BiographyGhigos Group was born in 1998. Mission of the group is to create a place for debate and confrontation, characterizing itself through the exchange of knowledge, competences, and information. Since his inception, Ghigos Group has explored new fields of research, pursuing the dissolution of the disciplinary borders like opportunities of critical reflection on project issues. Ghigos Group’s exhibitions, installations, and projects have been mentioned in national and international competitions, and published on the main Italian magazines. Ghigos Group become an architectural firm, Studio Ghigos, in 2004. Studio Ghigos maintains and shares mission, vision and interdisciplinary approach of the parent group, handling projects of different scale in various areas: from the exhibit to the graphic, from the design to the architecture: “blinking at” the art.
|Philosophy||Studio Ghigos maintains and shares mission, vision and interdisciplinary approach of the parent group, handling projects of different scale in various areas: from the exhibit to the graphic, from the design to the architecture: “blinking at” the art.|
|Specialization||Architectural Design, Interior Design, Graphic Designer, Communication Design, Food design|
from April, 9 2013 to April, 14 2013
from April, 17 2012 to April, 22 2012
Is it possible to put contemporary art in alphabetical order? Can you file it? How tell it to an exhibition audience? Perhaps thinking of an exhibition that is also an archive, a special archive, like an artwork into artworks which allows to approach art in a different way. It is an open and generous archive, where you can live a learning experience according to personal approach, and reinvent it each time with different materials. In a timeless library are on stage the story of the DOCVA archive and the purposes of the MAXXI museum, in a dualism between tradition and contemporaneity that is also one of the interpretations of the space. This encounter is embodied by a graphic: a big anamorphic sign fills part of the room. It is only possible to comprehend it entirely from the entrance, anywhere else it just looks like a wide collection of fragments and colored patterns scattered all over spaces and furnitures.
A European chef arrives in Peking to open a restaurant, the River Club as a place for meeting and exchange, comparison and storytelling between ancient thoughts and knowledgeable research. The core element of the design lies in the meeting between western and eastern civilisation, but it has been in developing the subsequent pairs of reference terms, in a complementary manner, that the dining room, kitchen and furnishings have been designed to be able to tell and be coherent parts of the atmosphere. Identity and recurrence, experience and exploration, tradition and innovation, classic and modern are the related differentiations of the themes tackled by the architecture and design to capture, maintain and suggest the signs of a possible way to connect the two worlds.
Fast Architecture is a temporary camp constructed on relationships. It’s a game of possible transformations and a manifesto of planning capabilities. Storehouses are made of storages: water tanks become bricks for building light walls usable as programmable interfaces. It’s a construction which might never end. In this case Fast architecture just took the shape of an exhibition system for displaying NABA students works during the International Furniture Exhibition held in Milan in April 2006. The concept design proposed tools for “urban compositions” between furniture and play, which might be used and reconfigured at will: these were NABA “cells” originated freely, able to be reinvented, scaled and tweaked. A pavilion and a system of interactive urban furnishings transformed thus NABA spaces into an invasive playground to propose new contents, ready to flow out of the boundaries and to conquer and recycle other places in the city. Fast architecture overcomes limited usages of objects, and invites to widen the employment of those. If designing buildings like objects without context is often becoming a solution, designing building made of object it’s just a revolution!
The Museum of Femminine Arts is a museum based on a collection of hand-crafted objects, artistic, industrial and communicative bond to the feminine world of the past three centuries. It’s the museum of a personal taste, tied to a peculiar and personal set of interests. Its charm lies both in the gathered objects within and in its nature of amazing cultural probing through the layers of material history, from a very specific and never before explored point of view. It’s a museum of items that, in the past, were all gathered under the definition of minor arts, feminine arts or decorative arts. The items that the visitor will be presented with are shown in their mutual relationships and in the full representation of their use, either symbolical, economical and cultural. The MAF is aware of the traditional categories of cultural organisation, but speaks to the general public through the emotions mediated by the objects. The interactive devices allow to fully enjoy the precious items and the rare books of the collection. They lead the visitor from its industrial and post-industrial world to a world of the past, in which the relationship between industrial production and craftwork is inverted. The ancient building that holds the MAF was modified and unified in its interior spaces, while being transformed to the outside in a façade that narrates the past and communicates with the city and the passers-by. Its communicative function is carried out by the use of colour, that characterizes the different curatorial choices made for each floor of the exhibition. The color is therefore used to divide the museum space by subject, but also ‑ as a magical mechanism ‑ to transform the building into a huge urban “lamp”: a marker and a new symbol for the city landscape of the city of Vallo della Lucania.
Cutters for biscuits that taste “monumental” The cookies are cut to the shape of the most famous monuments in the European capitals of which become icons out of scale within a square container illustrated with the city plan. They are recognisable elements of a collective metal map that join orientation and identity.
The cutting lines for gnocchi… From the peasant origin A relieved texture refers to the system used of ploughing the fields; its allegorical design refers to a plot of land and its different processes in which values are added to form its function. The base of the board is in fact used to mould and creates the surface of the gnocchi and pasta, giving it a customizable appearance.
Stuzzicadenti for Flirty Finger food The traditional toothpick becomes something new and its innovative design offers a different approach to the way it is presented. It offers more with its aesthetical value and is visually pleasing for those who love trying new things along with those that love to combine their social side with food, fun and games. The ‘tree’ toothpick concept, emulates the idea of creating a new landscape and a passage of tastes, much like a pawn on a competitive and consumable chessboard.
From the experiment of “Apparecchiare la città” presented at Salone del Mobile of Milan was born the first collection for “Lago Maggiore Casalinghi” brand. The collection is not realized by a unique company, but by a wide network of production firms that represent one of the most historical Italian district production lines. The collection, was designed by Ghigos Ideas for household product companies that, for the first time, joined forces to cooperate on a uniform project, to diffuse and promote the district production across the international markets. Changing the usual prospective and opening up to experimentation, these companies valorize their specific manufacturing culture, putting them into a common project, as testimonial of the intelligence and the creativity of Made in Italy. Lago Maggiore Casalinghi and Ghigos Ideas officially present the new collection “Apparecchiare la città” during Fiera Ambiente in Frankfurt, to keep on the diffusion process for this original initiative. The exhibition will show to the visitor a strange city of objects, a landscape “at hand”, tables as inhabited islands, that welcomes elevations with some iconic monument-objects (or are they miniature buildings?) in a continuous interplay between different scales and cross-references between architecture and design, between urban and domestic, expositive and culinary aspects. Into the sky-line of “urbanized” tables you can see plates as houses, pots as squares or pepper mills that seem like contemporary skyscrapers with multifaceted facades. Looking at a salt shaker to find it “urbanized”... The point of view is what changes reality and makes us experience a surreal walk through objects, which lose their purely functional value and discover themselves as “something else”: they are parts of an apparently paradoxical world, and become casket of our emotions . Not yet consumers, not just owners, we find ourselves custodians of simulacra that define a new urban skyline.
A Bar set for a stop in Caffé “One which cannot be faulted” An aeroplane carrying sachets of sugar, and a little bird holding napkins perched on the bar seem as if by chance they landed in the right spot, accompanied by a book with a capturing feature of a folded page, creating the reminder of the day to day menu’s offered in the Caffé. Origami was used as a kind of service, which bar tenders and baristi used to bring a smile to their customers face, enabling them to play with the memory of time.
The memory into a pepper mill... Also this pepper mill registers with the memory, but the memory is not yet fully formed. It is not a collective and shared memory, but the object memory that emerges to show a recent past. It is not a minimal abstraction but a magnificent decoration, to immitate the fade of the time .
An emblematic work of art, the Ultima Cena of Leonardo, today offers us new readings: admired for centuries, the painting seems to have told us already every details of that moment so crucial for the Christianity, but watching it carefully we can discover that it still suggests other subjective interpretations. Looking beyond the scene (often represented in art), we try for once to outline, with the due respect, the thirteen chairs on which the apostles and Jesus were seated: 13 designers were asked to give their own interpretation of these until now overlooked seats, those could instead claim the right to be considered truly “historical”! Trying to guess what is hidden and to tell what is left unsaid, we invite everyone to do an “act of faith” and to imagine, together with us, the B side of the painting.
After Fast Architecture “Ghigos Ideas” and “LOGh” are back to design an ecological and sustainable architecture, together with the students of the Interior Design course at the Politecnico di Milano. The disposal of plastic bags becomes the opportunity to complete and bring life to an unfinished public building in Ameno (Novara, Italy) during “STUDI APERTI Arts festival”. The project aims to up-cycle shopping bags turning them into a dress for an architecture: having in mind the words “nothing can be neither created nor destroyed, everything can only be transformed” students have reused the shopping bags, now banned from sale in supermarkets. It‘s a work that aims to be a step towards an ecological awareness about recycle and reuse, and, at the same time, a way to give an identity to a building without a specific function. Reuse a bin, as the plastic bag, can be a way to avoid wasting resources and to rethink an object giving it a new look and a new function, can be a way to explore new construction techniques with unusual materials thus redefining a new “ecological alphabet”. Therefore the project gains a dual function: it’s both an educational intervention and a strong communicative mark, it’s a flag that plays on the relationships among objects and their hierarchies.
It’s an exhibit about the famous masterpiece The Last Supper, by Leonardo Da Vinci. Many other artists have interpreted the famous scene during history, and this time 13 designers were called to look beyond the scene and imagine the thirteen -never seen before- seats of Jesus and the Apostles. Each designer gave his own interpretation of the symbolic connection between one of the Saints and his chair, with creativity and the due respect. Twelve designers have been selected to represent the new Italian generation. While in the middle of the scene we’ve chosen to set a very charismatic and important personality of the design history: Alessandro Guerriero, the founder of Alchimia, who’ll be celebrated for his amazing and prolific 70 years.
The project for the new SAE campus in Milan works with the brand multiplication. The logo is translated into signage, furnishing and architecture, in order to communicate the company identity, mission and values to let more effectively experience those by students and people. SAE visual identity, constituted by horizontal lines, is broken down into its elements to turn into an architectural element, thus a more effective communication tool. The logo becomes the visual matrix of the facade, and wrap the building like a second skin, creating engaging graphic effects. The breakdown of those blue lines transfers an image or message and creates a double level of reading. The blue lines invade interior spaces as a pattern becoming a both a visual and structural element. They run through corridors as way-finding elements incorporating signage. It’s an imaginary pentagram that unfolds itself turning into a seat at the entrance of the school and a light pattern that shows the way to the reception and welcome students. General Contractor: SM di Pino Stillitano Technical spaces design: SM di Pino Stillitano Concept Design: Ghigos Ideas