Author: Mariotti Alessio
Student_ID: 415358
Course: Computational Graphics
Teacher: Paoluzzi Alberto
Session: 2012-2013
Alessandro Loschiavo
Loschiavo biography
Alessandro Loschiavo was born in Rome, where he graduated at the I.S.I.A. (Industrial Design Institute) and began his activity as a free-lance designer. What inspires Alessandro Loschiavo is the movement in the natural environment, the elegance and slenderness of wild animals walking in the savannas or swimming in the seas. Originality is the keyword: never banal or predictable, his work floats in the unknown, his design resumes thesis and antithesis, in perfect balance as a precision machinery, a plot where all details fall into place, form and function and material. Every single project is the synthesis of an abstraction, the design of a primal form that turns into solid yet extremely light furniture. Besides the considerable three solo art exhibitions, his works have been invited all over the world in other collective exhibitions, among which the Chelsea Art Museum in New York, the China Design Alliance in Beijing, the Designmai 2005 in Berlin, the Gewerbe Museum in Winterthur/Zurich, the Hillside Gallery and the Living Design Gallery in Tokyo, the Science & Technology Museum in Shanghai, the 100% Design East in London, the 2000 Biennale Internationale Design in Saint Etienne (France). He also curated a few exhibitions dedicated to the design culture in Roma and Milan. For four years in a row he’s been awarded the Good Design Award, the most ancient design prize in the US, given by the Chicago Athenaeum, Museum for Architecture and Design, with the products I Sapidi and Fiordifoto for Aliantedizioni in 2004 and 2006, the Jap-puccino in 2005 for Kawatsura SHI-KI and the Walking Family in 2007 for Maòli. A further product, Enòfila, designed for Aliantedizioni, has entered the permanent collection at the Triennale in Milan. Since 1999 he is art director at Aliantedizioni, a collection of furnishing complements and dinner accessories in limited editions, with international customers such as Arango Miami, Avaya Italy, B&B Italy, Boffi, Colette Paris, Compaq Italy, Cushman&Wakefield, Dreamworks Los Angeles, Dune New York, Hewlett-Packard Italy, Max Mara, Mercedes Benz, Thomas Goode & Co. London. The designer has been design teacher by the Accademia di Belle Arti in Macerata and by the Institute of European Design in Roma. Since 2000 he works and lives in Milan.
Marabù project
About
The nature inspired table is made entirely in Mahogany or Rose heartwoods and composed of a flat teardrop-shaped top, two obtuse-angled legs and circular base. The tall legs are substantially equal and are fixed to the top and base with a slight rotation of one with respect to the other. The ‘ornitho-morphic’ table just recalls a wading bird, like the marabou stork, caught as if walking in a pond.
Project description
The project was carried out by dividing the subject into three parts: the legs, the base and the table. To obtain each legs was conducted before its 2D image and subsequently has been made in 3D.
Terminate both legs was made the base.
Was finally achieved the table before obtaining the surface tear shaped and then give it in a solid form below.
Final project
View Marabu plasm model
Bruno Munari
Munari biography
Bruno Munari (October 24, 1907, Milan – September 30, 1998, Milan) was an Italian artist, designer, and inventor who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphic design) in modernism, futurism, and concrete art, and in non visual arts (literature, poetry) with his research on games, didactic method, movement, tactile learning, kinesthetic learning, and creativity. Bruno Munari was born in Milan but spent his childhood and teenage years in Badia Polesine. In 1925 he returned to Milan where he started to work with his uncle who was an engineer. In 1927, he started to follow Marinetti and the Futurist movement, displaying his work in many exhibitions. Three years later he associated with Riccardo Castagnedi (Ricas), with whom he worked as a graphic designer until 1938. During a trip to Paris, in 1933, he met Louis Aragon and André Breton. From 1939 to 1945 he worked as a press graphic designer for the Mondadori editor, and as art director of Tempo Magazine. At the same time he began designing books for children, originally created for his son Alberto. Bruno Munari joint the 'Second' Italian Futurist movement in Italy led by Filippo Tommaso Marinetti in the late 1920s. During this period, Munari contributed collages to Italian magazines, some of them highly propagandist, and created sculptural works which would unfold in the coming decades including his useless machines, and his abstract-geometrical works. After World War II, Munari disassociated himself with Italian Futurism because of its proto-Fascist connotations. In 1948, Munari, Gillo Dorfles, Gianni Monnet and Atanasio Soldati, founded Movimento Arte Concreta (MAC), the Italian movement for concrete art. During the 1940s and 1950s, Munari produced many objects for the Italian design industry, including light fixtures, ash trays, televisions, espresso machines, and toys among other objects. In his late life, Munari worried by the incorrect perception of his artistic work, which is still confused with the other genres of his activity (didactics, design, graphics), selected art historian Miroslava Hajek as curator of a selection of his most important works in 1969. This collection, structured chronologically, shows his continuous creativity, thematical coherence and the evolution of his esthetical philosophy throughout all of his artistic life. Munari was also a huge contributor to the field of children's books and toys in his late life, though he had been producing books for children since the 1930s. He used textured, tactile surfaces and cut-outs to create books that teach about touch, movement, and color through kinesthetic learning. As a freelancer, Munari designed 1935 to1992 dozens of decorative objects (tables, armchairs, libraries, lamps, ashtray, ecc.), most of which for Bruno Danese. In the field of the industrial design, Munari created its objects of best success, like the toy monkey Zizi (1953), the "sculpture travel" flexible (1958) and the famous Falkland lamp (1964).
Falkland project
About
Elastic fabric diffuser, white tubular, natural aluminium structure. The “Falkland” lamp has a tubular structure in aluminium covered with elastic material. It is a spontaneous shape, generated by the tension of the inner forces with which it is made. When Munari talks about “spontaneous” shape he refers to a part of his research done on natural organisms, in which materials and shapes seem to correspond to the functions they carry. This lamp corresponds more than the others to the requirements that Munari considers fundamental for a correct design: simplicity, efficiency, minimum storage bulk and maximum return. It is more than 1.60 m tall but you can fit it in a few centimetres of space: the light filters through the tube, using the texture of the fabric to create a characteristic effect of soft and diffused luminosity.
Project description
The project was carried out by dividing the object into two parts: the shaft and the body.
The skeleton is composed of a base and a rod to the top of which is a cylindrical portion of greater radius.
The body is made from metallic rings and by the curves of the fabric, for which the two components were made separately. The last component designed is aluminum reflector.
Final project
View Falkland plasm model
Satyendra Pakhalé
Pakhalé biography
He was born in 1967 in India and trained as a designer at the renowned IIT - Indian Institute of Technology Bombay and later at the Art Centre College of Design Europe, in Switzerland. He was part of the pioneering ‘new business creation’ team, conceiving some of the first product ideas for new technologies in the area of digital communication and transportation design at Philips Design in the mid-90’s. Since 1998 he has been working worldwide from his Amsterdam-based design studio on a wide range of disciplines with international design manufacturers, architectural practices, technological ventures and cultural and educational institutions. The Eindhoven Design Academy in the Netherlands invited him to devise and head the Master Programme in Design for Humanity and Sustainable Living from 2006 to 2010. His designs emanate from cultural dialogue, synthesizing new applications of materials and technologies. His ongoing curiosity for materials, technology and a plural cultural expression has lead to limited edition pieces represented by Gabrielle Ammann Gallery, Cologne, Germany. Pakhalé’s works are in permanent collections at prestigious museums throughout the world. Satyendra Pakhalé considers the design profession an expression of true human optimism. He is motivated by social, technological, ecological, industrial and above all cultural parameters, as much as by a purely creative vision. His prime interest is the design of mass-producible challenging products and public architecture.
Fish chair project
About
Easy Chair produced in thermoplastics. Fish Chair is a furniture as an object / a companion. It is an object that suggest something instead of representing anything. It is an easy chair with a comfortable reclined posture.The chair can be used as a solo piece or in a large groups in domestic or public settings. Fish Chair is produced in seven different colours but always with the white inside.
Project description
The project was carried out by first getting the side surfaces,
then the central surface.
Final project
