[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-mattiazzi-heart-mind-soul":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":221},{"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":216,"matched_pages":217,"match_count":218,"two_pages":219,"show_text":220},13139,"Heart Mind Soul","mattiazzi-heart-mind-soul","\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fc9\u002F5b7705638f18d83f324ee90df345fe-2739f71b54.pdf","Mattiazzi",2383,"mattiazzi","30.0 MB",[14,17,21,25,29,33,37,41,45,48,51,54,58,62,65,68,71,75,79,83,86,89,92,95,99,103,106,109,112,116,120,124,127,130,133,136,140,144,147,150,153,157,161,165,168,171,174,177,181,185,188,191,194,198,202,206,210,214],{"image":7,"text":15,"number":16}," Heart \n Mind \n Soul\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.2.png","Milan 2019\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.3.png","Mattiazzi’s journey over the past ten years includes some \nstartling contributions to the vernacular of chair design. \nKonstantin Grcic’s Primo is a study in reductive formalism; \nLeon Ransmeier’s Chiaro displays a fluidity conceived from \neconomic constraints; and Ronan and Erwan Bouroullec’s \nQuindici presents a graphical expression of a resting \nlounger’s promised repose. These, along with many \nnotable others, are born from the designers’ minds, \nfortified by the heart and soul of Mattiazzi’s production.\nEarly design collaborations introduced furniture  \nthat championed Mattiazzi’s commitment to new \ntechnology. Their unique, inter-generational ability  \nto master 3D scanning with robotic milling has evolved to \nbecome a fine example of a new kind of industrialised \nwood production. With time, one could imagine that this \nmanufacturing knowledge might become simplified  \nonce the technical rules of what can (and can’t) be made \nbecome more visible to the designers tasked with \nproducing new works. But instead what transpires belies \nthe story that technology alone can tell – so that in truth, \nonly the merging of chance and risk has created the right \natmosphere for continuous experimentation.\n \n10 Years Mattiazzi\n \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.4.png","Mattiazzi designers are aware that the mind is more \npowerful than any digital programming, and that Mattiazzi’s \nknowledge of hand-craftsmanship can be maintained, \ncombined and even elevated. New technology is but a \npart of Mattiazzi’s skill. At their core, they remain \ndedicated to responsibility in the selection of lumber  \nand manufacturing processes. They understand all of the \ncertification requirements demanded by industry – \nincluding sustainability and carbon footprint. And they \ncan finish wood to a consistent, fine quality, which few \nfactories could ever replicate at an accessible price.  \nIt is clear that Mattiazzi’s abandonment to the creative \nimpetus of its designers has paid off, so that each project \ndemonstrates ever greater possibilities.\nAnd so the journey continues – this year in the form \nof four new collections – all unique and positively experi-\nmental in form, use and relevance for the home, the office \nand hospitality. All produced with passion from the heart, \nintelligence of the mind and perseverance from the soul.\n                                          Sam Hecht and Kim Colin\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.5.png","18\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.6.png","Jasper\nMorrison\nZAMPA\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.7.png","»Their charm \nand character are \nirresistible though \nthey couldn’t  \nbe more direct  \nand everyday«\nJasper Morrison\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.8.png","",8,{"image":46,"text":43,"number":47},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.9.png",9,{"image":49,"text":43,"number":50},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.10.png",10,{"image":52,"text":43,"number":53},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.11.png",11,{"image":55,"text":56,"number":57},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.12.png","KIM: Hello Jasper. When you have a chance, could you answer \nsome questions about Zampa?\nJASPER: Thanks for the questions. Answers below.\nKIM: I know that ‘everyday’ things are important to you in what \nyou collect, what you document and also what you often exhibit. \nHow does Zampa fit with your interest in ‘everyday’ objects?\nJASPER: I noticed some old country stools, handmade with \ncurved stick legs and roughly connected to circular solid wood \nseats, and this design is a reminder of this very  direct solution to \nhaving something to sit on. Their charm and character are \nirresistible though they couldn’t be more direct and everyday in  \na practical sense. This new version should be light and adaptable \nfor use as a stool or a small side table, beside the bed or in the \nbathroom, wherever they’re needed.\nKIM: How is Zampa an ‘everyday object’ itself (or not)?\nJASPER: It’s everyday in a functional and also a visual sense, \nthere’s no pretence to be anything special.\nKIM: This stool seems to be an exercise in just how few \nelements there can be –to be a stool– just two: a flat, round seat, \nand four curved wooden legs. That’s all we can see. The two \nelements make one piece. Why does it interest you to make the \njoining of these two elements so discreet, meaning that it is not \napparent? (Or why should ‘the whole’ piece look as one?)\nJASPER: The seat is flat but flexible, because it’s quite thin, but \nthe expression is as direct as possible. It’s a little bit of a protest \nagainst fashion and fakeness in our industry.\nKIM: How do you describe the character of Zampa, in other words, \nit has some personality and perhaps even some levity or joy?\n",12,{"image":59,"text":60,"number":61},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.13.png","JASPER: It’s unopinionated! \nKIM: Is there anything else you want to say about Zampa?\nJASPER: No. \nKIM: What can you say about why Zampa is right for  Mattiazzi, \nright now – in other words what about Mattiazzi makes it \nrealisable or possible, or makes it what it is?\nJASPER: Quite often when designing, one’s sense of a brand \ntakes over and you do something that feels right for who you’re \ndesigning it for. That’s the case here. It just suggested itself as  \na Mattiazzi product.\n",13,{"image":63,"text":43,"number":64},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.14.png",14,{"image":66,"text":43,"number":67},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.15.png",15,{"image":69,"text":43,"number":70},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.16.png",16,{"image":72,"text":73,"number":74},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.17.png","19\n",17,{"image":76,"text":77,"number":78},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.18.png","Sam Hecht\n&\nKim Colin\nFRONDA\n",18,{"image":80,"text":81,"number":82},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.19.png","»The stool and chair \nare complementary  \nbut at the same  \ntime quite different \nas individuals«\nKim Colin\n",19,{"image":84,"text":43,"number":85},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.20.png",20,{"image":87,"text":43,"number":88},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.21.png",21,{"image":90,"text":43,"number":91},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.22.png",22,{"image":93,"text":43,"number":94},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.23.png",23,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.24.png","SAM: Kim, do you have time to talk about Fronda? Conversation \nis part of our working process, so let’s discuss how we got here.\nKIM: Sure. It’s a bit hazy, only because I seem to remember you \nputting a few threads of thought together and then challenging \nme on them. Something to do with the economics of comfort?\nSAM: Yes, that’s it. I had this idea that if the majority of comfort \nis about the seat, if we could produce this part to feel good in \nmetal with the rest in wood, it could make for a more economical \nproposition for Mattiazzi without sacrificing the experience of \nquality. Metal and wood just attracted me. Already Mattiazzi is \nusing these materials in combination – but metal is normally \nrelegated to structure, supporting the chair. I wanted to flip this. \nThen followed experiments with form and construction. After  \na while you added another layer – use – thinking about Fronda \nbeyond just a stool.\nKIM: Absolutely. Fronda has a unique character in its appearan- \nce, but it’s actually informed by how it can be used. Not just \nhow we sit, but why we sit has changed. It’s a very practical \npiece for how we might work or eat at a long table, when we also \nneed a place to put something we carry. The structural shelf can \nbe used to hold books or a laptop. You see this kind of typology \nof stool and storage in education, but Fronda has merit beyond \nthat application – to hospitality or as a combined bedside table \nand seat.\nSAM: And then came the chair version.\nKIM: Yes – I remember that this version divided us quite drama- \ntically. I thought the chair started to be too self-conscious. And  \nI wasn’t clear what we were saying structurally.\nSAM: But now it’s grown on you? \n",24,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.25.png","KIM: Seeing it being developed in the factory, I realised it’s right \nfor the stool to have a big sibling. They’re complementary but  \nat the same time quite different as individuals. I like how they  \nsit next to each other and how the wider plank legs give the right \nspace between people.\nSAM: The metal seat takes Mattiazzi to a new place too – a new \nexperiment that has some of the qualities of those beautiful \nJapanese copper and cypress washing buckets. I guess what’s \nnext is to see how and where Fronda can live. While imagination \ncan be played out in its finishes and colours, its application as a \nstool and a chair is where my excitement lies.\n \n",25,{"image":104,"text":43,"number":105},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.26.png",26,{"image":107,"text":43,"number":108},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.27.png",27,{"image":110,"text":43,"number":111},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.28.png",28,{"image":113,"text":114,"number":115},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.29.png","20\n",29,{"image":117,"text":118,"number":119},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.30.png","Konstantin\nGrcic\nCUGINO\n",30,{"image":121,"text":122,"number":123},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.31.png","»The idea is to make \nan object that is \nopen for inter pretation, \nnot given a function \nfrom the outset, that \nfinds its use and \nits place over time«\nKonstantin Grcic\n",31,{"image":125,"text":43,"number":126},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.32.png",32,{"image":128,"text":43,"number":129},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.33.png",33,{"image":131,"text":43,"number":132},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.34.png",34,{"image":134,"text":43,"number":135},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.35.png",35,{"image":137,"text":138,"number":139},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.36.png","KIM: Hi Konstantin. Do you have a moment to talk?\n \nKONSTANTIN: Hello. Yes, of course.\nKIM: I’d like to hear your thinking about Cugino and also about \nMattiazzi, having worked with them over many years. So, I’ll \nstart with a few questions.\nCugino is quite a solid piece – you might say it plays with  \na volume of both wood material and void, but it has a small \nfootprint overall. Can you tell me about the tension in its \ngeometry? \nKONSTANTIN: Cugino is the result of many tries; it happened \nover time, with wanting it to be an object that we don’t already \nknow, but also something that is maybe a little bit familiar. We \ndid it again and again, making variations, trying things out and \nlearning from each piece. I wanted to make an object for Mattiazzi \nthat is ‘not a stool’ and is ‘not a low table’, but could be both.\nThe idea is to make a wooden object that is open for interpre-\ntation, not given a function from the outset, that finds its use  \nand its place over time. It is not about structure, it is not about \neconomy. It is not appropriation– I’m cautious not to quote from \nprimitive objects. Because we worked on it for so long and made \nso many iterations, it came into its own. \nKIM: Is the desire to create an open work, as Umberto Eco calls \nit when he talks about a piece that is only completed when it is \nseen or used? \nKONSTANTIN: It might remind us of something, but we haven’t \nseen it before. It is about semantics – grammar and language  \nthat we find attractive. \nKIM: How do you think about wood and Mattiazzi together?\n \n",36,{"image":141,"text":142,"number":143},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.37.png","KONSTANTIN: To me, Mattiazzi is not a craft shop; they are an \nindustry. They are manufacturers who have their own factory and \ngreat expertise. Working with them is very direct because they \nhave machines, skills and knowledge that is theirs. When I work \nwith Mattiazzi, I work with experts. We have a very personal \nrelationship and I respect what they have done with this small \ngroup of designers over ten years – each piece special.\nI have a history in wood-work, and therefore enjoy the great \nopportunity to work with Mattiazzi. But also I am not looking at \nwood for organic shapes, even though it is what they can do so \nwell. I think of wood as it comes cut, in boards. This is my start- \ning point. Wood for me is the cut tree, not the tree as it grows. \nI have thought always about Cugino in natural oak which I think \nis a very ‘woody’ wood. When I look at the first prototype  \nfrom Mattiazzi, it is a curious thing and I like the weight of it, the \nsolidity and the openness.\n \nKIM: What is Cugino’s relationship to Clerici and Medici for \nMattiazzi? \nKONSTANTIN: Of course this sequence of projects relate to \neach other. Cugino relates to what I have done before but is a \ndeliberate departure. If I am being provocative, it’s in that \n Mattiazzi has a lot of technology and I ask them not to use it, \nbecause I don’t think it’s always necessary. To see what we can \nachieve without all the technology is important, as it lets \nMattiazzi show their skill in the making of it. It’s not  uncom- \nplicated, the way the legs come together and how the void is \nmade. It takes their expertise to do it properly. But it also takes \nthem being brave to make it, not knowing exactly what it is.\n",37,{"image":145,"text":43,"number":146},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.38.png",38,{"image":148,"text":43,"number":149},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.39.png",39,{"image":151,"text":43,"number":152},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.40.png",40,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.41.png","21\n",41,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.42.png","Foster\n+\nPartners\nLEVA\n",42,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.43.png","»Many manufacturers  \njust assemble \nand outsource but \nMattiazzi is thoroughly \nresponsible. They have \na sustainable model \nthat everybody should \nlook to«\nFoster + Partners\n",43,{"image":166,"text":43,"number":167},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.44.png",44,{"image":169,"text":43,"number":170},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.45.png",45,{"image":172,"text":43,"number":173},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.46.png",46,{"image":175,"text":43,"number":176},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.47.png",47,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.48.png","Brrrrrring brrrrrrring...\nANON: Good morning, Foster and Partners\nKIM: Hello. Mike Holland, please.\nANON: One moment...\nMIKE: Hello, this is Mike.\nKIM: Hi Mike. I’d like to ask some quick questions about Leva. \nYour answers can be very brief and informal.\nMIKE: OK, I’ll try for that.\nKIM: Leva seems to be about finessing a very simple round \nwooden dowel that widens and flattens to become the chair’s \nbackrest. What is the reason for this?\nMIKE: The chair started with the idea of a simple line – we \nweren’t really consciously designing it. We created an ergonomic \nrig where we could keep adjusting the sides and the back.  \nWe then just kept inviting people to sit in it, studying how each \nperson sat, while we made constant adjustments. We allowed the \nchair to develop through conversations and discoveries around \nthe rig. People explored the inclination on the armrest and the \ncurve on the back, discovering how they could move and adopt \ndifferent positions.\nQuite quickly the idea of the arm growing into something \nmore supportive started to take on more of the form of an oar, \nwhich was interesting because an oar is trying to do more with \nless. It’s a very direct implement or tool and there is a beauty in \nthis directness.\nKIM: That’s great, you kind of answered two things in one...  \nbut also what would you say is Leva’s character in a room?\n",48,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002F69\u002F5e1b6645c9c213cc8be4a55ffef933-2739f805bd.49.png","MIKE: It should be quiet as a piece of design and something that \nwill endure. We always try to create pieces that try to reduce the \nvisual noise in a space.\nKIM: So would you say that Leva is for the architecture, for the \nsake of space, or for the sake of experience? What is the relation- \nship between the furniture and the place?\nMIKE: Well, I think you can find beauty in design that’s been \ninformed through function and working with the material, the \nway you interact with it, the way the hand grabs the chair. It is \nespecially important to consider the effect when you see the \nchairs in potentially large numbers in a space; it’s part and parcel \nof good design in our eyes for the chair to be quiet.\nKIM: Lastly, why Mattiazzi? Why come to them and what is \nMattiazzi to you?\nMIKE: Craftsmanship and innovation are at the heart of \nMattiazzi. We also wanted to reduce the carbon footprint of the \nchair. Interiors and fit out can equate to something like twenty \npercent of a building’s carbon footprint! With this in mind, we \nhave been studying the way products are procured and made, \nand Mattiazzi is uniquely placed. They reuse all the wood waste \nfrom the machines to power their generators to heat the factory. \nThey source timber so carefully. 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