And it was in Japan that Mangiarotti discovered the missing element for obtaining the perfect synthesis of form, function, modularity and the union of parts: the joint. In architecture, as much as in Japanese carpentry, the joint has a leading role: it is not hidden, but rather made central, resolved both functionally and aesthetically. Joining is therefore an art that Mangiarotti placed at the centre of his research, which opened up to a wide spectrum: sometimes a solution found in a sculpture flows into an architecture and then from there it will migrate into a furnishing element.
The specialisation that constrained so many of his contemporaries to a single subject area and to a single spatial scale (Nervi and Morandi, for example, never designed objects or furnishings) was for Mangiarotti a heritage to be exploited in as many areas as possible. Thus the cornerstone to leverage was a system that functions to the point that it can be expressed in families, or in series that have a common matrix, or in variations of scalar size on the same theme.
This is exactly what we find today in all the designer's furnishings, which have recently been made by Agapecasa: a brand that retains an excellence in construction techniques, able to manage complex handcrafted finishes on serial pieces. The presentation of The Mangiarotti Collection dates back to 2010, consisting of 13 projects developd according to the drawings elaborated by the maestro and based on the survey and study of the originally produced models.