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Eco-sustainability and new design possibilities for resilient flooring.

After creating countless styles of modular carpet, distinguished by high performances and sustainability, Interface launches a luxury modular vinyl flooring featured by the same green vision and based on biophilic design approach.

Level Set is the first Luxury Vinyl Tile (LVT) collection by Interface. It is environmental friendly and is inspired by natural elements like wood and stone, according to biophilic design approach.
It offers options that evoke distressed, reclaimed and exposed natural materials. The textures, colours and patterns available provide more light reflection to maximising the benefits of daylight.
Available in 28 variations of Natural and Textured Woodgrains & Stones, it comes in Interface’s standard (25 cm x 1 m and 50 x 50 cm squares) and is complementary to carpet tile collections.
Since it is fully compatible in size and height, you can combine existing carpet and new LVT for a unique space of varied textures and designs.

 

We’re seeing an increased focus on cohesive design throughout the built environment, as well as a rise in demand for soft and hard flooring that blends well and functions as part of a modular design system– said Mandy Leeming, Design and Development Manager for Interface EMEALevel Set embraces our customers’ interest in flooring that has the look of natural materials with the functionality, durability and affordability of LVT, while ensuring they can select a mix of hard and soft flooring from a single partner to create a unified look and feel.”

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An eco-sustainable design aimed at environmental comfort.
To install Level Set is simple and clean thanks to glue-free TacTiles. It emits virtually zero VOCs and allows for an environmental footprint over 90% lower than installation with traditional glue adhesives.
Engineered to compatible height (4.5mm total thickness) with Interface’s carpet tiles, providing the ability to effortlessly move from hard to soft flooring without transition strips, eliminating an unnecessary trip hazard and reducing the number of materials for specification and purchase.
To improve acoustic comfort the sound absorbing “Sound Choice” is available for LVT collections.

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Undecided Collection: creative dynamism and refined sensuality.

More and more “indecided” and increasingly fascinating, Manerba‘s Undecided Sofa expands and becomes Undecided Collection. The seating solution designed by Raffaella Mangiarotti and Ilkka Suppanen, includes armchairs, chaise longs and sofas, available in different heigh of backrest and also made with sound absorbing upholstery and coatings to improve privacy.

The mood of Fioraio Bianchi Caffè in Milan (a former flower shop transformed in a romantic  bistrot) was the perfect setting for the presentation of the new seating collection to enhance its sensuality and dynamic creativity and to inspire fascinating environments.

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Undecided Collection is the perfect seating solution for hybrid, contemporary and creative workplaces that respect your privacy.
It is characterized by an adjustable in height backrest, like a “personal colored patchwork”.

Thanks to its high performances and marked chromatism, it defines a new and adaptable landscape that fits to different situations as at work as at home.

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Giuliano Dall’Ò is the new President of GBC Italia.

Green Building Council Italia votes its new president: Giuliano Dall’Ò, a member of GBC Italia’s Scientific Technical Committee since 2010. The vice-president is Marco Mari.

Giuliano Dall’Ò teaches Environmental Technical Physics at the Polytechnic University in Milan. He is one of the leading Italian and European experts in energy and environmental sustainability and certification.
He is also the author of Leadership in Green Building, that presents the main  LEED and Green Building in Italy.

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The new Executive Committee:
Giuliano Dall’Ò, President
Marco Mari ,Vice President
Roberto Cereda
Thomas Messervey
Manuela Ojan
Eleonora Sablone
Mario Zambrini

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Two new awards to Caimi Brevetti for Snowsound by German Design Award 2018.

Two new awards to Caimi Brevetti for Snowsound by German Design Award 2018: a new prizes to the calculation software and a Special Mention to Diesis sound absorbing element, designed by Atelier Mendini. Both the products were also awarded by Neocon last summer.

German Design Award is an authoritative competition funded by Bundestag since 1953 acknowledging products that represent pioneering contributions to the international design landscape.

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Snowsound products and technologies are covered by exclusive patents that represent the result of intense in progress research and development in collaboration with Universities and Research Institutes.

The Snowsound calculation software has won the prestigious German Design Award award 2018 in the category “Excellent Communications Design Interactive User Experience”.
The importance of the award underlines once again the excellence of the calculation software that Caimi Brevetti makes available to its dealers.

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Special Mention to Diesis sound absorbing element, designed by Alessandro Mendini e Francesco Mendini –Atelier Mendini- made with the patented Snowsound Fiber technology.
It is a system of sound-absorbing Snowsound Fiber drapes, realized with soft interwoven polyester fibers that are inherently fire-resistant (in different versions: steel structure, free-standing or hanging).
The interaction between its special acoustic fibers and its particular shape leads to signification reduction in annoying acoustic reverberation, thus improving acoustic comfort and life quality.

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From Wild to Glam: new Collection Futura’s trendy and sustainable colors and finishings.

Glam City, Time Out, Treasured Light and Wild Nature are the new evocative themes for Collection Futura 2018-2021 by AkzoNobel’s Interpon powder coatings brand. Architects, designers and developers have an exciting new source of inspiration for cool interiors and expressive green buildings.
Full of the latest material and design global trends, the collection features an extensive range of highly durable and sustainable colors and finishes developed by AkzoNobel together with trend experts PeclersParis.

Each theme in the Collection Futura – which is updated every four years – includes a unique range of colors, textures and effects that reflect the design and societal trends seen throughout the world. Innovation is also highly visible through two completely new finishes: silky texture and cotton.

“Our color expertise and continued development of durable and sustainable solutions drives the creation of our Collection Futura. It includes a range of special finishes for use on exterior architectural metal components; products which are innovative, sustainable and always on trend.” explains Jean-Paul Moonen, AkzoNobel’s Powder Coatings Global Segment for Architecture. 

It’s now 20 years since AkzoNobel launched the first special finishes collection for the powder coatings market worldwide. This is also the 15th year that the company has worked with Peclers to create a new trend collection for architects and designers as the global leader in powder coatings. In addition, AkzoNobel was the first powder coatings producer to launch the fine texture Sablé finishes, which have since become a major success in the powder coatings industry.

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Sustainability and green building development.

“The new range of finishes will enable customers to achieve just the right effect in any environment while helping them contribute to the future of green building and sustainable development.” Continues Moonen and adds “The company’s Interpon powder coatings have achieved a third party Environmental Product Declaration (EPD) certification, which includes a lifecycle analysis of the raw materials used in the product itself, the manufacture of the product, its shipment and application”. 

The new themes of Collection Futura 2018-2021.

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Glam City
includes modernist influences and baroque trends with intense, dark tones centered on reds, blues and greens.

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Time Out
provides inspiration for soothing living spaces, with light tones based on colored whites and soft neutrals.

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Treasured Light
offers sensual and more refined versions of metallic brilliance including brass, pink gold, pale copper and silver.

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Wild Nature
explores more primitive, wild expressions of nature and features earthy browns, peaty khakis, anthracite greys and charcoal blacks.

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ADI Design Index to “Visual guidelines for end user Apps” by BTicino.

BTicino, leader of Gruppo Legrand  was many times awarded by ADI (Italian Association for Industrial Design) for its products. Recently  BTicino was included in the ADI Index 2017 and will participate to the next Compasso d’Oro in the new “Design for Communication” category thanks to its “ Visual guidelines for end user Apps”, conceived to develop a recognizable and coherent communication language for all the applications devoted to end users and designed to manage the products by BTicino and Legrand.

The “Visual Guidelines for End User Apps” for the visual identity of BTicino and Legrand solutions was developed by BTicino Design, in collaboration with MMG Interactive Concept + Design, The Permanent Advisory Committee of ADI underlined that “The technological and cultural evolution of the reference market has led to a similar change in the supply of products, but also a change in the experience of fruition: many of the products proposed by BTicino and Legrand can incorporate digital technologies that provide more value added services”. Some products offer Apps like additional function, others –oriented to IoT , such as the Eliot product line- were designed to be managed through Apps. The Visual guidelines was created to ensure continuity and coherence in communication and the right balance between digital experience and consistency with the brand.

The BTicino’s Apps are featured by an innovative approach both in operational management and in interface design. The manual replicates these vision, enabling users to easily navigate thanks to a user-friendly language: clear, in-depth and exhaustive, and able to consistently focus on the main features.
An eye-catching graphics was elegantly designed with the same attention to style and ergonomics that BTicino’s products.

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4 prizes to Kinnarps by German Design Award 2018.

Kinnarps with its brands MartnStoll and Skandiform, was awarded by German Design Award,  the authoritative competition acknowledging products that represent pioneering contributions to the international design landscape.
Among the winners of the 2018 edition there are Collection S collection family chairs, Space system, Matsumoto table and Phase armchair.
The prize-giving ceremony will be held on February 9th in the context of  Ambiente fair in Frankfurt am Main.

More than 5000 entry products were presented to participate to the final selection for the German Design Award 2018. Following the rigorous selection by the jury, were awarded only those that represent the highest standards in terms of quality and innovation at international level.

“We are very proud to receive such a highly prestigious award and we thank the jury for acknowledging our design and awarding two products work where the aim was to combine comfort and top quality in the best possible way says and develop solutions for the office life of today and tomorrow, offering endless possibilities.” says Elisabeth Slunge, Director Global Range and Communications at Kinnarps.

To win the German Design Award is very attractive since you are nominated and can not apply for the award. This of course makes the award even more desirable.” says Maria Lehmann, Sales- and Marketing Manager at Skandiform.

Kinnarps is proud to receive the prestigious award for four products:

Collection S, by MartinStoll (brand of Kinnarps Group).
The Collection S executive chair family, designed by NOA Intelligent Design, is rooted in the heritage of the brand and consists of task chairs, meeting chairs and lounge chairs, which offer various functional features and share the high level of quality and the common design expression.
“The chair family has thought-out material choices and a high level of craftsmanship that well suit the executive environments
” quoted Martin Rau, International Product Manager for MartinStoll.
“It is based on sophisticated performance like perfect ergonomic functionality, high quality and durability. Where heritage and craftsmanship meet modern lightness and sculpture-like design. The series is created to fit ideal into modern advanced office life” explains the designers Michael Lammel and Markus Heller from NOA Intelligent Design.

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Space furniture/storage system by Kinnarps.
Space is a furniture concept designed by Stefan Brodbeck (Brodbeck Design) for today’s and tomorrow’s way of working, meeting and storing. The range is based on a large number of storage modules which are connected and combined depending on the functionality and look you want. The flexibility of the range enables both concentration and discussions as well as space for group and private areas.
Design creates differentiation as well as orientation. So does the storage system Space, which has exciting features and options to create functional but also emotional and inspiring office space solutions” explains the designer Stefan Brodbeck.

 

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Matsumoto, by Skandiform (brand of Kinnarps Group).
A table named after the Japanese city Matsumoto, where Claesson Koivisto Rune has designed a flagship store with a café. It is a completely new table with a different design made for cafées. A table for two was developed, which when lined up edge-to-edge forms a kind of long café table. The tabletop comes in white or blackstained ash, pillar and footplate in white or black lacquer.

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Phaze by Skandiform (brand of Kinnarps Group).
An armchair that embraces you, providing generous personal space. Several linked together create a beautiful, undulating shape.
I was thinking of a design that embraces my philosophy of sensual minimalism and repetition.” said the designer Karim Rashid.

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Thinline by Ai Weiwei at Amsterdam Light Festival (30 november/21 January).

Amsterdam Light Festival is coming again from the 30th of November 2017 until the 21st of January 2018 and the city centre of Amsterdam will be transformed into the biggest open light museum with artworks and installations made by contemporary artists, designers and architects enlightening the canals and the Marineterre in Amsterdam.
35 artworks, among them is ‘thinline’ the site-specific by Ai Weiwei, who questions the concept of borders by creating a seven kilometers long light line representing a border through the city.

“We are very proud of the international line-up of Amsterdam Light Festival. Every year we welcome the international top on the art and design spectrum. Most of the Dutch participants are also active on an international level as well.” quoted Lennart Booij, creative director.
Star of the 6th edition is the Chinese artist and activist Ai Weiwei; his artwork will span over a distance of 6.5 kilometres and encompasses the entire water exposition.
With ‘thinline’ Ai Weiwei challenges viewers to think about the meaning of borders, figuratively as well as literally. Who determines a border? Do they protect or exclude?

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Thinline limited edition
Ai Weiwei created an artwork especially for Amsterdam Light Festival in a limited and signed edition of 100 pieces. Available through Amsterdam Light Festival. The profit of the series contributes to the realization of Weiwei’s artwork ‘thinline’ that has a prominent role during the festival. On the 29th of November there is a special meet & greet with the artists, who delivers the series after the festival.
The dimensions of ‘thinline, limited edition’ are 60 x 45 x 15 centimetres. The artworks will be signed and delivered with a certificate of authenticity. With pre-subscription the price of the artwork is € 2.500, including VAT + shipping costs. (For more information jorna@amsterdamlightfestival.com ).

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Artworks on the water.
English participants of the water exposition of Amsterdam Light Festial are artist Rona Lee and Studio Balmond. From Kosovo there is Driton Selmani and also Bagus Pandega from Indonesia contributes. Dutch artists and studios are Lambert Kamps, Floriaan Ganzevoort, Viktor Engbers, Paul Vendel & Sandra de Wolf, Claes Meijer, Lynne Leegte, VENIVIDIMULTIPLEX, Lighting Design Academy, VOUW, HOH Architecten and Gerard Slokker & Ludy Feyen. The United States are represented by Lauren Ewing and Ben Zamora, from Belgium design agency ACTLD from Koert Vermeulen creates an artwork and work of the German Claudia Reh is also to be admired.

Artworks on land.
From The Netherlands Peter Vink, Vinny Jones, Helmut Dick, Lidy Six, AlexP, Nick Verstand & Sjoerd Ter Borg, Bas Peeters, Verena Hall, Hanna Betsema and the Amsterdam Creative Industries Nework participitate on the land exposition on the Marineterrein Amsterdam. From Japan there are Takeo Sugamata and Yasuhiro Chida and also the Italian ATI Suffix delivers a contribution. In addition there are artworks by Reanne Niceforo & Phil Sutherland from Canada, Moritz Waldemeyer and Liubov Moskvina from Germany and there is work by the Iranian artists Shima Jahani, Zoha Khaniki & Sina Hasanlou.

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A major International corporation with 100 years of history.

Born in Como and a cosmopolite by vocation, Mario Colombo likes to establish relations with customers and retailers from different cultures and countries, for he believes that understanding diversity can be the key to a stable growth in all areas.
Now sales director for Herman Miller, a fitting role, as this International corporation was established in Michigan over one century ago and is worldwide renowned as  an example of innovation and excellence in design.

What are Herman Miller’s hallmarks?

Its acknowledged guidelines could be summed up in one sentence: “Design doesn’t mean business only, but it’s also a moral duty”.Herman Miller’s mission is the creation of design solutions to help people to do great things.That sums up our attitude in the approach to workplace and product design, always highlighting the central role of the individual. Along with this principle, there is an on-going commitment to the environment, a focus since the 50s.

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How do these values become a driver for your strategies?

Each product must be carried out through the so-called “Human Centric Design”. If it serves no purpose useful for the user, the objective has not been met. This modus operand is woven in the company’s genes and we work together with designers such as Yves Behar, Studio 7.5,Tim Wallace and more, who share our attitude and our passion.
Our environmental objectives go hand in hand with the design process. Each item is assessed for its recyclability at its end-of-life, but it’s likewise important to carry out products meant to last. For instance, the chair Aeron now available in the new version Remastered, up to 91% recyclable, carries a twelve-year guarantee, 24 h a day.

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Herman Miller has always been innovation-oriented, offering novel visions for the office (for example Action Office or Aeron). Such extraordinary evolutions are still possible today? 

The office scenario is constantly evolving, therefore it’s difficult to foresee how things are going to change over five or ten years.
Home office is now spreading in Europe and the Mediterranean area, flexibility is a guideline for many organizations, which could suggest a progressive and radical reshaping of the office. I think that teamwork areas are going to be more and more prevalent, hence companies like Herman Miller will try to find the best way to support the people, who work there. We have designers all over the world, who are developing new products, and new things are expected in the European and global market.

As a Sales Director for the vast area that stretches from Portugal to Israel, including Italy, do you find any difference in the culture of work, requirements and ways of working in the different countries?

Obviously, in such a vast area I can see a culturally diverse context and I’d rather make a distinction between an International consumer base and local organizations. The multinational companies have often standard operational guidelines throughout the world, for the choice of design as well, irrespective of the country in which they operate. Those organizations affected to a lesser extent by the global chain can still have an individual approach in their choices. The architects dealing with interior design, fit-out and design of new models are always the best ambassadors of the trends of modernization, because customers, both global and local, rely on them for advice. That’s a common denominator in all countries I work in. So diffusione through the architects is central for a company like ours, in order to expand our studies and the results achieved by observing the ways of working contained in the Living Office project.

Studies on issues and new prospects of the workplace that Herman Miller is developing in the US ares also applicable to the Mediterranean countries?

Many studies still come from the US, but we take into account that some trends are developed all over the world. We see the same trends in Italy, Europe and the Mediterranean area, open space and cooperative rooms.The Uk and Europe have been following this direction for many years and are moving even faster than the US. Another example is the request for sit-stand and height-adjustable tables in Scandinavia, and long before the Mediterranean area. Our latest studies concern “Happiness in the office”, a theme revealing how the dynamics of the approach to the office work are the same throughout the world, hence we are trying to understand the nature of our customers and the personality of workers, so that we can supply a holistic approach to the design of an office. This study is focused on the already mentioned Living Office project.

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In the last few months, the Italian branch has changed in a lot of ways. What are the strengths and strategies planned to cope with the Italian market?

After working several years in the Export area, I’m very happy to do my part also for the Italian market. The Showroom Herman Miller in Milan is a European Hub that, along with Paris and London, makes even stronger our presence in the EMEA area.
My priority is to keep and, where necessary, step up an efficient distribution network, in line with the view of growing in the Mediterranean area, where we work through long-standing executives and also a younger generation, now part of a matrix form of organization like ours.
Some colleagues belong to reporting lines, that are not related to me but to the UK branch. The company has consolidated the South Europe region, including Italy, Iberia and East Med, to conform the strategies to such different areas, some of them already working with established markets – like Italy, where we have showrooms and offices – while others are working off site like East Med and Iberia. The spread of our studies is an asset we use gladly in the whole EMEA region – also in areas we deal with from Italy – which gives us visibility with customers and architects, who play a key role. The diffusion occurs through workshops events and conferences, carried out together with our Insight Group and run by colleagues mostly dealing with R&D.

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#addmorecolour: a range of 302!

“Colors are food for thought!” says Christina Wiklund, and Kinnarps Color Studio is the tool for easy access to a wide range of colors and sustainable, creative and cool materials: over 300 colors and sustainable materials to create environments with different color personalities.

The intuition that colors influence our perception, our behavior and wellbeing is rooted in the culture of Kinnarps, this is why every three years the company updates the colors and finishes of its collection to anticipate trends and fashion. The 2017 update for the first time was created in teams involving 15 architecture and interior design studios (Tengbom, Wingårdhs, Krok & Tjäder, Semrén & Månsson, Spectrum, Note and White offices together with the designers Howl Designstudio, Idesign, Propeller e Brodbeck Design and the interior designer and blogger Hildur Blad) and has led to the insertion of 9 new fabrics into the already rich portfolio.

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“Our inspiring Kinnarps Colour Studio range gives you everything you could wish for in the way of creative and attractive materials (fabric, leather, laminate, veneer, metal, acrylics, plastic and glass). This sustainable collection with a wide choice of colours and patterns combines classic elegance with the latest trends. Everything you need to find the look that suits your environment”, explains Christina Wiklund, CMF Manager-Colour Material Finish in Kinnarps.
240 soft material variants, 54 hard material variants, 8 accent colors: over 300 finishes are available to “dress” the products by Kinnarps.

 

The website page “tools and resources” makes available to architects and designers this color universe and is also possible to download the dwg of all Kinnarps products.
The starting point is the insight that colours affect our behaviour and our feelings, along with the requirement for the sustainability, quality and safety of the materials. The Kinnarps collection is updated every three years, and it was time to do this again for 2017.
The colours make a major impact on how we experience interior design. Now, as many are daring to leave white behind, it is, of course, even more important to have both a planned strategy and an updated range in order to be able to design with colour. This new way of collaborating with architects and designers strengthens Kinnarps’ position even more. Our meetings have been both creative and fun and everyone really gave some of themselves.” said Hildur Blad, Interior designer, colour expert and blogger.

 

“It’s always the totality that determines which fabrics we decide to launch in Kinnarps Colour Studio. They should of course have the right colours and patterns, but also fulfil our requirements for sustainability, quality and safety. I always say that we should think of things our customers perhaps don’t always think of, so that they can feel sure that our textiles are always a safe choice – in terms of both aesthetics, function , environment and social responsibility.” explains Christina Calisir, Technical Manager Cover Materials, Kinnarps.

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Nine new trendy and sustainable fabrics.

Among 200 different seat cover textiles, the designers involved in the workshop selected the 9 new fabrics:
Step Melange, multicolored for a modern retro;
Rustico, durable, washable and multicolored;
Fenice, produced with recycled wool and eco-sustainable production processes;
Liv, reminiscent classic linen, but very functional washable fabric in Trevira CS;
Capture, vintage classic washable and fire resistant;
Fox, a very fashionable pattern inspired by art deco;
Bardal, antistatic and fire resistant wool in sober colors;
Synergy, wool in many colors for an ecological design;
Steelcut Trio, natural wool, a clear favorite of the architects.

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With an 80-year-old history, Italian Smart Office looks ahead.

Interview with Massimo Stella, 42 years old, third generation in Estel Group. Since 2012 he has been Sales Director, but he attaches greater importance to teamwork rather than to his role. So, no conflict with the previous generations and maybe right the dynamic balance and also a daily debate on strategies, communication, people and products are the reasons for the success of this company, now in the top 20 in Europe, that celebrates its 80th anniversary.

Since it was set up, what are in your opinion the key steps that brought Estel into the top 20 companies in Europe? Would you follow the same path now?

The turning-point coincides with the entry of the second generation to the company in the ‘70s, when this craft firm changed into an industry; another key moment was the entry into the office furniture industry at the beginning of the ‘80s.
In the early 2000s the company has further developed through an in-depth analysis of a design-oriented culture and the ability to carry out tailor-made approaches, mainly demanded by the major customers. The forthcoming path will be marked by an even higher travel speed.

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What are the company principles, which lead and mark out Estel worldwide?

Estel is steadily in the making, watching and analyzing the actual facts and the evolution of the market on a global scale, in order to find the right answers as regards the product. We are now a leader in the office furniture sector in a quite different context: the static condition of the workplace has been questioned in companies of all sizes; the possibility to work anywhere entails the necessary adjustments of the whole working environment. Technology is the driving force behind this major evolution and that’s why Estel has increased its investment in R&D.
Design is no doubt another crucial aspect: we don’t consider ourselves just “mere” furniture makers, we can also offer comprehensive, space-planning solutions.

 

First-rate design and research are also Estel’s success factors, how many energies and resources, in per cent, were necessary to achieve the intended purpose? 

The new ways of working dramatically changed the design approach and the office space planning.
Research has always been a strategic factor for Estel. In our planning approach the worker is at the core of the creative process, that’s why our range of furniture is no longed divided “hierarchically” (executive, clerical, etc) but by function.
By the collaboration with architects, interior designers and a professional team, Estel can be a leading company in the Smart Office sector, with high quality level products bond in terms of materials and design.

Estel has also launched the “pleasure of agile working”, through the claim “Italian Smart Office”; how many of your costumers in Italy and abroad follow the Smart Working approach and how many have a more traditional attitude?

Compared to the United States, the pioneers of smart working, our country is definitely limping along, but 2016 was a turning point thanks to the new law. Among UE countries, only England, German and the Scandinavian countries are far “ahead” but just in numerical terms.
It’s a meaningful change of mentality. Workers are becoming flexible and “nomads”, willing to “give up” habits that were once rooted like personalization and dimension of their own territory.

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You fit out some of the major Headquarters all over the world, how is your view of Italian Smart Office accepted? Which differences do you find in the culture of work and ways of working in the other countries?

In countries, where there is already a “smart” approach, you deal with stakeholders already fully formed in the subject, while in other countries these theories are still little known and arouse curiosity and interest. So, the commercial approach changes considerably, for instance, in the US the design of products is more emphasized while in the Far East they are rather spreading a more complex concept.
Companies like ours cannot do without flexibility, for it has an impact on our identity: we can offer serial products yet with customized measures and finishes. It is essential in an international context where taste and ways of working may differ a lot.

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#OSW17 research: Smart Working in Italy.

Crowded with people as usual, the annual meeting entitled “Smart Working. Underneath the tip of the iceberg” (Sotto la punta dell’Iceberg) for the presentation of OSW research (by Osservatorio Smart Working, School of Management of Politecnico di Milano) Increased by 14%, smart workers are now 305.000.
Especially the big corporations (36%) already have structured projects as against 5% of Public Administration and 7% of small and medium sized companies.
All of them are pleased with the benefits: increased productivity and work-life balance, lower absenteeism, costs and pollution.
WOW! is media partner of the conference.

In Italy, Smart Working concerns the private sector in particular (large and small-medium companies), but Public Administration (17% of total smart workers) is making up for lost time, also through the new law, that aimes at making “smart at least 10% of its employees within three years.

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Once again it was found that there is no single model of smart working, every company must define the most stuitable project for its structure: flexible working time to a higher level of mobility; off-site working one day a week or, on the contrary, at least one day a week at the firm!
Fiorella Crespi, director of OSW, and Mariano Corso, scientific director, presented the results of the research 2017 and underling the benefits of the smart working with a special attention on the important role of workplace as smart working driver.

The Italian Smart Workers spend 67% of their working time at the company on average, 15% of time is spent working at different positions inside the headquarters, and 13% in other branches of the company. 33% from home, coworking spaces, or customers and suppliers offices.

50% of smart workers consider themselves satisfied and declare a better capacity to work together. even in virtual teams, and a good command of Digital Soft Skills. Only 1% is not satisfied.
Reflecting the findings of the 2017 study, the meeting brought Public Administration in progress projects to the fore and emphasized some successful experiences.
And then OSW partners got on the stage, all pioneers in smart working, who provided an all-round overview of the various issues (among them Plantronics and Sedus).

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Smart Working Award 2017

The conferences ran out with the size giving ceremony of Smart Working Award 2017 and the presentation of the winner projects:
AXA Italia project “Smart working, smart life”, presented by Pascal Bérnard.
CNH Industrial project “Lavoro da Casa”, presented by Riccardo Iessi.
Costa Crociere project “Sm@rt Working Costa – Moving Forward!”, presented by Paolo Tolle.
Generali Italia project “New Ways Of Working”, presented by Simone Viola.
Hilti project “Smart Working@Hilti”, presented by Maria Vittoria Loi and Sandra Polito.
Special mention to Benetton for the project “Stretch your Time”.

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The joy of a colored easy comfort.

New ways of working require increased flexibility, simplicity and ease in office furniture, for the times when workplaces were occupied permanently are long gone. Nomadic workers move a lot and are often on the road – and when they do come to the office, then it is at meetings, workshops and maybe even briefly at a workplace that happens to be free. This calls for a simple, comfortable and versatile chair. And Sedus se:joy, designed by Martin Ballendat is the answer.

“I was intrigued by the task of designing a competent and ergonomic net covering of a shell – instead of the conventional thick circumferential frame – with a futuristic support structure reduced to a minimum, which is fine, sensual and intelligent.” explains the designer Martin Ballendat.

Se:joy is a dynamic and fresh chair that boasts many features. The harmonious lines and adesign inspired by nature stand out. The delicate yet durable supporting structures reflect an independent character, which not only complements sophisticated surroundings. adds an inspiring, refreshing touch to any kind of office environment.

The one-piece supporting structure enables optimum pressure distribution along the spine without having to make any adjustments. The sophisticated construction adapts automatically to each user, regardless of shape or size.
The finely balanced swing mechanism (seat tilt 4° forward /7° behind) supports the user’s movements and depending on the situation enables a dynamic or relaxed sittingposition.
Innovative fabric structures in the seat and backrest provide a supportive seat as well as an adaptable backrest, which will not stretch over time. Sedus se:joy combines long-term seating and product quality.
The elegant adjustment lever on the underside can be used to adjust the seat height between 390 mm to 510 mm.
Fresh colour combinations for the mesh cover (six colours) and carcass (black and light grey) are available.

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Great sportsmen testimonials for the new communication of Smarther BTicino.

The BTicino’s attitude to innovation is focused on products and communication, too. Following the intriguing episodes serie titled “Il Mistero Sottile” (The Thin Mystery), the new amazing communication “Your Ideal Climate, at Your Own Home, too” chooses as testimonials for the Smarther connected thermostat, two legendary international extreme sport masters.

Michele Pontrandolfo arctic explorer with active explorations in Greenland and the South Pole- and Marco Olmomarathon runner who participated several times at the Marathon des Sables in the Moroccan desert- are the testimonials for the warm and cold temperature in the new, engaging campaign of communication BTicino to launch Smarther, the user-friendly Wi-Fi connected thermostat of the Eliot family by BTicino, leader of Legrand Group.

Until the end of October, the ADV campaign integrates web, social and press and provides online videos  and the same contents on the Facebook and Instagram pages of BTicino as well.

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The iconic orange scissors by Fiskars are 50 years old.

On the occasion of the 50th anniversary, the Helsinki Design Museum dedicates an exhibition to the legendary scissors created by Olof Bäckström, the first with plastic handle, a masterpiece of Scandinavian design part of our daily scenario and present in the design collection of MoMa in New York.
The success orange color, now patented and become corporate color, was a fortuitous choice!

The history Fiskars steel mill, based in the homonymous village in Finland, started in 1649.

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During the following centuries, it marked a constant evolutionary path; among many important steps, a fundamental one was in 1967 when the first scissors with plastic handle were created, this material was innovative and particularly ergonomic, too.

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Fiskars Orange, a successful random choice.
Three colors were proposed for the handle (red carmine, black and green), but when the prototype was sent to production, in the machine remained the orange color of another product.
So, this bright color was added to those already selected and a democratic poll among the factory workers led to the final choice: 9 votes in favor and 7 dissenting.
Thanks to that choice, Fiskars Orange® has become a registered trademark and the corporate color of the company.

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Design for all, ergonomics and constant innovation.
Today, Fiskars expands its design, engineering and production to a wide range of professional and amateur tools, for home and office, for tailoring and hairdressing.
The concept of design to all inspired scissors for left-handed users and scissors equipped with a patented effort reduction mechanism to assist users with reduced hands skills.

 

Thanks to the steering of Olavi Lindén, Chief Designer at Fiskars since 1984, innovation is constantly in progress; research, development and production cover nowadays a wide range of knives, kitchen tools and pots and gardening tools.
Design and ergonomics remain the main concepts and the focus for all production.

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Colour trends for an unstable world. Hearth Wood, Colour of the year 2018.

Since 25 years the AkzoNobel Global Aesthetic Center, based in the Netherlands, has been conducting an extensive global analysis based on the general mood and the social, cultural and artistic trends in order to capture the mood of the moment and the colour that better reflect it.
Heart Wood is the Colour Futures 2018 and it was declined in four different palettes to inspire a Welcome Home or a Welcome Workplace.

We live in a time of unpredictability. We have access to more information and more choices that ever before. There are more expectations and more demands on our time. We have seen evidence of division within our societies. Our usual sources of reassurance can’t be relied upon”. This is the mood of the moment identified by the experts -11 international designers and trend watchers led by Creative Director Heleen van Gent.

What we need in the current climate of instability?
As life gets faster, now is the time to choose to press pause. conversations, we need to give ourselves permission to take a step back. Our home needs to be a place where we can turn down the noise, where we can nurture our values and recharge. This can be our sanctuary where we can all look forward to…”

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To better understand the different ways consumer are responding to emerging sentiment, the Akzo Nobel’s experts considered three kind of person: Warm-hearthed; Open-hearted; Lighit-hearted.
We need a Welcome Home or a Welcome Workplace
that makes us feel welcome and at ease.
Hart Wood is Color Futures 2018: a soft and dusty pink tone that expresses the tactile qualities of natural wood and captures the essence of ‘A Welcome Home’.

The four Color Futures 2018 Palettes
The four Color Futures 2018 Palettes reflects four different moods: The Heart Wood Home, The Comforting Home, The Playful Home, The Inviting Home.

Download here the Colour Trends 2018 book.

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Gianfranco Marinelli is the 7th president of Assufficio.

On September 20th, 2017 the directory board of Assufficio (Italian Association of Furniture Manufacturers for office and contract) unanimously voted the new president: Gianfranco Marinelli. He is the seventh president of the Association.

“The task and responsibility of the Association is to give new boost and lymph to the office furniture sector,” quoted Gianfranco Marinelli, who was sales manager in Unifor for a long time and now works in Citterio (Molteni Group).
The new President of Assufficio also highlighted the priorities of the new strategies:
The next edition of the Salone Ufficio Workplace3.0 that will be held in 2019;
the relationship with Consip;
the expansion on international markets;
the evolution and the technological development of the office industry.

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The new directory board is composed by:
Gianfranco Marinelli (Citterio Spa)
Alberto De Zan (Dieffebi Spa)
Alessandro Fantoni (Fantoni Spa)
Nicola Franceschi (Ares Line Spa)
Massimo Stella(Estel Spa)
Raimondo Taraborrelli (Styloffice Spa)
Libero Gregoletto (Luxy Spa)
Remo Lucchi (Line Kit)
Roberto Cigana (Quadrifoglio)
Giuliano Mosconi (Tecno Spa)
Grazia Manerba (Manerba Spa)
Carlo Molteni (Unifor Spa)
Giancarlo Cappellari (Facau Srl)
Gianmaria Mezzalira (Sinetica Industries Srl)
Roberto Motti (Centrufficio Loreto Spa)
Massimiliano Zamò (Lineafabbrica Srl).

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Piazza del Vento: an installation by OBR and Renzo Piano for the Genoa Boat Show.

Piazza del Vento (The Square of the Wind) is the poetic site specific installation designed by OBR, inspired by a ​​Renzo Piano’s idea, for the Salone Nautico Internazionale di Genova (Genoa International Boat Show). It expresses the strong link between the city of Genoa and the exhibition promoted by Ucina (with the support of Spim). More than a landscape design and interactive square, it is an art work that underlines wind, sun and sea: the environmental and energetic phenomena that represent the legacy of the ancient Marinara Republic of Genoa.

The Square of the Wind is a new urban landmark and multisensory installation in the heart of Genoa’s harbor; it was conceived by Renzo Piano, designed by OBR and realized by Capoferri for the 57th Genoa International Boat Show (21/26th September 2017).

Paolo Brescia and Tommaso Principi, founders of OBR, quoted: We conceived a temporary installation which turnes into a permanent artwork, creating a public space where to celebrate the rite of urbanity on the sea, enshrining the unbreakable link between the Salone Nautico and the city of Genoa”
La Piazza del Vento allows all the citizens to interact with the environmental and energy phenomena of the sea, such as wind and sun.

“It consist of 57 masts in red maple wood and white steel (engineered and offered by Capoferri), 12 meters tall and bound together with textile cables with dacron triangular jibs inferred on. On the top of each mast a Windex is placed, sewing colored spinnaker’s fabric to form the shape of a “flame” highlighting the direction and the intensity of the wind”.
In order to enhance the interaction with the people, and to enjoy this amazing experience, OBR designed some double seat swings in between the masts, where to sit in couple in the shade of the sails while looking toward the sea.

This emotional experience can realize the claim of the 57th edition of the Boat Show: “where life and sea come together“.

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Technical sponsors of the Piazza del Vento:
Capoferri spa, Harken, Gottifredi Maffioli, OBR, Studio Borlenghi, North Sails, Mure a Dritta, OneSails, Quantum Italy, Boris Production, Aster e Spim.

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Sit-stand and user-friendly workstation.

A user-friendly multimedia workstation with a light design, and without any cable thanks to the use of Linak‘s bluetooth technology: these are the features of Tecnus Evo -evolution of the height-adjustable table Tecnus- designed and produced by Emme Italia, a company that since 1995 marries innovative technologies with Italian handicrafts to offer customized and constantly in progress solutions.

The growth of Emme Italia continues with the usual passion: from the traditional drafting tables to the electrified sit-stand version using linear actuators by Linak and, recently, the most advanced step Tecnus Evo.
Tecnus Evo is a new result of the collaboration between Emme Italia and Linak: a multimedia workstation inspired by a common vision of dynamic ergonomics, well-being and IoT in the workplace.
It is featured by clean design and high performances:
the integration of Linak’s new bluetooth technologies allows the elimination of wiring and a user friendly approach;
the rechargeable Battery Pack makes the table independent by power supply;
height adjustment can be controlled either by the traditional push-button panel housed into the column or by a smartphone (for iOS or Android App).

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The App Desk Control allows the adjustment of the table with a touch and also to save custom settings and set personal goals for wellness.
Standard height adjustment from 72 to 112 cm is perfect for workstations and informal meetings, other adjustments are available on request.

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Height-adjustable table, structure in painted steel column (black, white or RAL tailored colors), desk top in melamine.
Dimensions cm 100 x 200; height cm from 72 to 112.

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The Green & The Gray: how to marry nature and city. An exhibition by Carlo Ratti @EDITDX.

Is it possible to bridge nature and cities? Can new technologies help to reconcile these two fundamental dimensions? “The Green & The Gray”, a 2000 sqf interactive exhibition curated by Carlo Ratti Associati at EDIT (Expo for Design, Innovation & Technology) answers to these questions (Toronto, September 28th/October 8th) celebrating Canada’s 150th anniversary.

Today, new technologies allow us to bridge the eternal rift between city and nature and contribute to a “Prosperity for All” (main theme of EDIT).
“The Green & The Gray”
features artifacts and initiatives that stand out for their ability to reconcile these two fundamental dimensions of the human condition, envisioning a thriving future for local communities worldwide.
Inside the immersive environment, visitors can explore the exhibition while moving over a floor that gives the impression of walking over water.
The exhibition showcases features 19 projects, selected of 100 international projects presented, among these: Grant Associates’ Supertree Grove, Transsolar’s Reversío, Terreform ONE’s Cricket Shelter, Philippe Rahm’s Spectral light for Artemide, Arctic Food Network by Lateral Office and The Lowline Lab.


Carlo Ratti, director of the Senseable City Lab at MIT (Massachusetts Institute of Technology) and a founding partner of Carlo Ratti Associati, quoted: “I have always been fascinated by the words of French anarchist geographer Elysée Reclus, at the end of the 19th century he wrote: ‘Man should have the doubled advantage of access to the pleasures of the city […], the opportunities offered for the study and practice of art, and at the same time should be able to enjoy the freedom that lies in nature, and which is explained in the field of its vast horizon’. The Green & The Gray, with its Stendhalian title, aims to explore how, thanks to new technologies, we can finally contribute to Reclus’ vision of marrying city and nature”.

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“Since Marc-Antoine Laugier’s celebration of the ‘primitive hut’, architecture has always acted as a separation between mankind and nature. Could new technologies allow us to think about it in a different way?”, says Emma Greer, Project Manager at Carlo Ratti Associati: “The integration between nature and cities through the use of new technologies has been at the core of many of Carlo Ratti Associati’s recent projects, from the Trussardi Dehors in Milan, for which we developed the first vertical garden in Italy, to our soon-to-be-opened pavilion for FICO Eataly World, which leverages hydroponics cultivations and the Internet of Things to turn visitors into potential farmers”.

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“We are thrilled to be working with Carlo Ratti and his team on this ambitious exhibition, which touches upon some of the world’s most pressing issues and looks at design as integral to how we can make the world a better place for all people”, says Shauna Levy, President and CEO, Design Exchange (Producers of EDIT).

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