Forma Catalogue / Fall 2014

Fall 2014

Fall 2014

www.formaedizioni.it

ContaCt

FORMA EDIZIONI SRLVia della fornace, 1850125 FIRENZEITALIA

[email protected]

EDITORIAL STAFFVia della fornace, 1650125 FIRENZEITALIA

[email protected]. (+39) 055 6582109

FORMA EDIZIONIwww.formaedizioni.it

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Forma is a publishing initiative aimed at the diffusion of knowledge of trends and experiences in the fields of art, architecture and photography and, more in general, at the promotion of the most interesting researches on productive and technological aspects related to the transformation of the territory, contemporary lifestyles and homes.The intention of the publishing house is to give a “form” to the expressive undercurrents which run through and animate the current cultural debate and to explore both specific areas of knowledge that are known to the public, and to give greater visibility to those currently marginal intellectual and artistic expressions that are considered, for various reasons, to open new vistas on reality. To achieve this, Forma avails itself, without any distinction of priority, of all means of communication, both digital by making its publications available on the internet or by means of e-books, and traditional ones, by printing volumes on paper, such as monographs and catalogues of exhibitions and events. Every initiative is characterized by the high quality of the overall product (including images and printing). The publications are distributed in places (specialized bookstores, museum bookshops and exhibition venues) which, in addition to being available on the internet, assure the necessary and indispensable presence in the “sites” where opinions and critic valuations are formed.

FORMA EDIZIONIwww.formaedizioni.it

download on the

App store

Forma is a publishing initiative aimed at the diffusion of knowledge of trends and experiences in the fields of art, architecture and photography and, more in general, at the promotion of the most interesting researches on productive and technological aspects related to the transformation of the territory, contemporary lifestyles and homes.The intention of the publishing house is to give a “form” to the expressive undercurrents which run through and animate the current cultural debate and to explore both specific areas of knowledge that are known to the public, and to give greater visibility to those currently marginal intellectual and artistic expressions that are considered, for various reasons, to open new vistas on reality. To achieve this, Forma avails itself, without any distinction of priority, of all means of communication, both digital by making its publications available on the internet or by means of e-books, and traditional ones, by printing volumes on paper, such as monographs and catalogues of exhibitions and events. Every initiative is characterized by the high quality of the overall product (including images and printing). The publications are distributed in places (specialized bookstores, museum bookshops and exhibition venues) which, in addition to being available on the internet, assure the necessary and indispensable presence in the “sites” where opinions and critic valuations are formed.

ARchItEctuRE

# Contemporary Architects

# Contemporary Works

# ONE series

# Critical Readings

# Urban Planning

# Typologies

The new Antinori winery project is located in the extraordinary hilly landscape covered with vineyards of Chianti, halfway between Florence and Siena. The customer wanted a building which enhanced the surrounding landscape and territory and bore witness to the cultural and social relevance of the places where wine is made. The conceptual theme of the project has taken the form of a shell that is totally underground, without roofs, walls, streets and parking spaces, following a design which dares to reconcile (a difficult but necessary challenge) the natural and the artificial. It is precisely the story of this constant research, of the indispensable connection between architecture and landscape, which represents the fulcrum on which the whole volume pivots.

ANtINORI WINERYDiary of building a new landscape

by Laura Andreini; texts by P. Antinori, M. Casamontiintroduction by M. Fuksas; presentation by C. Clini

33,5x28 cm; 438 pagesbound hardback with cloth coverbook + dvd

Book (Italian version)2012; IsBn 978-88-96780-33-6 (ita) € 69,00

Book + slipcase2012; Isbn 978-88-96780-37-4 (ita) € 89,00

Book (English version)2012; Isbn 978-88-96780-40-4 (eng) € 79,00

Book + slipcase2012; Isbn 978-88-96780-39-8 (eng) € 99,00

Portuguese texts2012; Isbn 978-88-96780-49-7 (por) € 20,00

spanish texts2012; Isbn 978-88-96780-47-3 (esp) € 20,00

German texts2012; Isbn 978-88-96780-48-0 (de) € 20,00

Hundreds of photographs by Pietro Savorelli have immortalized years of work on the building site, telling the story of all the phases that have made it possible to realize this extraordinary project. The images, along with numerous technical drawings on every scale, critical and descriptive texts, illustrate the design process which has led to the construction of a new landscape.

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lliFORMA EDIZIONI ARchItEctuRE Contemporary Works

FORMA EDIZIONI ARCHITECTURE Contemporary Architects

ARchEA chINA 20with an introduction by Z. Fang

The volume records the experience of Archea Associati in China through 20 illustrated projects of recent years.The collection includes competitions, projects under construction and complete works. It gives an overview on the design and research activity of Archea, ranging from masterplans for entire cities to housing and industrial complexes, to the interior design of single buildings. Charlie Xia’s images, the technical drawings and some text descriptions represent a fundamental instrument for the interpretation andthe comprehension of the selected projects. A critical text by Zhenning Fang gives the opportunity to reflect on the peculiarities of contemporary Chinese architecture and on its possible future evolutions.

21x24 cm; 320 pages; eng/itapaper binding with flaps

2013; Isbn 978-88-96780-55-8€ 45,00

9 788896 780558

ISBN 978-88-96780-55-8

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tianjin land 7 office buildingtango discoparkour - beijingtianjin smic masterplanubpa b3-2 pavilion world expo 2010shangri-la winerygel - green energy laboratoryhelmchen islandconsulting for sino-singapore nanjing eco hi-tech island conceptual planningrenovation of beijing fushin logistic centerordos 20+10 p12ordos 20+10 t06guizhou zhen wineryli ling world ceramic art citymoove - chang li winerymadam dai centre - theatre and art gallery of changshayanqing wine industry urban planningtasly hotellvbo core cluster areabeijing jun zhuang international winery culture centre

La definizione del progetto attraverso la composizione di quattro volumi regolari, ai quali vengono sottratti ampi blocchi basamentali, permette all’opera di mettere in relazione pieni e vuoti, regolarità e irregolarità. I volumi costruiti con tecnologie eco-sostenibili e contenenti uffici e spazi di incontro dialogano con quattro ampie piazze pubbliche coperte, unite tra loro da due corridoi centrali a cielo aperto che si incrociano centralmente rendendo fruibile e attraversabile l’area e favorendone l’integrazione con lo spazio naturale esterno.La definizione del progetto attraverso la composizione di quattro volumi regolari, ai quali vengono sottratti ampi blocchi basamentali, permette all’opera di mettere in relazione pieni e vuoti, regolarità e irregolarità. I volumi costruiti con tecnologie eco-sostenibili e contenenti uffici e spazi di incontro dialogano con quattro ampie piazze pubbliche coperte, unite tra loro da due corridoi centrali a cielo aperto che si incrociano centralmente rendendo fruibile e attraversabile l’area e favorendone l’integrazione con lo spazio naturale esterno.

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24,5x32,5 cm; 240 pages por/eng; bound hardback

2012; Isbn 978-88-96780-27-5€ 30,00

hABItAR A cOMuNIDADEby M. Casamonti, M. Giberti

Rio de Janeiro is currently the centre of the world’s attention due to the events the city and the Brazilian government have succeeded in attracting to the former capital. This is the result of a specific political strategy aimed at consolidating the image of a country undergoing a rapid expansion, which is becoming increasingly irreconcilable with the conspicuous presence of an informal urban fabric in the form of favelas. The volume “Habitar a comunidade / Abitare la comunità” has been created within the context of an attempt to identify new strategies of intervention in the “informal city” that rather than try to impose external models, aims to define some simple operational principles that may be implemented both by individuals and by administrations through shared and participative projects. The underlying concept is that the communities can only be upgraded through a direct involvement of their own members.

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FORMA EDIZIONI ARchItEctuRE Urban Planning

22,5x28 cm; 304 pages; itabound hardback with folded dust jacket

2013; Isbn 978-88-96780-38-1 € 40,00

In the past twenty years, nearly all of Europe’s major ex hibition centres have been expanded, rebuilt, or constructed in new locations to replace antiquated and inadequate facilities. Significant amounts have been invested in developments that have often brought radical change to entire city districts. This volume offers a selection of the most interesting European exhibition complexes, distinguishing the new centres (as for example the fairs in Milan, Rome and Stuttgart), from those which have been renovated or expanded (such as Vienna, Berlin, Padua and Turin). Each project is described through an illustrative text, completed by images and technical drawings. In the last pages, a practical manual summarizes all the information and the requirements for the correct design of a trade fair.

pOlI FIERIstIcIedited by C. F. Kuschwith a contribution by V. Marg

Fiera di Rimini

Con l’assegnazione del primo premio al concorso per la realizzazio-ne della nuova fiera di Rimini, si offre allo studio von Gerkan, Marg und Partner, immediatamente dopo il completamento della Nuo-va Fiera di Lipsia, un’altra occasione di costruire un polo fieristico completamente ex-novo. Nella patria dell’architettura classica gli architetti attingono al vocabolario della tradizione con un’imposta-zione generale di tipo assiale e nella definizione dei singoli elementi tipologici di cui è formato il complesso fieristico: padiglioni con vol-te a botte, cupole, portici, cortili e aule colonnate richiamano le for-me archetipiche dell’architettura pur rimanendo sempre il risultato di soluzioni funzionali e costruttive contemporanee.

Quattro esili torri d’acciaio e vetro, illuminate di notte con luce blu, sono il simbolo della fiera: ben visibili da lontano fanno rife-rimento alle torri gentilizie, tipiche delle città medievali dell’Italia centrale. Posizionate davanti all’ingresso principale, accolgono il visitatore, dopo il passaggio sotto la linea ferroviaria, su un vasto piazzale dal quale si accede alla fiera, agli uffici amministrativi nelle due ali laterali e all’anello di accesso carrabile ai padiglioni, nonché alla fermata ferroviaria, realizzata appositamente per la fiera.

Il complesso ha una chiara impostazione simmetrica, organizza-ta secondo lo schema “a doppio pettine”, risultato il più funzionale per l’organizzazione degli spazi espositivi. Dall’ingresso principale, situato sull’asse centrale, si accede ad una sala colonnata e da que-sta, sui due lati, ai padiglioni espositivi nonché alla cupola centrale, alle sale conferenza, ai ristoranti e agli altri servizi. Due ulteriori in-gressi, sui due lati est ed ovest, collegati con vaste aree parcheggio, permettono un’ottimale flessibilità e gestione degli eventi fieristici.

Dopo l’ampliamento, con due padiglioni doppi attestati sugli in-gressi laterali, sedici ambienti espositivi offrono circa 110.000 mq di superficie per fiere ed eventi che possono svolgersi anche contem-poraneamente, grazie ai tre ingressi di accesso separati. I padiglioni

sono illuminati da luce naturale attraverso le facciate laterali vetra-te e da lucernari in copertura, ma possono essere oscurate comple-tamente se necessario. Piccoli padiglioni di raccordo e il colonnato assicurano al visitatore un passaggio coperto e continuo attraverso tutta la fiera.

I padiglioni, disposti sui due lati dei lunghi colonnati che circon-dano i vasti specchi d’acqua, sono monoplanari e hanno coperture voltate a botte in legno lamellare. Le volte a losanghe sono un rife-rimento alle costruzioni degli anni ’20 dell’ingegnere tedesco Frie-drich Zollinger e dell’ingegnere italiano Pier Luigi Nervi. Le travi, alte solo 80 cm, hanno tutte le stesse dimensioni formando una rete omogenea di losanghe, che copre il padiglione senza sostegni intermedi per una superficie di 60×100 m. Per la costruzione della cupola, il cuore della fiera, la tecnica costruttiva utilizzata per i pa-diglioni, è stata ulteriormente affinata. Lo spazio circolare, con un diametro di 30 m alla base, contornato da una doppia fila di colon-ne, è coperto con una cupola lignea composta da elementi di varie dimensioni che formano una rete a losanghe che si stringe verso il lucernario centrale. Il pavimento in grès è abbassato di alcuni gra-dini rispetto al livello circostante e riporta, intarsiato, il michelan-giolesco motivo della piazza del Campidoglio.

Architetti: von Gerkan, Marg und Partner, Amburgo

Progetto strutturale: Favero e Milan Ingegneria, Mirano-Venezia Schlaich, Bergmann und Partner, Stoccarda

Coordinamento locale: Clemens F. Kusch, Venezia

Committente: Ente Autonoma Fiera di Rimini

Concorso: 1997, 1° premio

Realizzazione: 1999-2001

Superficie lorda: 130.134 mq

Numero di padiglioni: 12

Superficie espositiva: 82.000 mq

Costo: ca. 93 milioni Euro

Ampliamento: due padiglioni doppi, 2001-2003

Foto: Klaus Frahm, Heiner Leiska

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FORMA EDIZIONI ARCHITECTURE Typologies

NEMBRO puBlIc lIBRARYedited by L. Andreiniwith texts by F. Bollack, L. Molinari

pERFEttI vAN MEllE FActORY RENOvAtION edited by L. Andreiniwith texts by P. Meuser, M. Giberti

The library of Nembro designed by the Archea firm between 2002 and 2007 could be defined as a perfect and coherent work, a child of the Italian architectural culture of the postwar years with all the wealth of meanings, complexity and subtle contradiction that this definition entails. The new building appears as a box of glass and steel, shielded from the sun by a curious system of sunscreens in red earthenware, fastened to iron rods.

In 2004 Perfetti van Melle, an important Italian corporation and one of the world’s leading chewing gum and candy manufacturers, decided to expand its first historical plant in Lainate, a few kilometres north of Milan. The idea has been to build a new central warehouse for the stocking of all products made in this section, as well as to organize the management offices by concentrating them in a new office building.

21x16,5 cm; 160 pages; ita/eng bound hardback

2012; Isbn 978-88-96780-25-1€ 30,00

24,5x32,5 cm; 160 pages; ita/eng; bound hardback

2012; Isbn 978-88-96780-20-6€ 30,00

Lecture: nembro, 27/09/2012 @ Nembro Public Library

FORMA EDIZIONI ARCHITECTURE Contemporary Works

9 788896 780565

ISBN 978-88-96780-56-5

24,5x32,5 cm; 136 pages; ita/eng; bound hardback

Isbn 978-88-96780-56-5€ 30,00

The project arises from a collaboration between the Jiao Tong university and the Italian Ministry of Environment and Protection of Land and Sea for the realization of a low environmental impact building. GEL Green Energy Laboratory is a simple and compact body endowed with a central courtyard covered by a skylight. Every space enjoys the benefits derived from

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gEl gREEN ENERgY lABORAtORYedited by L. Andreinitexts by V. P. Mosco; with an introduction by Z. Fang

the maximization of ventilation and natural lighting through an external skin made by a steel and cotto panels manifactured in Italy. This facade guarantees the control and the screening of sun rays on the glazed internal surface.

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aFORMA EDIZIONI ARCHITECTURE Contemporary Works

under 50 over 5000edited by L. Andreini with an essay by L. Vinca Masini and an introduction by M. Casamonti

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“Under 50 over 5000” presents a completely new selection of designs made for the fashion sector, analysed and described with the precious contribution of their creator, Antonio Barbieri, an architect but above all a craftsman who has worked with interior design, exhibition areas and commercial spaces for many years. The volume unites and describes, through texts, technical drawings and images by Pietro Savorelli, a selection of works, comprising numerous projects ranging from furniture to lighting design, from concepts for international brands to window displays, to temporary stores. The main theme of the story about architecture is the outstanding versatility of this design, which is especially evident from an essential trait that characterizes all the projects included in the publications, namely their markedly “crafted” and “customised” nature.The skilful use of the materials and their adaptation to forms and placements, which is often very original, allow Barbieri to create spaces that not

24x30 cm; 160 pages; ita/eng; bound hardback with plexiglass cover

€ 55,00

only succeed in meeting the commercial requirements, but that also adjust to the all-important present-day restriction, that of the “cost per square meter”. In fact, the choice of projects presented herein comprises both projects of luxurious interiors where nothing has been spared and others where a remarkable result has been achieved in spite of a limited budget.

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EMILIO PUCCI SHOWROOMMILANO

L’immobile situato nel cuore di Milano trova spazio in uno dei palazzi di origine cinquecentesca più importanti della città, Palazzo Recalcati. È nel concept Emilio Pucci l’intento di richiamare le origini storiche della maison fiorentina mediante la riproduzione di ambienti cinquecenteschi come quelli di Palazzo Pucci a Firenze.Lo show-room, che insieme agli uffici si estende su una superficie totale di circa 1000 mq, si trova al piano nobile di questo palazzo e si sviluppa in pianta su due lati della grande corte interna che occupa la parte centrale del piano terra.Gli interventi di ristrutturazione sono passati dal restauro delle storiche boiserie in specchio antico, al restauro degli antichi affreschi dei soffitti, fino alla posa di un nuovo pavimento realizzato in legno antico e posato su disegno originale.Per gli arredi dedicati all’esposizione delle collezioni è stato scelto l’ottone, lasciato naturale, in modo che si possa ossidare con l’uso e con il tempo così da dialogare con gli stucchi in oro antico delle decorazioni delle pareti. Ogni stanza è dominata dalla forte presenza di antichi camini, realizzati con marmi e pietre pregiate fedelmente restaurati insieme alle grandi ed originarie specchiere con cornice a foglia oro.Capitolo a parte l’illuminazione, per la quale è stato scelto un sistema ad americane di tipo teatrale che, nonostante la sua imponenza, lascia quasi inalterata la visuale sulle grandi volte affrescate mantenendo al tempo stesso massima flessibilità di regolazione della luce sul prodotto.

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PROGRAMMA / PROGRAM Showroom e uffici commerciali /Showroom and commercial officesLUOGO / LOCATION Palazzo Recalcativia Amedei 8, Milano, ItalyCOMMITTENTE / CLIENT Emilio Pucci srl

SUPERFICIE / AREA OF PLOT 1000 m2

PROGETTAZIONE / PLANGiu 2010 / Jun 2010REALIZZAZIONE / CONSTRUCTION Set- Gen 2011 /Sept - Jan 2011


IvAno GIAnoLALAC LuGAno Arte CuLturA edited by C. Frisonewith an essay by M. Casamontiphotographs by A. Chemollo

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The LAC (Lugano Arte Cultura) is aspiring to become the most important centre for cultural development in Lugano and Italian Switzerland. Forma Edizioni is dedicating an important volume to this project; the book has been realised with the collaboration of the Ticinese architect, Ivano Gianola,

winner of the project’s international competition. The functional layout of this imposing structure which will be inaugurated in September 2015, is composed of a multi-functional space for a new theatre and concert hall with seating for 1000, a museum, restaurant area, office space and housing. The urban image has a very

strong impact, an aspect that had to be considered by the architect. The volume describes the complete history of this work in great detail, through critical and descriptive texts, drawings, sketches, and numerous photographs that make up the highly accurate documentation of this significant construction site.

ARchEAsustAINABlE lANDMARksedited by L. Andreini with an introduction by F. Burkhardt

9 788896 780008

ISBN 978-88-96780-00-8

21x21 cm; 912 pages; ing/ita; bound hardback with cloth cover

2009; Isbn 978-88-96780-00-8€ 55,00

The volume, part of the Contemporary Authors series, provides an opportunity to reflect upon over twenty years of Studio Achea’s activity. After the introduction by François Burkhardt, more than 50 works by the studio are shown, placed in different thematic sections such as landscape, architecture, interiors and furnishing. The broad selection of architecture and projects published is proof of the continual research and experimentation of ever-evolving themes. Nevertheless, in spite of unceasing interest in variation, specific characteristics of the cultural circles involved in the project emerge,along with the differences.Going beyond the heterogeneity of the submitted proposals, we can catch a glimpse of a clear guideline, which sets Studio Archea in a well-defined position within the landscape of contemporary architecture.

14x14 cm; 96 pages; por/eng bound hardback

2011; Isbn 978-88-96780-12-1€ 11,00 euro

ARchEAsustAINABlE lANDMARks

with an introduction by L. Molinari

Book Launch: sâo Paulo, 06/05/2011@ MuBE Museu Brasileiro da Escultura


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€ 12,90

Abbiamo bisogno di riflettere con attenzione sul significato contemporaneo di edificio, su come lo interpretiamo oggi, sul ruolo che svolge nel territorio e nella città contemporanea, sul modo come si perviene alla sua costruzione, sulle condizioni economiche, sociali, politiche, culturali e, infine, sulle generali condizioni produttive e normative. Nello stesso tempo, è necessario capire il ruolo che il progetto di architettura assume nel restituire questa nuova realtà dell’edificio, della città, del territorio, in un rapporto nuovo con le tecniche costruttive e, dunque, con la tecnologia. Un ruolo che oggi può diventare succedaneo, incapace di accettare le sfide dell’innovazione rispetto a uno sviluppo sostenibile. Costretto a essere, solo e soltanto, superficie, trucco, abbellimento, una sorta di utilizzatore finale di tecniche, prodotti e componenti. È invece necessario riscoprire un ruolo che sicuramente appartiene al progetto di architettura, quello di essere l’arte della tecnica: riuscire a coniugare i due principi che stanno alla base, il principio di realtà e il principio ideale. Riassumere su di sé il ruolo culturale egemone, depositario di un sapere e di un saper fare, che è l’essenza del governo di quello che chiamiamo processo edilizio.

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Carlo Terpolilli

Progettando EdificiConsiderazioni sul progetto di architettura come arte della tecnica

Carlo TerpolilliCarlo Terpolilli è architetto e docente presso la Facoltà di architettura dell’Università di Firenze, dove insegna Tecnologia dell’Architettura. Visiting professor presso lo IUAV di Venezia, nei workshop estivi dal 2004 al 2006. Socio fondatore di Ipostudio architetti, a Firenze dal 1983. La sua attività ha come campo di indagine le relazioni tra la progettazione architettonica e quella tecnologica, in particolare nel settore dell’innovazione del processo di progettazione e costruzione della progettazione architettonica. Ha curato il volume Emergenza del progetto – progetto dell’Emergenza, architetture con-temporaneità edito da Federico Motta Editore nel 2005. Le sue opere hanno ottenuto riconoscimenti in diversi concorsi di progettazione a livello nazionale e internazionale, sono state più volte pubblicate in Italia e all’estero ed esposte in mostre, tra le quali la Biennale di Venezia e la Triennale di Milano. Tra i riconoscimenti, è stato finalista al premio Medaglia d’oro all’architettura italiana del 2006 e segnalato al XIX Compasso d’oro ADI 2001. I suoi lavori sono raccolti nel volume Ipostudio, la concretezza della modernità di Marco Mulazzani, pubblicato da Electa nel 2008 nella collana Documenti di architettura.

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no Laura Andreininasce a Firenze nel 1964.È architetto, Dottore di Ricerca, Ricercatore Universitario presso il Dipartimento di Architettura - Disegno, Storia, Progetto dell’Università degli Studi di Firenze.Nell’Ateneo fiorentino si occupa attualmente del corso di Interni e Allestimento a Disegno Industriale e del Laboratorio di Progettazione dell’Architettura II per il corso di Laurea in Scienze dell’Architettura.Nel corso degli anni la sua attività didattica si affianca a quella di ricerca, supporto, a sua volta, dell’attività professionale nel campo della progettazione architettonica, avviata nel 1988 con la fondazione, insieme agli architetti Marco Casamonti e Giovanni Polazzi, dello studio Archea. Dal 2003 rivste il ruolo di vice-direttore della rivista “area” edita dal Sole 24 Ore spa.

La proporzione come principio immutabile, a cinquecento anni dalle formulazioni albertiane, costituisce il riferimento primo del comporre in architettura, regola d’insegnamento, fattore di ispirazione e controllo del progetto. Quelle stesse proporzioni, che per Viollet-le-Duc dipendono dalle “regole della geometria”, costituiscono forse l’elemento che manifesta in modo più evidente la “continuità del classico” e la permanenza di quel sistema di valori che sotterraneamente, come più volte viene evidenziato nel corso di questo studio, convivono con l’adesione al moderno e la ricerca di razionalità che caratterizza le esperienze degli anni Venti e Trenta in Italia.

€ 12,90

Laura Andreini

La permanenza del concetto di proporzione dal Rinascimento al Moderno

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ARchItEctuRE EDItORIAlsby M. Casamonti

lA pERMANENZA DEl cONcEttO DI pROpORZIONE DAl RINAscIMENtO Al MODERNOby L. Andreini

16,3x24 cm; 176 pages; itapaper binding with flaps

2012; Isbn 978-88-96780-35-0€ 12,90

16,3x24 cm; 288 pages; ita/eng;paper binding with flaps

2012; Isbn 978-88-96780-29-9€ 12,90 euro

pROgEttANDO EDIFIcI

by C. Terpolilli

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Carlo Terpolilli

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€ 19,90

Carlo Terpolilli è architetto e docente presso la Facoltà di architettura dell’Univer-sità di Firenze, dove insegna Tecnologia dell’Architettura. Visiting professor presso lo IUAV di Venezia, nei workshop estivi dal 2004 al 2006. Socio fondatore di Ipostudio architetti, a Firenze dal 1983.La sua attività ha come campo di indagine le relazioni tra la progettazione architet-tonica e quella tecnologica, in particolare nel settore dell’innovazione del processo di progettazione e costruzione della progettazione architettonica.Ha curato il volume “Emergenza del progetto – progetto dell’Emergenza, architet-ture con-temporaneità” edito da Federico Motta Editore nel 2005. Le sue opere han-no ottenuto riconoscimenti in diversi concorsi di progettazione a livello nazionale e internazionale, sono state più volte pubblicate in Italia e all’estero ed esposte in mostre, tra le quali la Biennale di Venezia e la Triennale di Milano.Tra i riconoscimenti, è stato finalista al premio Medaglia d’oro all’architettura italia-na del 2006 e segnalato al XIX Compasso d’oro ADI 2001. I suoi lavori sono raccolti nel volume “Ipostudio, la concretezza della modernità” di Marco Mulazzani, pubbli-cato da Electa nel 2008 nella collana “Documenti di architettura”.

Carlo Terpolilli is architect and professor at the University of Florence, where he teaches Technology of Architecture. From 2004 to 2006 he was visiting Professor at IUAV summer workshops in Venice. He is founder partner of Ipostudio Architects, in Florence since 1983.Carlo Terpolilli’s activity expecially enquires into the connections between architec-tural design and technology, focusing on the field of design process and construction innovation.He edited the book “Emergenza del progetto – progetto dell’Emergenza, architetture con-temporaneità” published by Federico Motta Editore in 2005. His works have won awards in various national and international design competitions and were published in Italy and abroad. A wide selection of these works is collected in the book “Ipostudio, la concretezza della modernità” by Marco Mulazzani, published by Electa in 2008 in the series “Documenti di architettura”.Among the awards, he was finalist at the Medaglia d’oro all’architettura italiana Award (2006) and was selected for the international design award XIX Compasso d’Oro ADI (2001), Milan. His works have been exposed in many exhibitions, including the Venice Biennale and the Milan Triennale.

21x24 cm; 112 pages; ita/eng;paper binding with flaps

2012; Isbn 978-88-96780-34-3€ 19,90 euro

3 cIttà (IM)pOssIBIlI

by C. Terpolilli

Marco Casamonti, director of Area, the international magazine of architecture, art and design, has collected all his editorials in this single volume. The texts offer a rather unusual panorama of the evolution of architecture over the last twenty years.

In fact, every issue of the magazine is monographic and always deals with a different topic each time, researching subjects of public interest, presenting a carefully chosen selection of projects, prefaced by authoritative critical essays.

FORMA EDIZIONI ARCHITECTURE Critical Readings

REsIDENZA DEl FORtE cARlO FElIcE with an introduction by L. Molinari

cspE. cENtRO ONcOlOgIcO FIORENtINOby C. Donati, G. Felli

FIORENZO vAlBONEsI.tRE cANtINEedited by L. Andreini

9 788896 780015

ISBN 978-88-96780-01-5

23x28 cm; 194 pages; ita/eng bound hardback with folded dust jacket

2009; Isbn 978-88-96780-01-5€ 39,00 euro

23x28 cm; 160 pages; ita/engbound hardback with folded dust jacket

2011; Isbn 978-88-96780-19-0€ 30,00 euro

23x28 cm; 184 pages; ita/engbound hardback

2010; Isbn 978-88-96780-05-3€ 40,00

CENTRO ONCOLOGICO FIORENTINO

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Questo libro racconta la trasformazione di un’antica Villa in un Centro ad alta specia-lizzazione oncologica. Il dialogo tra storia e contemporaneità è il leitmotiv del progetto: una realtà unica, come unico è stato il percorso realizzativo all’insegna di un approccio innovativo e sperimentale. Costruire un Ospedale oggi, implica scommettere sul suo futuro. Lo scenario odierno è infatti caratterizzato da una rifondazione disciplinare che affronta la rilettura critica dei parametri culturali, architettonici e tecnologici dei luoghi di cura del XX secolo per rispondere alle rinnovate esigenze della ricerca clinica e di un sistema sanitario in forte evoluzione. Così, in un contesto complesso e multidisciplinare, la storia del nuovo Centro Oncologico Fiorentino offre spunti per un duplice approfondimento: il primo è quello di soffermarsi a riflettere sul valore delle strutture storiche nei progetti di recupero ospe-dalieri; il secondo riguarda il ruolo della committenza e le visioni culturali che hanno dato senso agli obbiettivi ed agli interrogativi durante i lunghi tempi della progettazione.In che direzione si muove quindi l’Ospedale e le politiche sanitarie contemporanee? Quali sono i nuovi orizzonti dell’oncologia? Come si coniugano le esigenze della cura, della formazione e della ricerca in un unico Centro ad alta specializzazione? Esiste un’architet-tura per l’oncologia? Queste ed altre domande trovano spunti di indagine in un libro che non vuole limitarsi a presentare l’esito architettonico, ma intende condividere pensieri e aspettative con la comunità di tutti coloro disposti ad interrogarsi su di una cultura dell’assistenza in attesa del suo prossimo salto epocale.

This book recounts the conversion of a historic villa into a highly specialized cancer center. The design’s guiding theme is a dialogue between history and the present day. The situation is as unique as the process of designing the center, which took an innovative, experimental approach. Building a hospital today means taking on the future. The current situation is marked by the pursuit of new foundations for a discipline that addresses a critical rethinking of the cultur-al, architectural and technological criteria of 20th-century healthcare places to respond to the new demands of clinical research and a changing healthcare system. Within this com-plex, quickly-changing context, the story of the new Centro Oncologico Fiorentino cancer center offers inspiration for two lines of further thought. The first of these is reflection on the role of historic buildings in hospital conversion projects. The second is the role of clients and the cultural perspective that gave meaning to the goals and questions that are part of the lengthy design process. In what direction are hospitals and contemporary healthcare policies moving? What is the future of oncology? How can we merge the demands of treat-ment, education and research in a single, highly specialized center? Is there architecture for oncology? These and other questions are springboards for thought presented in this book, which seeks to go beyond just presenting the results of an architectural project. Its intent is to share ideas and hopes with the community of all those who are interested in exploring a healthcare culture waiting to take its next great leap forward.

CRISTINA DONATI GIULIO FELLI

STORIA DI UNA TRASFORMAZIONE VERSO MODELLI FUTURI STORY OF AN ADAPTIVE REUSE FOR NEW MODELS OF CARE

CRISTINA DONATI Studia architettura a Firenze dove con-segue un Dottorato di Ricerca in storia dell’architettura contemporanea. Dopo la laurea si trasferisce a Oxford (UK) dove collabora con studi professionali, si occupa di editoria e cura mostre per l’Accademia Italiana di Londra. Ha svolto attività didattica per la Kent State University (USA) con il corso di Theories of Architetcure. Scrive per numerose riviste internazionali di settore. Dal 2005 si occupa della comunicazione editoriale delle principa-li realizzazioni del CSPE. È autore di saggi e monogra-fie tra cui: Michael Hopkins, Skira, 2006; L’Innovazione Tecnologica dalla Ricerca alla Realizzazione, Electa, 2008.

GIULIO FELLI Direttore dello studio CSPE dove si occupa della progettazione e del coordinamento dei principali concorsi e progetti ospedalieri. All’attività professiona-le affianca la ricerca sui modelli sanitari anglosassoni e l’attività accademica che svolge presso la Facoltà di Architettura dell’Università degli Studi di Ferrara.

CRISTINA DONATI studied architecture at Florence University where she gained a Ph.D in contemporary architecture. After her degree, she moved to Oxford (UK) to work with architectural practices and cultural associa-tions in London. She has taught the course of Theories of Architetcure for the Kent State University (USA). She writes articles and essays for international architectur-al magazines. Since 2005 she is in charge of the edito-rial communication at CSPE. Among recent publications: Michael Hopkins, Skira, 2006; L’Innovazione Tecnologica dalla Ricerca alla Realizzazione, Electa, 2008.

GIULIO FELLI is Director of the CSPE firm, where he is in charge of design and coordinating major competitions and hospital designs. He pairs his work as an architect with research on innovative healthcare models and teaching at the Faculty of Architecture of the University of Ferrara.


uRBAN BEst pRActIcE AREA B3-2 pAvIlIONedited by L. Andreini

23x28 cm; 120 pages; ita/engbound hardback soft touch

2010; Isbn 978-88-96780-04-6€ 25,00 euro

16,5x21 cm; 156 pages; ita/engpaper binding with flaps

2011; Isbn 978-88-96780-07-7€ 20,00

AND stuDIO


AdoLfo nAtALInI ConversAtIons (ArChIteCturAL AutobIoGrAphy)

Founder of Superstudio, initiator of the so-called “Radical Architecture” movement (one of the most important avant-garde movements of the sixties and seventies), Adolfo Natalini describes years of designed and constructed architectural projects through his preferential medium: drawings and sketches.

This book contains work from several of his large collection of notebooks retracing almost fifty years of professional career. The order in which the notebooks are published, interspaced and coordinated by means of a long interview, demonstrate the evolution of the initial idea, interpretation and

vision of the architectural oeuvre of one of the leaders in Italian architecture.

Adolfo Natalini was born in Pistoia in 1941. After his experience as a painter, he graduated in architecture at Florence University in 1966 and founded Superstudio, (with Cristiano

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Toraldo di Francia, Gian Piero Frassinelli, Roberto and Alessandro Magris). Superstudio’s designs have appeared in publications and exhibitions all over the world and it’s works now form part of collections such as the MoMA in New York, the Israel Museum in Jerusalem, the Deutsche Architekturmuseum in

Frankfurt am Main and the Centre Pompidou in Paris. From 1979 onwards Natalini started working on his own and concentrating on his designs for historical towns in Italy and other countries in Europe, looking for the traces left by time on objects and places and proposing a

reconciliation between collective and personal memory. He is a full professor at the faculty of architecture of Florence University and an honorary member of the BDA, (Bund Deutscher Architekten), of the Accademia delle Arti del Disegno in Florence and of the Accademia di San Luca.

oneseries edited by L. Andreini and A. Mannocci

ONE is the editorial initiative by Forma Edizioni about a series dedicated to Italian contemporary architecture, edited by Laura Andreini and Andrea Mannocci. The central ‘characters’ of the volumes of this series are projects, one for each, of the selected offices among architects working in Italy and abroad. The monographs, in a bilingual Italian/English edition and collected in a special slipcase, will constitute a document of the Italian architectural reality in its most innovative and cutting-edge thrust. Each volume consists of an introductory essay, a presentation of the project and of the office, through a biography, a brief list of works and a bibliography of publications.

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21x16,5 cm; 64 pages; ita/engpaper binding with flaps

2012; Isbn 978-88-96780-21-3€ 10,00

-scApE vIllINO lIBERtY with an introduction by G. Sanguigni

The project deals with the restoration of a building located on the outer edge of the old city centre of Rome and the redesign, in a contemporary key, of the two upper floors of the building, which have been turned into a large private dwelling. The monograph, in a bilingual Italian/English edition, presents a complete description of the work, through technical specifications and an explicative text that, together with photographs and technical drawings, allow an in-depth reading of the project.

Book Launch: Rome, 24/04/2013@ Auditorium Parco della Musica

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FORMA EDIZIONI ARCHITECTURE ONE Series

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pAOlO BElARDI – hOF lABcENtRO ARtIgIANAlEwith an introduction by D. Barbarelli

MAssARENtE ARchItEttuRA cAsA MusEO gIAcOMO MAttEOttIwith an introduction by A. De Poli

Images, texts and drawings narrate the restoration project of an industrial zone and its conversion to create a centre for handcrafting activities. The desire of the client, who wished to maintain the original productive vocation of the area, established the criteria for the project, leading the designer to ignore contemporary trends and style to focus on a reading of the local area and its history.

The project for the restoration and promotion of the Giacomo Matteotti Home Museum was achieved through a series of complementary interventions directed at preserving, and at the same time, transmitting a period of history, and in some way, providing the symbolic restitution of a place which had been lost for some time.


€ 10,00


€ 10,00


lucA gAZZANIgA ARchItEttI pIv cAsA A pRIstINAwith an introduction by K. Frampton

The concept was to connect a sequence of semi-autonomous elements positioned in various ways. Five volumes, all different in terms of size and shape, frame ample views of the surrounding landscape. Their irregular positioning creates secluded outdoor areas between them that are closely related to the internal spaces. cO

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FORMA EDIZIONI ARchItEctuRE OnE series

21x16,5 cm; 64 pages; ita/eng or fra/eng paper binding with flaps

2013; Isbn 978-88-96780-51-0 (ita/eng) € 10,00

2013; Isbn 978-88-96780-50-3 (fra/eng) € 18,00

...It is precisely the pursuit of a restrained monumentality that represents the common denominator of the early works of LAN. On one side, that enables them to offset the kitschy and mannerist new wing of the Town Hall, or the picturesque style of the Gothic façade of the wholly reinvented church, and on the other to hold the reins on technology and resist – not always successfully – the current rampant ecologist rhetoric which drives especially public clients towards an ideological and thus wholly uncritical acceptance of energy production technologies. After about ten years of cooperation and physiological formal experimentation, Benoit Jallon and Umberto Napolitano do appear determined to continue along the path they have staked out for themselves, towards the difficult art of “city-making” which has always been a peculiarity and at the same time an obstinate ambition of the Italian architectonic tradition.

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lAN ARchItEctuRE gYMNAsIuM AND tOWN hAll EsplANADE with an introduction by M. Orazi

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DEp stuDIO cAsA N/swith an introduction by D. Rota

vEccIARchItEttI cAsA cwith an introduction by N. Flora

The new volume presents the two-family residence CASA N/S, built near Bergamo by dep studio. The volume is enriched by an introductory essay by Davide Rota and a presentation about the activities of the office, through bio-bibliographycal notes.

The project, which is located in the northern area of Naples, has consisted of the landscaping of the garden and the planning and decoration of the interiors of an apartment on the ground floor of a three floor residential building.


2011; Isbn 978-88-96780-18-3€ 10,00


2012; Isbn 978-88-96780-24-4€ 10,00

Book Launch: naples, 14/06/2012@ Ubik Bookstore

Book Launch: Bergamo, 26/03/2012@ la Feltrinelli Libri e Musica


DIvERsERI-ghEstuDIOcAsAlOgIcAwith an introduction by L. Molinari

NEOstuDIO pIAZZA gARIBAlDI with an introduction by F. Prati

ARIu+vAllINO ARchItEttIsuMMER hOusEswith an introduction by C. Piva

Casalogica, a residential project realized in the Po Valley in the Province of Bologna, is positioned in an empty lot in an urban fabric characterized by the presence of two compact buildings from the early Fifties, which were recovered as part of a unitary project.

Encircled by a still intact belt of Medieval walls, enclosed within an urban plan whose empty spaces still prevail within the densely built sorroundings. Piazza Garibaldi represents an important episode in the redevelopment of the historical centre of Lastra a Signa.

The volume concerns the new summer houses built in an area in front of the pine wood which defines the skyline of Spotorno. The project is articulated in a number of simple terraced volumes that follow the morphologic development of the surroundings.


2012; Isbn 978-88-96780-30-5€ 10,00


2012; Isbn 978-88-96780-28-2€ 10,00

21x16,5 cm; 64 pages; ita/eng paper binding with flaps

2012; Isbn 978-88-96780-32-9€ 10,00

Book Launch: Bologna, 14/02/2013@ CorrainiMAMbo artbookshop

Book Launch: Genova, 03/04/2013@ la Feltrinelli Libri e Musica

Book Launch: Genova, 03/04/2013@ la Feltrinelli Libri e Musica


tRAvERsO-vIghY cAsA cEschIwith an introduction by L. Molinari

Giovanni Traverso and Paola Vighy develop along a coherent trajectory that leads to the creation of light buildings based on experimentation, prefabrication and a sparing use of resources; they cooperate with local craftsmen and try to find an equilibrium between traditional knowledge and technological optimization.


2011; Isbn 978-88-96780-15-2€ 10,00

hOF cIttADEllA DEll’EDIlIZIAwith an introduction by M. Marandola

lApO RuFFI EDIFIcIO tcRwith an introduction by V. P. Mosco

The elegant construction of the Cittadella dell’Edilizia combines urban identity and architectural quality with innovative requirements in terms of energy efficiency and reduced costs, becoming an example and manifesto for architects and builders.

This project is about an old building from the Fifties, which has undergone radical renovations to become a sport center devoted to tennis. The activities of Lapo Ruffi focus on a continuous research on the meanings of way of living, places and materials.


2013; Isbn 978-88-96780-59-6€ 10,00

9 788896 780596

ISBN 978-88-96780-59-6


2011; Isbn 978-88-96780-17-6€ 10,00

Book Launch: Perugia, 06/03/2014@ CESF Centro Edile per la Sicurezza e la Formazione

Book Launch: Florence, 06/12/2011@ Nardini Bookstore

Book Launch: Vicenza, 18/01/2012@ Galla Bookstore


available on the

App store

on the roAdseries edited by L. Andreini

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ON THE ROAD, the series dedicated to cities all over the world, in addition to the classical paper format is also available as an App for Ipad. Every volume tells the story of a place, explored through its masterpieces of art and architecture. Critical and descriptive texts serve as essential complement to the section with in-depth studies of the selected places of interest. An introductory essay examines the development of the city in urbanistic and territorial terms, providing a historical overview which prepares us for an attentive tour of the city, while the second essay explores its contemporary reality. Each guide is accompanied by a practical map which is folded so as to serve as a removable dust jacket for the book. All the works described inside the book are featured on the back of the map, organized in itineraries. The volume also contains useful information and advice which will make it simpler to visit the city, reducing the time necessary to get around and making it possible to grasp the essence of the place also in a short visit. In addition to all the contents found in the paper volume, the App boasts additional images and is a useful tool for finding one’s way, thanks to the interactive satellite map.

hAMBuRgON thE ROADedited by L. Andreini

11,5x16 cm; 192 pages; ita or engpaper binding with folded dust jacket

2014; Isbn 978-88-96780-58-9 (ita) € 18,00

2014; Isbn 978-88-96780-57-2 (eng) € 18,00

Hamburg is the first “destination” presented by ON THE ROAD, the series of architecture guides available in a classical paper format or as Ipad App.An introduction featuring three critical treatises outlines the historic and urbanistic profile of the city, allowing the reader to reflect on the evolution of the city and at the same time relate it to the contemporary image of the places.The selection of 75 projects, organized in 5 itineraries, provides a full-immersion in architecture, allowing the reader to dwell on the functional, typological and compositive aspects of the buildings, which are rendered even more legible by images and technical drawings that supplement the descriptions.The volume also contains useful information and advice which will make it easier and quicker to

get around the city, making it possible to capture the essence of the place even in a short visit.This is more than simply an architecture guide: it is also and above all an invitation to travel.In addition to featuring all the contents of the paper format, the App vaunts additional images and information; thanks to the interactive satellite map it is also a valuable aid to finding one’s way.

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MOscOW by A. De Magistris, U. Zanetti

MIlAN by M. Moscatelli

BERlIN by C. Fuchs

lONDON by A. Nastri

ROttERDAM by U. Zanetti

AMstERDAM by A. Nastri

Hayns Park

Stadtpark

Heilwigpark

Eichenpark

Alsterpark

Moorweide

Gustav-Mahler-Park

Planten unBlomen/Alter

Botanischer Garten

AlterElbpark

Sandtopark

August-Lütgens-Park

Ehem. FriedhofNorderrreihe

Bertha-v.-Suttner- Park

Schanzenpark

Innocentiapark

Eimsbütteler ParkMansteinpark

Kaifu Freibadund Hallenbad

Platz der Republik

Altonaer Balkon

Schauermanns Park

Walter-MöllerPark

Kellinghusens Park

Eppendorfer Park

Schulgarten

Freibad Stadtparksee

Bartholomäusbad

Seelemannpark

Gurlitt-Insel

Carl-Legien-Platz

Jürgen-W.-Scheutzow-Park

Licentiatenberg

Bolivarpark

Hansastraße Hansastraße

Hallerstraße

Rutschbahn

Rappstraße

Hartungstraße

Werderstraße

Mittelweg

Alsterchausse

Böhmersweg

Milchstraße

Sophienterrasse

HarvestehudeOberstraße

Innocentiastraße

Jungfrauenthal

Abteis

traße

Alsterkamp

ParkalleeParkallee

Brahmsallee

Klosterallee

HochalleeHochallee

Parkallee

Brahmsallee

Bornstraße

Dillstraße

Heimweg

Johnsallee

Badestraße

Fontenay

Magdalenenstraße

Alte Rabenstraße

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Moorweidenstraße

Mollerstraße

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Alsterglacls

Alsterterrasse

Esplanade

Feldbrunnenstraße

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DrehbahnDammtorwall

Fuhlentwiete

Wexstraße

Kohlhöfen

Poststraße

Neuer Wall

RaboisenAlstertor

Rosenstraße

Glockengießerwall

Ballindamm

Holzdamm

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Gurlittstraße Lang

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Steindamm

Stiftstraße

SteindammBrennerstraße

Kirchenweg

Steintorbrücke

MünzstraßeNorderstraße

Sonninstraße

Albertstraße

Wandalenweg

Anckelmannsplatz

Sachsenstraße

FriesenstraßeGrüner Deich

Philipstr

aße

Ekhofstraße

Güntherstraße

Barcastra

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UhlandstraßeArmgartstraße

Hohenfelder Allee

Steinhauerdamm

Hartwicusstraße

Erlenkamp

Uhlenhorster Weg

Averhoffstraße

Birkenau

Humboldtstraße

Bachstraße

KanalstraßeKanalstraße

Richterstraße

Hofweg

Heinrich-Hertz-Straße

WinterhuderW

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Beethovenstraße

Beethovenstraße

Ftowstraße

Imstedt

ImstedtBachstraße

Schumannstraße

Grillparzerstra

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Osterbekstraße

Weidestraße

Weidestraße

Jarrestraße

Glindweg

Novalisweg

Hanssensweg

Semperstraße

Semperstraße

MeuronstiegGroßheidestraße

Hölderlinsallee

GeibelstraßeForsmannstraße

Schinkelstraße

Preystraße

Goldbekufer

Poßmoorweg

Heidberg

Krohnskamp

Gottschedstraße

Opitzstraße

Zese

nstra

ße

Dorotheenstraße

Andreasstraße

Gellerstraße

Gertigstraße

Mühlenkam

pM

arlenterrasse

Karlstraße

Schöne Aussicht

Schwan

enwik

An der Alster

Adenauerallee

Nagelswag

Högerdamm

Lippeltstraße

Stadtdeich

PumpenFisc

hert

wie

te

Schauenburgerstraße

Dovenleet

Brooktorkai

Am Lohsepark

Shanghaiallee

Stockmeyerstaße

Hongkongstraße

Osakaallee

Großer Grasbrook

Hübenerstraße

Überseeallee

Versmannstraße

Amsinckstraße

Amsinckstraße

Amsinckstraße

NordkanalstraßeSpaldingstraße

Kurt-Schumacher-Allee

Borgfelder Straße

Versmannstraße

Kirchenpauerstraße

Hühnerposten

Willy-Brandt-Straße

Steinstraße

Jungfernstieg

Große Bleichen

Gänsemarkt

FehlandtstraßeGorch

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Holstenglacis

Jungliusstraße

Rent

zelst

raße

Durchsch

nitt

Grindelweg

Grindelallee

Mittelw

eg

Mittelw

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Mitt

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Harvestehuder Weg

Schla

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Hohe Weid

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Schlan

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Bogenstraße

Grindelberg

Grin

dela

llee

Grindelallee

Reinfeldstraße

Bundesstraße

Laufgraben

Schröderstiftstraße

Isestr

aße

Isestr

aßeHegestraße

Lehm

weg

Falkenried

Lowenstraße

Hegestraße

Haynstraße

Loogestieg

Loeh

rsweg Rainw

eg

Bellevue

Scheffelstraße

Bellevue

Bellevue

BlumenstraßeAgnesstraße

Mövenstraße

Leinpfad

Rond

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Rondeel

Maria-Louisen-Straße

Jean-Paul-Weg

Harvestehuder Weg

Tiergartenstraße

St. Petersburger Straße

Lagerstraße

Lagerstraße

Ster

nsta

rße

Sternstarße

Laei

szst

raße

Ölmühle

Marktsraße

Rothenbaumchaussee

Pilat

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Holst

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Glac

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e

Sievekingplatz

Budapester Straße

Annenstraße

Seilerstraße

Zirku

sweg

Taubenstraße

Reeperbahn

Erichstraße

Balduinstraße

Lincolnstr

aße

Pepe

rmöl

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Königstraße

Nobistor

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Dose

stra

ße

Talstraße

Bleic

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traße

Otzenstraße

Thadenstraße

Lerc

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traß

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Scha

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stra

ße

Schulterblatt

Juliusstraße

Eifflerstra

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Dusch

weg

Oelkers

allee

Nagels

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Heinrichstraße

Lindenallee

Vereinsstraße

Fettstraße

Schäferkampsallee

Fruchtallee

Marthastraße

Wareloostraße

Belleealliancestraße

Eimsbütteler Straße

Margaretenstraße

Amandastraße

Scha

nzen

stra

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Weldenallee

Beim Schlump

KoopstraßeKippingstra

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Bundesstraße

Bism

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Door

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Im G

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Heymannstraße

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RoonstraßeW

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Eppe

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Am Kaiserkai

Am Sandorkai

Am SandorkaiPickhuben

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Willy-Brandt-Straße

Neß Große Reichenstraße

Böhmkenstraße

Venusberg

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Teilfeld

Kehrwieder

Ludwig-Erhard-Straße

Düst

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Stadthausbrücke

Kaiser-Wilhelm-Straße

Michaelisstraße

Hamburger Berg

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Gilbertstraße

HolstenstraßeBlücherstraße

Virchowstraße

Eschelsweg

Kirchenstraße

Amundsenstraße

Breite StraßePalmaille

Olbersweg

Große Elbstraße

Königstraße

Königstraße

Große ElbstraßeElbberg

Kaistraße

NeumühlenGroße Elbstraße

Kirchentwiete

Elbchaussee

Arnoldstraße

Am F

elde

Ehrenbergstraße

Mörkenstraße

JessenstraßeLawaetzweg

Große Bergstraße

Schomburgstraße

Lessere Passage

Buttstraße

Fischmarkt

Große Elbstraße

St. Pauli Hafenstraße

JohannisbollwerkVorsetzen

Billrothstraße

Hosp

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Schillerstraße

Esmarchstraße Thed

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Thedenstraße

Max-Brauer-A

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Max

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Julius-Leber-Straße

Löffle

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Wafther-Kunze-Straße

Zeiseweg

Max-Brauer-A

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Stresemannstraße

Stresemannstraße

Hark

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Hark

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traße

Gerichtsraße

Haubachstraße

Holstenplatz

Mum

senstraße

Dohrnweg

Holstenstraße

Gerritstraße

Sche

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Lamp’lw

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Eulenstraße

Ottenser Hauptstraße

Hohenesch

Zeißstraße

Nernstweg

GaußstraßeBarnerstraße

Düppetstraße

Alse

nstra

ße

Müssundestraße

GefionstraßeKoldingstraße

Augustenburger Straße

Schulterblatt

Woh

lwill

stra

ße

Gustav-Falke-Straße

Ellenbogen

Kielortallee

Bogenallee

Hellerstraße

Grindelberg

Oberstraße

Lehm

weg

Hoheluftchaussee

Hoheluftchaussee

Troplowitzstraße

Troplowitzstraße

Wiesingerw

erg

Quickbornstraße

Kaiser-Friedrich

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Eppendorfer W

eg

Eppendorfer W

eg

Hecks

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traßeChristia

n-Föster-Stra

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Gärtn

erst

raße

Mansteinstraße

Gneisenaustraße

Heider Straße

Meldorfer Straße

Husumer Straße

Neumünstersche Straße

Stra

ßenba

hnrin

g

Breiten

felder

Straße

Eichenstraße

Itzehoer Weg

Eppendorfer Baum

Nonnenstieg

Isekai

Isestraße

Lein

pfad

Will

istr

aße

Elebeken

Sierichstraße

Sierichstraße

Fährhausstraße

Auguststraße

Schöne Aussicht

Am Feenteich

Zimmerstraße

Winterhuder Weg

Eckernförder Straße

Ophagen

Paullnenallee

Sophienallee

Sand

wegPinneberger Weg

Övelgönner Straße

Sterwort

Haferweg

Isebekstraße

Piöner StraßeLeverkusenstraße

Bess

emen

weg

Kohlentwiete

Kühn

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Ruhrstraße

Nölti

ngst

raße

Bergiusstraße

Völckersstraße

Schü

tzen

stra

ße

Leunastraße

Am Diebsteich

Groß

e Bah

nstra

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Robe

rt-Ko

ch-S

traße

Goernestraße

Trummersweg

Heilwigstraße

Heilw

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Geffckenstraße

Oder

feld

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Loog

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Leinpfad

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sens

traß

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Sierichstraße Barmbeker Straße

Grasweg

Grasweg

Lachnerstraße

Kaemmererufer

Geißlertwiete

Goldbekweg

Wiesendamm

Südring

Südring

Südring

Wiesendamm

Hindenburgstraße

Fernsicht Gellertstraße

Poelchaukamp

Poßmoorweg

Dorotheensireße

Mar

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Heldberg

Bebelallee Ulmenstraße

Linn

erin

g

Lattenkamp

Rehmstraße

Himmelstraße

Flemingstraße

Ludolfstraße

Schottm

üllerst

raße

Martinistraße

Martinistra

ße

Frickestraße

Schedestraße

Kegelhofstraße

Im Tale

Geschwister-Scholl-Straße

Wendloher Weg

Nissenstraße

Süderleldstraße

Buchenallee

Butenfeld

Platanenallee

Behrkampsweg

Brunsberg

Siebenschön

Sottorfallee

Grandweg

Grandweg

Grandweg

Veilchenweg

Veilchenstleg

Lian

enw

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Stre

sem

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llee

Henning-Wulf-W

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Mün

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stra

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Lott

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Corv

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Wid

ukin

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aße Osterfeldstraße

Lokstedter Weg

Tarp

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kstr

aße

Lokstedter Steindamm

Lokstedter Steindamm

Emilienstraße

Fruchtallee

Kieler Straße

Holstenkamp

Holstenkampbrücke

Diebsteichweg

Barnerstraße

Borselstraße

Bahr

enfe

lder

Str

aße

Lenh

anlz

stra

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Eppe

ndor

fer La

ndst

raße

St. Benedictstraße

Klostergarten

Frau

enth

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Harvestehuder Weg

Borgweg

Herbert-Weichm

ann-Straße

Schwanenw

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Papenhuder Straße

Mundsburge

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Lerchenfeld

Kiel

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traß

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Ericusspitze

Am Sandtorpark

Adolphsplatz

Burchardstraße

Oberbaumbrücke

Moorka

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Außenalser

Binnenalster

Niederhafen

Baakenhafen

Norderelbe

Sandotorhafen

Grasbrookhafen

Oberhafen

Encusgraben

Binnenhafen

KehrwiederfleetBrooksfleet

Brooktorhafen

Nikolaifleet

Werfthafen

Billhafen

Bille

Kuhmühlenteich

MundsburgerKanal

Feenteich

Stadtpanksee

Rondeelteich

Goldbeckkanal

Langer Zug

Wallgraber

Fähk

anal

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Mönkedammfleet

Sonninkanal

Schleusenkanal

DeichsierBrand

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Uhlenhorster

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Osterbekkanal

Rondeelkanal

Leinpfadkanal

Isebek

kanal

Alte Alster

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Siel

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Wandrahmsfleet

Zoollkanal

Hollandischbrookfleet

53

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27

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56

55

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51

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S Hamburg Stadthausbrücke

S HamburgDammtor

S HamburgHbf (S-Bahn)

S HamburgBerliner Tor

S HamburgHammerbrook

S Diebsteich

S Langenfelde

Hamburg-Sternschanze

S Holstenstraße

S Hamburg Königstraße

S HamburgReeperbahn

S

S Hamburg Jungfernstieg

Hallestraße

Stephansplatz

Gänsemarkt

St. Pauli

Feldstraße(Heiligengeistfeld)

Sternschanze

Schlump

Christuskirche

Emilienstraße

Osterstraße

Lutterothstraße

Hoheluftbrücke

Klosterstern

EppendorferBaum

Kellinghusenstraße

Sierichstraße

Hudtwalckerstraße

Messehallen

Borgweg

Mundsburg

Uhlandstraße

LübeckerStraße

Lohmühlenstraße

Berliner Tor

HauptbahnhofNord

HauptbahnhofSud

Steinstraße

Meßberg

Mönckebergstraße

Rathaus

Rödingsmarkt

Baumwall

Überseequartier

S LandungsbrückenDeichtorhallen Hamburg

Internationales Maritimes Museum Hamburg

Museum für Kunst und Gewerbe Hamburg

Hamburger Kunsthalle

Bucerius Kunst Forum

HamburgMuseum

Afrika House

Cap San Diego

Altonaer Museum

Speicherstadtmuseum

Santé

Gloria Cafébar

Café Leonar

Brodersen

Curry Queen

Fillet of Soul

Mövenpick Hotel

Schlaflounge

Das kleine Schwarze

Schlafschön

Hadley’s Bed and Breakfast

Deichgraf

25hours Hotel Hafencity

East

SIDE Hotel

Henri

Deutsches Schauspielhaus

Hamburgische Staatsoper

Restaurant NIL

Riverside Cafè/Hotel

My Place

Superbude St. Pauli

Fischereihafen Restaurant

CARLS an der Elbphilharmonie

Glass Pavilion RestaurantAndré Poitiers

Ernst Deutsch Theater

Allee TheaterHamburger Kammeroper

Das Schiff

St. Pauli Theater

Elbphilharmonie

MPP Meding Plan Projekt

Carsten Roth Architekt

Blauraum ArchitektenBOF architekten

SML Architekten

Bothe, Richter, Teherani

Schenk+Waiblinger ArchitektenSpengler · Wiescholek Architects and city planners

KBNK Architekten

Breimann & Bruun

Störmer Murphy and PartnersKleffel Papay Warncke Architekten

Andreas Heller

Winking · Froh Architekten BDA

A B C D E F

C D E F

1

2

3

4

5

6

Rubberstraße

Drat

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Drateln

straß

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Neuenfelder Straße

Mengestraße

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Geor

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Geor

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Pete

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Zieg

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Schl

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Wilh

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Vogelhüttendeich

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Rote

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Grot

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Manesallee

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Rahmwerder Straße

Buschweide

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Hövelbrook

Buschhövel

Niedergeorgsw

erder Deich

Neuhöfer Straße

Schlenzigstraße

Georgswerder Bogen

Packersweide

Am Zollhafen

KurdammSiedenfelder Weg

Dorfan

ger

Krieterstraße

Wilh

elm

-Str

auß-

Weg

Witt

estr

aße

Korallusstraße

Am In

selp

ark

Im Sc

höne

nfeld

e

Im Sc

höne

nfeld

e

Rethweg

Wülkenweg

Koppelstieg

Koppelstieg

Auf der Höhe

Bei der Windmühle

Bei der Windmühle

Roseliusweg

Rote

nhäu

ser E

nd

Rotenhäuser Straße

Rotenhäuser Straße

Fitgerweg

Schönenfelder Straße

Buschweide

Schö

nenf

elde

r Stra

ße

Krie

ters

traß

e

Am Bahngraben

Am Inselpark

Rathaus-Teich

Teich

Wilhelmsburger Dove-Elbe

Jaffe

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Kana

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MüggenburgerZollhafen

Ernst-August-Kanal

Hövelwettern

Brackwettern

Spielplatz

WilhelmsburgerRathauspark

63

64

66

72

65

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7071

74

69

73S Wilhelmsburg

S Veddel

8

9

10

DC E

ON THE ROAD city

ON TH

E ROAD city

Hamburg

Hamburg

ISBN 978-88-96780-57-2

€ 18.00

9 788896 780572

City Center

Routes

HafenCity

St. Pauli/Altona

Center-North

IBA

metropolitan station

railroad station

museum

architectural studio

theater

hotel

restaurant0 m 200 m 500 m

© R

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to B

osi

FORMA EDIZIONI ARCHITECTURE ON THE ROAD Series

DEsIgN

# TOP TEN series

# Contemporary Designers

top tenseries edited by C. Vannicola

TOP TEN is a publishing initiative dedicated to contemporary design. Each book in this series examines the production of a designer, analysing his or her career through a selection of some objects created by him or her. A presentation and a critical essay by Carlo Vannicola, editor of the series, along with an essay written by famous critics and personalities introduce the work of the designers as well as its TOP TEN, the 10 key themes that inspired the projects and the most emblematic and most successful products.

gIOvANNI lEvANtI texts by G. Bosoni

pROspERO RAsulOtexts by C. Vannicola

MAssIMO IOsA ghINI texts by R. Antonucci

cOM

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FORMA EDIZIONI DESIGN TOP TEN Series

© A

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Book launch: Milan, 10/04/2014 @ I Saloni - Salone del Mobile

“As we did for the first three books, the first thing we have to tell about Marta Laudani and Marco Romanelli is about relationships within a profession that can never be fully defined. This is the ability to grapple at first with the addition of different entities in a never-predictable human and professional relationship. ...The value of their multifaceted careers requires assessment of how it has changed over time and overcome personal changes and the contradictions that are always part of work done in a pair regarding who does what, how and when. We can get past this narrow point of view by noting how their respective personalities have given a uniqueness to their work, likely in part because it came out of an uncommon professional practice that has been carried out between Milan and Rome for over 25 years...” (C. Vannicola) 16,6x24 cm; 96 pages; ita/eng

paper binding

2014; Isbn 978-88-96780-63-3€ 18,00

/per un moderno continuo - For an ongoing modernity “Nel quadro di questo racconto non si ostenta mai nulla, si presenta semmai, con quella modestia di chi sa, di chi ha esperienza, ma non deve proclamarla ogni volta”.“In the context of this story, nothing is ever flaunted. Rather it is presented with the modesty of those who know, those who have experience and don’t need to proclaim it every day.” euro 18,00

9 788896 780633

ISBN 978-88-96780-63-3

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MARtA lAuDANI E MARcO ROMANEllIpER uN MODERNO cONtINuOtexts by V. Cristallo with essays by C. Vannicola, B. Finessi


© C

olom

be C

lier


16,6x24 cm; 96 pages; ita/eng or fra/engpaper binding

2013; Isbn 978-88-96780-45-9 (ita/eng) € 18,00

2013; Isbn 978-88-96780-46-6 (fra/eng) € 25,00

5.5 DEsIgNERs 10 DAtEs texts by J. S. Blanc with an introduction by L. Andreini

On the occasion of the first ten years of 5.5 designers Forma presents a new volume dedicated to these young, enterprising and already famous designers which have created a personal universe of objects with a quite original design approach which combines intuition, logic, creativity and playfulness with a certain consistency. 10 dates, connected to 10 “first times”, form the stages of a journey in time which in addition to marking moments that have been important, instructive and crucial to their career, allow the reader to imagine him or herself in their shoes, seeing things with their eyes and understanding the hows and whys of their objects and their success.

5.5

DES

IGN

ERS

/ 10

DAT

ES

9788896

780459

ISBN 978-88-96780-45-9

/LE 10 “PRIME VOLTE” DEI 5.5 - THE 10 FIRST TIMES OF 5.5 Nel giro di dieci anni, i 5.5 hanno saputo creare un universo con il loro originale approccio al design. Questo volume, pensato come una linea del tempo, propone di soffermarsi non sugli oggetti rappresentativi del loro lavoro, ma su dieci date che hanno scandito il loro percorso e hanno plasmato il loro modo d’essere. In a decade, 5.5 succeeded in creating a universe with a unique approach to design. This work, conceived as a chronologic frieze, proposes a review, not of the emblematic objects of their work, but of 10 dates which have marked their career and built their state of mind. euro 18,00

Book launch: Paris, 19/09/2013 @ 5.5 Design Studio


“The purpose of this book, and of the series it is part of, is to find a way to catalogue design and its creative, rather than productive, evolution. If we want to hand down the experience associated with design and learn from it, I believe that the most interesting aspect of a product is its biography. Starting from the birth and development of the idea of a project, it is interesting to tell anecdotes, document the encounters between different fields of expertise, observe successes and failures in the prototyping phase and understand how a name is born: in other words, document the whole process, almost as in a diary... Donegani and Lauda are a team of designers who choose their projects very carefully, and who do not use style as a distinctive element. Far from the logic of originality at any cost (considered the result of a professional process and not episodic geniality), they develop themes where the evolution of uses and new habits become sources of inspiration for the definition of the project. Their aim is to create future hypotheses and implications which will culminate in a product or a new way to use space. This way of conducting research is applied to all scales of design, minimal or maximal spaces, territory, city, house, room, furniture or utensil... ” (C. Vannicola)

16,6x24 cm; 96 pages; ita/engpaper binding

2013; Isbn 978-88-96780-41-1€ 18,00

DONEgANI & lAuDA lA cAsA FREDDA texts by C. Vannicola with an introduction by A. Branzi

Book launch: Milan, 23/05/2013 @ Veneta Cucine Showroom

Book launch: Milan, 12/04/2013 @ I Saloni - Euroluce

© S

ara

Land

o


“The design of Sandra Laube and Biagio Cisotti is hybridized; it is attentive to contemporariness, studied and innovative, admirably combined with commutations, and at the same time wise, conscious and creative. ...Their approach is a hybrid one because their design combines, with simple means, fluid movements and yet with studied precision, different elements of different origins. Materials, textures and patterns are explored without prejudice; possible ways to produce and to use are placed on the same footing and dealt with without constraining hierarchies, with cheerful determination and restrained creative gestures. It involves commutation because the designers, more than ever concrete and pragmatic in their research on the form, on creative geometries, on patterns and their creative possibilities, leave the door open – with a nonchalant ability that is only apparently effortless – to prolific communicative exchanges and new utilitarian horizons, proving that the latter can always implemented, but never banally transposed.” (L. Chimenz)

16,6x24 cm; 96 pages; ita/engpaper binding

2013; Isbn 978-88-96780-44-2€ 18,00

/IBRIDAZIONI E COMMUTAZIONI - HYBRIDIZING AND COMMUTATION Il design di Sandra Laube e Biagio Cisotti è il frutto d’ibridazioni, contemporaneamente attente, ricercate e innovative, mirabilmente sposate a commutazioni, contestualmente sapienti, consapevoli e creative. The design of Sandra Laube and Biagio Cisotti is hybridized; it is attentive to contemporariness, studied and innovative, admirably combined with commutations, and at the same time wise, conscious and creative. euro 18,00

CISO

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cIsOttI + lAuBEIBRIDAZIONI E cOMMutAZIONItexts by L. Chimenz with essays by C. Vannicola

Book launch: Florence, 10/04/2014 @ artour-o - Salone del Mobile


kArIm rAshIdby L. Andreini, M. Casamonti

“Karim Rashid is more than a designer, with unbounded popularity expressing the personality of a complete artist. His global creativity, interpretation of a form of sensual, minimalist design that has conquered the market with more than 3000 designs currently in production, is multi-faceted and eccentric, with a more than ordinary ability to perceive the reactions and sensations generated by space and everything that occupies it. Karim Rashid has a dream: using design to change the world”.

(M. Casamonti)

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21x26 cm; 256 pages; ita or engpaper binding

2014; Isbn 978-88-96780-60-2 (ita) € 59,00 euro

2014; Isbn 978-88-96780-61-9 (eng) € 59,00 euro

9 788896 780602

ISBN 978-88-96780-60-2

9 788896 780619

ISBN 978-88-96780-61-9

Book launch: Milan, 08/04/2014 @ Magna Pars Suites Milano

Book launch: new York, 19/05/2013 @ Artemide Showroom

DO ut DOwith an introduction by A. Colonetti

The Do ut do 2014 Design catalogue is part of a project supporting the Hospice Seràgnoli Onlus Foundation, a non-profit active since 2002 in assistance, training, research, and disseminating knowledge about palliative care. Driving the Do ut do project are designers, architects, artists and manufacturers taking on the challenge of creating objects whose importance is in their use. They include: Emilio Ambasz, Archea, Claudio Bellini, Mario Botta, Michel Boucquillon, Sandro Chia, Michele De Lucchi, Odile Decq, Doriana e Massimiliano Fuksas, Stefano Giovannoni, Massimo Iosa Ghini, Daniel Libeskind, Antonio Marras, Richard Meier, Alessandro

Mendini, Jean Nouvel, Luigi Ontani, Mimmo Paladino, Ettore Sottsass, Philippe Starck, Axel Vervoordt, and other more. The catalogue includes all the pieces designed by the designers and made by the companies, illustrating them with images and descriptions, including brief designer bios. The designers showed their support by donating their pieces, which, through a lottery will be given away to those who have supported the Foundation's work.

NEW

24x30 cm; 218 pages; ita/engbound hardback

2014; Isbn 978-88-96780-65-7€ 40,00

9 788896 780657

ISBN 978-88-96780-65-7

FORMA EDIZIONI DESIGN Contemporary Designers

ARt

# Exhibition Catalogue

gIusEppE pENONEedited by A. Natalini and S. Risaliti

Published on occasion of the exhibition of Giuseppe Penone's works in Florence, hosted at Boboli Gardens and Forte di Belvedere, this volume profiles one of the world's most prominent and internationally esteemed contemporary artists. It is more than just an exhibition catalogue, was it contains, in addition to detailed illustrations of all of the works installed for the exhibition at these two extraordinary Florentine locations, important documents and additional information useful for understanding the artist and his work.The text is structured around a long conversation between Giuseppe Penone and Arabella Natalini, accompanied by drawings from the artist's sketchbook. Numerous contributions by internationally renowned critics present many points of reflection on the body of work of one of the most important exponents of the Arte Povera movement. Among the others, texts by Sergio Risaliti, Arabella Natalini, Matteo Ceriana, Alfred Pacquement, Michael Brenson, Laurent Busine and Daniela Lancioni.

A section devoted to biographical and bibliographical matter and a summary of the exhibited works, together with a large collection of images from the Archivio Penone, offers an important overview of the artist's prolific career.

24x31 cm; 192 pages; ita or eng bound hardback

2014; Isbn 978-88-96780-68-8(ita) € 35,00

2014; Isbn 978-88-96780-67-1(eng) € 35,00

9 788896 780671

ISBN 978-88-96780-67-1

9 788896 780688

ISBN 978-88-96780-68-8

NEW

FORMA EDIZIONI ART Exhibition Catalogue

GIuseppe penoneedited by A. Natalini and S. Risaliti

“The garden begins when a man steps onto the ground and walks into the space of the vegetal, the mineral... Walking around the garden always means embarking on a self-discovery journey, experiencing a revelation... ”

G. Penone

DADAMAINOtexts by B. Blistène, F. Gualdoni

D A D A M A I N O H A S U P E R A T O L A “ P R O B L E M A T I C A P I T T O R I C A ” : A L T R E M I S U R E I N F O R M A N O L A S U A O P E R A : I S U O I Q U A D R I S O N O B A N D I E R E D I U N N U O V O M O N D O , S O N O U N N U O V O S I G N I F I C A T O : N O N S I A C C O N T E N T A N O D I “ D I R E D I V E R S A M E N T E ” : D I C O N O N U O V E C O S E .

D A D A M A I N O H A S G O N E B E Y O N D T H E “ I S S U E O F P A I N T I N G ” : T H E R E A R E O T H E R D I M E N S I O N S T H A T I N S P I R E H E R W O R K : H E R P A I N T I N G S F L Y T H E F L A G O F A N E W W O R L D , T H E Y I N T R O D U C E A N E W S I G N I F I C A N C E : T H E Y A R E N O T S A T I S F I E D W I T H “ S A Y I N G T H I N G S I N A N O T H E R W A Y ” : T H E Y S A Y N E W T H I N G S .

Piero Manzoni

24x30 cm; 176 pages; ita/eng or fra/engbound hardback with PVC dust jacket

2013; Isbn 978-88-96780-53-4 (ita/eng) € 49,00

2013; Isbn 978-88-96780-52-7 (fra/eng) € 49,00

24x30 cm; 176 pages; ita/engbound hardback with PVC dust jacket

2014; Isbn 978-88-96780-64-0 (ita/eng) € 49,009 788896 780640

ISBN 978-88-96780-64-0

No matter how one approaches Dadamaino’s work, it resists any attempt at classification. It shirks from it. One thought she was Informal in the 1950’s, then almost Kinetic in the following years. One saw her as Minimalist and Serialist in the 1970’s. One related her to Arte Povera and even Conceptual Art in-between. What is she, exactly, and why does she get our attention today, with increasing acuity and curiosity?Between categories and reason, it is possible that Dadamaino confronts us to the difficulty of judging, and this might even be one of the most important aspects of her work. There is no submission to a given order. No ties to a movement. No belonging. Something, in fact, that is in perfect sync with that woman as we know her. Revolted and engaged, militant and free. If wouldn’t be the least merit of this work to be equal to the woman who made it. Dadamaino is no more an offspring of Spatialism than she is an epigone of kinetic art; no more a follower of European minimalist art than she is a representative of some forms of process-oriented art with which she has too often been associated. She is all of that at once, keen on drawing specific convergence lines, different objectives and unique perspectives. A common point ties her works together, however: Dadamaino has a taste for experience, as well as for patience. For her, patience and experience even seem to be the two foundations for any kind of attentive work – if not a philosophy of creation.

B. Blistène


tuRI sIMEtIwith an essay by B. Corà

For many years, Turi Simeti has been one of the principal figures on the contemporary artistic and exhibition scene. Over fifty works taken from his long career are collected in this publication that Forma Edizioni has dedicated to his oeuvre on the occasion of the monographic exhibition that will be held at the Tornabuoni Art gallery in Paris from October 10, 2014. A critique by Bruno Corà acts as an introduction to a selection of Turi Simeti’s works, retracing the progressive stages of his artistic development; the artist gradually detached himself from the flat surface of his canvas, and using recurring elements or contrasting harmony of form, he developed new compositions strong in intensity and movement. A section written in collaboration with the Simeti archives closes the publication providing biographical and bibliographical details on personal and collective exhibitions necessary for a deeper understanding of the artist and his work.

24x30 cm; 160 pages; fra/engbound hardback

2014; Isbn 978-88-96780-69-5 (fr/eng) € 45,00

28 29

JOSEPH BEUYS DEVANT LA SCULPTURE POUR GIBELLINA, 1981. PHOTO DE MIMMO JODICE / JOSEPH BEUYS IN FRONT OF SCULPTURE FOR GIBELLINA, 1981.PHOTO BY MIMMO JODICE

64 65

UN OVALE ROSSO, 1967

ACRYLIQUE SUR TOILE EXTROFLEXE / ACRYLIC ON SHAPED CANVAS 70×130 CM / IN 27.6×51.2

NEW


turI sImetIwith an essay by B. Corà

“ ...Simeti thereby makes his artistic language part of the history of 20th- and 21st-century art, with its defining shift in conceiving the surface, moving from representing two-dimensional surfaces to three-dimensional works with a painted/sculptural effect... ”

B. Corà

mImmo pALAdIno A fIrenzeedited by S. Risalitiphotographs by A. Amendola and F. Scianna

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This volume, edited by Sergio Risaliti and realized with the precious collaboration of the artist himself, illustrates, with images by leading photographers as Scianna and Amendola, the three artistic experiences Mimmo Paladino has shared with the city of Florence.The first in order of time is the exhibition hosted at the Forte Belvedere in 1993, where about a hundred works created in the previous five years were united. Horsemen, helmets, “warrior” sculptures interacted with the extraordinary Florentine scenery from the terrace of the fortress, while the manor house hosted numerous paintings. Ferdinando Scianna has immortalized those days in many images that witness and tell the story about that “incursion” in the placid view of the city. Aurelio Amendola’s images, on the contrary, document the two other occasions in which the city has interacted with the art of Mimmo Paladino, in 2009 with Zenith, the imposing bronze horse that guards the ancient space of the

27x32,5 cm; 192 pages; ita/engbound hardback with slipcase

Men’s Court of the Istituto degli Innocenti, and subsequently with Florens 2012, in Piazza Santa Croce. A gigantic cross measuring 80×50 meters has been formed by placing more than 50 blocks of Carrara marble in front of the Franciscan basilica.The pages with critical contributions and descriptions of the works are enriched by the artist’s personal testimonial. The final part features biographic and bibliographic appendixes, the index of the exhibitions and all information necessary to trace the profile of Mimmo Paladino.This editorial project also envisages the creation of a limited edition of 100 copies contained in a refined wooden casket which will act as a support base for a signed and numbered work in marble by maestro Mimmo Paladino.

MIMMO PALADINO A FIRENZE

a cura di / curated by Sergio Risaliti

fotografie di /photo by Aurelio AmendolaFerdinando Scianna

Tum senatu sede terfec ocultor acta numuropte fin tussim rendienat vastio, furbit, apercent. Orterfectuam quidit? Nihicat norei consulicavo, novilicon virio am fur acto audetius, Ti. Hum, convesc ibutea ertem me aucit por atur, quam mus ad non sulut publica; niu consulv idienaterei ia verunum, quam de ta, poratus inem sedervi rmactoricae co convoctus, oruntem mederfe ressediem inicit, catus sula commo vid nium ommor in te, nosse iam converae essulestri poerevi gnatum horei cremus, scid ponvoca prartem morentem, que orei prareis; nonula ore, orarbis. Grat.Es pris, quam et avo, pulis abenirtil hilis. etis, Catim a esse, quem non derfec trem pra molicit aus, mero egercep eribus ompri cio vis pribus.

Ortuam ius, Castiur nihilius fervirm ilibuntrae pon re nonfit, quamdi prarter bitrum pro vis atus senihica cric retermihilis portandiere ipteriptimo pris consimi hicatus hi, C. Mulego iamei porei pertuam loculiis ne coniu vil uteli pere, te condes, nihilnes iam se, diis; nihilis eliu comne ceps, Caturip sertium ce es festa, consign atuitabes Mulessilis; noximis, quontemus prortus, facreis, C. Igit; nonsus de hactatero etiu quemed in serorimpor quam, pris, nemum Patim oc, qua erei publis clum nostrares et Catemus, Catil hoc opubliusuam dius horum, atilium, non serit, publicaperet intiem hoste, vitis, vidiciorte, audet, consult ilnemur issolum perra diem ocul untem que popos const? Verox se cios crisulictam peri fauconventem in

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BIANcO ItAlIA edited by D. Stella

“...The white line, which seemed to mark the passage toward the second half of the twentieth century, introduced a creative vibration and announced socio-political and artistic transformations. It was in itself a symbol of a universal questioning.A generation was born, which was able to confront reality, and invented an art so powerful that it added a new dimension to creation – which, in the post-war years, was yearning for an artistic and spiritual renovation, engaged in an attempt to redefine modernity. In Manzoni’s words, a ‘new artistic conception’, a spirit of resistance, was opposed to the triumphant materialism of the emerging consumer society. It seemed as though European idealism wished to counter-balance the cynicism of artists such as Warhol; it responded to the American Pop movement with a ‘Zen’ attitude that the color white spectacularly embodied.” (D. Stella)

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24x30 cm; 184 pages; ita/eng or fra/engbound hardback with PVC dust jacket

2013; Isbn 978-88-96780-43-5 (ita/eng) € 35,00

2013; Isbn 978-88-96780-42-8 (fra/eng) € 35,00


lucIANA RAttAZZI edited by E. Burlando

“They are not drawings, strictly speaking, these works by Luciana Rattazzi, because there are no lines in them; neither are they paintings, as they lack strokes and colour. They are highly expressive artifices which control the texture of the paper with black and white powders, coal and perborate, and which inspire those who look at them with the gigantic spirit of the sea, suspended and doubtful. When united, black and white become grey, more or less grey depending on the quantity of white or black powders, dosed by an absolutely spatial intention. ...A pictorial case of nature, one of the most daunting challenges for painters and poets, is prodigiously traced by a severe quasi-nothing that opens to possible visions and tackles the g reatest themes: the volume of the sky, mist and dust particles, the cosmic forms of foam, and light, fragile like hope and eternal like expectation, that appears in the distance, on the horizon line...” (E. Burlando)

21x24 cm; 104 pages; ita/engpaper binding with flaps

2012; Isbn 978-88-96780-36-7€ 15,00

6968

memoria illuminata

2010

carboncino su tela

cm 150x120

9190

memoria illuminata

2010

carboncino su tela

cm 150x120


The book, focused on the greek artist Nakis Panayotidis, presents selected works from 2007 to 2010 and a final examination section with sketches of the works’ preparatory studies through which you can identify the creative process that involves the artist in his work. “Nakis Panayotidis’ art is rooted in the truths of everyday life and history, escaping every idealistic temptation, on the contrary offering concrete traces of an aesthetic experience which owes its poetic tilt to the materials of its time. Among them, the use of light represents an essential part of his works. This can be attributed to the artist’s choice to use a photographic base in many of his works. All the same, the plastic elaboration of writings in neon – as signs of interiority – allows Panayotidis to formulate, along with an emblematic illumination of places and things, an identifying and oracular pronunciation aimed at illuminating the darkness of our age and the conscience of everyone of us”. (B. Corà)

21x24 cm; 120 pages; fra/ita/engpaper binding with flaps

2010; Isbn 978-88-96780-03-9€ 20,00

NAkIs pANAYOtIDIsIvREssE RêvéE edited by B. Corà

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FORMA EDIZIONI ARt Exhibition Catalogue

ENRIcO cAstEllANIwith an essay by B. Blistène

“Enrico Castellani” is a monograph and a catalogue of the exhibition of the artist, hosted in Tonabuoni Art gallery in Paris. The exhibition has shown off about forty of his most significant works, illustrated and accompanied in the volume by texts of Bernard Blistène. Enrico Castellani, who was born in 1930, is one of the leading figures of the artistic and cultural movement “Zero”, which aims to renew the language of image and form in the 50s and 60s. Thanks to the collaboration of the Castellani Archive, the volume, in a trilingual French/Italian/English edition, decribes the creative and artistic contribution of this protagonist of XXth century art. A large critical section is devoted to the bio-bibliography and to the list of exhibitions in which Castellani has participated.

24x30 cm; 200 pages; fra/ita/engbound hardback with dust jacket

2011; Isbn 978-88-96780-13-8€ 39,00

FONtANA E pARIgItexts by E. Crispolti with an introduction by F. Migliorati

The volume explores, through a selection of approximately seventy works, including sculptures and paintings, the Master’s artistic activity from the 50s onwards. The critical essays by Enrico Crispolti enrich the text by providing some important insights into the life of Lucio Fontana, on his visits to Paris and Milan, during which he continued to hold a dense network of exchanges and relations with artists, architects and intellectuals of his time. Vintage photographs, direct quotations from the artist and a thorough biography contextualize the art of Fontana in the specific cultural climate in which he lived and help to better understand the evolutionary spirit of this personality who, until his death, has been driven by a constant creative tension.

24x30 cm; 144 pages; ita/engbound hardback with dust jacket

2012; Isbn 978-88-96780-08-4€ 39,00


unA CoLLezIone nApoLetAnA dI CArLA e frAnCesCo vALerIotexts by N. Spinosa

The Neapolitan school of painting assumed its personal artistic identity from the 17th century onwards through the work of several important artists influenced by the teachings of Caravaggio who lived in Naples between 1607 and 1610. Over one hundred paintings representing three centuries of history and belonging to the “Neapolitan Collection” of Carla and Francesco Valerio, are featured in this volume; the paintings are described and illustrated in great detail by Nicola Spinosa, one of the most outstanding art historians of our time.

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ARNAlDO pOMODOROessays by B. Corà, J. Risset

With the publication of the volume “Arnaldo Pomodoro” Forma retraces the personality and work of the contemporary Italian sculptor with a presentation of about forty works chosen from the historical repertory of the master, which includes the monographic exhibition edited by Bruno Corà for Tornabuoni Art gallery in Paris. The volume opens with an ample critical essay by Corà, which introduces to the reading of the works presented in the volume and suggests a dual reflection, not just on the value of the master’s work with regard to the fundamental aspects of his artistic expression, but also on the role played by his action in the Italian and international cultural scenario. Thanks to the precious and close collaboration with the Pomodoro Archive and the critical contribution of Jacqueline Risset, the volume not only aims to constitute the catalogue of the Parisian exhibition, but also to present the figure of the master through a generous critical apparatus, in its turn

24x30 cm; 170 pages; fra/ita/eng bound hardback with dust jacket

2011; Isbn 978-88-96780-09-1€ 39,00

enriched by a vast collection of photographs of the most important episodes, places and meetings in his artistic career. The volume is concluded by an ample section dedicated to biography, bibliography, filmography and a list of the collective exhibitions in which Arnaldo Pomodoro has participated.


24x30 cm; 184 pages; fra/ita/engbound hardback with lenticular cover

2012; Isbn 978-88-96780-31-2€ 39,00

tOut FEu tOut FlAMMEedited by D. Abadie

On the occasion of the exhibition “Tout feu tout flamme” at Tornabuoni Art in Paris, Forma edizioni presents a catalogue with all the works in the exhibition as well as some other unedited images that show the artists at work and are essential to understand them. A critical essay by Daniel Abadie, curator of the catalogue and of the exhibition introduces the different sections, dedicated to the biography and the works of each artist.Tornabuoni Art and Daniel Abadie bring together for the first time 40 of the most outstanding works of the greatest artists who used fire for their artworks.Rather than the representation of fire it is its involvement with the artists who reveal it as a fundamental element of their creative process. This exhibition shows the different ways in which artists perceive fire, a phenomenon that has always been a fascination. The living aspect of flames, the moving play of light and shadow and the range of colours they produce, make them into cultural tools,

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considered a real source of inspiration for artists.Fire is shapeless, perpetually changes, and it allows great freedom of interpretation: from Yves Klein’s “Paintings of Fire” to Alberto Burri’s “Combustions”, Arman’s “Accumulations” and Bernard Aubertin’s “Paths of Fire”; from Jannis Kounellis’ artifice of the “flower of fire” and Christian Boltanski’s “eschatological shadows” to Pier Paolo Calzolari’s “icy burns” or Chen Zhen’s “ashes”.

FORMA EDIZIONI ARt Exhibition Catalogue

gIusEppE chIARItexts by F. Migliorati with an introduction by E. Crispolti

This volume is dedicated to the work of Giuseppe Chiari (1926-2010), an eclectic and experimental artist and composer from Florence, Italian promoter of the historical avant-garde of the research art. His work is here documented by a large volume published in the Art section of Forma Edizioni. This book represents an important overview of the artist’s work comprising about 900 works of half a century of production. The volume is enhanced by the critical essays of Fabio Migliorati in collaboration with Mario Chiari, the artist’s son.

24x30 cm; 448 pages; ita/engbound hardback with folded dust jacket

2012; Isbn 978-88-96780-10-7Prezzo Price: 49,00 euro

“The work of Giuseppe Chiari is based on a discourse on the freedom to act (to make art), ritualized in experience, as reference to human constancy, closely linked to the social and political dimension of things, all through the performance of the work, the action of the object, in the movement which is accomplished from the musical intervention to the visual one. The artistic principle is an allegory of the pursuit of a free action, which means creativity and which is both inspired by and leading to it.” (F. Migliorati)


On the occasion of the exhibition “Mimmo Rotella” which opened on March 29, 2012 at Tornabuoni Art gallery in Paris, Forma edizioni presents a catalogue with all the works in the exhibition as well as some other pieces that are essential to understand the artist. The images are introduced by a critical essay by Bruno Corà. “Fifty years separate this festive and meaningful réntrée of the art of Mimmo Rotella in Paris from his first individual exhibition at Jeanette Goldschmidt’s Galerie J, which featured a selection of monothematic décollages dedicated to the Cinecittà series (1962). And it is unlikely that Rotella would have failed to stress such an anniversary...” (B. Corà)

24x30 cm; 184 pages; fra/ita/engbound hardback with dust jacket

2012; Isbn 978-88-96780-23-7€ 39,00

MIMMO ROtEllAwith an essay by B. Corà

144 145

Classic 1999 Sur-peinture sur décollage / Sovrapittura su décollage / Overpainting on décollage cm 195x195

Fetish 1999 Sur-peinture sur décollage / Sovrapittura su décollage / Overpainting on décollage cm 139x120

28

Premessa

Cinquant’anni separano questa festosa e densa réntrée parigina di Mimmo Rotella dalla sua prima mostra personale ospitata presso la Galerie J di Jeannette Goldschmidt all’insegna di un nucleo di décollages monotematici allora dedicati al ciclo Cinecittà (1962). E Rotella, con buona probabilità, non avrebbe mancato di sottolineare un tale anniversario poiché, da sola, la circostanza merita l’accenno a una constatazione sulla tenuta inossidabile e perfino sullo sviluppo e sulla crescita dell’affermazione della sua opera a livello internazionale. Difatti, se già nel 1962 quella mostra tenutasi sotto il vigile riscontro critico del teorico del Nouveau Réalisme, Pierre Restany, sanciva un adeguato riconoscimento alla capacità dell’artista italiano di aver messo a punto una propria cifra distintiva tra gli affichistes europei a lui più prossimi – i francesi Raymond Hains, Jacques Mahé de la Villeglé e François Dufrêne –, questa che si apre a qualche anno dalla sua scomparsa (2006) può far comprendere con quanta vitalità, esuberanza e facoltà di proiezione i principi generativi della sua arte sono stati in grado fino all’ultimo di fornire nuove esperienze se il tempo lo avesse ancora consentito.Desta sorpresa e genuina ammirazione, in questa come in ogni vicenda artistica magistrale, la facilità e la naturalezza istitutiva che accompagna negli ultimi anni, come in quelli dell’esordio, l’azione innovativa di Rotella nell’articolare la struttura comunicativa basilare del suo sistema linguistico. Tra le varie possibili ragioni di tanta versatilità, si può ritenere che ciò sia dovuto a una naturale inclinazione dell’artista a favorire e produrre uno stupore di latenza scandalistica finalizzata all’apparizione dell’entità poetica. Una tale attitudine ha trovato sede nell’animo dell’artista per una vocazione al superamento di limiti imposti, di volta in volta, dalla condizione sociale, dall’educazione, dal costume del proprio tempo, per coniugare un sentimento di appartenenza sovratemporale a una tensione estetico-poetica che, se ha un riferimento ravvicinato nel Futurismo di Boccioni, nato anch’egli in Calabria, ha però eco più remota e profonda nella cultura controriformista del sud d’Italia, da cui Rotella proveniva.

Mimmo Rotella: Il gesto del décollage e lo svelamento conoscitivoBruno Corà

Mimmo Rotella: The gesture of the décollage and the revelation of knowledge Bruno Corà

Introduction

Fifty years separate this festive and meaningful Parisian réntrée of Mimmo Rotella, since his first individual exhibition hosted by Jeannette Goldschmidt’s the Galerie J, which featured a series of monothematic décollages dedicated to the Cinecittà cycle (1962). And it is unlikely that Rotella would have failed to highlight such an anniversary because the circumstance, as such, deserves a mention of the resilient durability as well as the development and the growing international recognition of his work. In fact, if already in 1962 that exhibition held under the acute critical observation of Pierre Restany, theoretician of Nouveau Réalisme, represented an adequate confirmation of the fact that the Italian artist had succeeded in developing an own cipher that distinguished him from the European affichistes who were closest to him – the Frenchmen Raymond Hains, Jacques Mahé de la Villeglé and François Dufrêne –, this one, which opens some years after his death (2006) enables us to appreciate to what extent the vitality, exuberance and ability to project the generative principles of his art have been capable, until the very end, to provide new experiences if he had been given the time to do so. One cannot but feel surprise and genuine admiration, in this as in every outstanding artistic vicissitude, for the ease and institutive naturalness that have characterized, both in the last and in the early years, the innovative action of Rotella in articulating the basic communicative structure of his linguistic system. One of the various possible reasons for this great versatility may be the artist’s natural inclination to favour and elicit a stupor of scandalistic latency aimed at the apparition of the poetic entity. This kind of attitude has found a place in the soul of the artist due to his aspiration to overcome the limits imposed, as the case might be, by factors as social conditions, education and the customs of the period, to unite a feeling of timeless belonging to an aesthetic-poetic tension which, while being closely related to the Futurism of Boccioni, another native of Calabria, nevertheless has a more remote and profound echo in the counter-reformist culture of Southern Italy, where Rotella had his roots.

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16, avenue Matignon 75008 Paris - Francetél +33 (0) 1 53 53 51 51 - www.tornabuoniart.fr € 39,00

Le vécu de Rotella révèle une relation souterraine avec son décollage, puisque l’action de soustraction des affiches, qu’il réélabore ensuite dans son atelier, aux murs de la ville fait éclore à ses yeux, avant même ceux des autres, la complexité du réel, la superposition fortuite et indéterminable de récits, de messages, de signes et de couleurs différents, une densité phénoménologique […] déréalisée, affabulatrice, simulatrice, intrinsèque à la sphère de la publicité, du monde des produits et des biens, du spectacle et de la fiction. L’artiste découvre que si l’affiche est simulacre de la réalité, dans une société consumériste et du spectacle, il peut parvenir à rendre, avec cette irréalité, sa propre vie quotidienne dialectique, en interprétant avec ironie bien des rôles distinctifs et autant de personnages, en mettant un terme au cliché de la rigueur et du pathos attribué habituellement à la figure de l’artiste.

Il vissuto di Rotella rivela una relazione sotterranea con il suo décollage, poiché l’azione sottrattiva dai muri della città dei manifesti che successivamente egli elabora nel suo studio dischiudono, prima che agli altri, ai suoi stessi occhi, la complessità del reale, la sovrapposizione casuale e indeterminabile di narrazioni, messaggi, segni e colori diversi, una densità fenomenologica […] derealizzata, affabulatoria, simulatrice, congenita alla sfera della pubblicità, del mondo dei prodotti e delle merci, dello spettacolo e della finzione. L’artista scopre che se il manifesto è un simulacro della realtà, in una società consumista e spettacolare, egli può arrivare a rendere dialettica, con quella irrealtà, la sua stessa vita quotidiana, interpretando ironicamente molti ruoli distintivi e altrettanti personaggi, interrompendo un cliché di rigore e pathos attribuito di solito alla figura dell’artista.

Rotella’s experience reveals a secret relationship with his décollage, as the action of removing posters from the walls of the city to then work on them in his atelier, discloses – first of all to himself – the complexity of reality, the casual and indeterminable superimposition of different stories, messages, signs and colours, a phenomenological density […] unreal, fantastic, fake, characteristic of the advertising sector, of the world of products and goods, of entertainment and fiction. The artist discovers that if the poster is a simulacrum of reality, in a society oriented towards consumerism and entertainment, he may succeed in establishing a dialogue between that unreality and his own everyday life, ironically interpreting many distinctive roles and as many personalities, revolting against the cliché of rigour and pathos that is usually associated with the figure of the artist.

Bruno Corà


NOvEcENtO. tENsIONI E FIguRA edited by F. Migliorati

lEE suNg-kuEN. huMAN+lOvE+NAtuRE+lIght essays by J. Kwang-Suk, F. Migliorati

24x30 cm; 96 pages; ita paper binding with flaps

2012; Isbn 978-88-96780-22-0€ 25,00


2010; Isbn 978-88-96780-02-2€ 25,00

sOlY cIssécAlORE D’EstAtE with an essay by D. Stella

The volume collects the most representative works of the young Senegalese artist Soly Cissé. Born in Dakar in 1969, where he lives and works, Cissé is a painter, an illustrator and a sculptor, well known in Europe thanks to the many international exhibitions in which he parteciped, including the “Africa Remix” exhibition.Forma Edizioni presents, on the occasion of the exhibition at the Tornabuoni Art gallery in Milan, a monograph in a bilingual Italian/English edition, which offers a large section devoted to the pictures of the artist’s works accompanied by the critical text of Dominique Stella.


2011; Isbn 978-88-96780-14-5€ 25,00

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cmFORMA EDIZIONI ART Exhibition Catalogue

Fall 2014

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FORMA EDIZIONI SRLVia della fornace, 1850125 FIRENZEITALIA

[email protected]

EDITORIAL STAFFVia della fornace, 1650125 FIRENZEITALIA

[email protected]. (+39) 055 6582109

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Forma Catalogue / Fall 2014

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