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Results for: Molteni
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Sep 2024 ·  online exclusive
ROOMSCAPES MOLTENI MONDO

There are books that collect stories, line them up, find an order, classify and compile lists, trace chronologies and jumps in scale, small revolutions and great changes, from projects to products.

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Jun 2024 · Adam Štěch ·  online exclusive
Gio Ponti: The House Above the City

Discover the history of Villa Planchart in Caracas, Venezuela, as we celebrate the Compasso d’Oro Career Award for Products for Gio Ponti’s D.154.2 armchair.

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Jun 2024 ·  online exclusive
Yabu Pushelberg’s Shanghai

Designers George Yabu and Glenn Pushelberg may operate studios in both Toronto and New York, but the pair are adamant that they do not differentiate between the two.

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Mar 2024
The Kitchen as a Living Space

Kitchens are everyday spaces that exist to meet an immediate functional goal. When well designed, they are highly calibrated to support the convenient preparation of food.

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Mar 2024 · Ann Morgan
90 Years of Molteni Mondo

To celebrate 90 years of Molteni&C, Rizzoli New York has published Molteni Mondo – An Italian Design Story, a book that is on sale worldwide from September 2024.

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Mar 2024 · Isabella Smith
In conversation with Jeff Burton

The photographer Jeff Burton is known for the cinematic quality of his work: bathers by a hotel pool become a study in saturated colour; tanned bodies are seen at one remove, distorted by mirrored surfaces; a womans glance is glimpsed through a cars rearview mirror.

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Mar 2024 · Ellen Peirson
Piero Portaluppi and Contemporary Grandeur

In the centre of Milan, a short walk from the duomo, is Villa Necchi Campiglio, designed by Piero Portaluppi (1888-1967) for the Necchi Campiglio family between 1932 and 1935.

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Mar 2024 · Francesca Molteni
ICONS

Like many of Gio Ponti's other pieces, the D.154.2 was conceived for a private client, the collectors Anala and Armando Planchart, as part of the project for their villa in Caracas, Venezuela.

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Mar 2024 · Pete Collard
Documenting Design

How we understand the world of design can depend on the means by which we engage with the subject.

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