Angelo Mangiarotti, Clizia Chair, <\/em><\/strong>1990, Agapecasa<\/p>\n Capogrossi – Cardazzo Room<\/p>\n The Clizia chair transforms the rigour of concrete into a sinuous sculptural form. Through a single monolithic cut inspired by Escher, the design makes highly efficient use of the material while minimising waste. This masterpiece is one of the outcomes of the collaboration between Studio Mangiarotti and Agapecasa, which has held the exclusive rights to his designs since 2009. The brand reissues the master\u2019s classics, updating them with philological rigour in order to enhance their sensitivity to materials and timeless Italian elegance.<\/p>\n ARMANI\/CASA<\/strong><\/p>\n Klimt Room<\/p>\n The new look of the Klimt Room has been created using Armani\/Casa wallpaper and drapery.<\/p>\n Plain (Precious Fibers 2)<\/strong><\/em><\/p>\n Wallpaper made from silk and metallic yarns. The refined workmanship and the incorporation of laminated threads give the surface luminosity and delicate reflections in the light, embodying Armani\u2019s timeless elegance.<\/p>\n Canterbury<\/strong><\/em><\/p>\n Lightweight curtain fabric. Its refined weave and delicate transparency create an understated elegance, expressed in the colour palette characteristic of the Armani world.<\/p>\n CAIMI BREVETTI<\/strong><\/p>\n Museum Rooms<\/p>\n The museum rooms renovated as part of the new permanent collection display have been equipped with new stands for the room information sheets: Caimi\u2019s Totem Battista<\/strong> columns. Each sheet provides information on the works displayed in the respective room and will be made available in several languages.<\/p>\n CAPPELLINI<\/strong><\/p>\n Jasper Morrison, Thinking Man\u2019s Chair<\/em>, 1988, Cappellini<\/strong><\/p>\n Saturnalia Courtyard<\/p>\n The Thinking Man\u2019s Chair is an invitation to contemplation. Jasper Morrison designed an essential seat in which flat-section elements support the body, while the tubular structure lends the chair a sense of visual lightness. The idea originated in 1985, when Morrison came across an antique chair without upholstery and decided to create an object consisting solely of structure, without enclosed surfaces.<\/p>\n Its original name, Drinking Man\u2019s Chair, became Thinking after the designer read a slogan on a packet of pipe cleaners. Following the first handcrafted prototypes, exhibited in Tokyo and London, a turning point came in 1987 through Giulio Cappellini. Its launch at the Milan Furniture Fair in 1988 marked the arrival of British design at the heart of the Italian design industry.<\/p>\n CASSINA<\/strong><\/p>\n Gerrit Thomas Rietveld, Zig Zag Chair<\/em> \u2013 Cassina iMaestri Collection, 1973, design 1934<\/strong><\/p>\n Sironi Room<\/p>\n Designed in 1934 by Gerrit Rietveld, the Zig Zag chair represents a radical challenge to the conventions of traditional seating. By eliminating conventional legs, the Dutch architect created a continuous, angular line in solid wood, transforming empty space into a load-bearing architectural element.<\/p>\n Today, Cassina reissues this masterpiece as part of the iMaestri Collection, preserving its technical audacity. Its structural strength is ensured by refined dovetail joints, in a perfect synthesis of master craftsmanship and geometric rigour. A historic piece that elevates design to an art form.<\/p>\n Gio Ponti, 699 Superleggera Chair<\/em> \u2013 Cassina iMaestri Collection, design 1957<\/strong><\/p>\n Burri Room<\/p>\n Designed by Gio Ponti in 1957 and produced by Cassina, the 699 Superleggera is one of the high points of Rationalist design. An evolution of the traditional Chiavari chair, it reduces material to the essential, with ashwood uprights measuring just 18 mm. Its remarkable strength was famously demonstrated by dropping it from a first-floor window, from which it emerged intact. Today, Cassina produces it as part of the iMaestri Collection, preserving the original complex joints and its perfect balance between technical daring and absolute lightness.<\/p>\n \u201cIn creating the Superleggera,\u201d Gio Ponti said, \u201cI followed the perennial course of technology, which moves from heavy to light: removing inert material and weight, ultimately identifying form with structure, wisely and without virtuosity, while respecting both utility and exact solidity.\u201d<\/p>\n Erik Gunnar Asplund, G\u00f6teborg 1 Chair<\/em> \u2013 Cassina iMaestri Collection, 1983, design 1934\u20131937<\/strong><\/p>\n De Chirico Room<\/p>\n Designed by Erik Gunnar Asplund in 1934 for Gothenburg City Hall, this chair marks the transition from Nordic Classicism to Functionalism. Its ashwood structure is distinguished by a curved, enveloping backrest that combines geometric rigour with organic comfort.<\/p>\n In the 1983 reissue for the iMaestri Collection, Cassina preserved its poetic integrity through highly precise craftsmanship. An icon of timeless elegance that transforms a piece of public furniture into a masterpiece for the domestic interior.<\/p>\n PHILIPPE CRAMER<\/strong><\/p>\n Philippe Cramer, Aeternus Eternus II,<\/em> 2024, Cramer + Cramer S\u00e0rl<\/strong><\/p>\n Calder Room<\/p>\n Philippe Cramer works by combining organic curves with geometric forms, drawing on references to antiquity, modern art and nature, while exploring how form and material can transcend words. Both sculpture and functional object, Aeternus Eternus II recalls a M\u00f6bius strip, elevated by the technical feat required to shape black Zimbabwe granite. The artist suggests that this ancient mass of rock, seemingly frozen for millennia, has been transformed under the influence of a higher force. The title of the work, a Latin phrase meaning \u201cfor ever\u201d, evokes the concept of eternity. The sculpted loop of the seat symbolises the unceasing cycle of life in death and death in life. The surface facing the sky turns to become the surface facing the ground, and vice versa. This can be linked to Egyptian cosmogony, which describes an eternal cycle in which the sun dies at sunset only to be reborn each morning.<\/p>\n FLEXFORM<\/strong><\/p>\n Bangkok<\/em>, 2008, Flexform Design Center<\/strong><\/p>\n Guttuso Room, Brandi Rubiu Room<\/p>\n Designed by the Flexform Design Center, the Bangkok pouf is an icon of elegance that combines geometric rigour with the finest Italian craftsmanship. Defined by a solid wood and metal structure with rounded corners, this functional volume finds its fullest expression in the refined hand-woven leather or suede upholstery. The intricate craftsmanship gives the piece a distinctive material depth, elevating it to an icon of contemporary design.<\/p>\n DAVIDE GROPPI<\/strong><\/p>\n Davide Groppi, INFINITO lamp<\/em>, 2016<\/strong><\/p>\n Bookshop<\/p>\n INFINITO is a spatial concept. An ultra-thin ribbon cuts through space, producing indirect light. INFINITO dematerialises the lamp as an object, transforming it into something else and leaving behind only a trace, a line\u2014and then not even that, only light.<\/p>\n The lamp was selected to illuminate the area dedicated to the museum bookshop.<\/p>\n KARTELL<\/strong><\/p>\n Kartell, Victoria Ghost Chair<\/em>, designed by Philippe Starck, 2002<\/strong><\/p>\n Hercules Room<\/p>\n Designed by Philippe Starck, the Victoria Ghost chair is made by injecting polycarbonate granules into an industrial mould. When it was first introduced, it was produced using a material supplied by a multinational chemical company, originally employed for American police shields and other functional objects: transparent yet highly resistant. Victoria Ghost continues to evolve through Kartell\u2019s patented Polycarbonate 2.0.<\/p>\n Today, Kartell\u2019s technological innovation has led to the chair being produced in a new green polycarbonate, obtained through a synthesis process derived largely from industrial cellulose and paper waste. The material is ISCC-certified (International Sustainability and Carbon Certification) and enables a reduction of up to 60% in environmental impact in terms of carbon dioxide emissions.<\/p>\n Kartell, Belvedere Chair<\/em>, designed by Ludovica Serafini + Roberto Palomba, 2025<\/strong><\/p>\n Balzico Room<\/strong><\/p>\n Belvedere is a creative project by Ludovica Serafini and Roberto Palomba, inspired by the timeless elegance of Vienna\u2019s Belvedere Palace, a landmark of Austrian art and tradition. The project brings together the refined heritage of Viennese seating and Kartell\u2019s spirit of innovation. Traditional Vienna cane is combined with a structure in recycled plastic, lending the chair both lightness and a contemporary character. These seemingly disparate materials enter into an unexpected dialogue, giving rise to a distinctive new aesthetic language. The result is a finely balanced synthesis of craftsmanship and technology, past and future.<\/p>\n The Belvedere chair embodies a restrained, rigorous elegance and stands as a symbol of contemporary sophistication. Rather than simply paying homage to tradition, it reinterprets it with a forward-looking approach, defining a new aesthetic code.<\/p>\n MOLTENI&C<\/strong><\/p>\n Gio Ponti, D.151.4, 1951 (reissued 2017)<\/em>, Molteni&C, courtesy Gio Ponti Archives<\/strong><\/p>\n Morandi Room<\/p>\n The Gio Ponti Collection, created by Molteni&C in tribute to the great designer, was launched in 2012 in collaboration with the Gio Ponti Archives under the artistic direction of Studio Cerri & Associati. It is both a homage to one of the most complex architects of the twentieth century and an opportunity to engage with history, renewing attention on key figures in Italian and international architecture. The D.151.4 armchair was designed by Gio Ponti for the Andrea Doria, considered at the time to be the most beautiful ship in the world. Ponti had taken an interest in naval interiors since the 1920s and gained direct experience in the field between 1949 and 1951 through four ocean liners and two cruise ships, either refurbished or newly built after the war: Conte Grande, Africa, Oceania, Conte Biancamano, Andrea Doria and Giulio Cesare. For these projects, Ponti designed this armchair in several slight variations, pursuing comfort and lightness while demonstrating a masterful use of materials.<\/p>\n Jean Nouvel, SKiN<\/em>, 2007, Molteni&C<\/strong><\/p>\n Fontana Room<\/p>\n In the room displaying works by Fontana, as well as by Giacometti, Manzoni, Melotti and Kline, the SKiN armchair has been introduced for its intrinsic formal and chromatic affinity with the artist\u2019s visual language. Designed by Jean Nouvel for Molteni&C, SKiN is a sculptural object with a powerful presence, combining immateriality, lightness and compactness. It is a suspended seat in which the decorative leather element becomes structural.<\/p>\n SKiN grew out of the idea that inspired the Mus\u00e9e du Quai Branly in Paris, designed by Jean Nouvel, translating unique architectural solutions into a product. The result of a long-standing collaboration between Jean Nouvel and Molteni&C, SKiN features a tubular steel frame with a load-bearing laser-cut leather covering. In recognition of its highly innovative design, SKiN has received several prestigious international awards, including the Red Dot Award \u201cBest of the Best\u201d, the ELLE DECOR Design Award, and inclusion in the ADI Design Index selection in 2008.<\/p>\n POLTRONA FRAU<\/strong><\/p>\n Roberto Lazzeroni, Glenn Bench<\/em>, 2019, Poltrona Frau<\/strong><\/p>\n Michetti Room<\/p>\n The celebrated Canadian pianist Glenn Gould was so attached to his personal piano stool\u2014actually an old chair adapted by his father to suit his highly particular seating requirements\u2014that he refused to perform without it. It was precisely this stool that inspired Roberto Lazzeroni to design Glenn, a pouf that can also be used as a small bench or footrest. Originally conceived as a pouf, it later evolved into the bench produced in 2019.<\/p>\n Its Pelle Frau\u00ae leather seat is enhanced by hand-crafted capitonn\u00e9 upholstery, now a hallmark of Poltrona Frau\u2019s artisanal expertise and quality. Its distinctive character, harmonious form and balanced proportions have made the Glenn pouf a versatile, self-contained furnishing element.<\/p>\n PORRO<\/strong><\/p>\n Piero Lissoni, Groove Bench<\/em>, 2007, Porro<\/strong><\/p>\n Twombly Room<\/p>\n Designed by Piero Lissoni for Porro, the Groove bench is a masterful synthesis of Zen minimalism and geometric rigour. Reduced to the utmost simplicity of form, its structure consists of a solid-wood seat supported by two interlocking inclined bases that emphasise the purity of the material. Made from fine hemlock or from the wide range of woods available in the Porro collection, the piece perfectly embodies the union of traditional craftsmanship and technological precision, celebrating an aesthetic of reduction in which beauty resides entirely in the quality of the material and the clarity of form.<\/p>\n Nao Tamura, Origata Bench<\/em>, 2024, Porro<\/strong><\/p>\n Dorazio Room<\/p>\n The Origata bench, created by designer Nao Tamura for Porro, is a masterful synthesis of industrial geometry and Japanese poetry. The design translates into metal the essence of Origata, the ancient ceremonial art of folding paper to wrap gifts without cutting it. Like a sheet of paper skilfully shaped, or a traditional garment designed to minimise fabric waste, the bench is made from a single sheet of aluminium, cut and folded with extreme precision. In this monolithic structure, the folds go beyond decoration to become structural supports: they provide stability and rigour while lending the aluminium an almost ethereal lightness. The result is an object with a minimal, essential profile, transformed into a gesture of welcome and harmony.<\/p>\n RUBELLI<\/strong><\/p>\n Mondrian Room<\/strong><\/p>\n The Mondrian Room has been enhanced with curtains made from Shanghai fabric by RUBELLI, a Venetian textile company now in its fifth generation. Characterised by the distinctive irregularities of shantung, Shanghai is a technical fabric that retains the natural appearance of handwoven raw silk while ensuring a perfect drape. From the extensive colour palette in which Shanghai is available, the yellow version was selected for the Mondrian Room.<\/p>\n SLAMP<\/strong><\/p>\n Marc Sadler, Poppy Lamp<\/em>, Slamp<\/strong><\/p>\n Refreshment Area<\/p>\n Poppy is a modular lighting installation created through the collaboration between Marc Sadler and Slamp, in a process that brings together craftsmanship and technology.<\/p>\n Each bud is made from hand-formed Lentiflex\u00ae, and every piece is unique, crafted by the \u201cSeamstresses of Light\u201d, specialised artisans working in the Slamp atelier in Pomezia, just outside Rome. One flower in every seven is hand-airbrushed in red, an artistic gesture that makes each composition even more distinctive.<\/p>\n ZANOTTA<\/strong><\/p>\n Carlo Mollino, Fenis CM Chair<\/em>, 1959, Zanotta<\/strong><\/p>\n Arte Povera Room<\/p>\n The Fenis chair represents one of the highest expressions of Carlo Mollino\u2019s work, placing him among the most versatile and dynamic figures in Italian creative culture. Designed in 1959 for the Castello del Valentino, home to the Faculty of Architecture of the University of Turin, the chair is not merely a piece of furniture but a true domestic sculpture that challenges the boundaries between design and art. Its transition from a unique piece to wider production was made possible by Aurelio Zanotta, who chose to include Fenis in the company\u2019s catalogue in 1981, preserving the integrity of the original design and transforming an elite project into an example of high-quality serial craftsmanship. Made of solid wood, it is crafted with a level of skill that conceals the complexity of its structural joints. The fluid transition between the backrest and the vertical supports creates a profile inspired by natural forms, characteristic of Mollino\u2019s visual language.<\/p>\n All intellectual property rights relating to the works, drawings and documents of Carlo Mollino are owned by the Italian State pursuant to Article 586 of the Italian Civil Code \u2013 Produced under exclusive licence granted by the Agenzia del Demanio.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" The project presents the new display through a dialogue between the visual arts and design,…<\/p>\n","protected":false},"author":3,"featured_media":4161,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5195","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria"],"acf":[],"_links":{"self":[{"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/posts\/5195","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/comments?post=5195"}],"version-history":[{"count":2,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/posts\/5195\/revisions"}],"predecessor-version":[{"id":5197,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/posts\/5195\/revisions\/5197"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/media\/4161"}],"wp:attachment":[{"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/media?parent=5195"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/categories?post=5195"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gnamc.cultura.gov.it\/en\/wp-json\/wp\/v2\/tags?post=5195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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