Touring - Piemonte Feel

Whoever wants to understand Piemonte design, do not be surprised if New York was first to understand the level of Piemonte project quality, by exhibiting in the MOMA permanent collection, “The rocks”, and ironic armchair designed by Piero Gilardi, the “Lettera 22” by Olivetti, and the “Cisitalia 202 SC” by Pininfarina. All recognitions have honored Piemonte as one of the world seats of design.

• Design

Turin offers people the chance to discover and visit the places that have become the forges of creativity, such as Bertone, Giugiaro Design and Pininfarina, which from time to time open the doors of their companies to visitors. In this way it is easier to understand why more than half the cars that are being driven along the streets of the world have been designed in Piedmont. The heritage of Adriano Olivetti can still be perceived in Ivrea. Thanks to him, there are designers working there of the calibre of Nizzoli, Sottsass, De Lucchi and the Bbpr group, which has equipped the offices of half the world. There are architects like the partners Figini and Pollini, Gardella, and the partners Gabetti and Isola, who have left us with fundamental examples of contemporary Italian architecture. In addition, the Interaction Design Institute has taken its place in the tradition of Ivrea design.

Maybe you could blame our design industry for putting more on the process of production than on “pure” design. However, it was in this way that the best works originated. First there is the thought and then there is the designer. Otherwise, objects like the Aurora Hastil and Thesi (1979) by Zanuso would not have come about. Alessi would have been a container with no contents rather than the leading worldwide firm it is today. Where else but on Lake Orta could Sapper have designed his espresso pot? How can we forget the vases made out of synthetic materials that are a result of the dynamic industrial changeover that Serralunga was able to accomplish in Biella? Only a firm like Gufram could have stood up and thrived under the creative assault of radical architects. Studio 65’s Cactus, the Strum group’s Pratone, and many of the curious objects that monopolized the market in the 1960s are, in fact, the products of Piedmont firms.