St. Agatha's is the third largest folk festival in the world. The story is relived by evoking the most "ornamental and rich" icon of Design the Proust Armchair by Mendini. The mastery of Orografie is told in a new product designed and narrated by Aricò: AGATA. The project done by Mendini on Proust is reinterpreted by Aricò in a contemporary key with spray cans (for wood and fabric) in metallic colors. The armchair is designed starting from the symbols of the Reliquary Bust of St. Agatha made by Giovanni di Bartolo in

1376, rich in details. The technique used is wood carving performed with new technologies and the help of a master sculptor. The armchair composed of a wooden "ornamental skeleton" is made cozy by 4 "free" cushions. The "unfinished" theme in the feet of the armchair is an invitation to discover the handcrafted handiwork behind the design. A "naked" version serves as a canvas for the graphics painted directly by hand with "graffiti" spray technique by Aricò. The themes of the unique serial VS intertwine in a hybrid narrative made of new traditions.

Allodola is a contemporary object that could not have existed ten years ago. New home rituals are transforming our habits and the telephone almost always plays part in them: reading the news, making a call from the sofa, watching a recipe in the kitchen, watching a movie in bed, listening to music in the shower ... everything goes through our cell phones. The telephone concentrates functions and expands our

homes, transforming them and transporting them elsewhere, becoming an extension of our brain, a prosthesis, a contemporary fetish that has silently, profoundly changed our lives. Allodola is a tool that enters into a relationship with this object, composed of its virtual functions, trying to make it physical. It is a presence that through ancient materials gives life to a brain prepared with the most sophisticated technologies of our times.

Amonì was born by means of reflection upon the domestic environment and on the relationship we have with space and the objects that inhabit it. A house is a fluid space, its environments no longer respond to a single function and the boundaries are blurred; even the furnishings and objects follow these changes adapting to new needs. The valet stand I have designed fits into different rooms of the house,

offering multiple ways of use. It is made up of several vertical and horizontal elements for hanging clothes or accessories, with a small shelf and a larger surface to accommodate our belongings. This piece of furniture has always been intended for the bedroom, but in this project it frees itself from this constraint by moving freely, thus living the domestic space dynamically, as if it were an inhabitant of the house.

What's more refreshing than taking a break to sip your favorite drink and exchange a few words with a friend or loved one? This compact item integrates a coaster on one side and a device stand on the other, enabling internet connectivity. It is a piece of tableware born from

observing new daily behaviours, suitable for both public and private settings and capable of innovating discreetly. "Azz - as described by its designer - is a a simple object and confidential product, a concentrare of functions, a companion with which to build new rituals for our moments of relaxation or work."

"The doily - explains the designer - is a small textile artefact, with a decorative purpose. Drawing inspiration from this now obsolete item, an ultra-functional and decorative tray emerges, defined by a layering of forms." Consisting of three containers and an equal number of

smartphone supports, combined with a decorative vase, it can also serve as a unique centrepiece. The decorative and multifunctional aspects address two significant demands of modern design: fostering a sense of connection and offering small gestures of daily beauty to our living environments.

An "egg of Columbus" symbolises an intuitive solution, an immediate answer to a question discovered without breaking any rules but by taking an alternative route that has always been visible yet overlooked. A cosmogonic form par excellence, the egg is itself a sort of Russian doll of nature, an absolute container. Crafted from lacquered solid wood, the egg-shaped object features a cavity

created with an 18-degree cut, a smooth edge, and a small aperture. These simple components allow for various applications: from an unconventional dish to a catch-all tray, to a desk organizer with a built-in cellphone holder or a container for kitchen and bathroom items. It adapts seamlessly to different environments and invites diverse interpretations, making it a truly versatile and nomadic piece.

Eccentrico is a versatile small piece of furniture designed to serve multiple purposes and accommodate various items. It can serve as a coffee table, a surface for using a computer or eating in front of the TV, a magazine rack, and anything else that imagination or necessity might suggest. Its design stems from a reflection on contemporary living and the need to have everything within reach, emphasising the importance of

accessibility and adaptability to evolving needs and ever-evolving spaces. With its sturdy base, Eccentrico is capable of embracing new functionalities as required. “Our home represents us," explains the author, "with all our needs and habits. Changes in our environment can occasionally unveil previously undiscovered functions of the objects surrounding us, potentially revealing hidden facets of our own identity. Because there is no old and new, only past, present, or future habits.”

Unchanged and immutable, open to accommodate multiple functions while remaining "intact" and proud. For this reason, the investigation focused more on symbols and story-telling than on rituals and function choosing to recollect Sicily and in particular Catania, the epicenter of this adventure. And how can one recount the city without considering Him, Etna: the largest, most active volcano in Europe, the volcano that stammers, smokes and sometimes gets irritated, the one where the forge of Hephaestus is housed in the myth. Hephaestus is the engineer, he is the craftsman, he is the designer; rough yet creative, excluded yet

generous. His is a love for the Work that stands in contrast to a deceptive and illusory world, made up of ephemeral pleasures and vices: Olympus. Hephaestus chooses his laboratory, his studio, his work. If Hephaestus today designed vases and end tables, he would certainly do it in his own rough, brutal way, celebrating the material, highlighting its volume, probably with the help of software and modern technologies, combining digital and analogue under a single enterprise; but always in an austere language, made up of machines and work, of strength and energy, using forms and structures with a brutish, constructivist taste.

Like the two-faced Janus of mythology, this table accessory has two faces that reveal just as many possibilities of use. Like a sheet that takes its shape according to the hands that fold it, so Giano exploits small support elements that reveal possibilities of containment and support for food, suitable for our contemporary way of eating, increasingly open to culinary variations and the accompanying instruments of other cuisines, without overlooking our Mediterranean tradition.

Imagine being able to complete or enrich a dish with fresh herbs readily available on the table. A traditional custom, once facilitated by our grandparents who placed pots of aromatic plants on outdoor tables, has now evolved into a modern, reimagined, and enhanced version. "Impianto" is, in fact, a centrepiece that contains edible herbs, aesthetically pleasing plants that are

beneficial to our health. Constructed from prefabricated tubular components, which are cut and welded together, intertwining like the roots of plants and generating a linear yet complex form at the same time. Its components provide space not only for edible leaves but also for a mobile phone, enhancing its functionality as an indispensable companion in our daily lives.

The mise en place is one of the main tools for observing good manners, which often stem from the need to regulate everyday gestures and practices. What happens in a scenario where the mobile phone has become an unwelcome and difficult-to-ignore intruder on our tables? Is it

better to ignore this novel presence in etiquette, yet now a daily protagonist of our lives or should it be included? "Maleducato" (Ill-Mannered) offers a cheeky solution for table setting by incorporating the phone alongside the usual cutlery, recognizing its constant presence in our lives instead of denying it.

Like the two-faced Janus of mythology, this table accessory has two faces that reveal just as many possibilities of use. Like a sheet that takes its shape according to the hands that fold it, so Giano exploits small support elements that reveal possibilities of containment and support for food, suitable for our contemporary way of eating, increasingly open to culinary variations and the accompanying instruments of other cuisines, without overlooking our Mediterranean tradition.

An impactful object, designed to capture the fleeting attention of our current hybrid condition. Matto is a hypersymbolic object, like a pawn transforms the home environment into a game: a chessboard that becomes a witness to our new moves, our new rituals.

After four years in Holland, many personal relationships and different experiences, I began my return to Italy by making a selection of objects: I had to decide what to throw away and what to keep. In doing so, I realized that many of the objects I came across represented Memories to me and although they were, for the most part, without real value they were imbued with a strong emotional meaning. My project Minuti is, therefore, a container of Memories, a place to put all those small objects that lead us back

to countless past moments that should not be forgotten, worthy of being kept in a 'Wunderkammer', a personal room of wonders. Small or large trinkets, paperwork and knick-knacks, usually set aside at the bottom of the drawers until they have been forgotten, are placed in the center to allow the memories and emotions connected to them rise once more. Through the creation of a sculptural piece of furniture, I would like to make their presence echo out in domestic spaces and dedicate a new awareness within our lives and homes to them.

Our daily lives are structured around appointments, commitments, and tasks that populate our schedules, filling them with various responsibilities and obligations. "Misguardo" serves as a tangible, sculptural reminder strategically placed in various spots around the house. Its purpose? To jog our memory, prompting recollection of every public and private task. Its linear form recalls the rhythmic passage of time,

while its modular design signifies distinct moments. The modules can be arranged and moved according to personal needs and commitments, covering not only work activities but also more intimate ones. A cohesive assembly that encapsulates our daily routine, urging us to carve out moments for self-reflection amid life's relentless march forward to contemplate the beauty in the passage of time.

There are proper and improper uses of classical typologies. However, often in unconscious actions, there's an implied alternative use of objects, and departing from the norms of form and function isn't always a mistake. In fact, many of us have probably used a chair as an improvised "wardrobe" at some point! This observation inspired the creation of

a unique piece: a "non-chair" that resembles a chair in form but serves a different purpose. It's designed not for sitting but for hanging clothes, accessories, and other small items that reflect our lifestyle and visual identity. This unconventional item encourages us to reconsider what may seem disorderly in traditional terms and embrace new behaviours through creative interpretation.

"Starting from functions and unlearning forms" was the premise used by the designer of this piece of furniture. Multiplying the number of supportive surfaces to widen perspectives defines the essence of the "non-table." This element not only serves to carry out and potentially enhance the functions of a surface but also disrupts monotony. The flat surface transforms into a myriad of functions, resembling a flower whose petals

provide varied supports through height variations. Consequently, each element serves as a dedicated space for individual objects, positioning them uniquely and accentuating their presence with the surrounding emptiness. The decorative aspect is no longer linked to the surface of the tabletop (to a texture or pattern), but is inherent in the form itself and in a function that opens up to a range of uses and interpretations.

The concept of stackability holds significant importance in the designs of the Postwar Masters, stemming from the need to consolidate functions within limited spaces due to the shrinking of domestic living areas during those years. Today, this necessity leads to the essence of things and raddresses two crucial aspects of contemporary society: on one hand, it means reasserting core values, and on the other, reducing waste. Bread and wine, timeless archetypes present across

various historical cultures, eloquently symbolises a renewed call for rigor, reflecting a desire for fundamental values without sacrificing optimism and confidence. The stackable table service thus emerges as a symbolic centerpiece, totem-like, comprising individual components that form a cohesive whole, adaptable both as a unified entity and as separate elements during communal dining experiences. It symbolizes the collective aspect of human interaction, particularly the intimate exchange of nourishment for both body and soul.

Pocopiano is a circular ceramic plate. The course of the shape creates a hollow generated by a progressive slope. This dualism is the specific character of the plate, which allows the support of different types of dishes in order to "create" games

of consistencies. Between solid and liquid, a new food ritual! The name Pocopiano emphasizes the hybrid and amphibious nature of the plate; Pocopiano is an invitation to tell a story, to live a journey, to try a new experience made of rituals, contrasts and senses.

We lean, perch, sit, lie down and sink into our furniture with our digital extensions. Emancipated from the safe haven of working on a desk, we tirelessly try to find comfort in ever more fluid environments. In response to this new need, the media offers us hyper-functional products more similar to medical instruments than welcoming furniture or domestic accompaniments. With the 'Segni' project we started from scratch, tracing essential lines

and angles to support and accommodate the choreography taken by our bodies. Segni wants to be a hymn to individual comfort, freeing the user from predetermined spaces and postures, supporting new ergonomic needs for work, study, relaxation, physical activity and leisure. They are essential furniture, five features in the domestic space that suggest gestures and positions without imposing them, ready to welcome the future animal into which we will evolve.

We have always been fascinated by wooden foundry molds: such sophisticated goods, rich in hollows, holes of various diameters, bevels, protuberances or other singular details have aroused our imagination by the countless shapes that can be created with them. We have individuated and arranged these pieces into a sort of catalog that we then redesigned and used as a declinable

language. This is how T1 and T2 were born, two enigmatic and sculptural furnishing elements that we could define as a standard of the domestic space and that we have designed with the intention of stimulating a desire for affection in those who possess an interest in such things: objects to be preserved and handed down from generation to generation.

"The home is a garden to be lived in": this is our motto for interior space design. Thus a series of elements creates our domestic landscape; each one is thought of as if it were a garden plant. Ours are modules that can be freely combined thanks to their organic forms which generate an ever-new harmony and can be united by choosing the most appropriate scale for the uses and activities of the space that will host them. The inspiration for this

project not only came from observing leaves: their shapes, the way they sit on a plant, but also by how they appear to us when they have fallen to the ground, their essence of unity together with time itself. Thus the idea of a family of elements was born, each with its own individual value and its own formal identity, but with the tendency to aggregate in a varied and diverse manner generating a dynamic whole to which to give the desired function.

The "Trabattello" is a mobile scaffold usually used to facilitate construction work. The Trab takes its cue from this concept because it is a piece of furniture that performs multiple services. It was originally intended for the bathroom, because we now perform many functions in this room of the house. So the Trab supports you when you are drying your hair and you need a prop; it holds cell phones or books while showering or in the bathtub; it also functions as a hanger for the clothes

you will put on or those you take off. It assists everyone: children who need a step to get to the sink, seniors who want to feel safer while brushing their teeth. And it even loves taking a walk into other rooms: in the bedroom as a valet / bedside table; in the living room as a multi-use support next to the sofas; in the kitchen to hold books and cell phones while we prepare the recipe of the day. Small in size, large in functionality.

Tramè is a support for mobile devices which is easy to handle and simple in shape, of solid wood construction and sheet metal reinforcement. Its peculiarity is to have a mirror surface embedded in the structure which makes it both a support for electronic devices and a hand mirror. The calibrated incline of the upper portion allows for the simultaneous view of the device in use and of one's own image, of one's eyes in particular. This is because, at

times the gaze of others effects us too much, at others however it is a gauge of the adequacy and correctness of our actions. Behind the screen we are instead alone and nothing more than our own gaze can keep the I’io (the human being) present to itself and consciously accompany it within the overflowing stream of data, information and images in which, ever-the-more, the real and the virtual, the true and the false smoothly go on merging together.

Trespolo is a stool featuring two tiers set at varying heights, designed to enhance everyday life, share emotions, and facilitate interactions. By splitting into two levels, this classic piece transforms into a multi-functional furniture item that can be used for: seating, working, or as a coffee table. The simple design gesture

of doubling the levels and placing them at different heights reveals new possibilities for use. Moreover, it prompts contemplation on how embracing diversity and multiplicity enriches experiences. As the designer argues, this object teaches us to "defend differences and to give oneself to feel good: this is what nourishes our lives."

... “The whole truth exists within ceramics”. The rooms where people live, where they eat, where wives survey and argue ... Look at the ceramics and everything is there, as in poems and songs. Everything is there, and that's it ... " The words of Ettore Sottsass written in 1963 lay at the foundation of my project. A centerpiece that hides its double versatility. Made of ceramic with a triple function: fruit holder, flower holder and mobile phone

holder. Today our Smartphone is the most important and sometimes the most desired object. It plays such vital role in our days, from which it is almost impossible to be separated. Against the rules of etiquette that banish it from the table, now it is instead exalted and placed at the base of the centerpiece. Starting today the Triplex Centerpiece will also have the function of containing our object of desire: with which we eat, fight, live ...

After decades in which the home has often been a place lived in out of bare necessity, sometimes almost only for sleeping, today the domestic space returns to the foreground in an attempt to find a new balance between the dimension of intimacy and the new social distancing, somewhere between a virtual and a tangible reality.The design of this garden table revolves around the idea of ​​a curtain that separates the exterior space from the more intimate one of the individual dimension. When the curtains are open, the table can accommodate four seated people or transform into

a small buffet gazebo; when the top is folded, it becomes a desk that can be partially or completely screened by its curtains, offering a neutral backdrop for video-calls, guaranteeing privacy and protection from sunlight. The curtain becomes an analog screen, onto which the aspect of those whom are involved are projected; and also a veil that protects, embodying the two sides of a technology that not only isolate, but at the same time open outwardly to an almost borderless dimension. The public and the private meet through a device that is as much a refuge as a window.

A mirror, a jewellery holder, a shelf, a dressing table, a phone stand… whatever else the imagination might come up with! The possibilities for interpretation of this furnishing accessory are vast, as it can seamlessly transition from the bathroom to other spaces within the home. The mirrored surface prompts both physical and psychological contemplation; it can be a moment of truth or questioning. Next to it, we find another window, that of the smartphone, which takes

us into the world and brings the world to us. As the designer states: ”Virgola is an object that gives itself without being intrusive, leaving it up to us to interpret. At its base is a tray that welcomes and contains the trinkets of daily vanity. Above it, a wing that gracefully supports the device through which one can expand the boundaries of one's intimacy. And finally the mirror, to reflect joys and conceal fears."

There are stories written entirely in body language. In order to be understood, they need effective environmental integration. Design should question the way in which the domestic space challenges the user, the manner by which it provokes or resists. Only in this way will we be able to have an amplification of the concept of the body being capable of producing greater consistency for the imagination. Thus Voyeur was born, the Shameless Wardrobe with the scope

of being able to produce, and therefore display, objects capable of generating an existential scenario that could become a seductive Resonant Landscape. Establishing an environment for the senses was my goal. Individuals who marvelously collide with the scene determined by the Voyeur wardrobe, an object with a strong personality, overbearing, unwieldy, subtly disturbing and pervasive, will receive an alienating and exalting investiture, in an atmosphere of unequivocal and rarefied osmosis between the Sacred and the Sensual.