2023__Marbelicious__Obench
Collectible Design
![]()
![]()
Marbelicious is research and balance of contrasts.
A system with fluid aesthetics and geometric rhythm. The irregular shapes enter into dialogue with the material, helping to discover the fascinating essence of marble in a play of light, shadow and texture. The term "system" indicates a series of elements, connected to each other, which interact and evolve as a single whole. Sinuous and irregular portions of marble are composed in the construction of ever-changing furnishing systems. Marble, as an inert material and a classic archetype of stillness, becomes in Marbelicious an expression of fluidity and movement. Soft and architectural geometries are composed in rhythmic and harmonious patterns. A single cut and decomposed slab takes on rounded and winding shapes, giving the single modules a unique and vibrant sign. The material is processed without the aid of industrial machines, therefore each module is reproducible but will never be the same.
![]()
![]()
Collectible Design
Marbelicious is research and balance of contrasts.
A system with fluid aesthetics and geometric rhythm. The irregular shapes enter into dialogue with the material, helping to discover the fascinating essence of marble in a play of light, shadow and texture. The term "system" indicates a series of elements, connected to each other, which interact and evolve as a single whole. Sinuous and irregular portions of marble are composed in the construction of ever-changing furnishing systems. Marble, as an inert material and a classic archetype of stillness, becomes in Marbelicious an expression of fluidity and movement. Soft and architectural geometries are composed in rhythmic and harmonious patterns. A single cut and decomposed slab takes on rounded and winding shapes, giving the single modules a unique and vibrant sign. The material is processed without the aid of industrial machines, therefore each module is reproducible but will never be the same.
ph: ©Emanuele Chiaverini
2023__Marbelicious__Sbench
Collectible Design
![]()
![]()
Marbelicious is research and balance of contrasts.
A system with fluid aesthetics and geometric rhythm. The irregular shapes enter into dialogue with the material, helping to discover the fascinating essence of marble in a play of light, shadow and texture. The term "system" indicates a series of elements, connected to each other, which interact and evolve as a single whole. Sinuous and irregular portions of marble are composed in the construction of ever-changing furnishing systems. Marble, as an inert material and a classic archetype of stillness, becomes in Marbelicious an expression of fluidity and movement. Soft and architectural geometries are composed in rhythmic and harmonious patterns. A single cut and decomposed slab takes on rounded and winding shapes, giving the single modules a unique and vibrant sign. The material is processed without the aid of industrial machines, therefore each module is reproducible but will never be the same.
![]()
![]()
Collectible Design
Marbelicious is research and balance of contrasts.
A system with fluid aesthetics and geometric rhythm. The irregular shapes enter into dialogue with the material, helping to discover the fascinating essence of marble in a play of light, shadow and texture. The term "system" indicates a series of elements, connected to each other, which interact and evolve as a single whole. Sinuous and irregular portions of marble are composed in the construction of ever-changing furnishing systems. Marble, as an inert material and a classic archetype of stillness, becomes in Marbelicious an expression of fluidity and movement. Soft and architectural geometries are composed in rhythmic and harmonious patterns. A single cut and decomposed slab takes on rounded and winding shapes, giving the single modules a unique and vibrant sign. The material is processed without the aid of industrial machines, therefore each module is reproducible but will never be the same.
ph: ©Emanuele Chiaverini
2023__Marbelicious__Bookcase Collectible Design
![]()
Marbelicious is research and balance of contrasts.
A system with fluid aesthetics and geometric rhythm. The irregular shapes enter into dialogue with the material, helping to discover the fascinating essence of marble in a play of light, shadow and texture. The term "system" indicates a series of elements, connected to each other, which interact and evolve as a single whole. Sinuous and irregular portions of marble are composed in the construction of ever-changing furnishing systems. Marble, as an inert material and a classic archetype of stillness, becomes in Marbelicious an expression of fluidity and movement. Soft and architectural geometries are composed in rhythmic and harmonious patterns. A single cut and decomposed slab takes on rounded and winding shapes, giving the single modules a unique and vibrant sign. The material is processed without the aid of industrial machines, therefore each module is reproducible but will never be the same.
![]()
![]()
![]()
Collectible Design
Marbelicious is research and balance of contrasts.
A system with fluid aesthetics and geometric rhythm. The irregular shapes enter into dialogue with the material, helping to discover the fascinating essence of marble in a play of light, shadow and texture. The term "system" indicates a series of elements, connected to each other, which interact and evolve as a single whole. Sinuous and irregular portions of marble are composed in the construction of ever-changing furnishing systems. Marble, as an inert material and a classic archetype of stillness, becomes in Marbelicious an expression of fluidity and movement. Soft and architectural geometries are composed in rhythmic and harmonious patterns. A single cut and decomposed slab takes on rounded and winding shapes, giving the single modules a unique and vibrant sign. The material is processed without the aid of industrial machines, therefore each module is reproducible but will never be the same.
ph: ©Emanuele Chiaverini
2023__Marbelicious__Storage Collectible Design
![]()
Marbelicious is research and balance of contrasts.
A system with fluid aesthetics and geometric rhythm. The irregular shapes enter into dialogue with the material, helping to discover the fascinating essence of marble in a play of light, shadow and texture. The term "system" indicates a series of elements, connected to each other, which interact and evolve as a single whole. Sinuous and irregular portions of marble are composed in the construction of ever-changing furnishing systems. Marble, as an inert material and a classic archetype of stillness, becomes in Marbelicious an expression of fluidity and movement. Soft and architectural geometries are composed in rhythmic and harmonious patterns. A single cut and decomposed slab takes on rounded and winding shapes, giving the single modules a unique and vibrant sign. The material is processed without the aid of industrial machines, therefore each module is reproducible but will never be the same.
![]()
Collectible Design
Marbelicious is research and balance of contrasts.
A system with fluid aesthetics and geometric rhythm. The irregular shapes enter into dialogue with the material, helping to discover the fascinating essence of marble in a play of light, shadow and texture. The term "system" indicates a series of elements, connected to each other, which interact and evolve as a single whole. Sinuous and irregular portions of marble are composed in the construction of ever-changing furnishing systems. Marble, as an inert material and a classic archetype of stillness, becomes in Marbelicious an expression of fluidity and movement. Soft and architectural geometries are composed in rhythmic and harmonious patterns. A single cut and decomposed slab takes on rounded and winding shapes, giving the single modules a unique and vibrant sign. The material is processed without the aid of industrial machines, therefore each module is reproducible but will never be the same.
ph: ©Emanuele Chiaverini
2022__Cutout__Table Collection
Collectible Design
![]()
Cutout is an aesthetic research on metal shapes that have been “cutted out” from other projects.
Every waste of matter is part of a story.
The variable and free geometries, due to the previous processes, give the sign to each new piece.
Abandoned forms, rejects of other projects, come back to show themselves in a new life.
No more matter in excess but form and essence.
Cutout Tables: Collection of n. 4 coffee and side tables in 4 mm sheet metal. Free and irregular shapes make the pieces the protagonists of the living room. Each side shows and reveals different shapes and details of the products.
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
Collectible Design
Cutout is an aesthetic research on metal shapes that have been “cutted out” from other projects.
Every waste of matter is part of a story.
The variable and free geometries, due to the previous processes, give the sign to each new piece.
Abandoned forms, rejects of other projects, come back to show themselves in a new life.
No more matter in excess but form and essence.
Cutout Tables: Collection of n. 4 coffee and side tables in 4 mm sheet metal. Free and irregular shapes make the pieces the protagonists of the living room. Each side shows and reveals different shapes and details of the products.
ph: ©Emanuele Chiaverini
2021__Alter__Studio F Design Collaborations
![]()
Declare the intrinsic strength of the form, in order to make it essential and functional to itself.
“Classic” geometrics and volumes capable of leading us on the course of continuous research and cultural connection between past, present and future.
Investigating the current concept of aggregation, "Alter" becomes the formal representation of the multiplicity, diversity and complexity of tangible and intangible connections to which we are very familiar today.
The idea of the project is to develop a product that is a sign of our times, but which at the same time can extend cultural and social meanings and values, even after years.
Studio F focuses its work on the importance of solid wood and its recovery. The selected wood is a centennial Cedar charred with the Japanese technique of Shou Sugi Ban.
"Alter" wants to be the expression of a broken down and unstructured coffee table, modifying the formal and canonical image of the elements that contribute to the construction of a table. "Alter" is a "fluid" product in which the concept of "leg" and "floor" is lost.
An "other" table that evolves in its simplicity, becoming an emblem of bond, support, aggregation and comparison for distinct elements. The top loses its function as a surface above the legs, to become a welcoming line. Each element of "Alter" acquires its own identity but at the same time is a fundamental part in the construction of the whole, contributing to its balance, its union and essence.
Design: Millim Studio
![]()
![]()
![]()
Design Collaborations
Declare the intrinsic strength of the form, in order to make it essential and functional to itself.
“Classic” geometrics and volumes capable of leading us on the course of continuous research and cultural connection between past, present and future.
Investigating the current concept of aggregation, "Alter" becomes the formal representation of the multiplicity, diversity and complexity of tangible and intangible connections to which we are very familiar today.
The idea of the project is to develop a product that is a sign of our times, but which at the same time can extend cultural and social meanings and values, even after years.
Studio F focuses its work on the importance of solid wood and its recovery. The selected wood is a centennial Cedar charred with the Japanese technique of Shou Sugi Ban.
"Alter" wants to be the expression of a broken down and unstructured coffee table, modifying the formal and canonical image of the elements that contribute to the construction of a table. "Alter" is a "fluid" product in which the concept of "leg" and "floor" is lost.
An "other" table that evolves in its simplicity, becoming an emblem of bond, support, aggregation and comparison for distinct elements. The top loses its function as a surface above the legs, to become a welcoming line. Each element of "Alter" acquires its own identity but at the same time is a fundamental part in the construction of the whole, contributing to its balance, its union and essence.
Design: Millim Studio
Production: Studio F
ph: ©Emanuele Chiaverini
2019__Fusion__Secondome Gallery Design Collaborations
![]()
Wallpaper* Awards
The marble becomes an embracing “mother”.
The matter withdraws to leave space for another matter.
As a magnifying glass, huge transparent cylinders, cross and reveal the heart of marble, mixing with it. The tale of a fusion, where empty and full mix up.
![]()
![]()
![]()
Design Collaborations
Wallpaper* Awards
ph: ©Matthew Donaldson
The marble becomes an embracing “mother”.
The matter withdraws to leave space for another matter.
As a magnifying glass, huge transparent cylinders, cross and reveal the heart of marble, mixing with it. The tale of a fusion, where empty and full mix up.
ph: ©Serena Eller / ©Matthew Donaldson
2019__S.U.P.__Luisaviaroma Design Collaborations
![]()
![]()
The collection S.U.P. lives of visual and tactile impulses. "Poor" and precious materials are processed entirely by hand; foam and brass are put in close relationship; colors, geometries and texts tell the desire for freedom, movement and change.
Discover, Universe, Revolution, Your Mind are the words chosen to describe this desire.
Four products live in relation to each other and carry the message that has been entrusted to them.
Discover coffee table
Discovering movement and game between flexible material and rigid material. Six foam columns are entrusted to support brass plates. The "cage" is just a mental state.
Universe home décor
A universe to be observed and contemplated. Sparkling and iconic, the object lets itself be watched.
Revolution sitting
Revolution is the synthesis of S.U.P. a sitting without restrictions on use or on positions. A seat without brakes, free and constantly moving.
Your Mind flag
The flag, an iconic and evocative object, is the emblem of every revolution. Its communicative power is unchanged over time. Expressing a thought and our own social/group identity is a great exercise of freedom.
![]()
![]()
![]()
![]()
Design Collaborations
The collection S.U.P. lives of visual and tactile impulses. "Poor" and precious materials are processed entirely by hand; foam and brass are put in close relationship; colors, geometries and texts tell the desire for freedom, movement and change.
Discover, Universe, Revolution, Your Mind are the words chosen to describe this desire.
Four products live in relation to each other and carry the message that has been entrusted to them.
Discover coffee table
Discovering movement and game between flexible material and rigid material. Six foam columns are entrusted to support brass plates. The "cage" is just a mental state.
Universe home décor
A universe to be observed and contemplated. Sparkling and iconic, the object lets itself be watched.
Revolution sitting
Revolution is the synthesis of S.U.P. a sitting without restrictions on use or on positions. A seat without brakes, free and constantly moving.
Your Mind flag
The flag, an iconic and evocative object, is the emblem of every revolution. Its communicative power is unchanged over time. Expressing a thought and our own social/group identity is a great exercise of freedom.
ph: ©Emanuele Chiaverini
2018__Glitch__Secondome Gallery Design Collaborations
![]()
Unplugged - mdw 2018
![]()
The febrifugal plants, that cover the background, contrast the short-lived fault in the system which causes the“glitch”. In this arrangement that turns a wall into a painting, Millim studio explore the fault as potential beauty.
![]()
Design Collaborations
Unplugged - mdw 2018
c/o LADIES & GENTLEMEN
a project by Secondome Gallery + P:S Design Consultants
ph: ©Serena Eller
The febrifugal plants, that cover the background, contrast the short-lived fault in the system which causes the“glitch”. In this arrangement that turns a wall into a painting, Millim studio explore the fault as potential beauty.
ph: ©Serena Eller
2023__Venice Design Biennial__Venice, Italy Exhibitions
![]()
SPUMA - SPACE FOR THE ARTS
Auto-Exotic is the theme of the fourth edition of the Venice Design Biennial, whose
programme of exhibitions returns to Venice from 19 May to 18 June, in parallel with
the first month of the Architecture Biennale.
The curatorial theme of this edition, proposed by the curators and founders of the project, Luca Berta and Francesca Giubilei, is Auto-Exotic.
The exotic is dead - long live the exotic. They stole from us elsewhere! What is to be done? There will be a self-elsewhere somewhere else. Designers from all over the world unite, self-colonize, self-appropriate!
In his seminal essay Orientalism (1978), Edward Said showed how since the eighteenth century the cultural investigation of the East, understood as the physical and mental space of exoticism, revealed conceptual connections with colonialist practices. Elsewhere, populated by odalisques and caliphs, full of mysteries and sensuality, exercised a fascination in Europe that was intertwined with the practices of political, military and commercial hegemony.
Exciting passivity, femininity, indolent sensuality-sexuality, immobility, traditionalism, irrationality: all distinctive traits projected on the East to obtain in negative the mold where to pour the incandescent material - virile, progressive, rational - of Western identity.
In recent years, two interrelated phenomena have emerged, which have radically altered this scenario. On the one hand, “exotic” cultures and civilizations have spectacularly reversed the cliché of immobile traditionalism. The great emerging powers are located outside the West. It is the West that shows signs of declining immobility. Elsewhere has found its voice - and it is different from what we expected.
The other phenomenon is the correlative decline of globalization as we have known it, that is, as a perpetual expansive motion of Western capitalism. In all likelihood, capitalist dominance remains, what is wavering is its western declination, with the corollary of social and political aspects, whose export value has turned out to be modest to say the least. In the meantime, globalization has done its job, and everything that in the past manifested itself in an aura of unattainable distance now appears to be at hand anytime, anywhere, without delay.
The consequence is that the search for the exotic, for the exciting and mysterious elsewhere, slides towards a horizon that no longer extends geographically, but rather collects itself in the more or less hidden folds of our own culture of belonging, and in its own offshoots both in the sense of marginality and avant-garde.
The challenge for designers today is how to investigate this otherness, near and far, in a way purified of stale prejudices, but not without the radicalism of those who want to break down prejudices. The Venice Design Biennial wants to invite them to present their vision in a city that is the cradle of the concept of the exotic, a hinge between West and East, where the account of Marco Polo’s legendary journey for the first time opened new horizons to th gaze and to the imagination applied to an elsewhere beyond the limits of known experience.
![]()
![]()
Exhibitions
SPUMA - SPACE FOR THE ARTS
Fondamenta San Biagio 800R
Giudecca Island
ph: ©Giacomo Gandola
Auto-Exotic is the theme of the fourth edition of the Venice Design Biennial, whose
programme of exhibitions returns to Venice from 19 May to 18 June, in parallel with
the first month of the Architecture Biennale.
The curatorial theme of this edition, proposed by the curators and founders of the project, Luca Berta and Francesca Giubilei, is Auto-Exotic.
The exotic is dead - long live the exotic. They stole from us elsewhere! What is to be done? There will be a self-elsewhere somewhere else. Designers from all over the world unite, self-colonize, self-appropriate!
In his seminal essay Orientalism (1978), Edward Said showed how since the eighteenth century the cultural investigation of the East, understood as the physical and mental space of exoticism, revealed conceptual connections with colonialist practices. Elsewhere, populated by odalisques and caliphs, full of mysteries and sensuality, exercised a fascination in Europe that was intertwined with the practices of political, military and commercial hegemony.
Exciting passivity, femininity, indolent sensuality-sexuality, immobility, traditionalism, irrationality: all distinctive traits projected on the East to obtain in negative the mold where to pour the incandescent material - virile, progressive, rational - of Western identity.
In recent years, two interrelated phenomena have emerged, which have radically altered this scenario. On the one hand, “exotic” cultures and civilizations have spectacularly reversed the cliché of immobile traditionalism. The great emerging powers are located outside the West. It is the West that shows signs of declining immobility. Elsewhere has found its voice - and it is different from what we expected.
The other phenomenon is the correlative decline of globalization as we have known it, that is, as a perpetual expansive motion of Western capitalism. In all likelihood, capitalist dominance remains, what is wavering is its western declination, with the corollary of social and political aspects, whose export value has turned out to be modest to say the least. In the meantime, globalization has done its job, and everything that in the past manifested itself in an aura of unattainable distance now appears to be at hand anytime, anywhere, without delay.
The consequence is that the search for the exotic, for the exciting and mysterious elsewhere, slides towards a horizon that no longer extends geographically, but rather collects itself in the more or less hidden folds of our own culture of belonging, and in its own offshoots both in the sense of marginality and avant-garde.
The challenge for designers today is how to investigate this otherness, near and far, in a way purified of stale prejudices, but not without the radicalism of those who want to break down prejudices. The Venice Design Biennial wants to invite them to present their vision in a city that is the cradle of the concept of the exotic, a hinge between West and East, where the account of Marco Polo’s legendary journey for the first time opened new horizons to th gaze and to the imagination applied to an elsewhere beyond the limits of known experience.
2023__ADI Design Museum__Milan, Italy Exhibitions
![]()
![]()
ITALY: A New Collective Landscape
ITALY: A NEW COLLECTIVE LANDSCAPE
At the ADI Design Museum an exhibition entirely dedicated to designers under 35 who grasp the challenges of the global moment, curated by Angela Rui.
The issues before which this global moment places us and the continuous ecological and social transformations constitute the starting point for the works of young Italian designers presented by Italy: A New Collective Landscape. Produced by ADI Design Museum, the exhibition has the curatorship of Angela Rui with Elisabetta Donati de Conti and Matilde Losi, the graphic design of Alice Zani with Paola Bombelli, and the installation of Parasite 2.0 studio.
![]()
"The title of this exhibition may sound familiar. It originates from and transforms "Italy: The New Domestic Landscape," the exhibition curated by Emilio Ambasz at the MoMA in New York in 1972 that brought Italian design to the world by making Italy the benchmark of the modern discipline par excellence. The choice to refer to this exhibition is to understand that exporting the idea of Italian Design through the work of (then) young designers made the fortune of an entire system whose reverberations are still felt today. The exhibition stands as a proposal to overcome the nostalgia that so ties design circles to that historical period because, perhaps, the creative response could once again inspire a productive and manufacturing fabric in search of change." says Angela Rui, curator of the exhibition.
The protagonists are one hundred young designers under 35, whose works were also selected through an open call in which nearly four hundred participated. Italy: A New Collective Landscape aims to be an exhibition-program revolving around the projects, products and new practices of the designers, who are committed to meeting the challenges posed by the current moment, starting with the climatic, social and economic crises, and the repercussions these have on reality itself.
"Discomfiting Giorgio Gaber, we can reiterate how freedom is not a free space, but participation; this analysis that takes shape in the exhibition highlights the political dimension of making design today." comments President ADI, Luciano Galimberti.
![]()
Exhibitions
ITALY: A New Collective Landscape
Catalogue
graphic project: Alice Zani, Paola Bombelli
ITALY: A NEW COLLECTIVE LANDSCAPE
At the ADI Design Museum an exhibition entirely dedicated to designers under 35 who grasp the challenges of the global moment, curated by Angela Rui.
The issues before which this global moment places us and the continuous ecological and social transformations constitute the starting point for the works of young Italian designers presented by Italy: A New Collective Landscape. Produced by ADI Design Museum, the exhibition has the curatorship of Angela Rui with Elisabetta Donati de Conti and Matilde Losi, the graphic design of Alice Zani with Paola Bombelli, and the installation of Parasite 2.0 studio.
ph: ©Martina Bonetti
"The title of this exhibition may sound familiar. It originates from and transforms "Italy: The New Domestic Landscape," the exhibition curated by Emilio Ambasz at the MoMA in New York in 1972 that brought Italian design to the world by making Italy the benchmark of the modern discipline par excellence. The choice to refer to this exhibition is to understand that exporting the idea of Italian Design through the work of (then) young designers made the fortune of an entire system whose reverberations are still felt today. The exhibition stands as a proposal to overcome the nostalgia that so ties design circles to that historical period because, perhaps, the creative response could once again inspire a productive and manufacturing fabric in search of change." says Angela Rui, curator of the exhibition.
The protagonists are one hundred young designers under 35, whose works were also selected through an open call in which nearly four hundred participated. Italy: A New Collective Landscape aims to be an exhibition-program revolving around the projects, products and new practices of the designers, who are committed to meeting the challenges posed by the current moment, starting with the climatic, social and economic crises, and the repercussions these have on reality itself.
"Discomfiting Giorgio Gaber, we can reiterate how freedom is not a free space, but participation; this analysis that takes shape in the exhibition highlights the political dimension of making design today." comments President ADI, Luciano Galimberti.
ph: ©Emanuele Chiaverini
2023__Piazza di Siena__Villa Borghese Rome, Italy Exhibitions
![]()
![]()
Casa Italia Collection Fise
![]()
![]()
Exhibitions
Casa Italia Collection Fise
Piazza di Siena 2023
Casina di Raffaello, Villa Borghese Rome, Italy
ph: ©Serena Eller
design and art project: Claudia Pignatale and Ex-Elettrofonica
ph: ©Serena Eller
2023__Internazionali BNL d’Italia__Rome, Italy Exhibitions
![]()
MODERNA is a project by Giorgio Galotti and Claudia Pignatale
on show: Marta Mancini, Gianni Politi, Alice Ronchi, Andrea Sala, Giovanna Silva, Serena Confalonieri, Front Design, Alfredo Häberli, Sebastian Herkner, Lucidi / Pevere, Millim Studio, Paola Navone, Jonathan Olivares, Marco Pettinari, STARTT, Studio F, Patricia Urquiola
in collaboration with MAXXI - Museo nazionale delle arti del XXI secolo
The title is an homage to the location, the Foro Italico, built between 1928 and 1937, the period named by art historians as “Modern”. In this context, the term “modern” means “belonging to the present”, but by “modern world” we also imply a complex series of subjects that have influenced the future since the days of antiquity, a past in which Rome has always held a gravitational pull and served as a source of inspiration. The exhibition path intends to give back to the visitor a series of visual suggestions between art and design that can evoke a romantic reflection on the evolution of signs and shapes through the lens of the Italian style.
Starting from the Sala delle Armi (Fencing Academy – House of Arms), a rationalist building designed by Luigi Moretti between 1933 and 1937, which this year hosts for the first time LEA, the Sport and Health Hospitality format used for the Internazionali BNL d'Italia designed to welcome guests and sponsors of the tournament, the path of art and design begins, which continues in the Corporate Hospitality lounges around the Central Tennis Stadium.
Inside LEA at Sala delle Armi room we have the coffee tables Miscellaneus and Marbelicious System by Millim Studio. Recovered marble sculpture fragments are assembled in organic shapes.
The term "system", in the latter, indicates a series of elements, connected to each other, which interact and evolve as a single whole. The marble, an inert material and a classic archetype of static nature, becomes an expression of fluidity and movement in Marbelicious.
Our products in the picture together
with the most recent cycle of paintings by Gianni Politi, the tables in solid wood by Studio F, the Impossible Wood chairs and the Pebble Rubble sofas by Front Design for Moroso.
![]()
![]()
In the Montemario Nord room, the interior consists of faint colors between white and pastel shades that offer a backdrop to the works. The Bohemian sofa, a “liquid” reinterpretation of the classic padded couch, is matched with Cutout sculpture tables by Millim Studio, which work on the concept of subtracting shapes from a powder-coated metal sheet.
![]()
![]()
![]()
![]()
Montemario Nord room
Exhibitions
![]()
LEA
Lead Exclusive Area
Internazionali BNL d’Italia
Sala delle Armi - Foro Italico, Rome
ph: ©Serena Eller
MODERNA is a project by Giorgio Galotti and Claudia Pignatale
on show: Marta Mancini, Gianni Politi, Alice Ronchi, Andrea Sala, Giovanna Silva, Serena Confalonieri, Front Design, Alfredo Häberli, Sebastian Herkner, Lucidi / Pevere, Millim Studio, Paola Navone, Jonathan Olivares, Marco Pettinari, STARTT, Studio F, Patricia Urquiola
in collaboration with MAXXI - Museo nazionale delle arti del XXI secolo
The title is an homage to the location, the Foro Italico, built between 1928 and 1937, the period named by art historians as “Modern”. In this context, the term “modern” means “belonging to the present”, but by “modern world” we also imply a complex series of subjects that have influenced the future since the days of antiquity, a past in which Rome has always held a gravitational pull and served as a source of inspiration. The exhibition path intends to give back to the visitor a series of visual suggestions between art and design that can evoke a romantic reflection on the evolution of signs and shapes through the lens of the Italian style.
Starting from the Sala delle Armi (Fencing Academy – House of Arms), a rationalist building designed by Luigi Moretti between 1933 and 1937, which this year hosts for the first time LEA, the Sport and Health Hospitality format used for the Internazionali BNL d'Italia designed to welcome guests and sponsors of the tournament, the path of art and design begins, which continues in the Corporate Hospitality lounges around the Central Tennis Stadium.
Inside LEA at Sala delle Armi room we have the coffee tables Miscellaneus and Marbelicious System by Millim Studio. Recovered marble sculpture fragments are assembled in organic shapes.
The term "system", in the latter, indicates a series of elements, connected to each other, which interact and evolve as a single whole. The marble, an inert material and a classic archetype of static nature, becomes an expression of fluidity and movement in Marbelicious.
Our products in the picture together
with the most recent cycle of paintings by Gianni Politi, the tables in solid wood by Studio F, the Impossible Wood chairs and the Pebble Rubble sofas by Front Design for Moroso.
In the Montemario Nord room, the interior consists of faint colors between white and pastel shades that offer a backdrop to the works. The Bohemian sofa, a “liquid” reinterpretation of the classic padded couch, is matched with Cutout sculpture tables by Millim Studio, which work on the concept of subtracting shapes from a powder-coated metal sheet.
Our products in the picture together with a series of paintings on rough linen by Alice Ronchi, the Getlucky armchair by Patricia Urquiola for Moroso and the Square settee and small armchair designed by Jonathan Olivares for Moroso.
Montemario Nord room
Internazionali BNL d’Italia
Corporate Hospitality - Foro Italico, Rome
ph: ©Serena Eller
2023__Cercai un motivo trovai la bellezza__Curva Pura__Rome, Italy
![]()
![]()
“Cercai un motivo trovai la bellezza” is a project curated by Millim Studio.
The exhibition aims to deepen and build a dialogue around the correspondence between aesthetics and function, intellect and sensitive sphere, within a harmonious research between identity and expressive freedom, functional objectivity and formal beauty declined in the different materiality and planning of the exhibited works. The iconic and material objects, mostly protagonists of the domestic environment, become the expression and practice of an incisive and significant design that understands beauty as a necessary need of the human being, useful for its balance and well-being.
The set-up, also curated by Millim Studio, was designed following the concept of "balance" by relating the "first element" that is needed to build an architecture, the brick, and the "last element" that goes to inhabit it, the product of design.
Formativity and sign, surfaces and textures, curvatures, orders and ornaments respond and correspond in plural stylistic languages, between formal value and usability, material quality and physical vitality, proportion and concordant singularities, combinations and compositions that are exuberant, as well as concretely harmonious. The aim of the exhibition is to stage a selection of design products that investigate the concept of beauty not as an added value, but as the intrinsic essence of the project.
Designers on show: Giovanni Botticelli, Daria Dazzan, Millim Studio, Naessi Studio, Simone Fanciullacci and Antonio De Marco for Secondome, Giò Tirotto for Secondome, Tellurico, TIPSTUDIO
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
![]()
Exhibitions
![]()
Cercai un motivo trovai la bellezza
Curva Pura, Rome
a project curated by Millim Studio
ph: ©Tania Alineri
“Cercai un motivo trovai la bellezza” is a project curated by Millim Studio.
The exhibition aims to deepen and build a dialogue around the correspondence between aesthetics and function, intellect and sensitive sphere, within a harmonious research between identity and expressive freedom, functional objectivity and formal beauty declined in the different materiality and planning of the exhibited works. The iconic and material objects, mostly protagonists of the domestic environment, become the expression and practice of an incisive and significant design that understands beauty as a necessary need of the human being, useful for its balance and well-being.
The set-up, also curated by Millim Studio, was designed following the concept of "balance" by relating the "first element" that is needed to build an architecture, the brick, and the "last element" that goes to inhabit it, the product of design.
Formativity and sign, surfaces and textures, curvatures, orders and ornaments respond and correspond in plural stylistic languages, between formal value and usability, material quality and physical vitality, proportion and concordant singularities, combinations and compositions that are exuberant, as well as concretely harmonious. The aim of the exhibition is to stage a selection of design products that investigate the concept of beauty not as an added value, but as the intrinsic essence of the project.
Designers on show: Giovanni Botticelli, Daria Dazzan, Millim Studio, Naessi Studio, Simone Fanciullacci and Antonio De Marco for Secondome, Giò Tirotto for Secondome, Tellurico, TIPSTUDIO
