|DRAGA & AUREL||ITALY|
|120x120h69 cm 170x120h69cm 175x100h89cm 170x100h89cm 50x32cm||2016|
Studio Fuksas distinguishes itself for an innovative approach together with interdisciplinary experience and skills, strengthened over the last three decades.
For many years, Massimilano Fuksas has been paying particular attention to the study of urban problems in big metropolitan areas; his projects are characterized by a continuous research on new materials and on new carrying out techniques.
Since 1997 Doriana O. Mandrelli is the head of the Studio; her projects are thought for strong and eloquent images, that tend to stand out in belonging contexts, revealing an artistic dimension of the compositional approach.
Common element of their activity is the bond between what is built and the surrounding context. Sustainable projects, both in terms of environment, both in terms of performance and aesthetic lastingness. Product design is characterized mostly by simple marks and natural materials, that give life to objects that are close to their archetype’s iconicity, far from the stylistic “isms” in the small and large scale of the project. Formal simplification and use of warm and natural materials characterize the creative approach of their product design. At the root of any project you can detect the thorough study of materials, technologies, market and commission, in order to combine essential aesthetics and immediate functionality. The aim of their innovative elements is to influence the evolution of daily gestures.
Working with painting, ceramics decoration, set-design, followed by design and architecture: this is the pathway Pietro Russo explored before he entered the world of design. In 2001 he moved to Milan, where he collaborated with Lissoni Associati for companies like Alessi, Cappellini, Kartell, Tecno Spa and, still with Lissoni, as interior designer for Benetton, Kerakoll Design Gallery. He founded Pietro Russo Design Studio in 2010. His passion for craftsmanship led him to start researcing and re-inventing traditional production techniques. His design projects, where interiors are seen as scenic space, and the creation of new products are the result of this vision, combining scenic design with craftsmanship.
Vincenzo De Cotiis combines the architect’s sense of space with a sensitivity towards tactile surfaces. He forges pure forms – either design objects or spaces – by following an organic process that allows the final product to retain the traces of the process. Touch is as important as sight and generates structures and solutions. Crystalline and pure lines are charged with a new energy in the counterpoint of textures and parts. Materials – precious, raw, sometimes wild and always with an intense and evocative power – characterize every single project. Style results from the raw precision of finishes, the unexpected associations of parts’ colours and a choice of faded elements that embody the signs and scratches of time. De Cotiis’’ aesthetics is all about perfect imperfection.
He has a predilection for pure and highly evocative shapes. He makes raw material become poetry. He makes “raw” become his elegant stylistic flair. Tactility, structural use of colour, traces of manufacture on the final product, unusual mix of materials.
“…and with my clothes still soaked with iron I was running away from Palermo to study dance…”
Born in Bagheria, at eight years old he begins to learn the smith’s profession in his brother’s workshop and, at the same time, he becomes very keen on dance, attending a dance school in Palermo. In 2003, in Milano, he opens a workshop and begins a new artistic phase that tries in a certain sense to join the two previous experiences, seeking the typical ethereal lightness of dance in the iron’s working. His creations originate just with the unusual use of what in Italian is called “filo cotto”, that is a particular typology of iron, more mouldable, that resembles each time wood or plastic and that allows to carry out soft lines, space animations, “dancing” shadows. Sciortino recovers that extremely rich heritage of knowledge and craft skills, where Italian inspiration and creativeness were at their best.
In his opinion, “interior architecture” is a necessary discipline, a sort of “training field” in which to glean varied experience in materials, techniques, and problems inherent to home design. A fundamental step for anyone approaching the world of product design.
He is very receptive to design history and to its “signs,” with a personal and very recognizable stylistic flair, that Lazzeroni spontaneously defines as “sentimental design.” It is actually easy, even for a non-expert eye, to sense the link between past and future in Roberto Lazzeroni’s projects: his design does not parade industrial geometries, and neither embodies frivolous affectations of aestheticism; it gives objects their correct places in history, in tradition, in an autobiographical or collective memory.
In her works she always tries to get a union between painting and style, and she eventually finds it in “textile design”.
Over the years she refines her own painting technique directly on fabric; this technique allows her to create a collection with a unique design, where colour, pattern and material meet, giving life to a harmonic mixture between past and contemporaneity.
AUREL K. BASEDOW
Has chose to enhance resin’s potentials through a strong pictorial expressiveness. By applying epoxy resins and pigments, the objects he cures undergo unexpected transformations, becoming unique pieces. Moreover, together with the furnishings covered with Draga’s fabrics, they create a charming and stylistically successful union. Living and developing together the common passion for contemporary art, their artistic affinity grows with them, leading them to a common course of research, in-depth analysis and discussion.
PAOLA NAVONE Frank, dreamer, eclectic: her soul holds flavours and colours from the south of the world, known, loved and frequented, together with the taste and the shapes of the West, rich in traditions, open, in motion. All this gives life to her inexhaustible curiosity in search of materials, forms and structures in present, past and future.
Hagit Pincovici, was born in Tel Aviv and is third generation of an Israeli family with expertise in the artisanal experimentation of materials. Her interest in her family tradition evolved through the years into a personal interpretation of design. She works volumetrically, creating harmonious compositions with her signature and unique vision. The design philosophy is to preserve the inherent qualities of the materials.