In a previous post, drawn up after the presentation of the Design volume: 101 Zanotta stories – written by Beppe Finessi and drawn by Leonardo Sonnoli, we reported a consideration of architect Marco Romanelli – who spoke during the press conference – “The one of Zanotta is catalog done in discontinuity and wealth of proposals. only someone like Aurelio Zanotta could do it by paying tribute not only to “load-bearing parts”, to furnitures par excellence, but also to those pieces that are often forgotten by the current production, these magnificent and useful accessories that make up the fabric of the domestic landscape. “
Every object signed Zanotta has a different author and its different poetic yet, as often happens in Italian design, all the elements interact with each other. “Individual” pieces of furniture and service elements comply to the idea of the house played on “beautiful things”, easily accessible and functional, and the icons, designed by the great masters, are continuously updated both from an aesthetic point of view, both in the most complex technological details.
The principles of diversity, of a creative freedom without constraints, of a total possibility of growth and development, are characteristics readable also in the communication, in the way of being toward a public which is increasingly disenchanted and tainted by spectacular displays but rarely themed. In the case of Zanotta, on the contrary, the communication is an integral part of the product. It illustrate it, enhance it, it broadens the margins of freedom.
The impressive exhibition project designed by the Milanese studio Calvi Brambilla – and created by Frassinagodiciotto, a Bologna-based company specializing in landscape architecture – for the last edition of the Salone del Mobile in Milan, is one example. The exotic, lush forest showed the furniture exposed colonizing the space. The concept was born from the discovery of an architectural symbol of Italian rationalist movement: Villa Muggia in Imola, architect Piero Bottoni. Now reduced to a skeleton by the bombings of World War II, the house was invaded by green. That surreal atmosphere and the enchanting landscapes of Henri Rousseau’s paintings were the sources of inspiration to naturally tell the story of Zanotta: plants of large and medium size, the ground covers, the tall trees grow and make up in total freedom. They are different elements, and yet capable of creating an unspeakable harmony.
As a mirror of the company’s philosophy, the exhibition showed, alongside the classics, some new products, line extensions and a captivating remake of Fenice table designed by Piero Bottoni in 1936. There is the embracing softness of the couch Botero and the bed Ruben, designed by Damian Williamson; the stroke lightness of Nordic design in June chair designed by Frank Rettenbacher, who also designed the practical stools Ivo and Ido; the coffee tables Niobe by Federica Capitani inspired by river pebbles; a new marble top for the historical Reale table by Carlo Mollino.
New stories are added to the history of Zanotta, punctuated by 550 projects, 120 engineers and nearly 100 objects awarded and exhibited in design museums around the world. Pieces of a single puzzle that is continually renewed.