Fifty years ago, in 1966, in Novedrate (Como), C&B – the company Piero Ambrogio Busnelli (known to all as Pierino) had created together with Cesare Cassina – opened its doors for business. Busnelli was forty, Cassina was almost 20 years his senior, and already a successful entrepreneur, a reference point for the furniture industry of Brianza.

A few years later, in 1973, Pierino refused to cede his share of the firm to Cassina, taking it over instead and changing the name to B&B Italia: “Banks & Busnelli,” he quipped. A quip that reveals one of his characteristics: the ability to decisively approach change, taking risks, to pursue a vision in which he believed deeply.

In this sense, I remember a moment with Pierino Busnelli in 1984, in the studio of Pierluigi Cerri, who was working on the presentation of “Gli Abiti,” sofas designed by Paolo Nava and covered by Gianfranco Ferré (three collection, in keeping with the seasons, as in the fashion world). Busnelli read the text I had written for the catalogue-newsletter where I had defined him as a “Shumpeterian industrialist.” He was amused, and we talked about it at length. Even today I think it was a good definition.

Otherwise how can we define Pierino Busnelli? In the 1950s and 1960s he was able to glimpse the new opportunities opened up by the economic boom, i.e. the opening of new markets for industrial furniture, along with the potential of new materials, which he was able to fully exploit. He was not satisfied with what he had built, but continued to pursue a vision. So going through more than one radical change, in 1973 he founded his own company, B&B Italia, alongside the existing firms and in competition with they, like a typical Shumpeterian industrialist.

Some biographical notes might come in handy at this point. In 1953 Pierino founded the company Fratelli Busnelli fu Giuseppe, also joined by his brother Franco. The memoirs published by a friend, Ezio Longhi, tell of how he would go to see clients on a bicycle, until he bought a scooter.

The image evoked of Brianza is extraordinary, where young businessmen produce tables, ‘tavulin,’ and deliver them by bicycle or scooter. The same witness narrates that “Pierino, as we were walking to the cafe, confided… that he had decided to leave the company to his brother: he was very worried, because he had to start another company after having already founded and developed the first one.”

The company was in good health, but as we have seen Pierino was not one to rest on his laurels. He had understood a decisive feature of the passage from crafts to industry in Italian furniture production, namely that the opening of markets called for serial products and therefore mechanization and materials suitable for industrial production.

In 1964 he visited the Interplast fair in London and got interested in machinery that molded cold-process polyurethane foam to make small toys, little ducks. He had already investigated polyurethane, but in the version in sheets, used to cover traditional wooden frames. Back in Italy, with some collaborators, he developed a new machine to make foam. And it is interesting to remember that after leaving the business to his brother, he held on to a small company, Plestem, specialized in the working of plastic materials, where he continued the experimentation with a small group of staff that had followed him there.

B&B Italia has a history that can be studied as a model of the particular traits of Italian design. The company has just published a large and very well documented book edited by Stefano Casciani, entitled: La lunga vita del design in Italia. B&B Italia, 50 anni e oltre.

In this context we can simply underline some of its significant features. As we have seen, Pierino Busnelli was an entrepreneur who loved design and pursued innovation, interested in experimenting with techniques and materials, and the CR&S (Centro Ricerche & Sviluppo, the R+D Center) – where the essential personality was that of Rolando Gorla – functioned as a true place of design research, feasibility testing and development of the proposals of creative talents.

Throughout its history the company has demonstrated a great capacity to work with designers, from the most famous to the young promises. In the short time span from 1966 to 1972, certain upholstered pieces of great design quality appeared, starting with Coronado by Afra & Tobia Scarpa, a great success with critics and consumers.

I remember how Busnelli, as we went somewhere by car, showed me the large windows of some of the many showrooms along the streets of Brianza, underlining – with a bit of pride, but also a bit of irritation – the fact that copies of Coronado often appeared in those windows.

We can also mention two projects by Mario Bellini, Amanta and the very popular Le Bambole. And alongside these projects that belong to the ‘rational’ area of Italian design, there is also UP by Gaetano Pesce, an icon of radical design. A few years later the firm began to work with a young architect who had graduated at the Milan Polytechnic in 1975, Antonio Citterio, who in 1986 would design the Sity sofa, the first of a long series of successes.

B&B Italia therefore represents one of the most important experiences of Italian design, making the best designers in the world, but also the youngest, want to collaborate with our companies, because they offer a possibility of dialogue that would be hard to find elsewhere.

Another aspect that should be emphasized in the history of B&B Italia is the focus on the “organization of the visible,” to use a favorite expression of Peter Behrens, who at the start of the last century worked on the construction of what would be defined as the ‘corporate image’ of AEG.

Starting with the role of Bob Noorda in the design of the C&B brand, all the way to the design of the headquarters at Novedrate, assigned by Busnelli to Piano & Rogers, who tried out a concept here that was later developed in the Centre Pompidou. And then, more generally, we can look at the visual communications.

For the presentation of Le Bambole, Busnelli called on Oliviero Toscani who photographed Donna Jordan, a model of Andy Warhol, ‘scandalously’ semi-naked on the sofa. In 1982 Pierluigi Cerri became the art director of B&B Italia, and besides all the image aspects, he worked on an exhibition at the Salone del Mobile that presented the B&B Italia products on a large inclined plane, of great visual impact.

For television advertising the STZ agency produced 21 films for an acute, subtly ironic campaign that won many prizes. We could go on and on, but at this point readers should turn to the above-mentioned book. In recent years B&B Italia has gone through another series of changes, under the solid guidance of Giorgio Busnelli, the son of Piero Ambrogio.

The 50th anniversary was celebrated with a series of special projects and events – including those held in July in New York, at the Morgan Library & Museum, and in London, in the Switch House of the Tate Modern – and with a book that has the subtitle “B&B Italia 50 years and beyond.”

The word ‘beyond’ is a good omen, opening the perspectives to a new phase of research, quality projects and business success, in what effectively seems to be a completely new phase, the “third phase of the industrial revolution,” as many economists are calling it.

Text by Vanni Pasca

gallery gallery
The Coronado armchair, designed by Afra & Tobia Scarpa, 1966.
gallery gallery
Donna Jordan in shot by Oliviero Toscani from 1972 for the launch of the Le Bambole collection, designed by Mario Bellini, Compasso d’Oro 1979.
gallery gallery
The Lombrico component sofa, designed by Marco Zanuso, 1967.
gallery gallery
Piero Ambrogio Busnelli in the factory with his sons (from left) Emanuele, Giancarlo, Giorgio, and the HSP panel, 1995.
gallery gallery
The UP5 chair by Gaetano Pesce, 1969, a metaphor of the female figure with a welcoming lap, yet at the same time a prisoner. In the background, the UP6 ottoman (photo Klaus Zaugg).
gallery gallery
The Sity sofa by Antonio Citterio, 1986, a seating system conceived as a flexible structure, capable of adapting to the new complexity of the domestic landscape. Winner of the Compasso d’Oro 1987.
gallery gallery
Diesis sofa, designed by Antonio Citterio and Paolo Nava, 1979.
gallery gallery
Sisamo wardrobe, designed by Studio Kairos, 1983.
gallery gallery
Landscape chaise longue, design Jeffrey Bernett, 2001.
gallery gallery
Charles sofa, design Antonio Citterio, 1997.
gallery gallery
Mart armchair, design Antonio Citterio, 2003.
gallery gallery
Pab system, design Studio Kairos, 1996.
gallery gallery
Cover of the book by Stefano Casciani “La lunga vita del design in Italia. B&B Italia 50 anni e oltre,” Skira, 2016.
gallery gallery
Fifty years ago, in 1966, in Novedrate (Como), C&B – the company Piero Ambrogio Busnelli (known to all as Pierino) had created together with Cesare Cassina - opened its doors for business. Busnelli was forty, Cassina was almost 20 years his senior, and already a successful entrepreneur, a reference point for the furniture industry of Brianza. A few years later, in 1973, Pierino refused to cede his share of the firm to Cassina, taking it over instead and changing the name to B&B Italia: “Banks & Busnelli,” he quipped. A quip that reveals one of his characteristics: the ability to decisively approach change, taking risks, to pursue a vision in which he believed deeply. In this sense, I remember a moment with Pierino Busnelli in 1984, in the studio of Pierluigi Cerri, who was working on the presentation of “Gli Abiti,” sofas designed by Paolo Nava and covered by Gianfranco Ferré (three collection, in keeping with the seasons, as in the fashion world). Busnelli read the text I had written for the catalogue-newsletter where I had defined him as a “Shumpeterian industrialist.” He was amused, and we talked about it at length. Even today I think it was a good definition. Otherwise how can we define Pierino Busnelli? In the 1950s and 1960s he was able to glimpse the new opportunities opened up by the economic boom, i.e. the opening of new markets for industrial furniture, along with the potential of new materials, which he was able to fully exploit. He was not satisfied with what he had built, but continued to pursue a vision. So going through more than one radical change, in 1973 he founded his own company, B&B Italia, alongside the existing firms and in competition with they, like a typical Shumpeterian industrialist. Some biographical notes might come in handy at this point. In 1953 Pierino founded the company Fratelli Busnelli fu Giuseppe, also joined by his brother Franco. The memoirs published by a friend, Ezio Longhi, tell of how he would go to see clients on a bicycle, until he bought a scooter. The image evoked of Brianza is extraordinary, where young businessmen produce tables, ‘tavulin,’ and deliver them by bicycle or scooter. The same witness narrates that “Pierino, as we were walking to the cafe, confided… that he had decided to leave the company to his brother: he was very worried, because he had to start another company after having already founded and developed the first one.” The company was in good health, but as we have seen Pierino was not one to rest on his laurels. He had understood a decisive feature of the passage from crafts to industry in Italian furniture production, namely that the opening of markets called for serial products and therefore mechanization and materials suitable for industrial production. In 1964 he visited the Interplast fair in London and got interested in machinery that molded cold-process polyurethane foam to make small toys, little ducks. He had already investigated polyurethane, but in the version in sheets, used to cover traditional wooden frames. Back in Italy, with some collaborators, he developed a new machine to make foam. And it is interesting to remember that after leaving the business to his brother, he held on to a small company, Plestem, specialized in the working of plastic materials, where he continued the experimentation with a small group of staff that had followed him there. B&B Italia has a history that can be studied as a model of the particular traits of Italian design. The company has just published a large and very well documented book edited by Stefano Casciani, entitled: La lunga vita del design in Italia. B&B Italia, 50 anni e oltre. In this context we can simply underline some of its significant features. As we have seen, Pierino Busnelli was an entrepreneur who loved design and pursued innovation, interested in experimenting with techniques and materials, and the CR&S (Centro Ricerche & Sviluppo, the R+D Center) – where the essential personality was that of Rolando Gorla – functioned as a true place of design research, feasibility testing and development of the proposals of creative talents. Throughout its history the company has demonstrated a great capacity to work with designers, from the most famous to the young promises. In the short time span from 1966 to 1972, certain upholstered pieces of great design quality appeared, starting with Coronado by Afra & Tobia Scarpa, a great success with critics and consumers. I remember how Busnelli, as we went somewhere by car, showed me the large windows of some of the many showrooms along the streets of Brianza, underlining – with a bit of pride, but also a bit of irritation – the fact that copies of Coronado often appeared in those windows. We can also mention two projects by Mario Bellini, Amanta and the very popular Le Bambole. And alongside these projects that belong to the ‘rational’ area of Italian design, there is also UP by Gaetano Pesce, an icon of radical design. A few years later the firm began to work with a young architect who had graduated at the Milan Polytechnic in 1975, Antonio Citterio, who in 1986 would design the Sity sofa, the first of a long series of successes. B&B Italia therefore represents one of the most important experiences of Italian design, making the best designers in the world, but also the youngest, want to collaborate with our companies, because they offer a possibility of dialogue that would be hard to find elsewhere. Another aspect that should be emphasized in the history of B&B Italia is the focus on the “organization of the visible,” to use a favorite expression of Peter Behrens, who at the start of the last century worked on the construction of what would be defined as the ‘corporate image’ of AEG. Starting with the role of Bob Noorda in the design of the C&B brand, all the way to the design of the headquarters at Novedrate, assigned by Busnelli to Piano & Rogers, who tried out a concept here that was later developed in the Centre Pompidou. And then, more generally, we can look at the visual communications. For the presentation of Le Bambole, Busnelli called on Oliviero Toscani who photographed Donna Jordan, a model of Andy Warhol, ‘scandalously’ semi-naked on the sofa. In 1982 Pierluigi Cerri became the art director of B&B Italia, and besides all the image aspects, he worked on an exhibition at the Salone del Mobile that presented the B&B Italia products on a large inclined plane, of great visual impact. For television advertising the STZ agency produced 21 films for an acute, subtly ironic campaign that won many prizes. We could go on and on, but at this point readers should turn to the above-mentioned book. In recent years B&B Italia has gone through another series of changes, under the solid guidance of Giorgio Busnelli, the son of Piero Ambrogio. The 50th anniversary was celebrated with a series of special projects and events - including those held in July in New York, at the Morgan Library & Museum, and in London, in the Switch House of the Tate Modern - and with a book that has the subtitle “B&B Italia 50 years and beyond.” The word ‘beyond’ is a good omen, opening the perspectives to a new phase of research, quality projects and business success, in what effectively seems to be a completely new phase, the “third phase of the industrial revolution,” as many economists are calling it. Text by Vanni Pasca
gallery gallery
The Coronado armchair, designed by Afra & Tobia Scarpa, 1966.
gallery gallery
Donna Jordan in shot by Oliviero Toscani from 1972 for the launch of the Le Bambole collection, designed by Mario Bellini, Compasso d’Oro 1979.
gallery gallery
The Lombrico component sofa, designed by Marco Zanuso, 1967.
gallery gallery
Piero Ambrogio Busnelli in the factory with his sons (from left) Emanuele, Giancarlo, Giorgio, and the HSP panel, 1995.
gallery gallery
The UP5 chair by Gaetano Pesce, 1969, a metaphor of the female figure with a welcoming lap, yet at the same time a prisoner. In the background, the UP6 ottoman (photo Klaus Zaugg).
gallery gallery
The Sity sofa by Antonio Citterio, 1986, a seating system conceived as a flexible structure, capable of adapting to the new complexity of the domestic landscape. Winner of the Compasso d’Oro 1987.
gallery gallery
Diesis sofa, designed by Antonio Citterio and Paolo Nava, 1979.
gallery gallery
Sisamo wardrobe, designed by Studio Kairos, 1983.
gallery gallery
Landscape chaise longue, design Jeffrey Bernett, 2001.
gallery gallery
Charles sofa, design Antonio Citterio, 1997.
gallery gallery
Mart armchair, design Antonio Citterio, 2003.
gallery gallery
Pab system, design Studio Kairos, 1996.
gallery gallery
Cover of the book by Stefano Casciani “La lunga vita del design in Italia. B&B Italia 50 anni e oltre,” Skira, 2016.
gallery gallery
Fifty years ago, in 1966, in Novedrate (Como), C&B – the company Piero Ambrogio Busnelli (known to all as Pierino) had created together with Cesare Cassina - opened its doors for business. Busnelli was forty, Cassina was almost 20 years his senior, and already a successful entrepreneur, a reference point for the furniture industry of Brianza. A few years later, in 1973, Pierino refused to cede his share of the firm to Cassina, taking it over instead and changing the name to B&B Italia: “Banks & Busnelli,” he quipped. A quip that reveals one of his characteristics: the ability to decisively approach change, taking risks, to pursue a vision in which he believed deeply. In this sense, I remember a moment with Pierino Busnelli in 1984, in the studio of Pierluigi Cerri, who was working on the presentation of “Gli Abiti,” sofas designed by Paolo Nava and covered by Gianfranco Ferré (three collection, in keeping with the seasons, as in the fashion world). Busnelli read the text I had written for the catalogue-newsletter where I had defined him as a “Shumpeterian industrialist.” He was amused, and we talked about it at length. Even today I think it was a good definition. Otherwise how can we define Pierino Busnelli? In the 1950s and 1960s he was able to glimpse the new opportunities opened up by the economic boom, i.e. the opening of new markets for industrial furniture, along with the potential of new materials, which he was able to fully exploit. He was not satisfied with what he had built, but continued to pursue a vision. So going through more than one radical change, in 1973 he founded his own company, B&B Italia, alongside the existing firms and in competition with they, like a typical Shumpeterian industrialist. Some biographical notes might come in handy at this point. In 1953 Pierino founded the company Fratelli Busnelli fu Giuseppe, also joined by his brother Franco. The memoirs published by a friend, Ezio Longhi, tell of how he would go to see clients on a bicycle, until he bought a scooter. The image evoked of Brianza is extraordinary, where young businessmen produce tables, ‘tavulin,’ and deliver them by bicycle or scooter. The same witness narrates that “Pierino, as we were walking to the cafe, confided… that he had decided to leave the company to his brother: he was very worried, because he had to start another company after having already founded and developed the first one.” The company was in good health, but as we have seen Pierino was not one to rest on his laurels. He had understood a decisive feature of the passage from crafts to industry in Italian furniture production, namely that the opening of markets called for serial products and therefore mechanization and materials suitable for industrial production. In 1964 he visited the Interplast fair in London and got interested in machinery that molded cold-process polyurethane foam to make small toys, little ducks. He had already investigated polyurethane, but in the version in sheets, used to cover traditional wooden frames. Back in Italy, with some collaborators, he developed a new machine to make foam. And it is interesting to remember that after leaving the business to his brother, he held on to a small company, Plestem, specialized in the working of plastic materials, where he continued the experimentation with a small group of staff that had followed him there. B&B Italia has a history that can be studied as a model of the particular traits of Italian design. The company has just published a large and very well documented book edited by Stefano Casciani, entitled: La lunga vita del design in Italia. B&B Italia, 50 anni e oltre. In this context we can simply underline some of its significant features. As we have seen, Pierino Busnelli was an entrepreneur who loved design and pursued innovation, interested in experimenting with techniques and materials, and the CR&S (Centro Ricerche & Sviluppo, the R+D Center) – where the essential personality was that of Rolando Gorla – functioned as a true place of design research, feasibility testing and development of the proposals of creative talents. Throughout its history the company has demonstrated a great capacity to work with designers, from the most famous to the young promises. In the short time span from 1966 to 1972, certain upholstered pieces of great design quality appeared, starting with Coronado by Afra & Tobia Scarpa, a great success with critics and consumers. I remember how Busnelli, as we went somewhere by car, showed me the large windows of some of the many showrooms along the streets of Brianza, underlining – with a bit of pride, but also a bit of irritation – the fact that copies of Coronado often appeared in those windows. We can also mention two projects by Mario Bellini, Amanta and the very popular Le Bambole. And alongside these projects that belong to the ‘rational’ area of Italian design, there is also UP by Gaetano Pesce, an icon of radical design. A few years later the firm began to work with a young architect who had graduated at the Milan Polytechnic in 1975, Antonio Citterio, who in 1986 would design the Sity sofa, the first of a long series of successes. B&B Italia therefore represents one of the most important experiences of Italian design, making the best designers in the world, but also the youngest, want to collaborate with our companies, because they offer a possibility of dialogue that would be hard to find elsewhere. Another aspect that should be emphasized in the history of B&B Italia is the focus on the “organization of the visible,” to use a favorite expression of Peter Behrens, who at the start of the last century worked on the construction of what would be defined as the ‘corporate image’ of AEG. Starting with the role of Bob Noorda in the design of the C&B brand, all the way to the design of the headquarters at Novedrate, assigned by Busnelli to Piano & Rogers, who tried out a concept here that was later developed in the Centre Pompidou. And then, more generally, we can look at the visual communications. For the presentation of Le Bambole, Busnelli called on Oliviero Toscani who photographed Donna Jordan, a model of Andy Warhol, ‘scandalously’ semi-naked on the sofa. In 1982 Pierluigi Cerri became the art director of B&B Italia, and besides all the image aspects, he worked on an exhibition at the Salone del Mobile that presented the B&B Italia products on a large inclined plane, of great visual impact. For television advertising the STZ agency produced 21 films for an acute, subtly ironic campaign that won many prizes. We could go on and on, but at this point readers should turn to the above-mentioned book. In recent years B&B Italia has gone through another series of changes, under the solid guidance of Giorgio Busnelli, the son of Piero Ambrogio. The 50th anniversary was celebrated with a series of special projects and events - including those held in July in New York, at the Morgan Library & Museum, and in London, in the Switch House of the Tate Modern - and with a book that has the subtitle “B&B Italia 50 years and beyond.” The word ‘beyond’ is a good omen, opening the perspectives to a new phase of research, quality projects and business success, in what effectively seems to be a completely new phase, the “third phase of the industrial revolution,” as many economists are calling it. Text by Vanni Pasca [gallery ids="109393,109395,109397,109399,109401,109403,109407,109409,109412,109414,109416,109419,109421,109417,109424,109426,109428,109430,109431,109440"]
gallery gallery
Canasta outdoor seating, design Patricia Urquiola, 2007.
gallery gallery
Crinoline outdoor chair, design Patricia Urquiola, 2008.
gallery gallery
Grande Papilio seat, design Naoto Fukasawa, 2009.
gallery gallery
Gio outdoor collection, design Antonio Citterio, 2016.
gallery gallery
Mauro Vandini, a sinistra, e Carlo Cracco.
gallery gallery
The exhibition “B&B Italia / The perfect density,” with exhibit design by Migliore + Servetto Architects (Triennale di Milano, 2-17 April 2016), is part of the special projects produced by B&B Italia to celebrate its 50th anniversary, also including the film “B&B Italia. La poesia nella forma. Quando il design incontra l’industria” by Didi Gnocchi.
gallery gallery
Canasta outdoor seating, design Patricia Urquiola, 2007.
gallery gallery
Crinoline outdoor chair, design Patricia Urquiola, 2008.
gallery gallery
Grande Papilio seat, design Naoto Fukasawa, 2009.
gallery gallery
Gio outdoor collection, design Antonio Citterio, 2016.
gallery gallery
Mauro Vandini, a sinistra, e Carlo Cracco.
gallery gallery
The exhibition “B&B Italia / The perfect density,” with exhibit design by Migliore + Servetto Architects (Triennale di Milano, 2-17 April 2016), is part of the special projects produced by B&B Italia to celebrate its 50th anniversary, also including the film “B&B Italia. La poesia nella forma. Quando il design incontra l’industria” by Didi Gnocchi.
"},{"id":109424,"title":"Binder1.pdf_Page_7_Image_0005","filename":"Binder1.pdf_Page_7_Image_0005.jpg","url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0005.jpg","link":"https:\/\/www.internimagazine.com\/design\/projects\/in-the-beginning-there-was-design\/attachment\/binder1-pdf_page_7_image_0005-2\/","alt":"","author":"7","description":"","caption":"Canasta outdoor seating, design Patricia Urquiola, 2007.","name":"binder1-pdf_page_7_image_0005-2","status":"inherit","uploadedTo":109457,"date":1473864393000,"modified":1473864880000,"menuOrder":0,"mime":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.internimagazine.com\/wordpress\/wp-includes\/images\/media\/default.png","dateFormatted":"September 14, 2016","nonces":{"update":false,"delete":false,"edit":false},"editLink":false,"meta":false,"authorName":"Paolo Zangheri","authorLink":"","uploadedToTitle":"In the beginning there was design","uploadedToLink":null,"context":"","height":345,"width":560,"orientation":"landscape","sizes":{"thumbnail":{"height":150,"width":300,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0005-300x150.jpg","orientation":"landscape"},"medium":{"height":300,"width":487,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0005-487x300.jpg","orientation":"landscape"},"full":{"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0005.jpg","height":345,"width":560,"orientation":"landscape"},"post-thumbnail":{"height":200,"width":400,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0005-400x200.jpg","orientation":"landscape"},"tiny":{"height":64,"width":80,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0005-80x64.jpg","orientation":"landscape"},"normal":{"height":255,"width":450,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0005-450x255.jpg","orientation":"landscape"},"featured":{"height":282,"width":500,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0005-500x282.jpg","orientation":"landscape"}}},{"id":109426,"title":"Binder1.pdf_Page_7_Image_0004","filename":"Binder1.pdf_Page_7_Image_0004.jpg","url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0004.jpg","link":"https:\/\/www.internimagazine.com\/design\/projects\/in-the-beginning-there-was-design\/attachment\/binder1-pdf_page_7_image_0004-4-2\/","alt":"","author":"7","description":"","caption":"Crinoline outdoor chair, design Patricia Urquiola, 2008.","name":"binder1-pdf_page_7_image_0004-4-2","status":"inherit","uploadedTo":109457,"date":1473864412000,"modified":1473864891000,"menuOrder":0,"mime":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.internimagazine.com\/wordpress\/wp-includes\/images\/media\/default.png","dateFormatted":"September 14, 2016","nonces":{"update":false,"delete":false,"edit":false},"editLink":false,"meta":false,"authorName":"Paolo Zangheri","authorLink":"","uploadedToTitle":"In the beginning there was design","uploadedToLink":null,"context":"","height":675,"width":513,"orientation":"portrait","sizes":{"thumbnail":{"height":150,"width":300,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0004-300x150.jpg","orientation":"landscape"},"medium":{"height":300,"width":228,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0004-228x300.jpg","orientation":"portrait"},"full":{"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0004.jpg","height":675,"width":513,"orientation":"portrait"},"post-thumbnail":{"height":200,"width":400,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0004-400x200.jpg","orientation":"landscape"},"tiny":{"height":64,"width":80,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0004-80x64.jpg","orientation":"landscape"},"normal":{"height":255,"width":450,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0004-450x255.jpg","orientation":"landscape"},"featured":{"height":282,"width":500,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0004-500x282.jpg","orientation":"landscape"}}},{"id":109428,"title":"Binder1.pdf_Page_7_Image_0001","filename":"Binder1.pdf_Page_7_Image_0001.jpg","url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0001.jpg","link":"https:\/\/www.internimagazine.com\/design\/projects\/in-the-beginning-there-was-design\/attachment\/binder1-pdf_page_7_image_0001-7-2\/","alt":"","author":"7","description":"","caption":"Grande Papilio seat, design Naoto Fukasawa, 2009.","name":"binder1-pdf_page_7_image_0001-7-2","status":"inherit","uploadedTo":109457,"date":1473864438000,"modified":1473864892000,"menuOrder":0,"mime":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.internimagazine.com\/wordpress\/wp-includes\/images\/media\/default.png","dateFormatted":"September 14, 2016","nonces":{"update":false,"delete":false,"edit":false},"editLink":false,"meta":false,"authorName":"Paolo Zangheri","authorLink":"","uploadedToTitle":"In the beginning there was design","uploadedToLink":null,"context":"","height":605,"width":627,"orientation":"landscape","sizes":{"thumbnail":{"height":150,"width":300,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0001-300x150.jpg","orientation":"landscape"},"medium":{"height":300,"width":311,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0001-311x300.jpg","orientation":"landscape"},"full":{"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0001.jpg","height":605,"width":627,"orientation":"landscape"},"post-thumbnail":{"height":200,"width":400,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0001-400x200.jpg","orientation":"landscape"},"tiny":{"height":64,"width":80,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0001-80x64.jpg","orientation":"landscape"},"normal":{"height":255,"width":450,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0001-450x255.jpg","orientation":"landscape"},"featured":{"height":282,"width":500,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0001-500x282.jpg","orientation":"landscape"}}},{"id":109430,"title":"Binder1.pdf_Page_7_Image_0007","filename":"Binder1.pdf_Page_7_Image_0007.jpg","url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007.jpg","link":"https:\/\/www.internimagazine.com\/design\/projects\/in-the-beginning-there-was-design\/attachment\/binder1-pdf_page_7_image_0007-2\/","alt":"","author":"7","description":"","caption":"Gio outdoor collection, design Antonio Citterio, 2016.","name":"binder1-pdf_page_7_image_0007-2","status":"inherit","uploadedTo":109457,"date":1473864463000,"modified":1473864901000,"menuOrder":0,"mime":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.internimagazine.com\/wordpress\/wp-includes\/images\/media\/default.png","dateFormatted":"September 14, 2016","nonces":{"update":false,"delete":false,"edit":false},"editLink":false,"meta":false,"authorName":"Paolo Zangheri","authorLink":"","uploadedToTitle":"In the beginning there was design","uploadedToLink":null,"context":"","height":597,"width":1219,"orientation":"landscape","sizes":{"thumbnail":{"height":150,"width":300,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007-300x150.jpg","orientation":"landscape"},"medium":{"height":294,"width":600,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007-600x294.jpg","orientation":"landscape"},"large":{"height":440,"width":900,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007-1024x501.jpg","orientation":"landscape"},"full":{"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007.jpg","height":597,"width":1219,"orientation":"landscape"},"post-thumbnail":{"height":200,"width":400,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007-400x200.jpg","orientation":"landscape"},"tiny":{"height":64,"width":80,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007-80x64.jpg","orientation":"landscape"},"normal":{"height":255,"width":450,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007-450x255.jpg","orientation":"landscape"},"featured":{"height":282,"width":500,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007-500x282.jpg","orientation":"landscape"},"cover":{"height":597,"width":1190,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_7_Image_0007-1190x597.jpg","orientation":"landscape"}}},{"id":109431,"title":"20160914_123740","filename":"20160914_123740.jpg","url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740.jpg","link":"https:\/\/www.internimagazine.com\/20160914_123740-2\/","alt":"","author":"4","description":"","caption":"Mauro Vandini, a sinistra, e Carlo Cracco.","name":"20160914_123740","status":"inherit","uploadedTo":109417,"date":1473864482000,"modified":1473864733000,"menuOrder":0,"mime":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.internimagazine.com\/wordpress\/wp-includes\/images\/media\/default.png","dateFormatted":"September 14, 2016","nonces":{"update":false,"delete":false,"edit":false},"editLink":false,"meta":false,"authorName":"Danilo Signorello","authorLink":"","uploadedToTitle":"Il futuro prossimo di Marazzi","uploadedToLink":null,"context":"","height":1932,"width":2576,"orientation":"landscape","sizes":{"thumbnail":{"height":150,"width":300,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740-300x150.jpg","orientation":"landscape"},"medium":{"height":300,"width":400,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740-400x300.jpg","orientation":"landscape"},"large":{"height":675,"width":900,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740-1024x768.jpg","orientation":"landscape"},"full":{"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740.jpg","height":1932,"width":2576,"orientation":"landscape"},"post-thumbnail":{"height":200,"width":400,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740-400x200.jpg","orientation":"landscape"},"tiny":{"height":64,"width":80,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740-80x64.jpg","orientation":"landscape"},"normal":{"height":255,"width":450,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740-450x255.jpg","orientation":"landscape"},"featured":{"height":282,"width":500,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740-500x282.jpg","orientation":"landscape"},"cover":{"height":680,"width":1190,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/20160914_123740-1190x680.jpg","orientation":"landscape"}}},{"id":109440,"title":"Binder1.pdf_Page_8_Image_0001","filename":"Binder1.pdf_Page_8_Image_0001.jpg","url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001.jpg","link":"https:\/\/www.internimagazine.com\/design\/projects\/in-the-beginning-there-was-design\/attachment\/binder1-pdf_page_8_image_0001-6-2\/","alt":"","author":"7","description":"","caption":"The exhibition \u201cB&B Italia \/ The perfect density,\u201d with exhibit design by Migliore + Servetto Architects (Triennale di Milano, 2-17 April 2016), is part of the special projects produced by B&B Italia to celebrate its 50th anniversary, also including the film \u201cB&B Italia. La poesia nella forma. Quando il design incontra l\u2019industria\u201d by Didi Gnocchi.","name":"binder1-pdf_page_8_image_0001-6-2","status":"inherit","uploadedTo":109457,"date":1473864504000,"modified":1473864919000,"menuOrder":0,"mime":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.internimagazine.com\/wordpress\/wp-includes\/images\/media\/default.png","dateFormatted":"September 14, 2016","nonces":{"update":false,"delete":false,"edit":false},"editLink":false,"meta":false,"authorName":"Paolo Zangheri","authorLink":"","uploadedToTitle":"In the beginning there was design","uploadedToLink":null,"context":"","height":2935,"width":2298,"orientation":"portrait","sizes":{"thumbnail":{"height":150,"width":300,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001-300x150.jpg","orientation":"landscape"},"medium":{"height":300,"width":235,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001-235x300.jpg","orientation":"portrait"},"large":{"height":1024,"width":802,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001-802x1024.jpg","orientation":"portrait"},"full":{"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001.jpg","height":2935,"width":2298,"orientation":"portrait"},"post-thumbnail":{"height":200,"width":400,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001-400x200.jpg","orientation":"landscape"},"tiny":{"height":64,"width":80,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001-80x64.jpg","orientation":"landscape"},"normal":{"height":255,"width":450,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001-450x255.jpg","orientation":"landscape"},"featured":{"height":282,"width":500,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001-500x282.jpg","orientation":"landscape"},"cover":{"height":680,"width":1190,"url":"https:\/\/www.internimagazine.com\/content\/uploads\/2016\/09\/Binder1.pdf_Page_8_Image_0001-1190x680.jpg","orientation":"landscape"}}}];