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The remnants from the finished stone productions offer new functional as well as aesthetic opportunity: by simply reassembling and observing them from other points of view, gives them a new life which is then realized in a different context.
In fact, from the perspective of full sustainability, a remnant which is not useful today may easily be reinterpreted and brought to imagine in a domestic sphere. So as to give added value to the remnants, which would have naturally been discarded, as a finished product.

Literally, self-production, considered as a spontaneous and automatic production, in this context, expresses its innermost nature: this is the traditional production that, almost without aesthetic or functional filter, constructs pieces of stone from which it is possible to recreate a design, but it is the designer who can intuitively perceive the future, creating objects of daily use, leaning on the mastery of the company and its craftsmanship.

The remnants from the finished stone productions offer new functional as well as aesthetic opportunity: by simply reassembling and observing them from other points of view, gives them a new life which is then realized in a different context.
In fact, from the perspective of full sustainability, a remnant which is not useful today may easily be reinterpreted and brought to imagine in a domestic sphere. So as to give added value to the remnants, which would have naturally been discarded, as a finished product.

Literally, self-production, considered as a spontaneous and automatic production, in this context, expresses its innermost nature: this is the traditional production that, almost without aesthetic or functional filter, constructs pieces of stone from which it is possible to recreate a design, but it is the designer who can intuitively perceive the future, creating objects of daily use, leaning on the mastery of the company and its craftsmanship.

From the experiment of “Apparecchiare la città” presented at Salone del Mobile of Milan was born the first collection for“Lago Maggiore Casalinghi” brand.The collection is not realized by a unique company, but by a wide network of production firms that represent one of the most historical italian district production lines. The collection was designed by Ghigos Ideas for household product companies that, for the first time, joined forces to cooperate on a uniform project to diffuse and promote the district production across the international market. Lago Maggiore Casalinghi and Ghigos Ideas officially present the new collection “Apparecchiare la città” during Ambiente2013 in Frankfurt, to keep on the diffusion process for this original initiative. The exhibition will show to the visitor a strange city of objects, a landscape “at hand”, tables as inhabited islands, thatwelcomes elevations with some iconic monument-objects (or are they miniature buildings?) in a continuous interplaybetween different scales and cross-references between architecture and design, between urban and domestic, expositiveand culinary aspects.Into the sky-line of “urbanized” tables you can see plates as houses, pots as squares or pepper mill that seem likecontemporary skyscrapers with multifaceted facades. Looking at a salt shaker to find it “urbanized”.The point of view is what changes reality and makes us experience a surreal walk through objects, which lose their purelyfunctional value and discover themselves as “something else”: they are parts of an apparently paradoxical world, andbecome casket of our emotions.Not yet consumers, not just owners, we find ourselves custodians of simulacra that define a new urban skyline.

The cutting for the primary ingredients that will never take away your smile

In this third version of the cutting board, its design proposes a series of basins whereby you can soak the blade of the cutting utensil in order to chop the onions. In doing so, the tears caused by the onions ‘powers’ are cancelled out. Despite its simplicity, the cutting board’s design is optimistic as, metaphorically speaking; you are “stealing” its tears!

The cutting lines for gnocchi… From the peasant origin

A relieved texture refers to the system used of ploughing the fields; its allegorical design refers to a plot of land and its different processes in which values are added to form its function. The base of the board is in fact used to mould and creates the surface of the gnocchi and pasta, giving it a customizable appearance.

A cheese cutting board, climbing in the culinary world

An improvisation whereby the cheese knives are integrated and built in to the cheese board itself, generating an elevated sense of use. Each individual knife handle represents and simulates the high altitude glaciers; meanwhile the fragments of cheese located at the bottom of the mountain are the precious outcome from the products usage.

The pepper mill that you’ve been waiting for…

The Traditional pepper mill’s appearance is one that sometimes escapes the mind, but through Déjà-vu, its evocative image always leaves a trace and the conscious recognition of its shape reassures us of its being and function. The design of this peppermill is one that interacts with the contemporary world yet never loses the memory of its original form.

Cutters for biscuits that taste “monumental”

The cookies are cut to the shape of the most famous monuments in the European capitals of which become icons out of scale within a square container illustrated with the city plan. They are recognisable elements of a collective metal map that join orientation and identity.

A Bar set for a stop in Caffé “One which cannot be faulted”

An aeroplane carrying sachets of sugar, and a little bird holding napkins perched on the bar seem as if by chance they landed in the right spot, accompanied by a book with a capturing feature of a folded page, creating the reminder of the day to day menu’s offered in the Caffé. Origami was used as a kind of service, which bar tenders and baristi used to bring a smile to their customers face, enabling them to play with the memory of time.