Internationally renowned architect and designer, Antonio Citterio, has been immersed in Italy’s architecture and design fraternity from a very young age, deciding on his career path at the age of just 13.

Since 1972 has worked for many leading manufacturers such as B&B Italia, Flexform, Flos, Maxalto, a B&B Italia brand, is designed and coordinated entirely by Antonio Citterio. He has also been engaged in architectural works dealing with construction projects and interiors both in Italy and abroad. He holds lectures and conferences all over the world and his work has been extensively exhibited and published.

He cites Italian protorationalist architects such as Charles and Ray Eames, Louis Kahn, and Tadao Ando as his inspiration and particularly notes Alvaro Siza designs for which he has great respect

Antonio Citterio utilizes a fresh, hi-tech direction, combined with simple geometrics. This philosophy is clearly seen in The Axess, Oson C and Oson S chairs, which have a proven track record as call centre chairs. Axess and Osen Chairs reflect the latest technological developments and introduces a new, organic shape to the workplace\

His Ambition is widely noted: “I would like to design buildings that aren’t contaminated by commercial aspects, a church, a museum… where what is inside the building enhances the building itself,” he says.

Tonight I had the chance to listen to Piero Lissoni speak as part of the month-long Architecture and the City Festival put on by the San Francisco chapter of the AIA.  Speaking at the gorgeous CCA campus, Lissoni proved to be as charismatic, affable, honest and genuine as he is talented.  While I knew him well for his work with Italian furniture lines Boffi, Living Divani, Porro, and Cassina, only until he casually mentioned his other clients did I realize the true reach of his work, which includes projects for just about every blue-chip Italian furniture company like Kartell, Alessi, Flos, Cappellini, Poltrona Frau, Glas Italia, Fritz Hansen, Knoll, and Swarowski.  OMG.  In my mind he was already a legend based on the body of work that I knew about, but when I learned about everything else that he did, I was truly blown away.  In sports speak, he’s a first-ballot Hall of Famer on par with a Starck or Newson, if not above.

As Lissoni’s lecture began, I wasn’t sure what to expect.  Outwardly, he looked the part of designer: navy sportcoat with elbow patches, slim taupe jeans, brown driving mocs, and cream scarf.  On the stage, he had a continuous, looping portfolio of his work on the big projection screen while he was seated and speaking at a folding 6 foot table filled with various objects including an analog clock radio, Mac Powerbook, printed books, Japanese rice bowl, wind-up robot, Alessi coffee press, foam model of a recent building he designed in Istambul, and even a red foam clown’s nose (more on that later).  These would be the props that he used throughout his lecture, which was going to be about his “humanistic” approach to designing, apparently a last minute departure from his pre-planned retrospective of his work (which probably would not nearly have been as enlightening as his new topic, to our luck).

I have to admit that it took more than a few minutes before I could make enough sense of his Italian accent, broken English, and sense humor to concentrate on the content and intent of his speech.  As his lecture wore on (for more than 2.5 hours) and his anecdotes and examples began to amass, his genius began to come through in spades.  What was muddy for me about his humanistic approach became crystal clear – and then enlightening.  While it would be hard to replicate Lissoni’s career path and success, there are plenty of nuggets to take away from his lecture that you or I can learn from.

Unfortunately, the lecture was not recorded nor could I record it or take notes real-time.  So the following quotes, excerpts, points, and facts are purely based on my recollection (and my mad dash to takes notes right his lecture).  If anyone in attendance tonight has anything to add or clarify, please join in on the conversation!  In no particular order, here were the highlights:

• His working relationship with Alessi began with an hours-long conversation with Alberto Alessi about wine before Alberto finally brought up the idea of designing a watch, which Lissoni agreed to on the spot and without additional conversation.  He called his wine conversation his design “brief.”
• His Alessi coffee press project was aimed to take on Bialetti’s venerable, classic coffee press, which he said was like challenging Pele to a soccer match – “It was a good game.”
• On the ergonomics of his furniture: “Of course it’s uncomfortable, I’m Italian!”
• On his favorite materials to use: he has none and all are specific to each project.  He said “Materials are the language of every project” and that he never chooses to use a material just to use it.
• He is currently designing a bridge using carbon fiber
• He once worked with Kartell for more than two years to develop a new manufacturing technology for a chair, which ended up saving more than a kilogram of raw materials per chair.
• His desk at his office is a 3 meters by 3 meters and covered with books and objects.  He only works on a small 2 foot by 2 foot area on his desk, and only cleans his desk when the other things on his desk begin to intrude on this space (about every 2 months).
• He cannot work unless he has espresso, bottled water and fresh flowers everyday.
• He disallows computers in his meetings.
• His office has 3 libraries, one each for design, architecture/furniture and classics (poetry, novels, etc.).  He said if his employees are not using all three then they are not right for his firm.
• His puts on a red foam clown nose when he feels his meetings are getting too serious.
• He says we are all “prostitutes” – “People pay and we do.”
• He calls his clients his “victims.”
• On what makes Italian designers the best in the world: their great clients.  He said he is always late to meetings, often shows up empty-handed, often is late with deliverables, and that clients either love him or hate him.  His Italian clients clearly love him – and he quips “Could you imagine if I worked with Japanese or German clients?”
• He says working with engineers is his biggest nightmare.
• He thinks “It is impossible to live without technology” but that technology should only be used as a “tool.”  If it’s is used as the sole way to design, then it is wrong and “dangerous.”  He believes that working with your hands is still an essential part of the design process.  He says people often show him beautiful images on a screen but they often have no life.
• He started designing as a child, first using Legos.  He still thinks like a child but “only on a different scale.”
• He called his design school “hell” compared to the ones today (like CCA).  He said they had limited tools but were challenged to stay “curious” – his advice to design students today.
• His approach to designing architecture is different from his approach with products – “There is so much noise out there, I design my buildings to be quiet.”  He also uses a “European approach” to architecture projects where he designs the exterior plus everything in the interior down to the cabinet pulls.
• Asked if he’s designed a perfect thing: no, and he doesn’t strive for perfection because it’s “boring.”  But he does strive for greater precision in design and greater control over the process.  His example for the need for greater precision – a private home renovation where his budget of 1 became a 10 in reality.
• His examples of perfection: the work on Antonio Citterio, the work of Carlo Scarpa, a dinner by Alain Ducasse, Church of San Giorgio Maggiore in Venice by architect Andrea Palladio, the Barcelona Pavilion by architect Mies van der Rohe.
• The one thing he has not designed that he dreams about: a daughter.  He said with designing materials things “anything is possible” but it is things like life, a family, a daughter that are a real challenge to design.
• On what makes him happy: “Of course, I like the girls.”

There not much more to say or translate as I think his humanistic approach is pretty clear, at least to me.  While we can’t all be Lissoni or work the same way that he does (wouldn’t it be nice to go over budget 10 times and still have a job or demand fresh flowers at your desk everyday), I know that there are things I am taking away from his lecture that will make me a better designer.

Image courtesy of baunetz.de

Design Antonio Citterio (2006)

FRAME IN METAL WITH PRESSED POLYURETHANE PADDING COVERED WITH A PROTECTIVE FABRIC LINING ARMREST / BACKREST WITH PADDING IN PRESSED POLYURETHANE COVERED WITH A PROTECTIVE FABRIC LINING AND WITH METAL INSERT. SEAT CUSHIONS WITH POLYURETHANE AND DACRON. BACK CUSHIONS PLUS CONSISTING OF BACK CUSHION AND SMALL KIDNEY/HEADREST CUSHION CONNECTED ONE TO ANOTHER THANKS TO A LEATHER LACE IN THE COLOURS: BLACK, RUSSIAN RED, NATURAL, DARK BROWN “TESTA DI MORO”, DARK BROWN “TESTA DI MORO” GRAINED, COLONY GRAINED. THROW PILLOWS DOWN-FILLED. UPHOLSTERY REMOVABLE FABRIC OR LEATHER COVERS.

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Design Antonio Citterio (2005)

Dimensions :

73*242*100

assise : 37

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Design Antonio Citterio (2008)

FRAME IN METAL INSIDE AND OUTSIDE EPOXY POWDER COATED AVAILABLE IN COLORS: WHITE (COD 100), CREAM (COD 205), BLACK (COD 900), UMBRA GREY (COD 720), PEARL MOUSE GREY (COD 740), KHAKI GREEN (COD 705), BROWN GREY (COD 805), PEARL BEIGE (COD 130) JOINT ELEMENTS IN SATINED STEEL BASE IN CHROMED METAL

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Platform 21 Repair Manifesto

About a 100 years ago we mentioned Platform 21and their Repair Manifesto.

Inspired by yesterdays rant against designers who find using PET bottles a suitable demonstration of how design can help save the planet, we revisited our previous post on Platform 21 and subsequently their Repair Manifesto

And still love what they are doing. Especially the Repair Hub where you can exchange addresses of skilled craftsmen and women.
If you should be in or near Amsterdam you can drop by and repair whatever you want.

And if not, check out Platform 21 and let yourself be inspired.

It may seem odd that a company who exist through the sale of furniture should encourage people to repair their furniture, but so contradictory is it not.

For why would you invest in piece of furniture, only to throw it out because it is partly damaged or broken?

That would be daft.

And also against the wishes of the designer and the purpose of the design.

A chair such as the new AC 4 by Antonio Citterio from Vitra, for example, is not only made of 51% recycled material but is itself 94% recyclable. As is the case with much of the Vitra seating programme.

Where's the problem? A Vitra Office Chair

Additionally chairs such as the plastic, wire and aluminium series by Charles and Ray Eames are designed and built to be repaired and rebuilt; spare and replacement parts can always be bought and in simple cases exchanged yourself or for detailed work by qualified and insured Vitra contractors. smow are always happy to advise.

Similarly all parts of the USM Haller system can be replaced, exchanged and rebuilt as and if required.

Wooden furniture, for example Thonet chairs or Moormann – well everything really -, can either be invisibly repaired by specialists or creatively by yourself.

Its meant to contrast... A chair repaired by a student at Textile Department of the Gerrit Rietveld Academie, Holland

Even plastic furniture as typified by Kartell is not beyond repair and fixing when things go wrong.

And things can go wrong – a misplaced bottle of red wine, an overenthusiastic child, a police raid at 3 in the morning. We’ve all experienced such moments.

But don’t blame it on your chair, table or sideboard.

It was worth the initial investment … it’s worth repairing.

And you’ll do much more for the environment that those designers with their PET bottle lamps

B&B GOOD NEWS 2007

Zaha Hadid + Patricia Urquiola + Antonio Citterio + NaotoFukasawa + Studio Kairos = GOOD NEWS 2007

GOOD NEWS is the theme that welcomes visitors to the B&B Italia Store - 14, via Durini – from 18th to 23rd April. B&B Italia is looking to the future with optimism and confidence, and with the important results it has achieved in a busy year of intense research and experimentation.

Design Antonio Citterio et Toan NGuyen (2009)

With their simple basic design, Belvedere outdoor lights interpret a sense of design that is both functionnal and elegant. Totem represents an evolution of the Belvedere series, enhaced by an ew generation of power LEDs with remote phosphors that produce a more diffuse, warm and pleasing light. Belvedere mirrors the synthetic design that is a feature of many Citterio ’s creations. the utmost in functionnality expressed through clearly composed forms. As the ideal setting in which  to imagine Belveder series light, the designer evokes a concept that reinforces the rigour and research embodied in the idea: the italian garden.

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Design Antonio Citterio (2009)

The future-ready version of the already famous “Kelvin”. The innovative solution for the difuser consists of a square aluminium body which houses 30 Top LED 2800°K 450 lumen in total.

Finiture: gloss blak varnish, gloss white varnish and polished with protective transparent varnish.

Dimensions: base 140mm x 140mm-lg 602mm

light source 30 LED-2800°K 450 lumen

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The Flat. C shelving system by Antonio Citterio for B&B Italia is daunting and impressive.  Designed to save space, this piece is intended to potentially hold books, stereo equipment, a television, and whatever else one would want to store/display on it.  Most of the various forms it is available in seem to require a good amount of empty wall space though.

Via Daily Icon.

Design Antonio Citterio (2008)

De par les avantages pratiques qu’elles offrent, les tables à rallonges font partie
des créations des menuisiers depuis des siècles, et toutefois elles constituent un
défi tout particulier. Il ne s’agit pas simplement de développer une solution
convaincante tant d’un point de vue fonctionnel que constructif pour
augmenter la surface de la table – ce qui constitue déjà en soi une tâche
difficile – mais également de ne pas nuire à l’esthétique du meuble. Au vu du
faible nombre de solutions satisfaisantes à ce problème dans l’histoire du
meuble, on mesure l’ampleur des difficultés à surmonter.

Avec l’Extendable Dining Table, sa première création pour la collection Vitra
Home, Antonio Citterio a réussi à créer un parfait exemple fonctionnel et
esthétique de ce type de meuble. Faite d’une combinaison d’aluminium et de
bois, l’Extendable Dining Table peut accueillir six personnes et se transformer en
une table pour dix convives grâce à un mécanisme précis demandant peu d’efforts.

Le plateau chanfreiné d’aspect massif de l’Extendable Dining Table repose sur
deux paires de pieds en aluminium poli reliés entre elles en haut et en bas par
des traverses formant un trapèze. Légèrement incliné vers l’intérieur et s’affinant
vers le bas, ce solide piètement est fin et élégant, notamment grâce au
miroitement de sa surface. Il supporte une construction métallique cachée sur
laquelle est fixé le plateau et dans laquelle repose également la rallonge.

Sans modifier la position des pieds de la table, et donc sans avoir à soulever l’ensemble de la table, un mécanisme synchrone très élaboré permet d’écarter le plateau scindé en deux de manière à faire apparaître la rallonge rangée sur le piètement métallique. Il suffit alors de déplier cette rallonge en diagonale pour mettre le nouveau plateau en place. Une légère pression sur le côté étroit du plateau suffit pour fermer les jointures et pour bénéficier d’une table ayant
gagné un bon tiers de surface supplémentaire. Et pour rassurer les parents : un
mécanisme de verrouillage aussi simple qu’efficace évite tout déboîtement
involontaire des plateaux.

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Design  Antonio Citterio (2009)

taBle sPoon -antonio Citterio avec toan nguyen : une nouvelle table pliante light-office, à présent en
production, parfaite pour vivre dans les espaces réduits et facile à transporter, qui rappelle d’esthétique de
la chaise Spoon.

Spoon Table est une table light office pliable qui se caractérise par une légèreté et une praticité extrêmes.
En effet, sa structure est réalisée en aluminium à nid d’abeille et a une épaisseur de 15 mm seulement. La
finition est en laminé blanc, tandis que le bord, en méthacrylate, est teint sur le fond de manière à exalter
la profondeur de la transparence.
Les pieds en technopolymère garantissent résistance et esthétique. La fermeture à charnière, conçue pour
faciliter le pliage du plateau, fait de Spoon Table une table idéale pour les espaces réduits et lui permet d’être
transportée avec facilité. Le blocage des pieds est assuré par un curseur à oeillet et n’exige aucun outil.
Spoon Table est disponible avec un plateau de trois tailles différentes, avec des pieds et un bord coordonnés
dans la même tonalité.

Matériau : pieds : polypropylène modifié coloré dans la masse
plateau : aluminium alvéolaire et laminé mélaminique
Dimensions : L. 200 cm, P. 90 cm, H. 72 cm ; L. 160 cm, P. 80 cm, H. 72 cm ;
L. 140 cm, P. 70 cm, H. 72 cm
Coloris : blanc/orange, noir/noir, blanc/blanc

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Design Antonio Citterio (2009)

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Design Antonio Citterio (2009)

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Design Antonio Citterio (2009)

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Design Antonio Citterio (2009)

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We can’t get enough of the current craze for marvellous modular sofas! Perfect for modern living – the new sectional collection by Antonio Citterio is the Frank collection. As the straightforward name implies, the Frank collection from B&B Italia is an understated, honest sofa range. It’s meant for real life, for cosy entertaining and relaxing for family, not for simply looking at!

Via & more: Trendir