Riding the wave of design

In Tihany’s words, an innovative way of looking at the cruise format and Italian hospitality in the world. Not by chance, the CoDe is also the only space on the ship designed by Adam Tihany with his studio, imagined as an immersive environment with a Kubrick-like atmosphere: an entrance tunnel, a sequence of large shiny disks in stainless steel, red carpeting with designs of objects, in a dynamic, permeable itinerary through cylindrical display islands in transparent glass.

The exhibit design and curating expertise have been supplied by the architect Matteo Vercelloni. “The idea was to represent the evolution of our country’s tastes, bringing out the manufacturing excellence and creativity of design Made in Italy, from the 1930s to the present, in a context of polyphony and positive contamination,” says Vercelloni, who together with Paola Gallo has selected 470 pieces, 90% of which are still in production in the furniture industry, to understand how Italian design has achieved its great vitality, beyond passing fashions.

The furnishings and complements have been donated by companies, but also purchased on the market. Those no longer in production have been found in the trade of modern vintage. They have been gathered in a space of about 400 square meters on Deck 7, a strategic location because it is always very busy, as it connects the large Colosseo theater, the casino and the restaurant zone. “Aware of the fact that we could not construct a total history, we have thought about many professional and human histories, organized in chapters, strategically assembled in precise narrative sequences, emphasized by the graphic design of Cristina Menotti,” the architect continues.

Hence the showcase of iconic furnishings and complements of Italian design, that of objects for the table and the kitchen, the handcrafted glass of Murano, objects of affection and memorabilia (also of anonymous design), alongside ‘theaters’ on the masters, the brothers Achille and Pier Giacomo Castiglioni and Ettore Sottsass (“I like to point out that the back of his Carlton bookcase was made with the Bacteria laminate reproduced by Abet Laminati and now in production,” Vercelloni says). Then come sections on design on two wheels, the diorama of Italian transport, objects for travel, a virtual bookshelf (set up with blocks of books designed as a series of possible publications on the CoDe Museum), fashion (curated by Augusta Grecchi) and cinema (curated by Roberto Dassoni).

But a ship is not only a museum, and through CoDe is the first demonstration that entertainment of a cultural type can become an integral part of the cruise experience, Costa Smeralda is a medium for “an engaging and memorable experience for its guests” in ever accessible space. Therefore, in tune with the guiding theme of Italy’s Finest, for the overall design of the ship Tihany has orchestrated interpretations of a pool of international designers – Dordoni Architetti, Rockwell Group, Jeffrey Beers International and Partner Ship Design – who have created the collective and private spaces, with the fundamental contribution of 15 Italian companies – Alessi, Cappellini, Cassina, Dedar, Driade, Emu, Flos, FontanaArte, Kartell, Molteni&C, Moroso, Paola Lenti, Poltrona Frau, Roda, Rubelli – involved in the production of the furnishings, many of which are custom pieces, in a fertile combination of craftsmanship and industrial prowess.

The Grand Tour was the theme chosen by the Italian firm Dordoni Architetti to outfit the 2600 cabins and suites located on 11 decks. Each deck is on the theme of one Italian city, with decorative patterns that are then extended to the private spaces of the rooms, translating the idea of bringing “an Italian city into a cabin.” The paving created by Michelangelo Buonarroti for Piazza del Campidoglio in Rome, on the other hand, is the source of inspiration for the Colosseo, designed by Rockwell Group at the center of the ship, a theatrical arena on three levels for performances.