glossy

rough

clients universe

books

amaci

interactive

comune di milano - museo del novecento

métroskin

mediaset

matteo thun

margherita&costuart weitzman

f38f

breil - landor

blu - leo burnett

brand identity

mondadori

einaudi

esperia

corraini

skira

five continents

editions

monographies

events

exhibition design

triennale di milano

settimio benedusi

politecnico di milano

ied

iuav san marino

fabio novembre

cesare cicardini

canadian centre for

architecture

editorials

casamania - gruppo frezza

amica - burda

biennale di architettura

di venezia

john frieda

migliore+servetto

2 · 3

glossy

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working...............................................

sharing

glossy

him & her, la serie di sedie progettate da Fabio Novembre per Casamania, parte della collezione del Museo del Design della Triennale di Milano, ha ispirato la pubblicazione di un libretto di foto di Settimio Benedusi. L’azienda trevigiana che produce le sedie, ha commissionato allo studio Pitis l’art-direction della pubblicazione. Per il progetto è stato impiegato un nuovo carattere, Blueberry Pancakes, disegnato da Massimo Pitis.

6 · 7him & her

glossy

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him & her - casamania: Novembre e Pitis hanno sviluppato l’idea per la campagna pubblicitaria per le sedie Him & Her di Casamania sul magazine Wallpaper*. Nel disegnare la pagina lo studio ha anche progettato due marchi di garanzia per sottolineare i differenti atteggiamenti manifestati dalla critica di fronte a questi controversi oggetti di design. Le foto sono di Settimio Benedusi.

8 · 9him & her - casamania

glossy

esperia è un editore italiano che ha avviato le sue pubblicazioni nel 1990. L’obiettivo principale della casa editrice è divulgare e diffondere l’insegnamento buddista, soprattutto quello basato sulla tradizione del Sutra del Loto e sulla figura di Nichiren Daishonin. Dal 1996, Pitis è stato incaricato di progettare la maggior parte delle serie pubblicate.

10 · 11esperia

P E R L A N O ST R A P I Z Z A

72 ORE DI LAVORAZIONE.....

COTTURA IN FORNO A LEGNAT R A I N O ST R I I N G R E D I E N T I S O L O :

FARINE CINQUE CEREALI( COMPLETAMENTE PRIVE DI OGM )

.....LIEVITO MADRE

( OTTENUTO CON PROCEDIMENTO NATURALE ).....

POMODORO SAN MARZANO D·O·P.....

OLIO D’OLIVAEXTRAVERGINE

ITALIANO

la nostra qualità comincia dagli ingredienti

margherita & co, è un nuovo brand di pizza fast-good; un prodotto di alta qualità che nasce da ingredienti approvati e selezionati, e una prolungata lievitatura, qualità che definiscono chiaramente Margherita & Co all’interno del mercato fast and tasty. Vera, la società proprietaria del brand, ha affidato allo studio Novembre la progettazione degli interni. Lo studio Pitis è stato incaricato di pensarne l’identità visiva e l’art direction per le fotografie che illustrano il prodotto nei menu board.

12 · 13margherita & co

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interni italianiitalian interiors

In certi romanzi, chi scrive, uscendo di tanto in tanto dalla cronaca dei fatti, dai dialoghi, comincia né più né meno a collegare e tradurre in parole tutto ciò che i suoi occhi vedono in quel preciso momento: inizia così, con questa sospensione dal racconto, l’avventura, febbrile e, allo stesso tempo rigenerante, del vedere. E’ un po’ quello che accade in queste fotografie: descrivere ciò che si verifica in un certo campo visivo, negli interni di case, nei luoghi di lavoro, dopo che un abitante qualsiasi ha lasciato una sua graffiatura. E’ un mondo che ho cominciato a coltivare tempo fa, senza una precisa convinzione nè certezza di risultati, almeno inizialmente.Semplicemente, accostando reperti provenienti da universi e culture differenti, eseguivo delle prove che risultavano convincenti a tal punto da spingermi a continuare, variando luogo, tipo di ambiente, di luce. In fondo, uno dei motivi comuni a queste fotografie è che sono fatte in situazioni molto ordinarie e con materiali che non hanno una vera importanza, o meglio, che in partenza sono privi di una propria verità. Nel fare questi collage o questi prelievi, attingo ad un mondo fatto di messaggi, parole e immagini d’ogni genere e tipo, autentiche o fasulle che trovo assolutamente contemporaneo: un mondo dove il disordine della strada ha da tempo già sconfinato verso l’interno della casa depositandovi, come in un gioco vertiginoso di specchi e di rifrazioni, dei segni del tutto equivalenti.

Paolo Rosselli

There are novels where the author sometimes abandons the narration of events, the dialogues, and begins simply to connect and translate into words everything his eyes can see in that precise moment: this suspension of narration allows the adventure of seeing, a frenetic but refreshing adventure, to begin.Something like that happens in these photographs: describing what happens in a certain visual field, inside houses, at places of work, after some inhabitant has left his or her mark. This is a universe I began to cultivate some time ago, with no particular conviction or certainty of result,at least initially. Simply, by matching artifacts from different worlds and cultures, I worked on experiments that proved convincing enough to keep me going, changing the places, the types of rooms, the light.One of the common themes of these photos is that they taken in very ordinary situations and with materials that have no real importance or, better, that are initially without any real truth. In making these collages or surveys, I draw on a world consisting of all kinds of real or false messages, words and images I find absolutely contemporary. It is a world where the confusion of the street has for some time already intruded into the interior of the house, depositing completely equivalent signs there, as if in a dizzying play of reflections and refractions.

notizie dall’internola Biennale di Veneziapadiglione Italia12/09/04 — 07/11/04

in-doors

immagini di interni nel cinema italiano /images of interiors from Italian cinema

La “casa” più celebre dell’Italia contemporanea, quelladel Grande fratello, è compresa tra gli estremi del tugurio, memoria dell’Italia povera (ma bella?) e della suite, figura dell’Italia opulenta (e cialtrona?). Tra penuria e opulenza si muove anche la rappresentazione dello spazio abitativo nel cinema italiano. Che appare sempre in bilico. Tra il riparo del nido e il timore del crollo. Tra la vocazione a rivelare l’intimo di chi lo abita e il gusto della rappresentazione e della rappresentanza. Tra lo spazio segreto e il riflesso sociale. Tra l’interior e l’inter nos. Così una statua di moro richiama un passato coloniale, la voce di una radio salda pubblico e privato, la foto di un generale ucciso ricorda un’emergenza nazionale… E un colore acceso, un’ombra, un chiodo conficcato nella parete, una parola scritta sul muro, un quadro appeso, fanno intravedere contrasti, paure e desideri che abitano l’interno delle persone.

Ezio Alberione

The most famous “house” in contemporary Italy, the one in Big Brother, may be located between the extremes of the shack, a memory of a poor (but beautiful?) Italy and a suite, an image of the opulent (and knavish?) Italy. The representation of inhabited space in Italian film also oscillates between misery and opulence. It always appears to be on the brink. Between the shelter of a nest and the fear that it will collapse. Between the vocation to reveal the intimacy of its inhabitants and the taste for depiction and representation. Between the secret space and social standing. Between the interior and the inter nos. Thus the statue of a Moor harks back to a colonial past, the voice of a radio blends the public and private spheres, the photo of an assassinated general recalls a national emergency... It is a bright color, a shadow, a nail hammered into the plaster, a word written on the wall, a painting hanging there, reveal the contrasts, fears and desires that abide within people.

•� Porte, varchi, passaggi /Doors, openings, passages

Matrix Reloaded, L. e /and A. Wachowski� (2003 - Warner Bros)

•� Contenuti /Contents

Una vita difficile, D. Risi �� (1961 - Dino de Laurentiis cinematografica)Mimì metallurgico ferito nell’onore, L. Wertmuller� (1972 - Euro International Films)Il tetto, V. De Sica (1956 - De Sica Produzione, Les Films Marceau, Titanus)

•� Contenenti /Containers

Signori si nasce, M. Mattoli� (1960 - Dino de Laurentiis cinematografica-Manenti film)Riso amaro, G. De Santis� (1949 - Lux film)Le notti di Cabiria, F. Fellini� (1957 - Dino de Laurentiis cinematografica)L’eclisse, M. Antonioni� (1962 - Interopa Film/Cineriz/Paris Film Production)La destinazione, P. Sanna� (2003 - ipotesi Cinema Sire)

•� Interni /Interiors

La casa dalle finestre che ridono, P. Avati� (1976 – A.Ma film)Suspiria, D. Argento� (1976 - Seda spettacoli)Io ballo da sola, B. Bertolucci�� (1996 - Recorded Picture Company/London-Fiction/Roma-Ugc Images/Apris)Il bagno turco-Hamam, F. Ozpetek� (1997 - Sorpasso Film)Amarcord di F. Fellini � 1973 - Franco Cristaldi Produzioni / P.E.C.F.)La messa è finita di N. Moretti� (1985 - Faso Film)

•� In/compresi /In/comprehensible

Il ritorno di Don Camillo, J. Duvivier� (1953 - Rizzoli Film – Francinex)I soliti ignoti, M. Monicelli� (1958 - Cristaldifilm)Prova d’orchestra, F. Fellini� (1979 - RAI/Daimo cinematografica/Albatros Produktion)Una giornata particolare, E. Scola� (1977 - Compagnia Cinematografica Champhion/Canafox Films Inc.)Gruppo di famiglia in un interno, L. Visconti� (1974 - Rusconi Film, Gaumont International)

•� In/differenti /In/different

Giulietta degli spiriti, F. Fellini� (1965 – Cineriz)I mostri, D. Risi� (1963 - Fair Film. Incei Film, Montflour Film, Dicifrance)Il grande fratello� (quarta edizione - Endemol s.p.a)

� Realizzazione /Created by: Immedia srl (Milano)

notizie dall’internola Biennale di Veneziapadiglione Italia12/09/04 — 07/11/04

interni italianiitalian interiors

Gli studenti che in questa sequenza espongono il loro lavoro di fotografia frequentano il quinto anno della Facoltà di Design del Politecnico di Milano. Hanno lavorato per alcuni mesi con Paolo Rosselli a un progetto sugli interni di Milano. Fotografando le case dove abitano, gli studi dove lavorano, gli spazi dove passano le loro giornate da soli o in compagnia, hanno prodotto degli esperimenti sulla luce, i riflessi e sugli abitanti di questi spazi.Occasionalmente hanno anche allestito delle scene ad hoc per riprenderle subito dopo con la macchina fotografica. Hanno spostato la loro attenzione dalle situazioni agli oggetti più comuni, cercando un equilibrio tra il racconto e la descrizione di un dato di fatto. Osservando con cura lo spaziocircostante, hanno colto spesso il suo lato inatteso, iniziando così a sottoporre la realtà ad un nuovo esame, quello esclusivo dell’occhio.

Gli autori di queste fotografie sono:

The students who display their photography work in this sequence are in their fifth year at the Design Department of the Politecnico di Milano. They worked for several months with Paolo Rosselli on a project on interiors in Milan. Photographing the homes they live in, the studios they work in, the spaces where they spend their time alone or with their friends, they have produced these experiments with light, reflections, about the inhabitants of these spaces. Occasionally they have created scenes ad hoc to capture instantly on camera. They shifted their attention from situations to the most common objects, seeking a balance between narration and factual description. Carefully observing the surrounding space, they have often captured its most unexpected aspects, thus submitting reality to a new examination, the exclusive scrutiny of the eye.

The authors of these photographs are: Pierluigi AnselmiRossana BarbagliaMarco BeccariBenedetta BodriaMaria Cristina CaputoGiovanna CaravelloCristian Del GiudiceValentina Di FrancescoPatrik DoloClara JudicaMaria Aurelia LattaruliMichele NastasiDavide Sala

notizie dall’internola Biennale di Veneziapadiglione Italia12/09/04 — 07/11/04

stories of objects

1. The boy had a wooden spool with a string wound around it. Holding the string attached to it, he would throw the spool beyond the edge of his bed to make it disappear mouthing “o-o-o”; he then pulled the spool back out from the bed, announcing its return with a cheerful “da”. This was the whole game: disappearance and reappearance. The greatest pleasure unquestionably derived from the second act. The interpretation becomes obvious: the game allowed his mother to go away. The child coped with his sacrifice by playing out the act of disappearing and reappearing using objects within his reach.� Sigmund Freud

2.It is the last impression before a disturbing and traumatic event that is retained as a fetish. The foot or the shoe are favorite fetishes because the male’s curiosity has led him to attempt to peek up the legs at the female genitals. Fur and velvet record the sight of pubic hair. Lingerie records the moment of undressing, the last moment in which it was still possible to believe in the phallic woman. The fetish, whose significance is not recognizable by others, is easily accessible and the sexual satisfaction it procures is effortless and convenient.� Sigmund Freud

3.The faith of the child in the mother, and consequently in other people and things, makes the distinction between Non-me and Me possible. The separation is avoided by filling the potential space with transitional objects, creative play, using symbols and everything that leads to a cultural life. I would describe this precious object by saying that it cannot be claimed thatthis real object is part of the outside world or that it is created by the child. Both are true: the child created it and the world provided it.� Donald Winnicott

4.Both in young humans as well as in primates, whenever the “natural” object of attachment is unavailable, behavior may be directed towards a substitute object that can provide emotional warmth and security. Though it is inanimate, it can play an important attachment role. Similarly to a main figure such as the mother, the child seeks the inanimate substitute particularly when he is tired, sick or unsettled. Attachment to a favorite object is not incompatible with satisfactory relationships with people and its persistence over a lifetime is more frequent than one might generally think.� John Bowlby

5.“Thought is separated from objects because a piece of wood starts to become a doll and a stick becomes a horse. Action on the basis of rules begins to be determined by ideas and not by the objects themselves. When he plays, a child is dealing with meanings that are separate from the objects; play is thus transformed into a series of interior processes that lead to understanding interior language, logical memory and abstract thought. The child thus begins to internalize external culture and at the sametime, to act upon it: this process will continue throughout his lifetime.”� Jerome Bruner

6.The best possible experience, the flow of consciousness, leads to psychological maturity, the complexity of Self. The flow of consciousness derives from an unusualpsychological investment: a conversation, a book, an object in the home, a piece of music, a work of art, a landscape, give us the best possible experience when our cognitive, emotional and motivational functions are totally concentrated on them and whenwe feel we can offer a harmonious response to the opportunities and challenges they provide. Thus we select and reproduce environments, situations and objects, even highly personal ones, that give us this type of experience.� Mihaly Csikszentmihalyi

7.I used to buy, read and use these books: they were books for my own culture, I never thought of them as a collection. Only at a certain point I found that I had books under the bed, on top of the furniture, in the kitchen oven, in all the place where there was space to put them… now they are there, in the Library, and they may be used, and seen. I gave them all away, I did not keep a single one because it makes me happy that young people can see them, that they can look at the autographs by the authors for me. It makes me very happy, I am quite old, and at any moment now I will be gone: but I am very happy that there are young people who give me these things. Do you understand?� Fernanda Pivano, writer

8.It’s as if I were a new nomad, a modern nomad. I don’t feel attached to any specific place, for example the house I was born in. All I need is a house, the one I live in now, which I feel to be my own and which, some day, I know I will move out of.� Luisella, forty-three year old Italian from Milan

9.I think the bed is the greatest invention. You can sleep there, read, make love, watch TV. I spend wonderful moments there. Day and night. Of course, there are times when I can’t sleep, I think and I worry, but overall, the bed is a very important and very wonderful thing, it’s the most important place in the house.� Franca, fifty-three year old Italian secretary from Abruzzo

10.I have lived in Milan for many years. But there is one thing I have always brought back with me from Naples: the songs.� Rosa, eighty-year old Italian from Milan and Naples

11.I don’t get bored any more like I used to when I have to take those long car trips with Daddy and Mommy or when we all have lunch with their friends; now I have my electronic game and I like to play and be by myself. At most I feel like listening to a story on a cassette.� Pierluigi, eight-year old Italian child from Rome

12.I couldn’t do without it, especially when I can’t go out or I have to spend my vacation with my parents. I listen to my music, send SMS messages, photos: I can really stay in touch with my friends!� Carlotta, fourteen-year old Italian teenager from Bologna

13.At Christmas, I was taking a walk through the richest area of Milan. Furs, jewels, extraordinary things. There was not just Mammon in thoseplaces, there was entertainment: the store windows, the clothes and the bodies of the salesgirls, the customers and their dogs. There was something Venusian, belonging to Venus: something that seduced, tempted, fascinated and provoked the senses. Throughdifferent eyes we could look at the same place in a completely different way: as a luxury, that could not care less if people are dying all over the world from hunger, AIDS, or war. In this case, the streets of Milan become sinful. To define a place and its spirit is not a simple task.� James Hillman, Junghian psychoanalyst

14.It was the Sixties, we all arrived in the same city in Germany, all from the same town on the Gargano. We knew each other, and we were welcomed by those who had emigrated earlier. Weworked hard, there was some racism though not much, it was cold and it was dark. But there was our relatives’ house, with photographs of our native town, and a glass bell covering the Madonna. We brought the pasta and tomato preserves and all in all it was not so bad. We knew we were there for our children, and that one day, if God wished it, we would return home.� Giuseppe, seventy-year old Italian from Puglia

15.In my freezer, I keep lots of bags of flour and vegetables that I bring back with me from the Ivory Coast. At the beginning, I really did not like Italian food at all; it was so cold and there was that food too. Now I’ve gotten used to it, I even like pizza. But when we Ivorians get together for dinner, we always cook traditional menus: we like it and we feel much closer to the members of our families that we left behind.� Alphonse, thirty-year old Ivorian immigrated to Turin

16.Music is a source of pure energy for me. I understood how important the bond with traditional music from my country was after I became a foreigner in Italy. Latin-American music is in vogue today. So I can go to a disco and dance to it with my friends from my country and with my Italian friends. But when I am there, I sometimes remember the traditional feasts in my country, dedicated to the Saint Protectors, with that wonderful music and dance, and it breaks my heart.� Jessica, twenty-six year old Peruvian immigrant in Rome

17.I work in Paris now. In the evening, when I am tired after work, I like to soak in the bathtub, close my eyes and think of Siena, my city, when I was a teenager and after lunch, in the summer, I would go lie down on my bed. I remember feeling my naked skin against the linen sheets, freshly laundered and slightly aromatic; the noises from the kitchenwhere my mother and grandmother were clearing the table; the light that filtered from the half-closed shutters creating strange designs with the shadows; the sound of music being played by the students of the Chigiana, not far from there. I would close myeyes and feel so good.� Stefania, thirty-year old Italian from Siena and Paris

18.The long-abandoned building we squatted was well organized. Each family had its own space, its own apartment with its own things; but there were also rooms for passing guests or for people who did not want to settle down permanently. Then there were the community spaces for parties, ceremonies, reunions of the community council. Other parts were occupied by people who actually worked: a bar, a billiard space, a wood-working shop, a machine shop and one that repaired appliances. It was a real community and I considered it my home.� Manuel, thirty-year old European Rom

19.The greater part of the Rom settlement is made of up trailers and campers but there are also improvised constructions made of cardboard, metal sheeting and wood. The surroundings are multiform and chaotic. The shacks are very small; I am able to discern a makeshift, blankets, folded clothing. The women cook over wood fires. Several men are shaving and having their hair cut, others are sitting around makeshift tables or returning from a day in the city. The children play. The waste is piled up far from the shacks: they are very careful about cleaning. At night the rats and the dogs fight over the rubbish. This struck me deeply and fascinated me, in any case it made me think.� Tommaso, twenty-three year old Italian university student from Milan

20.The issue is to choose whether to regard money as an instrument to satisfy real needs or as a sign of social status. Now that I am a professional, my elderly parents don’t understand: they think that giving up something “personal”, a house, car or money, is taking a step backwards and causes a loss of security and stability. My wife and I on the contrary feel it is a way to improve the quality of life, an opportunity: the strength of the community, and sharing even economic resources, give a much stronger sense of security. Not being tied to things, which remain instruments and not objectives, allows one to use objects freely to satisfy one’s own goals and desires.� Alberto, forty-two year old Italian from Milan, and head of a family in a commune

21.The first thing that prompted me to join a hacker group was that I could have free use of hardware and software supports thatwere usually available only in large structures such as corporations or universities. Then I was attracted to the idea of dodging the rules imposed from above and in the meantime I learned to appreciate a model of cooperative work that is meant to supplybetter service at no charge. I like to give other people free software instruments that I have made more flexible thanks to my personal creativity. And better yet, I feel close to the boys and girls in the collective who have become my true friends.� Bomboclat, twenty-eight year old Italian from Bologna who is a hacker in a collective

22.I am waiting from the truck which is scheduled today, like every week, to leave from here, Molino Dorino, near the metro station, heading towards Morocco. These bags and suitcases are full of objects that are going to Casablanca and Beni Mellal to my family and friends. They are things that you Italians often throw away but are important to us, it is not easy to find them there or they cost too much. So I can show that I ama successful man in Italy, and that I am also generous. Sending money is hard, everything is so expensive here, but these things create a bridge, they remind me of my country and they unite me with my family, it is as if I was traveling with them towardshome myself.� Muhamed, twenty-five year old Moroccan immigrant in Milan

23.When I came to Turin from my hometown to work for FIAT I brought very few things with me. I had rented a room with a friend and the landlady gave us a burner to cook on, a pot and a Neapolitan coffee-maker. It was exactly like the one we had at home in Sicily, but I didn’t like it, it looked ugly. As soon as I could I had my mother send me our coffee-maker, the one we used at home, all together every day before starting out the day.So by drinking coffee in Turin made with that coffee-maker, I felt like I was still with them, in my Sicily.� Salvatore, an Italian retiree from Sicily and Turin

24.I liked neo-realist films because I thought they were intelligent and historically significant. I went to classes on “Italian-style comedy” and tried to understand the relationship with a changing Italian society. One day I went home to Tuscany, and for the first time my grandfather showed me pictures of him when he was young and with my parents. That’s when I understood that the plot of those movies was not something external, it was the life of my grandparents and my parents. I went back to school and saw all of the movies again, they disturbed and made an impression on me. The correspondencebetween my personal history and film make me look at my future profession in a totally new way.� Paola, twenty-three year old Italian student from Tuscany and Rome at a Film School

25.When our children gave us a gift of a vacation by the sea in Egypt for our anniversary, we were literally terrified, we did not want to go. But when we got there we liked it: there were lots of people just like us, television with Italian programs. The food was delicious: only Italian food, lots of it and good quality. Itdidn’t feel like we were in those places at all. We liked it so much we never left the resort.� Gianni and Anna, Italian retirees from the Marche region

26.When I left the Ukraine the most important thing to me was my hairdresser’s apron, my scissors and hairbrush. I was a well-considered hairdresser there: even now I have not done too badly, see how many people are waiting their turn? In Italy I work as a caretaker, but my real job is this. When I do it I feel right, I feel like I am good at it and capable and best of all, I enjoy it. My greatest satisfaction is that I am starting to acquire Italian customers too!� Irina, fifty-year old Ukrainian, outdoor hairdresser on weekends at the Central Railway Station in Milan

27.Since 1984 Pieve Santo Stefano, on the border between Tuscany, Umbria and Romagna, has become a “city of diaries”. The Town Hall hosts an Archives, which gathers the writings of ordinary people that reflect the lives of all of us and the history of Italy: diaries, letters, autobiographical memoirs. It is a house of memory: a public venue that conserves private memories. The Archives, which contain approximately 5000 works, do not simply intend to preserve samples of popular writing, like a museum: they intend to exploit the wealth which has been deposited there. After naming it “the memory bank”, we have defined it a “greenhouse”, in consideration of the fact that within it, the writings of the past come back to life, and blossom once again.� Saverio Tutino, eighty year old Italian journalist

28.My father was an engineer and ever since I was a little girl I had a sort of passion and respect for materials. Papà had given me a “construction set” with beams, real interlocking bricks, windows and so on. I used to play for hours and I loved it even when my little houses fell apart because they were built wrong. Now I like to walk around the building site, among the construction workers, watch the walls go up, build. It’s like putting together the future, the life of those who will live in the house, and my own past.� Maria Vittoria, forty-eight year old Italian architect from Rome

29.I have a very strong relationship with my pillbox. I have to keep it with me at all times and in a certain sense I hate it, because every day, every time I feel it touch my skin through the fabric in my pocket it reminds me that I am ill, that without my medicine I risk death. On the other hand, it gives me peace of mind, I love it, it has become a companion, a sort of guardian angel. It also reminds me constantly that I have a working body, a living physical nature. There is something sexual in that, and I like it.� Giovanni, sixty-year old Italian entrepreneur with a heart illness from Bergamo

30.When I reach one third of the pack I have to buy another right away. I can’t run out. I know they are bad for me, that I am an idiot to smoke, but I am hooked. I worry about my daughters, I don’t want them to inhale my passive smoke: I always open all the windows, I go into another room, I wish I had a bigger house, where I could smoke freely. The “death” warnings on the packs make no impression on me. I find it much more irritating and stupid that you can’t smoke on trains or airplanes.� Paola, forty-five year old Italian smoker from Venice

31.My PC was stolen, I can’t believe it, I am crushed. I had saved almost everything but what drives me crazy is that someone is reading my files, my data, my e-mail, has access to my friends’ addresses. It’s not just a matter of privacy, of intimacy: it’s as if they broke into my home and are contaminating all the hours I spent working on that PC, chatting with distant friends, reading and answering their mail, watching DVD movies. It’s a violation of my time, and an incredible violence.� Erika, thirty-five year old Italian from Bolzano

32.My family owns a business that manufactures machine tools. When I was a child I spent hours at the Fair looking at all kinds of things. I had fun. But I was fascinated by the wood shavings, the leftovers. Incredibly fascinated, they looked like curls offine blond hair. There it was, the embryo of the future in terms of waste and recycling. Today, it is as if waste has been rightly ennobled! It is impossible to get wood shavings for free now.� Franco, forty-year old Italian entrepreneur from Verona

33.I don’t have a precise goal, I collect things that attract me esthetically or have particular technical interest. The things I sell to make room for the newer ones are therefore the ones that I feel are more anonymous or less significant. My collection is very flexible: acoustic transductors, valves, radios, televisions, accessories. On the other hand an object is not always an object. It only has meaning when the person who owns it or looks at it understands what he is looking at. I imagine that a design lover looks at a Phonola 547 and sees a daring shape and the work of an important designer. My girlfriend thinks it is just a strange dust-covered radio that’s good for the junkyard.� Luca, twenty-six year old Italian radio collector from Tuscany

34.My greatest joy is to cultivate the earth and take the cows to pasture. To see the plants grow, to see the calves grow gives me satisfaction and such a total sense of contentment that it doesn’t even feel like work.� Renato, seventy-year old Italian farmer from Vicenza

35.My house is full of little objects and they are almost all souvenirs from trips. When people come they think that there is a bit of confusion: postcards, statuettes, fabrics, candles, dolls, pendants, wooden animals, ashtrays. But I see a guiding principle behind them: they remind me every day of the places I bought them, the people I was with, the wonderful moments and the discoveries of a specific trip or a specific vacation. Fantastic!� Susy, thirty-three year old Italian photographer from Foggia

36.I come from Sardinia, I work in a city on the Continent. On the island, the smells are important. Sage, myrtle, lavender, rosemary, the smell of the sea and, in a certain sense, the smell of the wind. My land, its streets, its towns would not be the same without the smells.� Salvatore, forty-two year old Italian from Cagliari

37.I like myself and I like my body when I am perfumed. It is not just a question of cleanliness but of attraction and well-being, and even sensuality. It excites me and I like to think that it excites others when I walk into a room or come close to someone, and the perfume I have on, blended with the perfume of my body, makes him turn around or somehow I understand that the other person has noticed it.� Lisa, thirty-nine year old Italian from Sicily

38.The traveler who journeys along the Po River and stops at Calto, in the upper Polesine, will encounter an enormous poplar on which signs are hung in an orderly fashion bearing the nicknames of the town’s residents: this is arbul di scutmai, the nickname tree. This tree with the signs symbolically represents the genealogical unity of the town residents, who all “cling” to a single trunk. This is a living analogy of the tree with the transgenerational family history, which is widespread in European cultures.� Leonardo, forty-nine year old Italian anthropologist in the Veneto region

39.Certain things, certain religious objects or objects that belong to the older inhabitants of the town, are strange and powerful. In a certain sense they are double. They contain so much, especially the strength and wisdom of those who possess them, those who built them or put them together, their knowledge. On the other hand they also emit something: they induce actions and behavior, they can cause fear or ill health, they can heal or make people change their minds or their feelings. They are very strange objects indeed, that must be treated with respect.� Lina, eighty-seven year old Italian from Puglia

40.I made the desk in my study myself. It is very simple, in fact the top is made out of a door. I like the things I build because my goal is to achieve simplicity. I prefer to build objects with great precision and design economy. My wife and I are like junk collectors: we like to make use of things that other people don’t use anymore, or throw away.� Luigi, fifty-five year old Italian pharmacist from Umbria

41.My parents gave me this painting. They saw the empty space above the sofa and one day they brought this painting to fill it up. It doesn’t fit with the style of the furniture or the house, but they gave it to us, so I’m keeping it.� Franco, thirty-eight year old Italian from Calabria

42.I have a bunch of films about my family. Some of them are many years old. They are worth more to me than silver or a famous painting because absolutely nothing can replace them. We have films of when the children were small and films of the grandparents and even my husband, taken many years ago. You can always buy another porcelain plate: family movies on the other hand are unique. In 40 years you can show them to your descendants and say “this was your grandfather, this was your grandmother” and that is very important. They will be able to see these people as they are today.� Mimma, forty-two year old Italian accountant from Venice

43.When I am unhappy I turn on the stereo and it makes me happy again. I spend a lot of time listening to music, so that I would really feel lost without it: it’s a way to calm my nerves if I have had a bad night at work, if I have to fill out a report, if I have to prepare to go to court. I would be nervous if I didn’t have it.� Luigi, thirty-five year old Italian policeman from Naples

44.If you are really tired it is like reading a book: you can let the television work for you. I really spend a lot of time in front of the television. I wouldn’t do anything and get tremendously bored if I didn’t have it. Then I like television because I think it can save the entire world. Communication solves a lot of problems for the world. It would be hard to live without TV, we are used to getting information and entertainment that way. It’s total involvement; after the essential things, it is the most important one to have.� Pietro, sixty-year old Italian from Livorno

45.The clothing of a newborn baby who has just left the placenta is his first home and that it how I designed it. The form is like a sack that enfolds without constraint, like the maternal placenta. The material is derived from the parents’ old clothes, for example a sweatshirt: time has given it sufficient softness to transmit physical and even emotional warmth. The measurements are taken directly on the father’s sweatshirt from which three items are cut: a hat, a jumper, a sack.� Silvia Makita, thirty-two year old Italian architect from Bergamo

notizie dall’internola Biennale di Veneziapadiglione Italia12/09/04 — 07/11/04

notizie dall’internola Biennale di Veneziapadiglione Italia12/09/04 — 07/11/04

trasformazioni temporanee temporary transformations

Fabbriche, chiese, stazioni abbandonate o antichi edifici divengono, per periodi più o meno brevi, i luoghi dei nuovi rituali della vita collettiva. Per qualche ora, qualche giorno, qualche mese edifici e spazi che hanno perso la loro originaria connotazione diventano gli sfondi per nuovi scenari, installazioni, allestimenti.

Abandoned factories, churches, stations or ancient buildings host the new rituals of community life for longer or shorter periods. For a few hours, days or months, buildings and spaces that have lost their original connotation become the backgrounds for new settings, installations and designs.

biennale architettura - venezia 2004: identità grafica dell’allestimento per il Padiglione Italiano, curato da Mirko Zardini e Giovanna Borasi alla Nona Biennale Internazionale d’Architettura, diretta da Kurt W. Forster e intitolata Metamorfosi.

16 · 17biennale architettura

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novembre alla rotonda della besana: lo studio ha progettato l’identità della mostra sul lavoro di Fabio Novembre, tenuta nel 2008 alla Rotonda della Besana, Insegna anche a me la libertà delle rondini. È stato inoltre interamente disegnato un numero speciale del free-press Urban dedicato all’evento. Il titolo della mostra è stato composto con una macchina Olivetti Valentine, un tributo delicato e nascosto che Fabio Novembre ha voluto dedicare ad Ettore Sottsass.

18 · 19novembre alla rotonda della besana

novembre è la monografia di 224 pagine di Beppe Finessi sul lavoro del designer, pubblicato da Skira nel 2008. Il libro è strutturato in tre parti: il primo è un flusso di immagini collegate al lavoro di Novembre, accompagnate da un testo di critica. La seconda parte descrive sessanta progetti completi dal 1988 al 2008. La terza parte è la biografia di Novembre, che sottolinea la vita e il lavoro del designer. Il titolo del volume è stato composto in Butterfly Stencil, un carattere appositamente disegnato per la pubblicazione.

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20 · 21novembre

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sorry out of gas è la pubblicazione collegata alla mostra svoltasi nel 2008 al Canadian Centre for Architecture di Montreal 1973: sorry out of gas (curatori Mirko Zardini e Giovanna Borasi). L’intento del progetto è analizzare la crisi petrolifera del 1973 come il primo evento significativo che dimostra la nostra dipendenza inesorabile dalle risorse energetiche e le possibili vie d’uscita che alcuni architetti ed ingegneri hanno ipotizzato circa trentacinque anni fa. La pubblicazione è co-edita dal CCA e Corraini e presenta un inserto illustrato appositamente da Harriet Russell.

22 · 23sorry out of gas

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24 · 25sorry out of gas

asfalto, il carattere delle città è il titolo della mostra che si è tenuta presso la Triennale di Milano nella primavera del 2003. L’esposizione è il risultato di una approfondita ricerca sul carattere della città contemporanea attraverso le lenti di questo materiale banale ma estremamente importante. Massimo Pitis è stato inoltre invitato da Kenya Hara a Nagoya per parlare del progetto d’identità e di exhibition design della mostra durante Visualogue, un evento organizzato da Icograda nel 2004.

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26 · 27asfalto, il carattere delle città

tipografia complementare: Pragmata

tipografia secondaria, prove di leggibilità

Galleria Civica di ModenaPalazzo delle Papesse, SienaMAN Museo d’Arte Provincia di NuoroCentro Arti Visive “Pescheria”, PesaroMACRO Museo d’Arte Contemporanea di Roma PAC Padiglione d’Arte Contemporanea, MilanoGalleria Civica d’Arte Contemporanea di TrentoCentro per l’Arte Contemporanea Luigi Pecci, PratoGalleria Comunale d’Arte Contemporanea di MonfalconeCAMeC, Centro per l’Arte Moderna e Contemporanea della SpeziaCeSAC Centro Sperimentale per le Arti Contemporanee, Caraglio (Cuneo)Castel Sant’Elmo della Soprintendenza Speciale per il Polo Museale Napoletano

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amaci è l’associazione dei musei d’arte contemporanea italiani. È un’organizzazione no-profit nata nel 2003, che ad oggi,riunisce ventiquattro fra i più importanti e moderni musei d’arte contemporanea. L’identità è pensata per essere dinamica e per potersi evolvere parallelamente al cambiamento del numero e della localizzazione delle città che appartengono al network.

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28 · 29amaci

mondadori emozioni è una collana di romanzi pensata essenzialmente per il pubblico femminile. L’obiettivo dell’operazione è riposizionare i titoli, già usciti nel circuito delle tradizionali librerie, con un nuovo layout grafico e un formato più agile e adatto alla vendita nelle edicole.

30 · 31mondadori emozioni

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oscar saggi: lo studio è stato incaricato di seguire la ricerca iconografica, sia fotografica che di illustrazioni, per il progetto di identità dei Saggi Oscar Mondadori.

32 · 33oscar saggi

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35 · 34glossy

Carlo G oldoni

carlo goldoni: per le celebrazioni del trecentenario della nascita del famoso autore veneziano, la Regione Veneto ha indetto un concorso per la realizzazione degli elementi di identità visiva per l’evento. Questa è una selezione di marchio e manifesto dalla proposta presentata dallo studio.

34 · 35carlo goldoni

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f38f è un collettivo di architetti - fotografi che lavorano nel campo della pubblicità e dell’editoria. Il loro lavoro si muove sul filo tra le logiche realistiche della professione e la ricerca espressiva, senza il limite di un tema o di superfici che possano ospitare le loro immagini. Lo studio Pitis ha sviluppato i codici visivi che determinano l’identità del gruppo attraverso un modello dinamico. Le varie unità espressive di base possono essere assemblate in modo flessibile definendo l’identità di marca.

36 · 37f38f

space morphing è una monografia che offre un’approfondita retrospettiva su sedici progetti internazionali dello studio Migliore+Servetto. La selezione è una celebrazione della trasformazione dei luoghi progettati da M+S da spazi vuoti a spazi dinamici. Il titolo è stato composto in E.L.T., un carattere progettato dallo studio.

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38 · 39space morphing

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espanso ipertesi: durante la manifestazione Attraversamenti, nel Settembre 2007 a Trevi, è stata data l’occasione a quattro neo-laureati in design della comunicazione di esporre la loro tesi in una bolla spazio-temporale di diverso genere. Ipertesi, questo il nome della manifestazione, nasce con questo scopo. Il nome è un gioco che mette in comune due aspetti importanti: l’effluvio adrenalinico che spesso porta ipertensione nei candidati e, d’altra parte, l’estensione del tempo a disposizione (iper) per esporre i contenuti del lavoro svolto.

40 · 41ipertesi

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ied master: lo studio gestisce l’identità e tutti i materiali promozionali del Master in Graphic Design Management che si tiene presso il Dipartimento di Arti Visive all’Istituto Europeo di Design di Milano. Massimo Pitis è anche creatore e coordinatore del Master dal 2006.

42 · 43ied master

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museo del novecento (Civico Museo d’Arte Contemporanea) a Milano, diretto da Marina Pugliese, aprirà nel Palazzo dell’Arengario, al centro di Milano, nell’autunno 2010. La collezione del museo include lavori dei maestri italiani del XX secolo, dal Futurismo a oggi. Il progetto è stato sviluppato secondo un nuovo metodo di brand design appositamente studiato per istituzioni culturali e museali.

44 · 45museo del novecento

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46 · 47museo del novecento

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thinking...............................................

experimenting

The happiness of a man in this lifedoes not consist in the absence

but in the mastery of his

Alfred Lord Tennyson

(1809 - 1892)

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kenya hara al politecnico di milano: come parte delle attività di insegnamento al Politecnico nel 2008, Pitis ha organizzato e progettato la comunicazione per la lecture di Kenya Hara, direttore del Nippon Design Centre di Tokyo e art director di Muji, in occasione della presentazione del suo nuovo libro Designing design, pubblicato da Lars Müller di Zurigo.

52 · 53kenya hara al politecnico di milano

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hannover bridge, fonte di ispirazione per questo carattere sperimentale, è il nome di un cargo di proprietà di una società giapponese, registrato a Panama con un nome tedesco. L’idea alla base di questo alfabeto parte quindi da una metafora: come il cargo è un mezzo attraverso

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il quale si trasporta un contenuto attraverso il mondo, un solo sistema di segni può trasportare un messaggio attraverso differenti sistemi di scrittura. L’esperimento è quello di cercare di riunificare più sistemi di rappresentazionecreando un comune terreno di coltura tipografica.

56 · 57hannover

body-font è un’idea nata dopo un laboratorio con studenti delle scuole primarie e secondarie di Merano (Bolzano). Il titolo era: Create una famiglia di lettere. Non si trattava di inventare da zero ma di individuare un’idea comune, un dna simile e poi iniziare a pensare alla a, la b, la c… Abbiamo evitato le tecnologie digitali lavorando invece con giornali, riviste, acquerelli, matite, pennarelli, forbici, nastro adesivo e così via. Uno studente, molto negativo rispetto al progetto, dopo un’iniziale difficoltà iniziò a tagliare fotografie secondo le linee di forza estraendone alcune lettere in modo molto creativo. Questo lavoro è un’evoluzione di quella sua idea embrionale.

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58 · 59body-font

art direction

Massimo Pitis

graphic design

Andrea Amato

Valentina Bianchi

hanno collaborato

Bianca Baldacci

Daniel Annbjer · Paul Cheng

Beatrice Maggipinto · Silvia Odorico

Alessandro Tunno · Kirtan Valuet

testi in inglese

Pete Kercher · Michael Thomson

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grazie a:

Giacomo Callo · Fabio Novembre · Marina Pugliese

Alessandra Avallone · Monica Aldi · Sergio Altieri · Antonio Baravalle

Luca Barcellona · Alberto Bassi · Settimio Benedusi · Rossella Bertolazzi

Matteo Bologna · Giovanna Borasi · Alessandra Bosco · Viviana Bottero

Susannah Bozlet · Andrea Braccaloni · Fiorella Bulegato · Alessandro Calastri

Gianni Camusso · Elena Caratti · Elio Carmi · Mauro Cerati · Severino Cesari

Cesare Cicardini · Luisa L. Corna · Giorgio Camuffo · Maurizio e Marzia Corraini

Cristina Dell’Edera · Maria Cristina Didero · Francesco Di Loreto · Byungsoo Eun

Martina Facco · Tine Fehr · Beppe Finessi · Luigi Fiore · Pasquale Formisano

Lorenzo Garavaldi · Beppe Giacobbe · Danka Giacon · Graziella Girardello

Joachim Görtz · Kenya Hara · Susanna Legrenzi · Franco Malusardi

Ferdinando Masi de Vargas Maciucca · Lucia Matino · Kaoru Matsuno · Paolo Mazzo

Francesco Messina · Ico Migliore · Stefano Mirti · Matteo Molesti · Luca Molinari

Gaddo Morpurgo · Marco Nicotra · Dario Notarbartolo · studio Novembre · Pati Nuñez

Sergio Notari · Mauro Ornelli · Chiara Pagani · Barbara Però · Luciano Perondi

Iolanda Ratti · Francesca Rossi · Monica Rossi · Carlo Rossolini · Harriet Russell

Francesca Salvemini · Mara Servetto · Raffaele Solaini · Luigi Sponzilli · Hiroko Suzuki

Motoko Tanaka · Pier Donato Vercellone · Mimo Visconti · Tracey Waters · Mirko Zardini

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fotografie

F38F

Fabio Giannelli

studio Pitis

Francesco Van Straten

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grazie all’appassionato contributo di

Grafiche Mariano

PITIS

...............................

brand identity and editorial design

consultancy...............................

www.pitis.euinfo@pitis.eu

...............................

viale Ranzoni, 720148 Milano, Italiat.: +39 02 97382826

...............................

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