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“Nina” si presenta come una coreografia astratta scomposta e poi ricomposta in piani paralleli; è un lare che si rende protagonista di ogni nuova festa celebrativa.

Frame di un contemporaneo “balletto triadico”, è una danzatrice congelata in piani trasparenti che conserva nella sua struttura una pluralità di ossimori: è libertà emotiva e rigidità corporea, è stasi e movimento; è una stratificazione di scene da traguardare; è un omaggio al passato e un souvenir per il futuro.

È un lare innamorato, o forse un lare trafitto al cuore.

Between a design made of “surprises” and a design made “to surprise”.
An automatic distributor of projects available to visitors to the exhibition, promotes the revisitation of the gadget, which here becomes “authored”: it is the demonstration of the utility of the useless, the manifesto of the joyous need of the superfluous… The dispenser distributes “projects in 10 cm” made by

designers and architects, from the most diverse cultural paths that have decided to play with us,
simplifying, removing and reducing: 100 balls will be distributed through the classic bar dispenser,which attracts adults and children captivating them and taking them into a world of small treasures.

“FAVOLE AL TELEFONO” presents a Gastronomic History of Italy told through some its historical brands, using an hybrid format that includes an interactive exhibition, an immersive exhibition and a widespread exhibition. The interactive exhibition at Design Hostel’s entrance consists in taking an old SIP telephone on the desk and dialling a number, associated with one of the brands. A voice answers the phone and begins to take us into a personal history, a research that shows the food Made in Italy. At the same time the space comes alive: all the projections, inside Design Hostel’s rooms, shepherd the “tales” told on the phone. There are historical documents, landscapes of distant regions, stories of products, about tenacity, courage and intelligence, which are mixed in the space of the Makerspace. Walking in the different thematic rooms, the visitor can completely immerse himself in the world of each brand; through photos, objects and projections each company history is presented, giving voice to its protagonists. Nevertheless, this is a field that can be fully known only by tasting it. This is why the narration is not limited to the exhibition, but it can be tasted at the “tasting points” scattered around the city,that compose an inviting widespread museum.

M@is 2.0 is an innovative tool able to turn into sound the transition from corn to popcorn. M@is takes inspiration from the futurist “intonarumori”, but in the 2.0 version, just by inserting a coin, it will start the traditional music (the same as the “Serenata” by Antonio Russolo), mixed with the electronic music made by the popping of the popcorns.The sound element is produced on real time by the Sound Design Toolkit algorithms, a software developed at IUAV di Venezia.

The project was presented during the Milan Design Week 2017 at “A letto con il Design – Design Hostel” exhibition. Moreover it was exhibited and used in September 2017 during the Milan Film Festival at BASE.

To know more, go check the video here

A legacy that leaves you confused: missing pieces and mismatched items, yet these items are still full of affection, Broken or chipped porcelain, but we don’t just want to “Abandon” them…The memories of family values remain trapped between a past full of nostalgia and a future of uncertainty. Due to their broken state they no longer become completely usable but instead, become objects. With the “trays of memories”, all these objects rediscover a new life and relish their “second chance”: a uniform adhesive welcomes them and sometimes incorporates them but at other times they complete them. It fills the gaps and reinforces the objects’ unmistakable footprints.The service comes together well and metaphorically; the pieces find “dignity” and a use that, in a time before, seemed lost.These “trays of memory”, can be built by everyone and can be made directly from the objects they love most. They crystallize a past so dear to us, reminding us of precious memories, “drunk in company”, “Memoirs of a coffee break in the family”, or perhaps that “historic quarrel” with subsequent and final conquest “promise of love”!

After Fast Architecture “Ghigos Ideas” and  “LOGh” are back to design an ecological and sustainable architecture, together with the students of the Interior Design course at the Politecnico di Milano.

The disposal of plastic bags becomes the opportunity to complete and bring life to an unfinished public building in Ameno (Novara, Italy) during “STUDI APERTI Arts festival”.

The project aims to up-cycle shopping bags turning them into a dress for an architecture: having in mind the words “nothing can be neither created nor destroyed, everything can only be transformed” students have reused the shopping bags, now banned from sale in supermarkets.

It‘s a work that aims to be a step towards an ecological awareness about recycle and reuse, and, at the same time, a way to give an identity to a building without a specific function. Reuse a bin, as the plastic bag, can be a way to avoid wasting resources and to rethink an object giving it a new look and a new function, can be a way to explore new construction techniques with unusual materials thus redefining a new “ecological alphabet”.

Therefore the project gains a dual function: it’s both an educational intervention and a strong communicative mark, it’s a flag that plays on the relationships among objects and their hierarchies.

asSEDIAti, Freedom is a point of view

A chair, standing as a political and social statement, because design cannot stand back from raising the voice in times when we all feel “undersiege”……

Thus the chair turns into a symbol of daily life , literally “run over” by the world:

Here design is not only graphic but a real hole, a bullet-hole which is not mannerism but a wound, not the loss of material but loss of ethics..

And anyhow we draw outlines of the sea and skylines, because design is giving form to a hope:

We hope that OIL will just be the signature of an artist…

while freedom should be the word to always stand up for, never to sit down on…

La piramide esplicita tutto quello che sta dietro (e tra) la cose; tutto quello che viene prima; tutto quello che, forse, non verrà mai: la magia.
La piramide è un laboratorio alchemico, creativo e produttivo allo stesso tempo, forse anche un po’ impolverato… è sedimentazione di idee, emozioni, scoperte che ogni volta qui si possono riprodurre.
Il miele viene raccontato come esito di un processo produttivo complesso e misterioso, così imprevedibile da sembrare quasi magico. Alimento senza tempo ed oltre il tempo, nel progetto diventa molto più di un semplice cibo: è uno scrigno di sapori antichi, è una trasformazione meravigliosa che si perpetua sempre uguale a se stessa.
La piramide di ferro sottolinea ulteriormente questa valenza tradizionale: il ferro come il miele ha un’origine arcaica e un valore ancestrale. Ed entrambi, sezionati quasi fossero un reperto corrotto solo superficialmente dal tempo passato, richiamano un animato laboratorio medioevale.
E’ una magia antica, la loro… forse, è una rinnovata alchimia.

Fast Architecture is a temporary camp constructed on relationships. It’s a game of possible transformations and a manifesto of planning capabilities.
Storehouses are made of storages: water tanks become bricks for building light walls usable as programmable interfaces. It’s a construction which might never end. In this case Fast architecture just took the shape of an exhibition system for displaying NABA students works during the International Furniture Exhibition held in Milan in April 2006. The concept design proposed tools for “urban compositions” between furniture and play, which might be used and reconfigured at will: these were NABA “cells” originated freely, able to be reinvented, scaled and tweaked.
A pavilion and a system of interactive urban furnishings transformed thus NABA spaces into an invasive playground to propose new contents, ready to flow out of the boundaries and to conquer and recycle other places in the city.
Fast architecture overcomes limited usages of objects, and invites to widen the employment of those. If designing buildings like objects without context is often becoming a solution, designing building made of object it’s just a revolution!