Pleasure in a bottle

Apr 2010
Cristiana Colli
Pleasure in a bottle

The ingredients are all there, they always have been. The colour, red. The taste, undefinable, a secret alchemy of bitter herbs, aromatic plants and fruit. If it’s still, it’s soft and full, harmonious in the mouth, if it’s sparkling it’s an irresistible fizziness on the taste buds

Communication is art with Marcello Dudovich, Leonetto Cappiello, Adolfo Magrini, Ugo Mochi, and Marcello Depero who will take Futurism and urban art to Campari with legendary images. But above all it will be he who creates the Campari Soda bottle/body. A wonder, the overturned cone, with thick glass and the brand in relief, a sculpture to be touched before looked upon and then drunk. Created in the Bordoni glass workshop, it will make Italian design history and affect the production of alcoholic beverages.

Ergonomic before its time, just holding it is a pleasure, with that crown top which promises who knows what passion. Passion, Red Passion.

A feminine fil rouge made up of seduction, bare feet, languid bodies which become liquid and sinuous, femmes fatales who move from one love to another, varied and perverse. With communication, Campari anticipated taste, created trends, desires and lifestyles, and continues without interruption to create icons and images. Right to the heart with the enigmatic Salma Hayek in Mulholland Drive atmospheres, Italian glamour with Martina Colombari, captured by the refined lenses of Mario Testino and Giovanni Gastel.

Magnificent advertisement manifestoes which tell of this alphabet of love with suspended places, subways, cinema producers and quotes from the shared imagination which leap from the dreamlike to the bar next door. All lead the way to infinite pleasure: the ice and the orange, the veil of sugar on the edge of the glass and the soda, the sunny days and the deep nights. Opposites are together in a Campari, hot and cold, sweet and bitter, fizzy and still, what’s real and what seems to be real. In 2010 Campari celebrates its first 150 years. The intuition of Gaspare Campari, liqueur expert from Cassolnovo, has created a group leader in the beverage world, with excellent industrial strategies and communication, a recognised brand, a piece of cultural history from the made in Italy brand.

The industrial site is the same, the one the company moved to in 1904. The new Campari headquarter, designed by Mario Botta, is a monumental building 38 metres high above the little Liberty façade which remains to bear witness to Italian industrial architectural heritage.

An impressive block in brick, a cultured reference to tradition linked to classic industrial works, is the main feature of this articulated and versatile building which houses the many functions of a group which is now a world leader. A monumental, iconic building, severe and geometric, which presents itself as a huge doorway in the urban continuum.

An essential architectonic design in its spatial organisation and the sobriety of its interiors, which show innovative ideas for new working methods. A complex which houses 200 open space work stations, 120 management offices, 38 meeting room tables, 150 cupboards for archive areas, 2300 square metres of glass walls and 3800 square metres of wall panelling. All the rooms use the A.P. Wall by Andrée Putman, which is an essential factor in the transparent fluidity and complementary nature of the spaces despite their functional separation.

They are ceiling to floor partitioning elements with a structure edged in shiny anodysed aluminium and continuous panelling in double glazing; ceiling to floor crystal hinged doors with handles and safety locks. The walls have specific fixing elements for ceiling and floor and integrate the sliding door cupboards predisposed in sections which can be used from one or both sides. To complete formal and functional coherence, the different areas use a single furnishing system: the single desk, the aggregated operating stations and the meetings tables are all created with Naòs System tables by Cerri&Associati, consisting in supporting system in shiny anodysed aluminium and crystal tops lacquered beneath the surface with direct access to the canals under the top through central doors; screen panels in etched glass, equipped with shelves, complete the open space work station accessories. Every top has a central service socket which serves the archive areas, the access areas to the stairwells, the area before the lifts and the entrances to the rest rooms. Each block and its elements are clad to design.

We care about design, we care about production. Industry and the workshop. This is Unifor, developing and producing systems for the modern office since 1969. Product, architecture, graphic design, set up, coordinated comunication. Unifor is this too. But above all Unifor is quality in mass production and innovation in commisioned designs. Industrial tailoring. It isn’t a coincidence that great architects come to Unifor: from Jean Nouvel for the Cartier Foundation in Paris to Renzo Piano for the new New York Times headquarters.


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