u002F\nMERET OPPENHEIM\nDalle architetture ai vetri, dai progetti di design agli allestimenti museali, \nl’opera di Carlo Scarpa si distingue sempre per l’inconfondibile tratto con cui \nriesce a coniugare l’amore per i materiali, l’attenzione al dettaglio e la sapiente \nelaborazione delle poetiche wrightiane e organiche. Architetto, progettista, \nartista, Scarpa lascia l’Accademia d’Arte di Venezia nel 1926 e inizia l’attività \ncome professionista, mantenendo contemporaneamente la frequentazione \ncon le botteghe artigiane e con i maestri vetrai veneziani. Per venti anni, fino \noltre la metà degli anni quaranta, riceve numerosi incarichi per la progettazione \ndi edifici, per ristrutturazioni ed allestimenti.\nFrom architecture to works in glass, from design projects to preparing \nmuseum exhibitions, the work of Carlo Scarpa has always stood out in the \nunmistakable way in which it manages to bring together his love for materials, \nhis attention to detail and his masterly elaboration of organic and Wrightian \npoetics. Architect, designer and artist, Scarpa left the Venice Academy of \nArt in 1926 and began professional work, but continued to visit craftsmen’s’ \nworkshops and Venetian master glassworkers. For twenty years, right up \nuntil the second half of the Forties, he received numerous commissions to \ndesign, convert prepare buildings.\nDe l’architecture au travail du verre, en passant par le design et l’élaboration \nd’expositions, le travail de Carlo Scarpa s’est toujours démarqué par sa \ncapacité unique à allier amour des matériaux, sens du détail et recours savant \nà la poésie organique et de Wright. Architecte, designer et artiste, Scarpa \nquitta l’Académie des Beaux-arts de Venise en 1926 pour commencer sa \ncarrière professionnelle, mais continua à rendre visite à des artisans dans \nleurs ateliers et à des maîtres-vitriers vénitiens. Pendant vingt ans, jusqu’au \nmilieu des années 1940, de nombreux projets de design, de réhabilitation et \nd’aménagement de bâtiments lui furent confiés.\nCAR-\nLO \nSCAR-\nPA\nVENEZIA, \n1906 -\nSENDAI \nGIAPPONE, \n1978\nII\nIII\n",54,{"image":228,"text":229,"number":230},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.55.png","Opera nel campo dell’architettura e del design. Nel 1969 si laurea in architettura \nall’Università di Venezia e vince nello stesso anno il “Compasso d’Oro” con \nla Soriana poltrona disegnata per Cassina. Per il suo lavoro come designer \nriceve molti altri riconoscimenti. Inoltre alcuni suoi oggetti sono esposti nei \npiù importanti musei del mondo tra cui la sedia Libertà al Louvre di Parigi. \nNel campo dell’architettura, lavora con committenti pubblici e  privati come la \nBenetton group per la quale progetta l’intero complesso dell’area industriale \ndi Castrette di Villorba (Treviso). I progetti realizzati per Benetton sono a \ntutt’oggi considerati un paradigma estetico-funzionale ed un lavoro esemplare \ndi architettura industriale.\nArchitect and designer Tobia Scarpa graduated in 1969 at the University of \nVenice and in the same year won a “Compasso d’Oro” prize for his “Soriana” \narmchair designed for Cassina. He has since been awarded many other design \nprizes and many of his designs can also be found on show in some of the \nworld’s key museums, including his ‘Libertà’ chair on show at the Louvre. \nAs an architect he has worked for both public and private clients including \nthe Benetton Group for whom he famously designed the industrial area and \nproduction plants in Castrette di Villorba (Treviso). Even today, the Benetton \nfacilities are still held up as an example of aesthetic-functional excellence, one \nof the world’s most exciting pieces of industrial architec ture.\nArchitecte et designer, Tobia Scarpa obtint son diplôme de l’Université de \nVenise en 1969 et reçut la même année le prix “Compasso d’Oro” pour son \nfauteuil “Soriana” dessiné pour Cassina. Son travail fut par la suite récompensé \npar de multiples prix ; certains de ses créations sont exposées dans les plus \ngrands musées du monde, tel que le Louvre qui abrite la chaise “Libertà”. Il \ntravailla comme architecte pour des clients aussi bien publics que privés ; l’un \nde ses projets phares reste les usines de production du groupe Benetton à \nCastrette di Villorba, dans la région de Trévise. Aujourd’hui encore, les bâtiments \nBenetton incarnent l’esthétique fonctionnelle par excellence et constituent \nl’une des œuvres d’architecture industrielle les plus exaltantes au monde.\nKazuhide Takahama compie a Tokyo gli studi di architettura e inizia a lavorare \nnello studio di Kazuo Fuioka. Viene in Italia nel 1957 in occasione della \nTriennale di Milano e qui conosce Dino Gavina con cui collabora lungamente. \nIn contatto con i più attivi designers italiani, riprende in questo clima vivo di \nscambi culturali, a elaborare un suo lessico stilistico che diventerà sempre più \ndefinito. I mobili da lui progettati si distinguono per rigore, pulizia formale e un \nlinguaggio di poetica essenzialità nel quale si sovrappongono segni appartenenti \nalla cultura orientale, nella quale si è formato, e a quella occidentale, nella \nquale si è immerso.\nKazuhide Takahama completed his architectural studies in Tokyo and began \nworking in the studio of Kazuo Fujoka. When he came to Italy in 1957 for \nthe Milan Triennial, he met Dino Gavina and began to work with him. As he \ncame into contact with many of Italy’s most important designers, he began \nto elaborate his own stylistic lexicon in this lively climate of cultural exchange, \nthis then progressively defined itself over time. The furniture he designs stands \nout for its rigour and the clean lines of its forms, as well as having its own \nlanguage of poetic essentiality in which the signs from the Oriental Culture of \nhis original training blend with those of the Western Culture in which he has \nsince become immersed.\nAprès ses études d’architecte terminées à Tokyo, Kazuhide Takahama travailla \nau sein du cabinet de Kazuo Fujoka. Lors d’un voyage en Italie en 1957 à \nl’occasion de la Triennale de Milan, il rencontra Dino Gavina avec lequel il \ncommença à travailler. Au fur et à mesure de ses rencontres avec les plus \ngrands noms du design italien, il mit au point un style singulier, teinté de ce \nclimat interculturel et dynamique qui l’enveloppe, qu’il définira au fil des ans.\nLe mobilier de Kazuhide Takahama se distingue par sa rigueur et ses lignes \népurées, mais aussi par un langage poétique unique, inspiré de la culture \norientale dans laquelle il a été formé et de la culture occidentale dans laquelle \nil baigne.\nTOBIA \nSCAR-\nPA\nVENEZIA, \n1935\nKA-\nZUHI-\nDE \nTAKA-\nHAMA\nKYUSHU \nGIAPPONE, \n1930 - \nBOLOGNA, \n2010\nV\nIV\n",55,{"image":232,"text":233,"number":234},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.56.png","È un’artista dalla personalità complessa, dalla creatività libera e istintiva, \nversatile nell’applicazione delle diverse tecniche artistiche. In seguito ad \nun trasferimento a Parigi nel 1932 entra in diretto contatto con tutti i grandi \nmaestri del Surrealismo, quali Arp, Giacometti, Breton, Man Ray, Duchamp e \nMax Ernst, cui si lega anche sentimentalmente. Indubbia è l’influenza operata \ndal Movimento Surrealista nell’opera della Oppenheim, nonostante la quale \nl’artista si costruisce una propria realtà autonoma. Di questi anni è la sua opera \npiù famosa “Déjeuner en fourrure” (Colazione in pelliccia), che fu acquistata \nda Alfred H. Barr jr. per il MoMA di New York dalla galleria Charles Ratton. \nTornata a Parigi nel 1939 partecipò alla mostra sull’arredamento “fantastico” \ninsieme a Max Ernst e Leonor Fini; in quell’occasione presentò il celebre \ntavolo con le zampe di uccello.\nAn artist with a complex personality, a free and instinctive creativity, versatile \nin application of the various artistic techniques. After her move to Paris in \n1932, she gets in contact with all the great masters of surrealism, such as \nArp, Giacometti, Breton, Man Ray, Duchamp and Max Ernst who became \nher intimate companion. The surrealist movement had great influence in \nOppenheim’s work but nevertheless she could create her own identity. \nHer most famous work “Déjeuner en fourrure” (Breakfast in fur), that was \npurchased by Alfred H. Barr from Charles Ratton Gallery for the MoMA in \nNew York, dates back to these years. Back to Paris in 1939, she took part \nto the exhibition on “imaginary” furniture with Max Ernst and Leonor Fini; in \nthat event, she presented the famous table with bird’s legs.\nEst une artiste à la personnalité complexe et à la créativité libre et instinctive.\nElle se montre versatile dans l’application des techniques artistiques. Après \ns’être installée à Paris en 1932, elle fréquente tous les grands maîtres du \nsurréalisme tels que Jean Arp, Alberto Giacometti, André\nBreton, Man Ray, Marcel Duchamp et Max Ernst, auquel elle est étroitement \nliée. Il n’est de doute que le mouvement surréaliste a une influence sur l’oeuvre \nde Meret Oppenheim mais cette dernière sait malgré tout se construire \nune identité propre et autonome. Son oeuvre la plus célèbre remonte à ces \nannées-la: “Le déjeuner en fourrure” qu’Alfred H. Barr Jr. avait acheté à la \nGalerie Charles Ratton pourle MoMa de New York. Elle est de retour à Paris \nen 1939 pour participer à une exposition de meubles fantastiques avec Max \nErnst et Leonor Fini ; à cette occasion elle présente sa célèbre table dorée \naux pattes d’oiseaux.\nPittore, fotografo, film-maker americano fu uno dei più radicali e poliedrici \nrappresentanti del dadaismo e del surrealismo. Negli anni ‘20 e ‘30 lavorò a \nParigi fondamentalmente come fotografo. Con Moholy-Nagy iniziò a sviluppare \nil gusto per la sperimentazione di forme nuove, raggiungendo risultati innovativi \ncon l’aerografo, con la pellicola fotografica e con la manipolazione di oggetti \nd’uso comune. Realizza i suoi primi rayogrammes, una delle invenzioni più \nstraordinarie del XX secolo: si tratta di immagini ottenute da materiali fotosensibili \nimpressionati senza l’ausilio di obiettivi e di fotocamera, e senza la mediazione \ndel negativo, realizzate mettendo a contatto l’oggetto direttamente con il \nliquido di emulsione. Una scoperta casuale: “Un foglio di carta sensibile era \nfinito inavvertitamente nel bagno di sviluppo”, racconterà lo stesso Man Ray \nnell’autobiografia del 1963.\nU.S. painter, photographer, film maker; one of the founders of the New York \nDada movement, long associated with Surrealism, was, by temperament an \neclectic. In the 1920s and 1930s he worked in Paris, mainly as a photographer: \nhe and Moholy-Nagy explored the principles of space and motion in a \ntype of photography that bypassed the camera and concerned itself with \nforms produced directly on photografic printing paper. He realizes his first \nrayogrammes, one of the most extraordinary inventions of the XX century: \nimages obtained from photosensitive materials, exposed without the use \nof targets and cameras, and without the mediation of negative, realized by \ndipping the obeject directly inside the emulsion liquid. A random discover: \n“a piece of paper was accidentally ended up into the amulsion”, this is what \nMan Ray himself will write in his biography in 1963\nPeintre, photographe, réalisateur de films américain, il est l’un des représentants \nles plus radicaux et multiface du dadaïsme et du surréalisme. Dans les \nannées 20 et 30, il travaille à Paris, essentiellement comme photographe. \nAvec Monoly-Nagy, il expérimente de nouvelles formes, pour créer l’espace \net le mouvement, arrivant à des résultats innovants grâce à l’aérographe, la \npellicule photo et la manipulation d’objets du quotidien. Il réalise ses premiers \nrayogrammes, qui font figure de l’une des inventions les plus extraordinaires \ndu XXème Siècle : des images obtenues à partir de matériaux photosensibles \nexposés sans l’utilisation d’objectif, ni d’appareil photo, et sans la médiation \ndu négatif, réalisées en mettant l’objet directement au contact du liquide \nd’émulsion. Man Ray écrira plus tard dans son autobiographie de 1963 que \ntout est né d’une découverte fortuite : “Une feuille de papier sensible était \ntombée accidentellement dans le bain de développement”.\nME-\nRET \nOP-\nPEN-\nHEIM\nBERLINO, \n1913 -\nBASILEA, \n1985\nMAN \nRAY \nPHILADELPHIA \nUSA, 1890 - \nPARIGI, 1976\nVI\nVII\n",56,{"image":236,"text":237,"number":238},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.57.png","CARLO SCARPA\nDoge\nSarpi\nDelfi\nSansovino\nOrseolo\nValmarana\nRialto\nFlorian\nKAZUHIDE TAKAHAMA\nAntella\nLoop\nTulu Lg\nJano Lg\nGaja\nKazuki\nBramante\nDjuna\nMarcel T\nTOBIA SCARPA\nVanessa\nMAN RAY\nLes grands trans-Parents\nLe Miroir “S”\nMERET OPPENHEIM\nTraccia\nVIII\n",57,{"image":240,"text":241,"number":242},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.58.png","IX\n",58,{"image":244,"text":245,"number":246},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.59.png","L’identità della Simon è stata da sempre caratterizzata dalla presenza della \nlaccatura dall’ineguagliabile lucentezza e dalla qualità ancora oggi incomparabile \nsul mercato. Ripresa dall’antichissima tradizione artigianale cinese o giapponese \nle cui prime applicazioni si dice risalgano al 7000 a.C., - portata in Europa da \nChristopher Dresser dopo suo soggiorno in Giappone verso la fine del XIX \nsecolo - la laccatura, che richiedeva maestria e grande impegno artigianale, si \notteneva all’epoca sovrapponendo strati di vernice su materiali poveri e fragili; \nspazzolando successivamente ogni livello di applicazione, fino a raggiungere \nil massimo splendore si arriva ad un indurimento della superficie esterna tale \nda rendere il prodotto più durevole nel tempo. Tutto ciò non poteva che essere \nrealizzato sapientemente e pazientemente “a mano”. Dino Gavina, ispirato \ndalla vista di 2 ciotole laccate, alla fine degli anni ’60 pensò di applicare questa \npregiata finitura per nobilitare il banale pannello in agglomerato ligneo che \nera l’unico semilavorato disponibile per la produzione di mobili in serie. Ma \nla maggior difficoltà per concretizzare l’idea consisteva nell’adeguarla alla \nrigorosità industriale: trasformare in modo seriale un processo tipicamente \nartigianale nato appunto per essere realizzato manualmente. \nDopo anni di lavoro, grazie anche alla collaborazione di varie industrie di vernici \ne di impianti, questa particolare attività venne per la prima volta industrializzata \ndalla Simon, raggiungendo in serie una laccatura molto simile, nel risultato \nformale, a quella orientale antica.\nTuttora, a distanza di cinquant’anni, nonostante i processi siano stati adeguati \nalle attuali normative, grazie alle basi di poliestere, ai diversi tipi di levigatura, \nalle diverse mani di vernice pigmentata e alle continue spazzolature, la finitura \nfinale continua a garantire una alta resistenza agli urti ed ai graffi, ed una \ncompleta inalterabilità del colore alla luce.\nSince it was first founded Simon has always been famous for its lacquered \nfinishes with their characteristic bright polished sheen, so that even today they \nare still highly distinctive pieces. With the earliest known lacquering techniques \nreputedly dating back to 7000 B.C. in China or Japan, the technique was later \npopularised in Europe towards the end of the nineteenth century, by the likes \nof Christopher Dresser following a trip he took to Japan. At that time lacquering \nwas still essentially a painstaking technique requiring much skill and patience \nas craftsmen painted layer after layer of lacquer by hand onto the delicate and \noften fragile surfaces of the different pieces in order to fortify them and decorate \nthem with the characteristic shine that made the work so popular. Towards the \nend of the 1960’s Dino Gavina, inspired by the sight of two lacquered bowls, \nrealised that he could take this technique a step further and use it to give a far \nricher look to the humble panels of semi-finished wooden chipboard he found \nhimself working with in those days. He set himself a challenge, how coauld he \nkeep this sophisticated look and still find a way to manufacture his furniture, \ntaking a manually applied finish and turning it into an industrial process. \nAfter years of research, and with the help and input from various experts in \nthe paint and varnish trade, he came up with a way of adding a new process \nto his manufacturing so that Simon, with its new lacquers, became one of the \nfirst companies to find an industrial solution for the creation of this ancient \nEast-Asian process.\nToday, fifty years on, the processes have been updated to take account of testing \nto meet exacting modern standards, from the new polyester based coatings \nand different sanding processes, to extra layers of pigmented lacquer and extra \npolishing, all of which afford maximum resistance to bumps and scratches as \nwell as ensuring total colour fastness in strong light.\nLAC-\nCATU-\nRA\nLAC-\nQUE-\nRING\nX\nXI\n",59,{"image":248,"text":249,"number":250},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.60.png","L’identité de Simon a toujours été caractérisée par la présence de son \nlaquage au brillant inégalable et à sa qualité qui, aujourd’hui encore, n’a pas \nd’égal sur le marché. Emprunté à l’ancienne tradition artisanale chinoise ou \njaponaise dont on dit que les premières applications remontent à 7000 av. \nJ.C. - introduite en Europe par Christopher Dresser suite à son séjour au Japon \nvers la fin du XIXème siècle - le laquage, exigeant une grande maestria et un \nénorme savoir-faire artisanal, s’obtenait à l’époque en superposant plusieurs \ncouches de peinture sur des matériaux pauvres et fragiles. Chaque niveau \nd’application était ensuite brossé jusqu’à atteindre une splendeur optimale \net entraîner un durcissement de la surface extérieure afin d’assurer une plus \ngrande longévité au produit. Il va sans dire que cette réalisation ne pouvait être \naccomplie qu’”à la main”, armés de science et de patience. À la fin des années \n60, Dino Gavina, inspiré à la vue de deux bols laqués, imagina appliquer cette \nprécieuse finition sur un banal panneau en aggloméré de bois - seul semi-\nproduit disponible pour la production de meubles en série - afin de l’ennoblir. \nMais la difficulté majeure pour concrétiser l’idée consistait à l’adapter à la \nrigueur industrielle : transformer en série un procédé typiquement artisanal \nné pour être réalisé manuellement.\nAprès des années de travail, grâce à une collaboration avec différentes \nindustries de peintures et d’installations, cette activité toute particulière a été \nindustrialisée pour la première fois par Simon, qui a réussi à créer en série un \nlaquage très semblable, dans le résultat formel, à l’ancien laquage oriental.\nCinquante ans après, bien que les procédés aient été aujourd’hui adaptés aux \nrèglementations actuelles, grâce aux bases de polyester, aux divers types de \nponçage, aux différentes couches de peinture pigmentée et au brossage en \ncontinu, la finition garantit toujours au final une haute résistance aux chocs \net aux rayures, ainsi qu’une inaltérabilité totale de la couleur à la lumière.\nLA-\nQUA-\nGE\nXII\n",60,{"image":252,"text":253,"number":254},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.61.png","UL-\nTRA-\nRAZIO-\nNALE \u002F\nUL-\nTRA-\nMO-\nBILE \u002F\nMETA-\nMOBI-\nLE\nXIII\n",61,{"image":256,"text":257,"number":258},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.62.png","Ultrarazionale è un programma preciso: il termine stesso ne definisce le \nintenzioni, la volontà. Gavina, già tra gli artefici dell’industrial design a cavallo \ndegli anni Cinquanta e Sessanta, aveva intuito, subito dopo, il limite del \nrazionalismo e la necessità del suo superamento a tutto campo. La sua idea \nper una linea di mobili “ultrarazionale” aveva un programma preciso: la volontà \ndell’“oltre” come necessità di liberarsi dai limiti del movimento moderno. \nÈ proprio Dino Gavina che, giudicando senza riserve l’opera magistrale di \nCarlo Scarpa in architettura, ne rintraccia i germi di assoluta modernità \nanche per la produzione seriale e, surrogandone la genialità inventiva, lascia \nche si depositi come prodotto finito solo l’essenza dell’idea. Il primo passo \nlungo questo sentiero ricco di tappe è la realizzazione del tavolo Doge. Dino \nGavina scopriva, in un’opera minore di Scarpa, il primo segno tangibile di \nconfluenza con i suoi progetti ultrarazionali, rintracciandovi segnali profetici \ndi ormai maturo superamento del freddo razionalismo. La nuova regola è \nprincipalmente l’esaltazione dei parametri progettuali. Fanno parte \ndella collezione Ultrazionale: Doge, Sarpi, Orseolo, Valmarana, Delfi, Florian.\nUltrarazionale is a collection that had a specific aim: even its name was a \ndeclaration of intent. Gavina, who was already a leading figure in the world \nof design in the period from the fifties to the sixties, was one of the first to \nrealise that Rationalism had its limits, and saw the need to overcome these, \ncoming up with something that went a little further. What he came up with \nwas a line of furniture which he named “ultrarazionale” with a precise idea in \nmind: the aim of taking things “further” liberating his pieces from the strict \nconfines of the Modern Movement. It was Dino Gavina who realised the full \npotential of Carlo Scarpa on seeing his architecture, taking from this work its \ntotal modernity and applying it to the manufacturing processes, taking full \nadvantage of his inventive genius, allowing only a hint of the original ideas \nto show through in the finished products. The first step in a long series of \nproducts was the production of the Doge table. \nDino Gavina uncovered in one of Scarpa’s lesser works, the first tangible signs \nof compatibility with his “ultra-Rational” designs, finding in his work prophetic \nsignals that the time was now ripe for going beyond the stringency of cold \nRationalism. In this new regime all design parameters were now pushed \nto their limits. The Ultrazionale Collection includes: Doge, Sarpi, Orseolo, \nValmarana, Delfi, Florian.\nUltrarazionale : le nom de la collection est en soi une déclaration d’intention. \nGavina, qui était déjà une figure emblématique du design entre les années \n1950 et 1960, fut le premier à prendre conscience des limites du rationalisme \net de la nécessité de les dépasser. Il eut alors l’idée d’une collection qui irait un \npeu plus loin et créa la ligne de meubles “ultrarazionale” avec l’objectif d’aller \n“au-delà” des choses et de les libérer du cadre strict du modernisme. Dino \nGavina prit conscience de tout le potentiel de l’architecture de Carlo Scarpa \net s’inspira de sa modernité pour l’appliquer aux procédés de production, \ntirant parti de l’esprit ingénieux de Scarpa tout en laissant l’idée originale \napparaître en filigrane dans le produit fini. Le premier élément de cette longue \nsérie de créations fut la table Doge. C’est dans l’un des travaux les moins \nconnus de Scarpa que Dino Gavina a découvert les premiers signes tangibles \nd’une compatibilité avec ses créations “ultrarazionale”. Il considère le travail \nde Scarpa comme une prophétie appelant les artistes à dépasser la rigueur \nd’un rationalisme austère. Selon cette vision, tous les éléments du design \nétaient poussés à l’extrême. La collection Ultrarazionale comprend des \ncréations toujours en production telles que Doge, Sarpi, Orseolo, Valmarana, \nDelfi, Florian.\nNel 1971 Dino Gavina, con una sferzante operazione di rottura, introduce \nl’opera d’arte “funzionale” nell’arredamento, creando all’interno di Simon una \nnuova collezione denominata Ultramobile, adattando in modo sorprendente \nall’uso quotidiano l’oggetto surrealista. Con i suoi ormai celebri pezzi – Les \ngrands trans-Parents, Le Miroir “S”, Traccia, Constantin – Ultramobile era \ndalla parte dell’immaginazione: non in polemica con la razionalità euclidea \ndi un’immagine della casa compiutamente circoscritta nell’area razionale \nfunzionale, ...bensì voleva completare l’intelligenza con la meraviglia, \nfare interagire la geometria con la fantasia, scoprire al di là della scansione \nrigorosa, il lampo vitale e sempre un po’ abbagliante della sorpresa...\nIn 1971 Dino Gavina, daringly broke away from the confines of previous \ntrends by taking works of art and making them into “functional” \npieces of furniture, creating a whole new line of furniture for Simon called \nUltramobile, and fi nding surprising new ways to adapt Surrealist pieces, \nconverting them into everyday household objects. With pieces which are now \nknown by all – Les grands trans-Parents, Le Miroir “S”, Traccia, Constantin \n– Ultramobile was on the side of people’s imagination: not getting into a \ndebate with the Euclidean geometry with the image of houses offered by \nfunctional Rationalism, ...but rather, offering an intelligent answer as to \nhow to fill spaces, adding fantasy to geometric lines, finding something \nthat went beyond this strict obedience to rules, like a flash of lightning, \nfinding a surprising new way to light up the room...\nEn 1971, Dino Gavina rompt radicalement avec les conventions en introduisant \nl’œuvre d’art « fonctionnelle » dans le mobilier : il crée au sein même de \nSimon, la collection Ultramobile et adapte de façon surprenante l’objet \nsurréaliste aux objets du quotidien. Avec ses pièces, désormais bien connues \nde tous – Les grands trans-Parents, Le Miroir “S”, Traccia, Constantin – \nUltramobile se plaçait du côté de l’imagination. L’idée n’était pas de polémiquer \nsur la rationalité euclidienne d’une image de la maison s’inscrivant dans un \ncadre rationnel fonctionnel. La volonté était plutôt d’allier l’intelligence à \nl’étonnement, de créer une interaction entre la géométrie et la fantaisie, et \nde découvrir au-delà d’une empreinte rigoureuse, l’éclair de vie et de la \nsurprise, toujours source d’un certain d’éblouissement. \nUL-\nTRA-\nRAZIO-\nNALE\nUL-\nTRA-\nMOBI-\nLE\nXIV\nXV\n",62,{"image":260,"text":261,"number":262},"\u002Fmedia\u002Fimages\u002F72\u002F4dd60847f1b978190195503b72c5e1.63.png","“La Simon ed Enzo Mari autorizzano ogni persona (che non ne faccia oggetto \ndi produzione per fini commerciali) a fabbricarsi i modelli qui presentati per \nuso proprio. Con l’aiuto del progetto e del solo martello chiunque è in grado di \ncostruire il mobile…”. Con queste parole la Simon inizia l’operazione Metamobile, \ncomunicando una nuova rivoluzione: l’idea che ogni persona era autorizzata a \nfabbricarsi i mobili per uso proprio, ed i cui disegni venivano spediti gratuitamente \nsu richiesta a chi era in grado di farsi il modello da sé: era una autentica \nazione sociale, … in contrapposizione alle insinuazioni fatte su Gavina, di \naver prodotto e venduto la Wassily di Marcel Breuer ai ricchi borghesi, quando \ninvece era stata “progettata per essere destinata al popolo”. Metamobile, oltre \nche una proposta di mobili semplici a basso prezzo, era un preciso esempio \ndi vendita diretta al pubblico, al di fuori delle tipiche strutture distributive. \nAll’operazione, che era anche un modo per ironizzare sul mito design “super-\nstar” degli anni sessanta, parteciparono oltre al già menzionato Enzo Mari, \nanche Carlo Scarpa, Ignazio Gardella e Kazuhide Takahama… Nonostante \nsi trattasse volutamente di un’operazione simbolica, Metamobile non era un \ngioco intellettuale e snobbistico, ma una concreta risposta ai bisogni e un’idea \npropulsiva di nuovi valori civili. Il manifesto concludeva così: “La vera felicità \nè non avere mai nulla di più di quello che ti serve veramente”.\n“Simon and Enzo Mari hereby authorise all those (with the exception of companies \ncommercially manufacturing goods for sale) to assemble their own copies of \nthe furniture presented here. With this design and nothing more than a hammer \nanyone can make this furniture…” These are the words of the declaration made \nby Simon to present the Metamobile project, words advertising a totally new \nconcept: the idea that people could assemble their own pieces of furniture \nfor themselves, with designs being sent free of charge on request so that they \ncould even make their own copies of the models: this was a true act of social \nlevelling,… which proved a just answer to the accusations so often levelled \nat Gavina, that he had manufactured Marcel Breuer’s Wassily selling to the \nmore affluent customer, here instead was something “designed for the people”. \nNot only did Metamobile offer a range of simple low cost furniture but it also \nrepresented something of a break-through in its distribution, going against \ntraditional channels and selling directly to the public. As well as Enzo Mari, \nthe collection, which also challenged the notion of design “super-stars” of the \nsixties, also invited other designers to take part, including Carlo Scarpa, Ignazio \nGardella and Kazuhide Takahama… Although this was a deliberately symbolic \noperation, Metamobile was no mere intellectual snobs’ game, but rather, it gave \na concrete answer to real needs and was the starting point for a whole new \nset of civil values, in its opening manifesto it concluded: “True happiness is \nnever having anything more than that which you truly need”.\n“Simon et Enzo Mari autorisent toute personne (n’en faisant pas l’objet de \nproduction à des fins commerciales) à fabriquer les modèles présentés ici pour \nleur usage personnel. À l’aide du plan et d’un marteau uniquement,  chacun \npourra construire son meuble...”. C’est par cette déclaration que Simon donne le \ncoup d’envoi au projet Metamobile, annonçant un concept révolutionnaire : \nautoriser toute personne à fabriquer ses meubles pour un usage personnel, \navec l’envoi gratuit des plans sur demande pour ceux qui étaient en mesure \nde réaliser le modèle tout seuls. Il s’agissait bien d’une véritable démarche \nsociale... un contrecoup en réponse aux accusations si souvent portées contre \nGavina, lui reprochant d’avoir produit et vendu la Wassily de Marcel Breuer  aux \nbourgeois nantis alors qu’elle avait été “conçue pour être destinée aux gens \nordinaires”. Metamobile offrait non seulement une gamme de meubles simples \nà bas prix, mais c’était également un exemple de vente directe au public, \nsortant des sentiers battus des canaux de distribution traditionnels. \nCette opération, qui était aussi une façon d’ironiser sur le mythe du design \n“superstar” des années soixante, a également impliqué la participation d’autres \ndesigners, comme Carlo Scarpa, Ignazio Gardella et Kazuhide Takahama ... \nCette opération s’est avérée délibérément Symbolique ; néanmoins Metamobile \nn’avait rien d’un jeu snob et intellectuel. Au contraire, il apportait une réponse \nconcrète aux besoins réels, agissant comme générateur de nouvelles valeurs \nciviles. Le manifesto concluait ainsi : “Le vrai bonheur, c’est de ne jamais avoir \nplus que ce dont on a vraiment besoin”.\nMETA-\nMOBI-\nLE\nXVI\n",63,[],0,false,true,{"success":266,"data":268,"meta":483,"count":484,"next":485,"previous":486,"results":521,"brand_chips":582},[269,282,292,301,311,320,330,340,350,362,374,387,397,410,422,432,442,451,461,473],{"id":270,"title":271,"slug":272,"image":273,"source":274,"brand_name":275,"brand":276,"brand_slug":277,"file_size":278,"pages":279,"pages_count":280,"matched_pages":281,"match_count":264,"two_pages":265,"show_text":266},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 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