The eclecticism of Iosa Ghini
The founder of Bolidismo movement and member of the Memphis Group with Ettore Sottsass, the architect Massimo Iosa Ghini is one of the most influential international voices in industrial design, the planning of commercial and museum architecture, the planning of areas and facilities dedicated to public transport and the design of chair stores all over the world.
His design and architecture projects have received important recognitions such as the Premio Compasso D’Oro ADI, the Good Design Award from Chicago Athenaeum, the Red Dot Award and the iF Product Design Award from Germany, the Roscoe Award from the United States, the IAI AWARD Green Design Global Award and the IAI Award, from Shanghai, China.
Where does your aesthetic vision start from? What are the elements that have influenced it the most? I come from post-modernism. Cataloguing the world in terms of style and trends was a necessity in the past when you opened an archive full of paper files. Now you go to Google, write a few words and enter a dimension that takes you gradually towards what you are looking for. I love futurism for its dynamic force and conversely everything that is harmonic and natural.
Nature has its biological dynamism that is both cruel and gentle. We strive to insert ourselves between the cogs of an enormous machine that operates to strict rules but is also constantly evolving.
Your work is eclectic and ranges from industrial design to architecture including installations and interior design. What is the fil rouge of your projects?
Research, innovation and incessant substitution that all organisms are designed for. Substitution to adapt to new contexts, often to improve them.
What are the materials of the future in the world of industrial design?
The materials of the future are those that can be extruded and used by a 3D printer. Industrial design will become special design, made ad hoc and to measure for each of us. Eco plastics, mortars, ceramics, all fluid materials. You designed glasses for Silhouette in the 1990s.
Can you tell us about your experience in our sector?
In 1994, Arnold Schmied asked me to work with a new material, a nylon with an opalescent effect that could crate light and rarefied effects. At the time, I intended to create limited editions, not mass production. We made three models that are now classics, quintessential objects.
His design and architecture projects have received important recognitions such as the Premio Compasso D’Oro ADI, the Good Design Award from Chicago Athenaeum, the Red Dot Award and the iF Product Design Award from Germany, the Roscoe Award from the United States, the IAI AWARD Green Design Global Award and the IAI Award, from Shanghai, China.
Where does your aesthetic vision start from? What are the elements that have influenced it the most? I come from post-modernism. Cataloguing the world in terms of style and trends was a necessity in the past when you opened an archive full of paper files. Now you go to Google, write a few words and enter a dimension that takes you gradually towards what you are looking for. I love futurism for its dynamic force and conversely everything that is harmonic and natural.
Nature has its biological dynamism that is both cruel and gentle. We strive to insert ourselves between the cogs of an enormous machine that operates to strict rules but is also constantly evolving.
Your work is eclectic and ranges from industrial design to architecture including installations and interior design. What is the fil rouge of your projects?
Research, innovation and incessant substitution that all organisms are designed for. Substitution to adapt to new contexts, often to improve them.
What are the materials of the future in the world of industrial design?
The materials of the future are those that can be extruded and used by a 3D printer. Industrial design will become special design, made ad hoc and to measure for each of us. Eco plastics, mortars, ceramics, all fluid materials. You designed glasses for Silhouette in the 1990s.
Can you tell us about your experience in our sector?
In 1994, Arnold Schmied asked me to work with a new material, a nylon with an opalescent effect that could crate light and rarefied effects. At the time, I intended to create limited editions, not mass production. We made three models that are now classics, quintessential objects.
