From the interior design project to the furnishings to the brand identity, Sergio Mannino Studio signs a new home décor shop of handmade artistic ceramics in New York

Based in New York but with clear Italian origins (and inspirations), Sergio Mannino Studio designed the interior configuration and furnishing systems, as well as graphics and visual identity, of A.Mano Brooklyn, a new ceramics shop for the home made by hand by local and non-local artists, located in the famous New York district from which it borrows first name.

The interior project

The systems that furnish and mark the interiors are designed in such a way that they can be disassembled easily in the future, when the shop closes or moves home . In fact, neither glue nor mortar were used, but only screws and mechanical connections, not even for the part covered in terracotta bricks.

Between art and design, ceramics and color

Inspired in minimal shapes and vivid colors by the works of the American artist Donald Judd, the furniture systems designed by Sergio Mannino Studio specifically for A.Mano Brooklyn rest on a base made of shiny bricks in ceramic in white and blue, evoking the configuration of different furniture by Ettore Sottsass. The same reference emerges from the floor: if the black and white terrazzo by Florim refers to the Memphis graphic and the Margherita tiles by Mutina designed by Natalie Du Pasquier lend a radical (and floral) touch to the coffee area.

The brand identity

The logo and all the graphics of A.Mano Brooklyn have been designed to convey a simple and clean image that best represents the products - objects for the house and the table, vases and sculptures - which are precisely made "by hand" by potters who work in small series.

Sergio Mannino's radical training (and inspiration)

Resident in New York, Sergio Mannino lived in Milan from 1998 to 2000, a period during which he developed his degree thesis under the direction of Ettore Sottsass, who then guided in the conception of a furniture collection for Post Design. In all of Mannino's works, references to Italian design, especially radical ones, are a constant.