Tag: turin



Knoll is a constellation of design-driven brands and people, working together with our clients to create inspired modern interiors. Since 1938, they have been thinking about how people interact with their environments, and how their environments impact what they do. These are the ideas essential to our work.
His founders Hans and Florence Knoll, embraced the creative genius at the Bauhaus School and the Cranbrook Academy of Art to create new types of furniture and environments for the workplace. Their approach, where craftsmanship joined with technology through the use of design, anchors our perspective and shapes the values we endeavor to live by today.

Here are the ideas essential to our work.
1 Constellation: We are a constellation of people, collaborators, products and brands, united by a rigorous process, shared experience and a distinct modern sensibility.

2 Harmony: We team together across categories and brands to address the unique needs of each client with products that interact and expand seamlessly. Harmonious relationships are both functional and aesthetic.

3 Modernity: Modernism in design was born as a means toward social good. It rejected frivolous ornamentation, privileged functionality, and envisioned a world in which technology could transform society for the better.

4 Design:  Well-designed objects deliver efficiency, joy and satisfaction to the people who use them.

5 Work/Life:  It is our business to monitor the cultural dynamics that impact environments and imagine flexible products that both address current conditions, promote well-being, and anticipate inevitable change.

6 Sustainability : Our products are designed to endure, both physically and stylistically. Things that work are things you keep.

7 Future: Design is inherently about the future, a plan for tackling problems yet to come. The goal of our innovation is always both timelessness and adaptability—rejecting short-term trends and anticipating the inevitability of change—as we continue to balance what’s next and what is.


Memphis-Milano: il fenomeno culturale degli anni '80


Memphis-Milano is the great cultural phenomenon of the 80s that revolutionized creative and commercial logics in design.

Born from the idea of Ettore Sottsass and a group of young designers and architects, in Milan, coupled in the years by famous designers from the international scene. Memphis turned upside down all of the existing parameters on living.

Ettore Sottsass as the backbone of the group, design gained a new concept and expression through new shapes, materials and patterns, expanding the creative limits of the industry. Memphis became a symbol of New Design. Its influence is still clear in various sectors of production and beyond.


Molteni&C - mobili e design, sedie, divani, tavoli, arredi


gliss, less tavolo, screen, glove up, portfolio, doda, glovem sol, skin, lido , clipper, mandrague, 

Molteni&C was founded in 1934in Giussano, near Milan (later the province of Monza and Brianza), by Angelo Molteni, entrepreneur Monza, one of the promoters of the International Furniture Fair. In the first postwar she manufactures furniture from the trunk and covering all stages of production. In 1969, we have the complete conversion to furniture design, which follows the purchase of Unifor companies and Citterio, in the office sector and, in 1979, of Dada, a company of kitchen furniture. Over the years Molteni & C has become a reality for the production of furniture.
After the artistic direction headed by Luca Meda, calling to design for Molteni architects Aldo Rossi and Afra and Tobia Scarpa, in the nineties he began collaborating with some Italian and international designers, including Jean Nouvel, Foster and Partners, Patricia Urquiola, Rodolfo Dordoni, Hannes Wettstein.
Born as a company specialized in the production of systems, still completely it produces in Italy an offer for the house, flanked by a contract division that makes cruise ships, theaters, museums, hotels, restaurants and collective residences.


Moooi: mobili, interni e illuminazione moderni olandesi


For more than ten years Moooi has inspired and seduced the world with sparkling and innovative designs.
The venture founded in 2001 by Marcel Wanders and Casper Vissers is named after their native Dutch word for beautiful – the third ‘o’ in the brand name stands for an extra value in terms of beauty & uniqueness. From 1 September 2015 onwards Robin Bevers assumed the position of Moooi CEO, taking over this role from Moooi co-founder Casper Vissers.
Since 2013 the company’ art direction is in the hands of Marcel Wanders and Desirée de Jong. Two creative souls that lead the company’s creative potential. Wanders and Vissers maintain an influence in all inclusions to the brand, being both responsible for the overall design selection.
In addition to Marcel Wanders’ designs, the Moooi portfolio contains a range of work from other nationally and internationally recognized designers. These include, amongst others, Jurgen Bey, Bertjan Pot, Maarten Baas, Jaime Hayon, Neri & Hu, Joost van Bleiswijk, Studio Job and Nika Zupanc.
The collection’ style is exclusive, daring, playful, exquisite and based on the belief that design is a question of love. Timeless objects of beauty which posses the uniqueness and character of antiques combined with the freshness of modern times. This fusion brings the brand to focus on the production of iconic objects.
With this unique and iconic mix of lighting, furniture and accessories, which outlast everyday interiors, Moooi creates interior environments decorated with an inspiring variety of patterns and colours to embrace any kind of space and make people of different ages, cultures and personalities fall in love with their homes.
This unexpected home vision brings to life a whole world of new ideas and inspiring complete Moooi settings to brighten up daily life with a touch of magic. They represent places where visions converge and where everyone can stop and feel comfortable within the perfect eclectic mix of culture & experiences that makes a home environment more beautiful and unique.


Moormann, complementi arredo moderni, interni, design


As an autodidact, someone foreign to the branch and a free spirit, Nils Holger Moormann is the epitome of ‘Neues Deutsches Design’ and from 1982 onwards has developed furniture which exhibits a reduced formal language and precise solutions to detail.

Sounds simple enough. And it is in a way, as the bookshelf FNP – a classic in its own right – demonstrates. The key thoughts are simplicity, intelligence and innovation, and these colour the entire company’s philosophy. At times this makes life troublesome, creates an edginess or even a defensiveness but it speaks volumes for the timelessness and true Zeitgeist of the pieces themselves. Where better for this furniture to find its roots than here– between the raw mountain climate and living traditions, between the stubborn beasts of the field and a far-reaching sense for ecological balance? This can no longer be achieved in a one-man show as in the early days. That’s why the Moormann team is now made up of around 40 bright minds.
Moorman is not all easy to pigeonhole. Which is a good thing, according to the lateral thinker. He’s happy to enjoy his reputation and the numerous design prizes, before setting off to sit on the next competition jury. New ideas and deliberations will certainly not be put off until tomorrow.



The collection is the result of many years of experience in developing and manufacturing quality furniture: quality that we invest in afresh every day. We are continuously searching for ways to refine our techniques and add functionality. We keep going just as long as we need to in order achieve the desired result.

The smallest details are significant — such as a screw or the shape of a hinge being visible — when it comes to improving visual and material sustainability. Striving for perfection is part and parcel of Pastoe’s tradition and will always remain so. Pastoe furniture is made at our Utrecht factory, with close attention paid to traditional craftsmanship and quality. Our furnituremakers take great care to ensure aesthetic and functional sustainability. To ensure the best possible results, a great deal of our manufacturing is still undertaken by hand. A dignified Pastoe piece is created with dedication and expertise.
Pastoe has always remained faithful to the principle of modularity.

Our current range of cabinets lend themselves to use as sideboards, TV furniture or even figurative works of art. The cabinet is not merely part of the wall; the wall actually blends into the cabinet too, by shadow effect. Pastoe furniture leaves room for individual taste to leave its mark, and thanks to its flexible design it can easily be combined with other styles and ranges.

Our connection with the world of art has never been a distant one. In designing its furniture, Pastoe draws upon the craftsmanship of architects and artists, making use of their feel for shape, eye for detail and ability to play with light and space. They think in terms of forms, volumes and colours, translating these into furnishings. The result of this process is furniture that is as functional as it is artistic: furniture as an object. As well as collaborating with architects and artists, our in-house Product Development department translates signals from the market into furniture that is aligned with Pastoe design vision.


PP Mobler

PP Mobler

PP Mobler is a family owned Danish joinery workshop, established in 1953, with a strong tradition for crafting design furniture of high quality. Motivation has Always Been the love of wood and a stubborn belief That technique, ingenuity and craftsmanship can be combined in a strive for quality.


Serge Mouille

Serge Mouille

Known primarily for his work as a designer of lighting fixtures, Serge Mouille (1922-1988) received a master silversmith diploma from the School of Applied Arts in Paris. He studied with silversmith and sculptor Gilbert LaCroix and, after graduation in 1941, went to work in his studio.

In 1945 Mouille himself became a teacher at the School of Applied Arts and opened his own metalworking studio. At that point his design commissions were mostly for hand rails, chandeliers and wall sconces. In 1953 Jacques Adnet hired him to design lighting fixtures, an art to which he devoted the rest of his life.

Throughout the 1950s Serge Mouille designed large, angular, insect-like wall mounted and standing lamps with several arms and smaller, more curved wall-sconces. Some of his best known designs from the period are his “Oeil” lamp (1953), “Flammes” (1954) and “Saturn” (1958). He worked to achieve a kinetic, sculptural aesthetic that evoked a sense of movement in space. He also claimed his lighting fixtures were “a reaction to the Italian models, which were beginning to invade the market in 1950,” and which he thought to be “too complicated.” His designs from this period were shown mainly at the Steph Simon Gallery in Paris.

In 1955 Serge Mouille became a member of the Society of Decorative Artists and of the French National Art Society. In the same year he was awarded the Charles Plumet prize for his work and in 1958 he received a Diploma of Honor at the Brussels Expo. Mouille began, towards the end of the decade, to design some institutional lighting and he was responsible, over the next several years, for designing the lighting at the University in Antony, for schools in Strasbourg and Marseilles and for the Bizerte Cathedral. Also towards the end of the 1950s the invention of neon tubes inspired Mouille to create a series of floor lamps that combined incandescence and fluorescence. These designs, called the “Colonnes” collection, had their debut at the 1962 Salon for interior design, and are some of his better known later works.

Serge Mouille established the SCM (Société de Création de Modèles) in 1961 as a way to encourage young and emerging lighting designers. He worked and taught for the rest of his life, showing his lighting and jewelry at several exhibitions. For his career as a metal smith and designer he was awarded a medal from the City of Paris from the Directors of Professional Artists.




Vitra is a Swiss company dedicated to improving the quality of housing, offices and public spaces through the power of design.
Its products and concepts are developed in an intensive design process, which combines its engineering excellence with the creative genius of internationally renowned designers.

Its goal is to create functional, stimulating interior, furniture and accessories. The long life of materials, construction and aesthetics is our guiding principle, as demonstrated by our great classics, many still in production since 1950.
Initiatives such as Vitra Design Campus Architecture, Vitra Design Museum, workshops, publications, collections and archives are all integral parts of Vitra. They give you the opportunity to have a perspective and depth in all activities.
The production line is focused on design furniture for office, home and public spaces. In addition to the projects of the same house, he also produces and distributes designer work such as Charles and Ray Eames, George Nelson, Verner Panton, Antonio Citterio, Philippe Starck, Bořek Šípek, Mario Bellini, Glen Oliver Löw, Dieter Thiel, Jasper Morrison, Alberto Meda And Jean Prouve.


Vitra was founded in Weil am Rhein in Germany in 1950 by Willi Fehlbaum, owner of a furniture store in neighboring Basel in Switzerland. In the following years, Fehlbaum acquired the rights to work by Charles and Ray Eames and George Nelson.

After a fire in 1981 destroyed the Vitra factories, British architect Nicholas Grimshaw was called to design a new factory. Next to the aluminum room, ready for production only six months after the fire, another production plant was built in 1986 by the Portuguese architect Alvaro Siza. In 1989 it was Frank Gehry’s turn to design another building next to the first two. Gehry himself also built the “Vitra Design Museum”, originally intended to accommodate the private collection of furniture by Rolf Fehlbaum, owner of Vitra.

In 1993, Iraqi architect Zaha Hadid added a fire brigade that today hosts a collection of chairs in the Design Museum. In the same year a conference pavilion was designed by architect Tadao Ando, ​​Ando’s first work outside Japan.

In 1994, Vitra’s administrative staff moved to the new headquarters (always designed by Frank Gehry) at nearby Birsfelden (Switzerland), while Alvaro Siza added the shop to Weil am Rhein. It is in the same venue that in 2000 a dome geodetic was designed by the American architect Buckminster Fuller in 1975 and is now dedicated to events and exhibitions, while in 2003 also a design service station by Jean Prouvé, architect and designer French.




Wewood is a portuguese brand founded in 2010, as the result of the research and development office of Móveis Carlos Alfredo, a company specialized in manufacturing & exporting solid wood furniture since 1964.
Each piece is born from the inspiration and creativity of the most talent designers and architects, turned into reality by the hands, wisdom and experience of our craftsmen.
In Wewood they believe in elevating the high-end joinery by producing superb solid furniture that promotes portuguese culture and design.
His team works every day to create products that represent values such as passion, function, aesthetics and know-how, which represent the brand’s dna.
The dedication present at all stages of production, and the combination of craftsmanship, high technology and innovative design results in a natural and certified product made with passion and expertise.
For all of this to be possible, we always keep a respectable and trustworthy relation with our employees, suppliers and clients, making us proud to consider them all part of the Wewood family.


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