| MOROSO / MILAN INTERNATIONAL FURNITURE FAIR 2006
Exceptional performance distinguishes the company founded in 1952 and now leader in the high end market. Its revenues and presence on foreign markets are expanding, thanks to a developmental process involving incessant research, innovation of form and design, skillful craftsmanship and a strategic vision encompassing new developments and new directions to spur production towards new horizons. Moroso offers creations that unite the traditional with the avant-garde in terms of materials and production processes, aesthetic blends, harmony of proportion, elegance of line, and formal quality and functionality, all in the name of a linguistic and material versatility of the furnishing element.
For the first time in its fifty years, Moroso opens a dialogue with the world of decorative articles and it does so with its usual, unmistakeable creative verve. The various series feature elements with matching styles which give a consistent, harmonious look to the room settings display concept which provides a wide-ranging, comprehensive vision of everything that happens in a living environment, where each element may live with others in total harmony and in accordance with varying combinations.
A white world which takes its colour from the articles presented, partition panels that seem like vertical moving pavements with endless moving stylised pictures of the products, which are the fruit of creative languages that meet and merge in a single idea to highlight well known voices as well as new names in design. This is Moroso at the Milan Furniture Show 2006, with an installation for the Stand by Patricia Urquiola a and Martino Berghinz and graphics by the artist Corinna Cadetto.
Shanghai Tip, by Patricia Urquiola, is a range of modern, sophisticated yet reassuring seating elements with an understated feeling of luxury in a vaguely Oriental mood. Simple and minimal in the normal position; supremely comfortable when the backrest, which has a tilting mechanism, is raised. The chrome-steel or painted tube legs are reminiscent of the coloured wooden sticks used for playing Mikado. The same motif is repeated in the legs of the low tables with decorated screen-printed or varnished laminate tops that complete the range. They are designed to match and blend with the sofas while maintaining a specific, independent identity
Seeking a new shape for a non-upholstered seating element, the design of Antibodi blossoms from a cellular genesis of petals sewn in triangular shapes, creating ample patterns. The lightly padded petals feature reversible materials - felt and wool fabric; wool fabric and leather - which create a supporting cover that is then fixed to a painted or chromeplated metal frame. The cover creates two very different and striking moods: with the petals facing upwards for a more unconventional, feminine version; or facing downward for a deliberately severe, quilted look
A new look at the hammock style, presented at the Ideal House exhibition in Cologne; the ideal companion to the Smock armchair presented at last year's Milan Furniture Show. It displays the same exploration of solids and voids, comfort and luxury, that distinguishes Patricia Urquiola's work. The Smock sofa uses a light, stylised design centred around the draping over the ring-shaped armrests.The unusual feature of a full-length zip is for removing the cover and for joining different materials.
Tomita Kazuhiko presents Ukiyo, a group of low tables with plastic tops, featuring an unusual technique of textile and polyester resin comoulding.
Toshiyuki Kita addresses the idea of simplicity, disassembling his monolithic and geomorphic icon piece, Saruyama, into a series of armchairs and chaises longues: Saruyama Islands .
Closer, outsized upholstered elements that combine the opulent forms of metaphysical seating elements with the comforting forms of our memory. Forms that make their presence felt, the textile covers with striking floral graphic motifs were also designed by Tord Boontje. The supporting wooden frame is padded with polyurethane foam.
Bon-bon, a series of tables of different heights – side table, low table, coffee table – decorated with delicate floral motifs. Ultra-sophisticated and precious in the Corian versions featuring dye-sublimation printing (a technique by which the ink permeates the material). The mirror or screen-printed glass versions use less elaborate yet equally striking and approachable materials, ideal for the elegant home or luxury hotel.
The Other Side of Ceramics by Tord Boontje: a collection of vases, plates and containers. Classic shapes with deliberately contrasting looks, they combine decorative motifs inspired by luxuriant greenery with others of Nature's decay. The pieces are made using a special moulding technique, while the artwork is hand-drawn, computer-processed and photographed.
For Use presents C-Chair, a range of chairs and armchairs designed for the office, meeting room or waiting area; comfortable to sit on, thanks to the chair's elasticity and movement. The structure is in steel upholstered in expanded polyurethane, while the C-shaped rectangular cross-section legs are in satined stainless steel.
Flowers chasing around a space as fine as dreams, flowers that have no reality but that reflected in an icy lake, in the vibrations of a colour, in sidereal space or in the texture of the poetic relationship that eliminates the difference between the figure and its background. Delicate objects for a light-hearted domestic setting, similar to the one in which they were created, the encounter between the young designer Luca Nichetto, attentive to a design's equilibrium, and the delicate formal sensibility of photographer Massimo Gardone. These objects hover between form and structure in a reciprocal emotive exchange; one influences the other in an understated, almost impeccable way, whispering in our ear that we must be ready to dream of future transformation.
Around the Rosy are low tables with a high technological content thanks to the use of Alicrite for both the version with two-tone layers and the one with an incorporated, dyesublimation-printed fabric with a flower-inspired pattern. This exclusive technology was developed in co-operation with Lisa Tavazzani, expert product manager.
Sculptural, with sinuous lines, "the armchair Raw is conceived to be long-lasting and minimise the impact on the surrounding environment. It doesn't have an interior structure, and is the product of an extremely natural and raw material", this is how Tomek Rygalik defines his self-bearing leather armchair. The Raw armchair – a product designed with economy of means in mind – has no internal structure and is made out of one very natural material. Its integrity derives from the well-considered geometry and natural properties of rawhide. It is an armchair with no inherent obsolescence that is well crafted and will age gracefully.
Supernatural by Ross Lovegrove uses injection moulding technology in fibreglass-reinforced polyamide with a gas moulding process. This manufacturing method requires heavy investments but results in a product that offers excellent value for money and fits perfectly with the rest of the collection. The Supernatural chair is available in two versions, with a solid or perforated backrest and the chair is colourful, stackable and, thanks to the special material used to make it, suitable for outdoor use.
A chair and its cover, a continuum of draping and gathering without a trace of seams or cutting, a play of volumes that evokes wave-like movements and highlights forms. The collaborative effort between Ron Arad and A-POC – the acronym stands for A Piece of Cloth, created by Miyake Issey and Dai Fujiwara in 1998 – focuses on creating a garment or design object using an innovative digitally enhanced single-process technology. In this instance, the resulting garment has a dual function of clothing a person's body or the Ripple Chair, as the owner wishes.
An amalgam of matter and design; fascinating structural solutions create soft, sinuous objects with a precise, recognisable identity.
The philosophy behind the Ripple Chair uses the same premise of creating something using a single process, but here, via the medium of plastic. Arad creates an injection-moulded thermoplastic shell whose continuous line curves and whirls, to create the symbol for infinity. The chair's snug, circular shape, light, graceful lines, material strength and the fact that it is stackable make it ideal for both residential and public environments.
Transform – designed by For Use – is an easy chair characterized by linear aestheticism, purity formal and a typically east rationalism.
Via Nazionale, 60
33010 Cavalicco (Udine) Italia
Tel +39 0432 577111
Fax +39 0432 570761