magis cat home

Mag

is H

OM

E

Col

lect

ion

book

2

Hom

e

3

Ma

gis

Prod

ucts

ov

ervi

ew

Index

Collection book 013 207Magis world 208

Technical information 210

Chairs + Armchairs Folding chairs. Chairs on wheels. Stools

Low chairs + Chaise longue Public seating systems + Benches

Tables + Low tables Shelving systems

Drawer systems + Shoe storage systems Coat stands + Coat hangers

Umbrella stands Step-ladders. Accessories

Fuoritema

Chairs

Pia241

Pipe242

Cyborg225

Easy Chair229

Paso Doble236-237

Chair_One220

Aida213

Pipe243

Cyborg225

First230

Pila235

Chair_One_4Star222

Air-Chair214

Pia238-239

Cyborg226

Steelwood Chair245

First (Dressed)231

Cyborg223

Air-Armchair215

Bombo218

Still246

Cyborg227

Flux232

Cyborg224

Pia240

Chair_One221

Dj-vu228

Mariolina234

Cyborg224

4

Hom

e

Lyra276

Paso Doble 278 - 279

Folding Chairs

360 212

360272

Tuffy - The Wild Bunch266

Tosca 248

Striped 247

Pipe277

Aviva 217

Annett 216

Al Bombo273

Vanity Chair 267

Trattoria 249

Bombo274

Folding Air-Chair 233

Bombo219

Venice268

Troy 250 265

Troy250 265

Soho 244

Vigna 269

Dj-vu275

Troy 252 265

Chairs on Wheels

Stools

Zartan270-271

Troy 255 265

Troy 252 265

5

Ma

gis

Prod

ucts

ov

ervi

ew

Low chairs + Chaiselongue

Voido308

Traffic307

Paso Doble292

Raviolo298

Traffic302 - 303

Troy286 - 287

Paso Doble293

Paso Doble294

Paso Doble294

Flower288-289

Striped283

Stool_One282

Tibu284

Pia295

Pia295

Spun299

Striped300

Striped301

Magis Proust290

Traffic 304

Traffic 305

Traffic306

Tom and Jerry - The Wild Bunch285

Pia296 - 297

Pia296 - 297

Striped301

Nimrod291

S.S.S.S.280

Steelwood Stool281

6

Hom

e

7

Ma

gis

Prod

ucts

ov

ervi

ew

Shelving System Boogie Woogie352

Cosino353

To the Wall359

Tyke - The Wild Bunch360

Coat stands + Coat hangers

Birds on a Wire366

Theca365

Elyse354

My Storage355

Bridge366

Four Leaves367

360361

Garage362

Drawer systems + Shoe storage systems

Plus Unit363

Rack364

Steelwood Shelving System357

Tide358

Spike - The Wild Bunch356

Topsy - The Wild Bunch346

Vanity Table349

Trattoria348

Traffic347

Tambour344

Vigna350

XZ3351

Sussex312

Teatro345

Passe-partout333

Passe-partout332

Piggyback334

Striped340

Sussex341

Table_One342

Lem326

Officina327 331

Butch - The Wild Bunch318

Calippo319

Central320

Tables + Low tables 360313

Air-Table314

Baguette315

Pilo335

Pia336

Dj-vu321

Dj-vu322

Table_One Bistrot343

Big Will316 - 317

First324

Flare325

Easy Table323

Pizza Table338

Steelwood Table339

Pipe337

Folly309

Public seating system+ Benches

Chair_One P.S.S. 1310

Chair_One P.S.S. 2311

8

Hom

e

9

Ma

gis

Prod

ucts

ov

ervi

ew

FuoritemaTubby387

Transit385

Trash386

XX386

ArcheToys388 - 389

Bird Table390

Magis Dog House391

Rock384

Pebbles383

Gibus379

Cu-Clock377

Fl372

Umbrella stands Pipe Dreams383

Pronto384

Amleto374

Dj-vu376

Magis Wagon380

Mag381

Memo382

Bottle374

Box375

Cappuccino375

Eretteo370

Goccia370

Poppins371

Nuovastep372

Accessories 1, 2, 3...373

Meteo382

Step-ladders

A, B, C...373

Hercules379

La Valise380

Dish Doctor377

Dove378

Garon378

Tempo385

Viking369

Globo367

Togo369

Steelwood Coat Stand368

10

Hom

e

11

Ma

gis

Des

igne

rs

Klaus Hackl

Gibus

Zaha Hadid

Tide

Torbjrn Anderssen& Espen Voll

Tibu

Design Group Italia

Amleto Lyra

Francesco Binfar

Annett

Cini Boeri

To the Wall

Robin Day

Sussex Family

Ronan & ErwanBouroullec

Baguette Central La Valise Officina Pila + Pilo

Steelwood FamilyStriped Collection Tambour Theca

Werner Aisslinger

Plus Unit

Edward Barber & JayOsgerby

Birds on a Wire Four Leaves Poppins

Raul Barbieri

Garon

Marc Berthier

Aviva Rack Teatro

Ron Arad

FollyRaviolo Voido

Konstantin Grcic

360 Family Family_One The Wild Bunch Traffic Collection Venice

Martino Gamper

Vigna Family

Galli-Perico

Cappuccino

Naoto Fukasawa

CosinoCu-Clock Dj-vu Family MeteoPizza TableSohoTempo

Stefano Giovannoni

Bombo Family Boogie Woogie Bridge First Family Mag

Paso Doble Family Vanity Family

Jaime Hayn

Pia Family

Thomas Heatherwick

Piggyback Spun

Toshiyuki Kita

Garage Viking

Philippe Starck

Big WillCalippoS.S.S.S. Zartan

Pierre Paulin

Elyse Flower

Jerszy Seymour

Easy Family Pipe Dreams Flux

Richard Sapper

Aida Tosca

Andries & HirokoVan Onck

Dove Lem Nuovastep

Michael Young

Magis Dog House Magis Wagon

Marcel Wanders

CyborgFlare Pebbles Troy

Marcello Ziliani

Fl

Floris Hovers

ArcheToys

Ineke Hans

My Storage

Marc Newson

Dish Doctor Hercules Nimrod Rock Tubby

David Mellor

Transit

Alessandro Mendini

Magis Proust

Jasper Morrison

1, 2, 3 A, B, C Air-Family Bird Table Bottle Box

Pipe Family Trash Trattoria Family XX

Enzo Mari

Eretteo Globo Mariolina Memo Pronto Togo

13

Ma

gis

12

Hom

e

Collection book

15

Ma

gis

14

Hom

e

Avi

va +

Pig

gyb

ack

Piggyback tabledesign Thomas Heatherwick, 2008 more info / p. 334

Aviva folding chairdesign Marc Berthier, 1979 2010 more info / p. 217

16

Hom

e

17

Ma

gis

Firs

t

F irst chair + table design Stefano Giovannoni, 2007 more info / p. 230 + 324

18

Hom

e

19

Ma

gis

Firs

t (D

ress

ed),

cha

ir

mor

e in

fo /

p.

231

Firs

t, t

able

m

ore

info

/ p

. 32

4

20

Hom

e

21

Ma

gis

Rav

iolo

+ V

igna

Raviolo low chairdesign Ron Arad, 2011 more info / p. 298

Vigna tabledesign Martino Gamper, 2011 more info / p. 350

22

Hom

e

23

Ma

gis

Vig

na

V igna chair + tabledesign Martino Gamper, 2011 more info / p. 269 + 350

24

Hom

e

25

Ma

gis

Paso

Dob

le +

Cap

pucc

ino

Paso Doble low chair + foot-stool design Stefano Giovannoni, 2009 more info / p. 294

Paso Doble chaise longuedesign Stefano Giovannoni, 2009 more info / p. 292

Cappuccino tray/low tabledesign Galli-Perico, 1995 - 2010 more info / p. 375

26

Hom

e

27

Ma

gis

Pila

, ch

air

m

ore

info

/ p

. 23

5

28

Hom

e

29

Ma

gis

Pila chair + Pilo tabledesign Ronan & Erwan Bouroullec2013 more info / p. 235 + 335

Bombo stooldesign Stefano Giovannoni, 1997 more info / p. 274

Pila

+ P

ilo

+ B

omb

o

31

Ma

gis

30

Hom

e

Al

Bom

bo,

sto

ol

mor

e in

fo /

p.

273

Bom

bo

(The

Ori

gina

l),

stoo

l

mor

e in

fo /

p.

274

32

Hom

e

33

Ma

gis

Voi

do

Voido rocking chairdesign Ron Arad, 2006 more info / p. 308

34

Hom

e

35

Ma

gis

Tosc

a

Tosca chairdesign Richard Sapper, 2007 more info / p. 248

36

Hom

e

37

Ma

gis

Folding Air-Chairdesign Jasper Morrison, 2003 more info / p. 233

Fold

ing

Air

-Cha

ir

38

Hom

e

Air

-Cha

ir +

Air

-Arm

chai

r +

Stri

ped

39

Ma

gis

Air-Chair + Air-Armchairdesign Jasper Morrison, 2000 - 2006 more info / p. 215 + 214

Striped tabledesign Ronan & Erwan Bouroullec, 2005 more info / p. 340

41

Ma

gis

40

Hom

e

Easy

Cha

ir

mor

e in

fo /

p.

229

43

Ma

gis

42

Hom

e

Stri

ped

Striped low chair + foot-stool + low tabledesign Ronan & Erwan Bouroullec, 2005 more info / p. 300 + 301 + 340

44

H

ome

Stri

ped

Striped chairdesign Ronan & Erwan Bouroullec2005 more info / p. 247

45

Ma

gis

46

Hom

e

Cha

ir_O

ne +

Bag

uett

e

Chair_One chairdesign Konstantin Grcic, 2003 more info / p. 221

Baguette tabledesign Ronan & Erwan Bouroullec, 2011 more info / p. 315

47

Ma

gis

Cha

ir_O

ne_4

Star

+ T

rans

it

Transit trolleydesign David Mellor, 1998 more info / p. 385

Chair_One_4Star chairdesign Konstantin Grcic, 2008 more info / p. 222

49

Ma

gis

48

Hom

e

50

Hom

e

51

Ma

gis

Cha

ir_O

ne

mor

e in

fo /

p.

220

Stoo

l_O

ne

mor

e in

fo /

p.

282

Top

sy +

Tyk

e +

Tubb

y Tu

ffy

+ Je

rry

+ Te

atro

+ 3

60

Tuffy - The Wild Bunch chairdesign Konstantin Grcic, 2014 more info / p. 266

Jerry - The Wild Bunch stooldesign Konstantin Grcic, 2012 more info / p. 285

Teatro tabledesign Marc Berthier, 1979 - 2010 more info / p. 345

Tyke - The Wild Bunch shelving systemdesign Konstantin Grcic, 2013 more info / p. 360

Tubby plant potdesign Marc Newson, 2012 more info / p. 387

Topsy - The Wild Bunch tabledesign Konstantin Grcic, 2012 more info / p. 346

53

Ma

gis

52

Hom

e

360 containerdesign Konstantin Grcic, 2010 more info / p. 361

54

Hom

e

Tops

y +

Butc

h +

Jerr

y

Butch - The Wild Bunch tabledesign Konstantin Grcic, 2013 more info / p. 318

Topsy - The Wild Bunch tabledesign Konstantin Grcic, 2012 more info / p. 346

Jerry - The Wild Bunch stooldesign Konstantin Grcic, 2012 more info / p. 285

55

Ma

gis

57

Ma

gis

56

Hom

e

Tuff

y -

The

Wil

d Bu

nch,

cha

ir

mor

e in

fo /

p.

266

Tom

+ J

erry

- T

he W

ild

Bunc

h, s

tool

m

ore

info

/ p

. 28

5

59

Ma

gis

58

Hom

e

Spik

e

Spike - The Wild Bunch shelving systemdesign Konstantin Grcic, 2014 more info / p. 356

61

Ma

gis

60

Hom

e

Ann

ett

+ Bu

tch

+ C

u-C

lock

+ X

X

Annett chair on wheelsdesign Francesco Binfar, 2008 more info / p. 216

Butch - The Wild Bunch tabledesign Konstantin Grcic, 2013 more info / p. 318

XX stacking file holderdesign Jasper Morrison, 1998 more info / p. 386

Cu-Clock cuckoo clockdesign Naoto Fukasawa, 2011 more info / p. 377

62

Hom

e

63

Ma

gis

1, 2

, 3.

.. +

Cu-

Clo

ck

1, 2, 3... desk tidydesign Jasper Morrison, 1998 more info / p. 373

Cu-Clock cuckoo clockdesign Naoto Fukasawa, 2011 more info / p. 377

64

Hom

e

65

Ma

gis

Ann

ett

+ M

eteo

Meteo weather stationdesign Naoto Fukasawa, 2013 more info / p. 382

Annett chair on wheelsdesign Francesco Binfar, 2008 more info / p. 216

66

Hom

e

360

+ T

emp

o

360 stool + tabledesign Konstantin Grcic, 2009 - 2010 more info / p. 272 + 313

Tempo wall clockdesign Naoto Fukasawa, 2011 more info / p. 385

67

Ma

gis

68

Hom

e

69

Ma

gis

360

, co

ntai

ner

m

ore

info

/ p

. 36

1

70

Hom

e

Dj

-vu

+Pi

a +

The

ca71

M

ag

is

Dj

-vu

ch

air

+ ta

ble

des

ign

Na

oto

Fuka

saw

a, 2

007

m

ore

info

/ p

. 22

8 +

321

Pi

a lo

w c

hai

rd

esig

n Ja

ime

Ha

yn,

201

4

mor

e in

fo /

p.

296

Thec

a si

deb

oard

des

ign

Ron

an &

Erw

an B

ouro

ulle

c,

2014

m

ore

info

/ p

. 36

5

72

Hom

e

73

Ma

gis

Dj

-vu

, ch

air

+ ta

ble

+ m

irro

r

mor

e in

fo /

p.

228

+ 32

2 +

376

74

Hom

e

Pia

+ P

izza

Tab

le +

Spu

n

Pia rocking chairdesign Jaime Hayn, 2014 more info / p. 241

Pizza Table low tabledesign Naoto Fukasawa, 2012 more info / p. 338

Spun rotating chairdesign Thomas Heatherwick, 2010 more info / p. 299

75

Ma

gis

Pia

Pia armchairdesign Jaime Hayn, 2011 more info / p. 238 - 239

77

Ma

gis

76

Hom

e

79

Ma

gis

Pia

+ P

izza

Tab

le

Pia rocking chairdesign Jaime Hayn, 2014 more info / p. 241


Pia low chairdesign Jaime Hayn, 2014 more info / p. 296 - 297

78

Hom

e

80

Hom

e

Pia

+ P

izza

Tab

le


Pia low chair + foot-stooldesign Jaime Hayn, 2014 more info / p. 295

81

Ma

gis

82

Hom

e

83

Ma

gis

Pipe

+ F

irst

F irst tabledesign Stefano Giovannoni, 2007 more info / p. 324

Pipe chairdesign Jasper Morrison, 2009 more info / p. 242

Pipe chair + tabledesign Jasper Morrison, 2009 more info / p. 243 + 337

84

Hom

e

85

Ma

gis

Pip

e, s

tool

m

ore

info

/ p

. 27

7

Pip

e, c

hair

m

ore

info

/ p

. 24

2

Poppins umbrella standdesign Edward Barber & Jay Osgerby, 2010 more info / p. 371

87

Ma

gis

86

Hom

e

Popp

ins

+ C

ybor

g +

Pass

e-pa

rtou

t

Passe-partout tabledesign Magis, 2014 more info / p. 333

Cyborg armchairdesign Marcel Wanders, 2014 more info / p. 227

89

Ma

gis

88

Hom

e

Tam

bour

+ A

rche

Toys

+ C

ybor

g


ArcheToys car modelsdesign Floris Hovers, 2013 more info / p. 388 - 389

Tambour low tabledesign Ronan & Erwan Bouroullec, 2012 more info / p. 344

91

Ma

gis

90

Hom

e

Cyb

org


92

Hom

e

93

Ma

gis

Cyb

org,

arm

chai

r

mor

e in

fo /

p.

227

94

Hom

e

Big

Wil

l +

Cyb

org

95

Ma

gis

Big Will tabledesign Philippe Starck, 2015 more info / p. 316 - 317


Big

Wil

l +

Cyb

org

97

Ma

gis

96

Hom

e

Big Will tabledesign Philippe Starck, 2015 more info / p. 316 - 317


98

Hom

e

99

Ma

gis

Ven

ice

+ St

rip

ed

Venice chairdesign Konstantin Grcic, 2012 more info / p. 268

Striped tabledesign Ronan & Erwan Bouroullec, 2005 more info / p. 340

100

H

ome

101

M

ag

isV

enic

e, c

hair

m

ore

info

/ p

. 26

8

103

M

ag

isM

agis

Pro

ust

Magis Proust armchairdesign Alessandro Mendini, 2011 more info / p. 290

102

H

ome

104

H

ome

105

M

ag

isM

agis

Pro

ust

Magis Proust armchairdesign Alessandro Mendini, 2011 more info / p. 290

107

M

ag

is

106

H

ome Folly bench

design Ron Arad, 2013 more info / p. 309

Foll

y

108

H

ome

109

M

ag

isV

oido

, ro

ckin

g ch

air

m

ore

info

/ p

. 30

8

Foll

y, b

ench

m

ore

info

/ p

. 30

9

110

H

ome

Foll

y +

Van

ity

111

M

ag

is

Van

ity

Ch

air

+ Ta

ble

des

ign

Stef

ano

Gio

van

non

i,

2009

- 2

010

m

ore

info

/ p

. 26

7 +

349

Foll

y b

ench

des

ign

Ron

Ara

d, 2

013

m

ore

info

/ p

. 30

9

112

H

ome

113

M

ag

isV

anit

y C

hair

+ T

able

m

ore

info

/ p

. 26

7 +

349

Van

ity

Tabl

e

mor

e in

fo /

p.

349

114

H

ome

Van

ity

+ C

ybor

g

Vanity Tabledesign Stefano Giovannoni, 2009 more info / p. 349


115

M

ag

is

Off

icin

a +

Cyb

org

117

M

ag

is

116

H

ome

Officina tabledesign Ronan & Erwan Bouroullec, 2015 more info / p. 327 331


118

H

ome

Off

icin

a +

Cyb

org

119

M

ag

is



121

M

ag

isO

ffic

ina

+ C

ybor

g

120

H

ome


Cyborg armchairdesign Marcel Wanders, 2011 - 2012 more info / p. 223 + 224

123

M

ag

is

122

H

ome

Off

icin

a +

Cyb

org


Cyborg armchairdesign Marcel Wanders, 2011 - 2012 more info / p. 223 - 224

124

H

ome

Off

icin

a +

Flux

125

M

ag

is

Officina console + tabledesign Ronan & Erwan Bouroullec, 2015 more info / p. 327 331

Flux chairdesign Jerszy Seymour, 2011 more info / p. 232

Steelwood stooldesign Ronan & Erwan Bouroullec, 2010 more info / p. 281

Theca sideboarddesign Ronan & Erwan Bouroullec, 2014 more info / p. 365

126

H

ome

127

M

ag

isTh

eca

+ St

eelw

ood

128

H

ome

Stee

lwoo

d

Stee

lwoo

d ch

air

+ ta

ble

des

ign

Ron

an &

Erw

an B

ouro

ulle

c,

2008

/200

9

mor

e in

fo /

p.

245

+ 33

9

129

M

ag

is

130

H

ome

131

M

ag

isSt

eelw

ood

Steelwood chair + tabledesign Ronan & Erwan Bouroullec, 2008/2009 more info / p. 245 + 339

Steelwood coat standdesign Ronan & Erwan Bouroullec, 2010 more info / p. 368

133

M

ag

is

132

H

ome

Bird

s on

a W

ire,

wal

l co

at h

ange

r

mor

e in

fo /

p.

366

Four

Lea

ves,

coa

t st

and

m

ore

info

/ p

. 36

7

134

H

ome

Stee

lwoo

d

Steelwood chair + tabledesign Ronan & Erwan Bouroullec, 2008/2009 more info / p. 245 + 339

135

M

ag

is

137

M

ag

isO

ffic

ina

+ St

eelw

ood

136

H

ome

Stee

lwoo

d ch

air

des

ign

Ron

an &

Erw

an B

ouro

ulle

c, 2

008

m

ore

info

/ p

. 24

5

Off

icin

a ta

ble

des

ign

Ron

an &

Erw

an B

ouro

ulle

c, 2

015

m

ore

info

/ p

. 32

7

331

138

H

ome

Nim

rod

Nimrod low chairdesign Marc Newson, 2009 more info / p. 291

139

M

ag

is

141

M

ag

is

140

H

ome

Nim

rod

+ St

eelw

ood

Stee

lwoo

d sh

elvi

ng

syst

emd

esig

n R

onan

& E

rwan

Bou

roul

lec,

200

9

mor

e in

fo /

p.

357

142

H

ome

Tide

+ D

j-

vu

T ide wall shelving systemdesign Zaha Hadid, 2011 more info / p. 358

Dj-vu stooldesign Naoto Fukasawa, 2005 more info / p. 275

143

M

ag

is

145

M

ag

isS.

S.S.

S. S

wee

t St

ainl

ess

Stee

l Sto

ol

S.S.S.S. Sweet Stainless Steel Stooldesign Philippe Starck, 2012with the technical collaboration of Luigi Barei more info / p. 280

144

H

ome

147

M

ag

is

146

H

ome

S.S.

S.S.

Sw

eet

Stai

nles

s St

eel S

tool

m

ore

info

/ p

. 28

0

Lem

, ta

ble

m

ore

info

/ p

. 32

6

148

H

ome

149

M

ag

isO

ffic

ina

+ Fl

ux +

Dis

h D

octo

r

Dish Doctor dish-rackdesign Marc Newson, 1998 more info / p. 377


Flux chairdesign Jerszy Seymour, 2011 more info / p. 232

151

M

ag

isTr

affi

c

Traf

fic

sofa

+ l

ow t

able

des

ign

Kon

stan

tin

Grc

ic,

2013

- 2

014

m

ore

info

/ p

. 30

4 +

347

150

H

ome

Traffic sofa + low tabledesign Konstantin Grcic, 2013 - 2014 more info / p. 304 + 347

Elyse shelving systemdesign Pierre Paulin, 2009 more info / p. 354

153

M

ag

is

152

H

ome

Traf

fic

+ El

yse

154

H

ome

155

M

ag

isEl

yse

, sh

elvi

ng s

yste

m

mor

e in

fo /

p.

354

157

M

ag

is

Traffic armchair design Konstantin Grcic, 2013 more info / p. 302 - 303

Traf

fic

156

H

ome

Traffic benchdesign Konstantin Grcic, 2013 more info / p. 307

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Traffic armchair design Konstantin Grcic, 2013 more info / p. 302 - 303

Traffic sofa design Konstantin Grcic, 2013 more info / p. 304

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160

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Traffic chaise longue design Konstantin Grcic, 2013 more info / p. 306

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348

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Trattoria chair + tabledesign Jasper Morrison, 2009 - 2010 more info / p. 249 + 348

168

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XZ3

XZ3 tabledesign Magis, 1990 - 2003 more info / p. 351

Mariolina chairdesign Enzo Mari, 2002 more info / p. 234

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Central tabledesign Ronan & Erwan Bouroullec, 2011 more info / p. 320

Dj-vu chairdesign Naoto Fukasawa, 2007 more info / p. 228

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Boogie Woogie shelving systemdesign Stefano Giovannoni, 2004 more info / p. 352

Passe-partout tabledesign Magis, 2014 more info / p. 333


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Calippo tabledesign Philippe Starck, 2014with A. Maggiar more info / p. 319

Troy chairdesign Marcel Wanders, 2014 more info / p. 250 265

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Calippo tabledesign Philippe Starck, 2014with A. Maggiar more info / p. 319

Troy chairdesign Marcel Wanders, 2014 more info / p. 250 265

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Flower low chairdesign Pierre Paulin, 2009 more info / p. 289

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Dj-vu mirrordesign Naoto Fukasawa, 2011 more info / p. 376

Pilo tabledesign Ronan & Erwan Bouroullec, 2013 more info / p. 335

Zartan chairdesign Philippe Starck, 2012with Eugeni Quitllet more info / p. 271

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Bottle bottle-rackdesign Jasper Morrison, 1994 more info / p. 374

Dish Doctor dish-rackdesign Marc Newson, 1998 more info / p. 377

Dj-vu stooldesign Naoto Fukasawa, 2005 more info / p. 275

Tibu

T ibu stooldesign Anderssen & Voll, 2014 more info / p. 284

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Still chairdesign Anonymous, 2012 more info / p. 246

Memo notice boarddesign Enzo Mari, 2003 more info / p. 382

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My Storage shelving and drawer units systemdesign Ineke Hans, 2011 more info / p. 355

Nuovastep step-ladderdesign Andries & Hiroko Van Onck, 1984 - 2003 more info / p. 372

La Valise document holderdesign Ronan & Erwan Bouroullec, 2003 more info / p. 380

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Magis. Il design senza confinidi unazienda italiana.

Designs withoutboundaries

from an Italian company.

Magis world

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is not so much just about the market, but rather, about a constantly evolving world of lifestyles, behaviours, habits and customs, that intersect and interweave to create new rituals, codes and expressions which, in the case of a furniture company, form new living spaces. Of course, the publishers motivation also lies in conquering a slice of the market, but his deeper-seated aspiration, which goes on to become his true goal, whether or not he declares it openly, is to build a world of his own that will establish itself as a model of reference. Clearly, the designers make a valuable and essential contribution to this cultural project, especially if they interpret their work according to the de nition often given by the great designer Enzo Mari (who also happens to be involved in the Magis world): the designers job is to implement the design brief. The higher the standard of the brief, the more pertinent and signi cant the designers contribution can be. 2 From this perspective, the founder and current CEO of Magis, Eugenio Perazza, has always viewed his role in the spirit of the publisher seeking sharp minds and skilled hands, capable of giving shape to his vision of pleasant, practical objects for home life. The publishers job is to establish an ethos, get the context into focus, and to re ect on these things together with the author, so that the latter can then use his or her own media and codes to express his or her own personal interpretation (which is always shared, discussed and debated). It is interesting to note that, just as a book publisher has the possibility to choose formats, bindings, paper quality and graphic supports (as well of authors, of course) and is therefore in a position to impress a cultural character on its production, and thus a commercial one too, so it is for the publisher of chairs and tables. By prede ning certain typological aspects, identifying the materials to be used, eliciting the technological and production choices to be made, (both before and during the actual design phase, working alongside the designer

in question) he or she takes the position of chief designer, laying the foundations on which to build the all-round excellence of the design. When referring to the furniture world, the theme of producer/publisher also exposes a particular issue regarding the activation and management of production processes, following on from the conception and proposal phase and leading into the subsequent phase of marketing and nal distribution. Having dreamt up the scenario within which to draw and have others draw a strategy made of shapes, expressions, codes and ways of generating her own home design culture, the publisher must also identify and organize the necessary techniques and production processes, but they will not necessarily be found in-house, and indeed, they will preferably be sought, elicited and drawn in as a malleable and exible external resource. This concept of an external production platform was one of the rst points of innovation brought about by Magis way back in its earliest days, now some forty years ago. The Magis way

We could say that the representation of Magis production in its catalogue is like a clear collection of domestic tools. Different families of objects correspond to precise uses. The formal codes, while they may feature given aesthetic themes (be it a texture or an original effect in the material used), are still simple and speci c in terms of their clearly-de ned technical and functional characteristics: each piece also has its own poetic vein which is impressed like a ne thread into the strong weave of industrial design. It is interesting to note that the publishing strategy of the Magis catalogue was rst built around service items with a speci c purpose, which could be used as folding stepladders or ironing boards as well as seating. Next it focused on the fundamental theme of seating, and developed a particular

02 03 Magis world

The Magis wayNotes on the publishing culture

by Giampiero Bosoni

Background to the story

A few years ago the editor of Domus magazine, Alessandro Mendini, approached me to write a regular monthly article for a column that we later decided to call Blok Notes Recensioni della piccola e media industria italiana [Notepad Reviews of small and medium Italian enterprise] . 1The idea, created together with Mendini, was to comment on the design culture of the most interesting rms, in terms of research and innovation, emerging among the new generations of furniture design entrepreneurs in Italy. The distinguishing characteristic that we chose for this column was to write it as if it were a literary review of the rms most recent catalogues of publications (the last three years), meaning, obviously, their company catalogues. The game in this approach was to review the object/product shown in the catalogue like a literary text, comprising a compositional and lexical structure (technique, materials, geometry, proportions) and an overall story (typological research and formal codes) in order to depict a range of qualities in an aesthetic and environmental vision belonging both to the designer/writer and, on another level, to the rms publishing strategy. In a nutshell, we read armchairs and tables like books which, paradoxically or curiously, might be compared to scienti c manuals or adventure stories, or even epic historic novels: all works, great and small, gathered together into categories according to their speci c pro le.

The choice of companies was absolutely free, proposed by me and then reviewed together with Alessandro Mendini. Hats off to Alessandro for managing to push these articles through; they were 4 to 6 full pages long, and the magazines commercial of ces were not at all enthusiastic. As regards the seven companies that we were able to present in Domus, it should be clear that I had no direct contact with them: the catalogues of the chosen rms were requested through the editors of ce, without specifying the reason. Thus, the companies in question only discovered at the last minute that they would nd several pages of the magazine dedicated to their publishing catalogue and the reviews we gave were not always entirely positive. Among the rms that I chose, one of the rst was Magis, and again, their management neither saw me nor spoke to me on the phone for the purposes of my research. The review format invented by Mendini and myself, and the interpretation I proposed as to the vision of Magis and its designers probably aroused some interest in the rms business culture, since its management, and particularly the founder, Eugenio Perazza, together with communications manager, Barbara Minetto, decided to call me to expand on that re ection regarding their latest publishing catalogue.

Introduction

To continue a little further with the theme of the publishing metaphor, it is perhaps useful to remind ourselves of a fairly obvious premise: behind every publishing programme there is always a publisher, who in our case is more than simply an entrepreneur focusing purely on the production and marketing side of things: the publisher is rst and foremost a chief designer, with a personal vision of the world of objects that he or she wishes to produce, who interprets in a unique and personal way the scenario in which they are to be set. This scenario

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attention for stools; later came tables and storage cabinets, and more recently, a number of upholstered pieces have also appeared, including sofas and chaises longues. It is rather as if a book publisher had started out by printing chapters of books to be distributed in instalments, then pocket books, perhaps a budget series that nonetheless includes a number of classics, and so on. The range published gradually became more and more diversi ed, in terms of both format and content, and it all seemed to be taking on an almost encyclopaedic, universal dimension. In the search for the right balance between a coherent production, rational functionality and the pleasure of using the object in question, Magis design culture, with a modest pride typical of the best of modern Italian design, became an example of a path that has, so to speak, reinterpreted the meaning of contemporary living. Starting from the fundamental service areas of the machine habiter (from the storeroom to the kitchen) it has gradually rede ned the functional and representative tools of the entire domestic landscape, where rationality and the search for broad and varied hedonistic pleasures contribute to setting the stage for the life of the modern homo ludens. Alongside the many chairs, stools and tables in the catalogue, it is striking to see original brooms and clothes hangers, dish drainers and bottle racks, kitchen clocks and watering cans, umbrella stands and folding ladders, shopping trolleys and clothes stands, as well as a couple of provocative off topic items: a dog kennel and a bird table. And yet the different functional objects meet with the various families of furniture items in a natural and informal interplay of curious and unpredictable elective af nities. This has always been one of the miracles of Italian design: the ability to put together in the same workshop different authors with different poetics, which (if well-coordinated within a strong, attentive and mindful publishing ethos) are then actually drawn closer together around

a shared publishing project that enables the various objects in the catalogue to interact naturally. The search for this quality of work has led the theme of individual furniture items to become emblematic of Italian design culture for the home. Indeed, as was clearly illustrated at the 1972 MoMa, New York, exhibition Italy: the new domestic landscape, Italian design is above all about creating environments, a response to the evolving lifestyles and behaviours that effectively design our ever-increasing, and increasingly variable, living space.

Magis writing

For a publisher of multiples, the identi cation of the materials with which the author should work is undoubtedly a major factor conditioning the linguistic research in the narrative text, and is introduced through the production process. In this speci c case (designer furniture, especially done the Magis way), the research leads us to discover a formal code, adopted by the designer to express an ideal perceptual/symbolic sense of what he proposes will be the most pleasant and practical way of using the object in question. Here it is interesting to observe that throughout the history of Magis, there have been eras marked by the prevalent use of speci c materials, which we might summarily de ne as follows: the solid and melamine-faced beech era, the glossy ABS era, the lled polypropylene era, the polycarbonate era, the polyurethane era, the die-cast and pro led aluminium era, the rotational moulded polyethylene era, the stamped metal and solid beech era, the iron wire era, and the wrought iron era. Naturally, just as all eras in the history of civilisation have been marked by the use of certain materials (the bronze age, the iron age and so forth), the overlaying and integration of these eras is a constant throughout its historic development. Paradoxically, we note that in the history of

Magis, as time has passed, rather than chasing after hyper-innovation in its materials, as was initially the case, technological research has increasingly taken an interest in harnessing the combination of different materials. This is seen particularly in sophisticated hand-crafted details, recovering the techniques and processes of bygone days, such as wrought iron, a material that offers a particular expressive and empathic charge with a strong poetic reaction. But also in the case of carbon bre hidden between the layers of plywood to ensure greater resistance and elasticity in the smallest possible thickness, we see signi cant evidence of that drive to use materials in an inverse or at least alternative semiotic key. From an industrial slant, the dominant sign becomes the construction detail derived from the lesson of things well made typical of Italian craftsmanship at its best. This dimension of design once again harnesses the physical quality of hand-made pieces, and today it is the expression of a world that seeks to embrace the most coherent and sustainable ways of living mindfully on this planet, with which we need to nd our way back to a harmonious relationship. To this end, the industrial project that is Magis, with the encyclopaedic collection in its catalogue taxonomically divided into families, offers us a range of increasingly interrelated models that can contribute to developing a broad and sustainable culture of contemporary living. Coming back to our opening considerations on the publishing value of a designer furniture collection such as the Magis collection, perhaps it is interesting to re ect further on the relationship between a design object and a literary work, by reading (in whatever interpretative key you choose) the illuminating de nition given by the great semiologist Roland Barthes of the act of writing and of the literary value of a text. Writing, Barthes tells us, is historically an action that involves constant contradiction, based on dual expectations. One aspect of writing is essentially commercial, a

means of control and segregation, steeped in the most materialistic aspect of society. The other is an act of pleasure, connected to the deepest urges of the body and to the subtlest and most successful products of art. This is how the written text is woven. All I have done is to arrange and reveal the threads. Now each can add his own warp to the weft. 3 Magis long and highly advanced experience has given evidence, further con rmed by this latest publishing catalogue, of an ever-growing awareness of this necessary interweaving between warp and weft, between the culture of craftsmanship and that of industry, between design culture and business culture, between form and technique, between symbolic codes and practical functions, between poetry and everyday life.

Giampiero Bosoni

Note

1 Giampiero Bosoni, Blok Notes Recensioni della piccola e media industria italiana, in Domus n. 939-945, September 2010 March 2011

2 More often than not, Mari then continues by specifying that when the client has no idea of what to ask for or propose, other than the predictable expectation of a successful product, stringing together incongruous requests that essentially tell us, I want a product that looks like gold but costs very little, this is the ideal situation for the many Donald Duck designers with their artists hats on sideways, who use their brushes to create super uous, self-important and conceited objects, suitable at best to ride the wave of eeting fashion.

3 Barthes R., Variations sur lcriture (1972), Editions du Seuil, Paris 1994, published in the second volume of the Oeuvres compltes 1966-1975 (freely translated from the Italian translation, Variazioni sulla scrittura seguite da Il piacere del testo, Ossola C. (editor) Einaudi, Turin 1999).

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Ronan & Erwan Bouroullec

06 07 relationship

Konstantin Grcic

Relationship.

Naoto Fukasawa

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08 09 relationship

Stefano Giovannoni

Torbjrn Anderssen

Jaime Hayn

Jasper Morrison

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11 awards

2015

German Design Award 2015Tuffy - The Wild Bunch design Konstantin Grcic

Nomination to German Design Award 2015Spike - The Wild Bunch design Konstantin Grcic

2014

Selection for ADI Design IndexTraffic design Konstantin Grcic

Muuz International Awards 2014Outdoor categoryFolly design Ron Arad Nomination to Compasso dOro 2014S.S.S.S. design Philippe Starck with the technical collaboration of Luigi Barei Nomination to Compasso dOro 2014Venice design Konstantin Grcic Compasso dOro Award 2014Spun design Thomas Heatherwick EDIDA (Elle Deco International Design Awards) 2014Outdoor categoryFolly design Ron Arad Nomination to Designpreis der Bundesrepublik Deutschland 2014Magis Stand Salone del Mobile Milano 2013design Konstantin Grcic

Nomination to Designpreis der Bundesrepublik Deutschland 2014Folly design Ron Arad Nomination to Designpreis der Bundesrepublik Deutschland 2014Tyke - The Wild Bunchdesign Konstantin Grcic

2013

Selection for ADI Design IndexS.S.S.S. design Philippe Starck with the technical collaboration of Luigi Barei Selection for ADI Design IndexVenice design Konstantin Grcic China Home Trends Award 2013Bunky design Marc Newson 100% Design Product Guide 2013 Selected by FrameCyborg design Marcel Wanders

Designpreis der Bundesrepublik Deutschland 2013Flux design Jerszy Seymour Designpreis der Bundesrepublik Deutschland 2013Tom and Jerry- The Wild Bunchdesign Konstantin Grcic

Nomination to Designpreis der Bundesrepublik Deutschland 2013Pia design Jaime Hayon

2012

Selection for ADI Design IndexRaviolo design Ron Arad

2011

Selection for ADI Design IndexSpun design Thomas Heatherwick

Nomination to Compasso dOro 2011Piggyback design Thomas Heatherwick

Compasso dOro Award 2011Steelwood Chairdesign Ronan & Erwan Bouroullec

2010

Selection for ADI Design IndexTrattoria Familydesign Jasper Morrison

Nomination to Designpreis der Bundesrepublik Deutschland 2010Trioli design Eero Aarnio

Nomination to Designpreis der Bundesrepublik Deutschland 2010Steelwood, Chairdesign Ronan & Erwan Bouroullec

2009

Nomination to IDOT Award 2009/2010Steelwood Familydesign Ronan & Erwan Bouroullec360 Family design Konstantin Grcic

ICFF Editors Awards 2009 - Best SeatingPipe, Chair design Jasper Morrison

Designpreis der Bundesrepublik Deutschland 2009First, Chair design Stefano Giovannoni

Nomination to Designpreis der Bundesrepublik Deutschland 2009Steelwood Chairdesign Ronan & Erwan Bouroullec

Selection for ADI Design Codex 06/08Steelwood Chairdesign Ronan & Erwan Bouroullec

2008

Selection for ADI Design IndexSteelwood Chairdesign Ronan & Erwan Bouroullec

Selection for ADI Design IndexPiggyback design Thomas Heatherwick

Nomination to Compasso dOro 2008First, Chair design Stefano Giovannoni

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Awards.

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12

ICFF Editors Awards Accessories New York

IF Product Design AwardHannoverMag design Stefano Giovannoni

1998

Nomination to Compasso dOro 1998Aida design Richard SapperOAzar design Jean Marie MassaudMag design Stefano Giovannoni

1997

Premio Top Ten Promosedia, UdineSedi design Arne VehovarFlik design James Irvine

1996

Premio Top Ten and Chair of the YearPromosedia, UdineOAzar design Jean Marie Massaud

Interior Designex 1996 Product AwardsAustralia/New ZealandOboe design Jean Marie Massaud

Selection Prix dExcellance Maison Marie ClaireCanale 33 design Galli & PericoVirgola design Raul Barbieri

Prix dExcellance Maison Marie ClaireBottle design Jasper Morrison

Premio Design PlusInternationale Frankfurter MesseBottle design Jasper Morrison

1995

Premio Top Ten Promosedia, UdineTop Ten Prize Research and DesignAida design Richard SapperCappuccino design Galli & Perico

1994

Selection for ADI Design IndexDunkan I design Jean Marie MassaudPiccolo Giardino design Dorota DobrowskaSchizo design Jean Marie MassaudBottledesign Jasper Morrison

Certificate for Excellence in Design - High Point USARondinedesign Toshiyuki Kita

Premio Top Ten Promosedia, UdineTop Ten Prize Research and DesignLyraDesign Group ItaliaSchizo design Jean Marie MassaudOboe design Jean Marie Massaud

1993

Premio Top Ten Promosedia, UdineTop Ten Prize Research and DesignJolly design Marc BerthierRondine design Toshiyuky KitaSpecial prize of PromosediaGaron design Raul Barbieri

1992

Nuovo Bel Design - Salone del Mobile di MilanoTavolino design Galli & PericoGiostra design Paolo PaganiDomino design Paolo PaganiGirotondo design Paolo PaganiLizard design Dagmar Trinks

1991

Selection for ADI Design IndexRack and Ciak design Marc BerthierScalo design Rodolfo BonettoAmletodesign Group Italia

Premio Top Ten Promosedia, UdineTop Ten Prize Research and DesignRondinedesign Toshiyuki KitaMarabdesign Archap

1989

Design AuswahlStuttgartGiano design Fausto Boscariol

1988

Bio 12 - LjubjanaWing design Andries & Hiroko Van Onck

Selection Sidi - ValenciaRackdesign Marc Berthier

1987

Selection for ADI Design IndexWing design Andries & Hiroko Van Onck

1986

1st Prize PromosediaUdineLem design Andries & Hiroko Van Onck

1984

Bio 10 - LjubjanaRack Trio design Roberto Lucci & Paolo OrlandiniTotemdesign Andries Van Onck

Selection for ADI Design IndexTotem design Andries Van Onck

1981

Selection for ADI Design IndexTrio design Roberto Lucci & Paolo Orlandini

13 awards

Nomination to Compasso dOro 2008Striped Collectiondesign Ronan & Erwan Bouroullec

Compasso dOro Award 2008Trioli design Eero Aarnio

ICFF Editors Awards 2008Seating categorySteelwood Chairdesign Ronan & Erwan Bouroullec

Nomination to Designpreis der Bundesrepublik Deutschland 2008Voido design Ron Arad

Nomination to Designpreis der Bundesrepublik Deutschland 2008Dj-vu, Chair design Naoto Fukasawa

Interior Innovation Award IMM Cologne 2008 (Best Detail)Steelwood Chairdesign Ronan & Erwan Bouroullec

Interior Innovation Award IMM Cologne 2008 (Best Item)First, Chair design Stefano Giovannoni

NeueKlassiker2008Schner WohnenSteelwood Chairdesign Ronan & Erwan Bouroullec

2007

Nomination to Designpreis der Bundesrepublik Deutschland 2007Trioli design Eero Aarnio

Interior Innovation Award IMM Cologne 2007 (Best Item)Voido design Ron Arad

Interior Innovation Award IMM Cologne 2007 (Best Item)Dj-vu, Chair design Naoto Fukasawa

2006

Selection for ADI Design IndexStriped Collection design Ronan & Erwan Bouroullec

Premio Oderzo Azienda e DesignTrioli design Eero Aarnio

Designpreis der Bundesrepublik Deutschland 2006 SilberChair_One design Konstantin Grcic

Interior Innovation Award IMM Cologne 2006 (Best Item)Trioli design Eero Aarnio

NeueKlassiker2006 Schoener WohnenAir-Chair design Jasper Morrison

2005

Selection for the 100% Design/ Blueprint Award LondonTrioli design Eero Aarnio

Selection for ADI Design IndexEasy Chair design Jerszy SeymourTrioli design Eero Aarnio

Premio Oderzo Azienda e Design 2005Striped Collectiondesign Ronan & Erwan BouroullecChair_One design Kostantin Grcic

2004

Selection for the 100% Design/ Blueprint Award LondonSussex design Robin Day

Selection for ADI Design Index Peteca design Fernando & Humberto CampanaChair_One design Kostantin GrcicSussex design Robin DayPlus Unit design Werner Aisslinger

Award for Good DesignChicago AthenaeumChair_One design Konstantin Grcic

ICFF Editors AwardsBody of Work

2003

Selection for the 100% Design/ Blueprint Award LondonChair_One design Konstantin Grcic

2002

Selection for the 100% Design/ Blueprint Award LondonTam Tam design Matteo Thun

Reddot AwardPlus Unit design Werner Aisslinger

ICFF Editors Awards, Multiple ProductionNew York

2001

Selection for ADI Design IndexYpsilon design Enzo MariCentomila design James Irvine

Observeur du DesignAir-Chair design Jasper Morrison

Chicago Athenaeum, Good Design AwardAir-Chair design Jasper Morrison

2000

Premio CATAS 2000 UdineAir-Chair design Jasper Morrison

Blueprint 100% Design Awards London (Manufacturers Award)Air-Chair design Jasper Morrison

Nomination Centre George Pompidou Carrefour de la CrationAir-Chair design Jasper Morrison

Accent of Design New York Gift Show

Bio 2000 17th Biennal of Industrial Design LjubljanaYpsilon design Enzo Mari

1999

Nomination Prix dExcellanceMaison Marie ClaireOAzar design Jean Marie Massaud

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14 15 production process

Production process.

Steelwood Chair

Paso Doble

Spun

Folly

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una sua visione del mondo di oggetti che vuole produrre e interpreta a suo modo lo scenario entro cui collocarli. Uno scenario, non solo e non tanto di mercato, ma piuttosto un mondo in continua trasformazione fatto di stili di vita, comportamenti, usi e costumi che si evolvono, sintrecciano, creando nuovi riti, nuovi linguaggi, nuove espressioni, che, nel caso di unazienda di mobili, diventano nuovi spazi dellabitare. La sua motivazione certamente anche quella di conquistare una fetta di mercato, ma la sua pi profonda aspirazione, che diventa poi il suo vero scopo, pi o meno dichiarato, quella di costruire un proprio mondo in grado di affermarsi come modello di riferimento. Naturalmente a questo progetto culturale danno un prezioso e fondamentale contributo i designer, soprattutto se interpretano il loro lavoro come spesso usa de nirlo un maestro quale Enzo Mari (per altro anchesso coinvolto nel mondo Magis): il lavoro dei designer quello di quali care la domanda progettuale. Tanto pi alto il livello di quella domanda, tanto pi puntuale e signi cativo potr essere il contributo del designer. 2 In tal senso il fondatore e attuale presidente di Magis, Eugenio Perazza, ha sempre concepito il suo ruolo proprio in quello spirito di editore che cerca menti sottili e abili mani capaci di dare forma alla sua idea di oggetti pratici e gradevoli per il vivere domestico. Compito di un editore quello di de nire una linea, mettere a fuoco un contesto, sui quali ri ettere insieme a un autore perch questultimo possa poi esprimere la sua personale (ma pur sempre confrontata e condivisa) interpretazione attraverso i propri mezzi e linguaggi. interessante osservare che come un editore di libri ha nella possibilit di scegliere i formati, il tipo di rilegatura, la qualit della carta e i vari supporti gra ci (oltre a naturalmente gli autori) la condizione meta-progettuale per imprimere un carattere culturale e cos pure commerciale della sua produzione, cos anche per leditore di sedie e tavoli, il fatto di prede nire alcuni aspetti

tipologici, individuare i materiali su cui lavorare, stimolare le scelte tecnologiche-produttive, (prima e durante il percorso progettuale fatto insieme al designer coinvolto) rappresenta una condizione di progettista primo che pone le basi per lelevazione qualitativa del progetto da molti punti di vista. Il tema produttore/editore, riferito al mondo dellarredo, apre poi una particolare questione riguardo allattivazione e alla gestione dei processi di produzione rispetto alla fase ideativa e propositiva iniziale e la fase commerciale e distributiva nale. Leditore, oltre a immaginare uno scenario entro cui disegnare, e far disegnare, una strategia di forme, di espressioni, di linguaggi, e di modi in grado di generare una propria cultura dellabitare, individua e organizza le tecniche e i processi produttivi, ma non necessariamente li detiene in proprio, anzi preferibilmente li cerca, li stimola e li coinvolge come un apparato esterno, duttile e essibile. Questo concetto di piattaforma produttiva esterna, stato uno dei primi punti innovativi veri cati e conseguiti dallazienda Magis gi nei primissimi anni della sua costituzione, ormai quarantanni fa.

Il modo di Magis

Si pu dire che la produzione Magis si rappresenta nel catalogo come un chiaro campionario di utensili domestici. Diverse famiglie di oggetti corrispondono a precisi modelli duso. I linguaggi formali per quanto caratterizzati da alcuni temi estetici (che si tratti di una texture o di un inedito effetto del materiale utilizzato), sono comunque sobri e speci ci rispetto a ben de niti caratteri tecnici e funzionali: ogni pezzo ha anche una propria vena poetica che simprime come una trama ne nellordito forte del progetto industriale. interessante osservare che il catalogo Magis si formato, come programma editoriale, prima intorno a elementi di servizio di speci ca utilit, che oltre alla seduta

16 17 il mondo Magis

Il mondo MagisAppunti sulla cultura editoriale

di Giampiero Bosoni

Antefatto

Qualche anno fa il direttore della rivista Domus, Alessandro Mendini, mi interpell per scrivere con regolarit ogni mese un testo per una sorta di rubrica che abbiamo poi deciso dintitolare Blok Notes Recensioni della piccola e media industria italiana. 1 Lidea, nata insieme a Mendini, era quella di commentare la cultura del design delle aziende pi interessanti emerse, per ricerca e innovazione, fra le ultime generazioni imprenditoriali del design del mobile italiano. Per caratterizzare questa lettura si era scelto lespediente della recensione letteraria dei pi recenti (gli ultimi tre anni) cataloghi editoriali delle aziende, intesi evidentemente come i loro cataloghi istituzionali. Il gioco proposto da questa lettura era quello di recensire loggetto/prodotto comunicato sul catalogo, come un testo letterario, di fatto costituito da una struttura compositivo-lessicale (tecnica, materiali, geometrie, proporzioni) e da un racconto complessivo (ricerca tipologica e linguaggio formale) che vuole evocare diverse qualit in un concetto di visione estetico-ambientale appartenente tanto al designer/scrittore, quanto, su un altro piano, anche al programma editoriale dellazienda. Insomma leggere una poltrona o a un tavolo come un libro, che pu essere, paradossalmente o curiosamente, paragonato a un manuale scienti co o a un libretto di avventure per ragazzi, ma anche a un epico romanzo storico: tutte opere, piccole o grandi, che poi si raccolgono in collane editoriali dal loro speci co pro lo.

La scelta delle aziende era assolutamente libera, proposta da me e veri cata insieme ad Alessandro Mendini. Tanto di cappello ad Alessandro per aver saputo imporre queste scelte, che prevedevano servizi di ben 4/6 piene pagine, anche contro i desiderata degli uf ci commerciali della rivista. Per quella serie di sette aziende, che siamo riusciti a presentare su Domus, va detto che io non avevo alcun contatto diretto con le aziende: i cataloghi delle imprese scelte venivano richiesti attraverso la redazione senza speci care il motivo di questa richiesta. Quindi le aziende coinvolte scoprivano solo allultimo che avrebbero trovato diverse pagine della rivista dedicate al loro catalogo editoriale: commentato, va detto, non sempre del tutto positivamente. Fra le aziende da me individuate compariva fra le prime il caso Magis, e anche i responsabili di questa impresa, come in tutti gli altri casi, per tale ricerca non mi avevano ne visto, ne sentito telefonicamente. Probabilmente quella formula di recensione ideata insieme a Mendini e linterpretazione da me proposta rispetto alla visione di Magis con i suoi designer, ha suscitato un certo interesse per la cultura dimpresa dellazienda Magis, se i suoi responsabili, in primis il fondatore, Eugenio Perazza, insieme alla responsabile alla Comunicazione, Barbara Minetto, hanno pensato di chiamarmi per continuare quella ri essione intorno questultimo loro catalogo editoriale.

Premessa

Volendo proseguire ancora un attimo con il tema della metafora editoriale pu essere utile qui riaffermare un banale assioma, ovvero che dietro un programma editoriale c sempre inevitabilmente un editore, il quale nella fattispecie qualcosa di pi di un semplice imprenditore dedicato solo al lato produttivo e commerciale: leditore innanzitutto un progettista primo, che ha

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potevano essere scalette pieghevoli o assi da stiro, poi si concentrato sul tema basilare della sedia sviluppando anche una grande attenzione per la tipologia dello sgabello; in seguito sono arrivati i tavoli e i contenitori, pi recentemente si sono visti comparire anche alcuni elementi imbottiti, divani e chaise longue: come se un editore di libri avesse iniziato a stampare prima fascicoli divulgativi, poi libri tascabili, magari di una collana che per quanto in edizione economica comprende anche dei classici, e via via, a seguire, anche la veste editoriale si diversi cata sempre pi, sia in termini di formati che di contenuti, e il tutto sembra voler prendere una dimensione quasi enciclopedica e universale. Nella ricerca di un corretto rapporto tra coerenza produttiva, razionalit funzionale e piacere duso delloggetto, la cultura progettuale di Magis ha praticato, con quellorgoglio della modestia tipico della migliore tradizione del progetto moderno in Italia, un percorso che per cos dire ha riletto il senso dellabitare contemporaneo partendo dalle fondamentali aree di servizio della machine habiter (dallo sgabuzzino alla cucina) per arrivare a ride nire gli strumenti tanto funzionali quanto rappresentativi dellintero paesaggio domestico, dove tra razionalit e ricerca di un ampio e vario piacere edonistico si mette in scena la vita dellhomo ludens dei nostri giorni. Colpisce vedere nel catalogo insieme a tante sedie, sgabelli, tavoli anche inedite scope e grucce per abiti, scolapiatti e portabottiglie, orologi da cucina e innaf atoi, portaombrelli e scalette pieghevoli, carrelli per far la spesa e servomuti, per non dire dei provocatori fuori tema: casa per cani e tavolino per uccelli. Eppure i diversi oggetti di servizio sincontrano con le diverse famiglie di elementi di arredo secondo un naturale e informale gioco di curiose e imprevedibili af nit elettive. Questo sempre stato uno dei miracoli del design italiano, ovvero la capacit di far lavorare insieme, o meglio vicino, nella stessa bottega/laboratorio, diversi autori con diverse

poetiche, ma poi di fatto (se ben coordinati dentro un forte spirito editoriale, attento e consapevole), af nati a un comune progetto editoriale che fa naturalmente dialogare i vari oggetti del catalogo fra loro. Una ricerca della qualit del fare che ha fatto diventare il tema del mobile singolo un episodio emblematico della cultura del design italiano dedicato al paesaggio domestico. In effetti, come aveva ben messo a fuoco la mostra al MoMa di New York del 1972, Italy: the new domestic landscape, il design italiano soprattutto unidea di progetto di ambienti, nel senso anglosassone di environments, interessato a dare risposte allevoluzione degli stili di vita e dei comportamenti che di fatto disegnano il nostro sempre pi ampio e variabile spazio dellabitare.

La scrittura Magis

Per un editore di multipli lindividuazione dei materiali con cui deve lavorare lautore senza dubbio un fattore di condizionamento importante portato dal processo produttivo nella ricerca linguistica del testo narrativo. Il risultato di tale ricerca nel nostro caso (forniture design e in particolare nel modo Magis) corrisponde al linguaggio formale adottato dal designer per identi care un ideale senso percettivo/simbolico di quella che si propone dessere la pi piacevole e pratica condizione duso delloggetto progettato. interessante in tal senso osservare come nella storia di Magis si siano proposte, quasi come delle epoche scandite dalluso prevalente di speci ci materiali, che potremmo cos sinteticamente de nire : let del faggio massello e stampato, let dellABS lucido, let del polipropilene caricato, let del policarbonato, let del poliuretano integrale, let dellalluminio pro lato e pressofuso, let del polietilene in rotational moulding, let della lamiera stampata e masselli di faggio, let del lo di ferro, let del ferro battuto. Naturalmente come per le et che nella storia della civilt sono state scandite

18 19 il mondo Magis

dalluso dei materiali (et del bronzo, et del ferro e cos via), la sovrapposizione e lintegrazione di queste epoche sono continue nel suo sviluppo storico. Paradossalmente si pu notare che nella storia Magis col passare del tempo la ricerca tecnologica pi che inseguire liper-innovazione dei materiali, come stato allinizio, si interessata parallelamente e sempre pi alla valorizzazione dellaccostamento dei materiali, soprattutto in termini di so sticata artigianalit del dettaglio, di recupero di tecniche di lavorazione quasi arcaiche, come il ferro battuto, materia dalla particolare carica espressiva ed empatica a forte raction poetique. Ma anche il caso della bra di carbonio nascosta tra delle fasce di compensato per garantire una maggiore resistenza ed elasticit nel minimo spessore possibile del compensato di legno, un indizio signi cativo di quella volont di cercare di usare i materiali magari in un concetto semiologico inverso o per lo meno alternativo, dove in una chiave industriale il dettaglio costruttivo derivato dalla lezione del ben fatto tipico del migliore artigianato italiano diventa il segno dominante. Ma questa dimensione del progetto che torna a valorizzare la matericit qualitativa del fatto a mano, oggi nei caratteri di un mondo che cerca di comprendere le propriet pi coerenti e sostenibili del nostro modo di abitare consapevolmente questo pianeta sul quale dobbiamo ritrovare un rapporto armonico. In tal senso il progetto industriale Magis con la raccolta enciclopedia del suo catalogo, tassonomicamente diviso per famiglie, ci propone una gamma di modelli sempre pi relazionati in grado di sviluppare un valore ampio e sostenibile della cultura dellabitare contemporaneo. Per ritornare al nostro discorso iniziale sul valore editoriale di una collezione di design nel campo dellarredamento, come appunto quella di Magis, pu essere forse interessante ri ettere ancora sul rapporto tra lopera di design e lopera scritta, tra oggetto progettato

e testo letterario, attraverso la lettura (nella chiave interpretativa che si preferisce) dellilluminante de nizione che il grande semiologo Roland Barthes ha dato dellatto di scrivere e del valore letterario del testo. La scrittura afferma Barthes - storicamente unattivit continuamente contraddittoria, articolata su una duplice istanza: per una parte un oggetto strettamente mercantile, uno strumento di potere e segregazione, intinto nel fondo pi crudo della societ; e dallaltra una pratica di godimento, legata alle profondit pulsionali del corpo e alle produzioni pi sottili e pi felicemente riuscite dellarte. Ecco la trama del testo scrittorio. Non ho fatto qui che disporre e dispiegare le la. A ciascuno ora il proprio ordito. 3 La lunga ed evoluta esperienza Magis ha dato prova, confermata ancor pi in questultimo catalogo editoriale, di una sempre maggiore consapevolezza di questo intreccio necessario tra trama e ordito, tra cultura artigianale e cultura industriale, tra cultura del design e cultura dimpresa, tra forma e tecnica, tra linguaggio simbolico e funzione pratica, tra poesia e vita quotidiana.

Giampiero Bosoni

Note

1 Giampiero Bosoni, Blok Notes Recensioni della piccola e media industria italiana, In Domus n. 939-945, Settembre 2010 marzo 2011

2 In genere Mari prosegue speci cando che quando invece il committente non ha alcuna idea di cosa domandare e proporre, ma ha solo la pretesa di pretendere banalmente un prodotto di successo mettendo in la domande progettuali incongruenti che in sostanza dicono voglio un prodotto che sembri oro, ma costi poco, allora questa la situazione ideale per i tanti designer-paperino con il capello dartista di traverso, i quali con il loro pennello danno vita a oggetti ridondanti, autoreferenziali e presuntuosi, adatti, quando va bene, per cavalcare la moda del momento.

3 Barthes R., Variations sur lcriture (1972), Editions du Seuil, Parigi 1994, pubblicato nel tomo II delle Oeuvres compltes 1966-1975 (trad. it. Variazioni sulla scrittura seguite da Il piacere del testo, Ossola C. (a cura di) Einaudi, Torino 1999).

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Hotel El EncantoAcapulco, Mexicoproject: Miguel Angel ragonesph. Nicola Lorusso

Voido + Cyborg

20 21 contract

Rolex Learning CentreLausanne, Switzerlandproject: Studio SANAA

Air-Chair

Design MuseumHolon, Israelproject: Ron Arad

Folly Contract.

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209

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22

Panta Rhei SchoolAmstelveen, The Netherlandsproject: i29 Interior Architects

Chair_One

Muse dOrsay Paris, Franceproject: Wilmotte & Associs

Cyborg

23 contract

The Metropolitan HotelBangkok, Thailand

Bombo

Camper ShopParis, Franceproject: Ronan & Erwan Bouroullec

Steelwood Shelving System

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209

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Magis headquarter

211

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210

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fo

1, 2, 3360, chair360, container360, stool360, table

A

A, B, CAidaAir-ArmchairAir-ChairAir-TableAl BomboAmletoAnnettArcheToysAviva

B

BaguetteBig WillBird TableBirds on a WireBombo, chairBombo, chair on wheelsBombo, stoolBoogie WoogieBottleBoxBridgeButch - The Wild Bunch

C

CalippoCappuccinoCentralChair_One Chair_One_4StarChair_One PSS 1Chair_One PSS 2Cosino Cu-ClockCyborg

D

Dj-vu, chair Dj-vu, mirrorDj-vu, stoolDj-vu, tableDish Doctor Dove

E

Easy Chair Easy TableElyse Eretteo

F

First, chair First (Dressed)First, tableFlare FlFlowerFlux

Folding Air-ChairFollyFour Leaves

G

GarageGaronGibusGloboGoccia

H

Hercules

L

La ValiseLemLyra

M

Magis Dog HouseMagis ProustMagis WagonMag MariolinaMemoMeteoMy Storage

N

NimrodNuovastep

O

Officina

P

Paso Doble, chairPaso Doble, chaise longuePaso Doble, foot-stoolPaso Doble, low chairPaso Doble, stoolPasse-partoutPebblesPiggybackPilaPiloPia, armchairPia foot-stoolPia, low chair Pia, low tablePia, rocking chair Pipe, chair Pipe DreamsPipe, stoolPipe, tablePizza TablePlus UnitPoppinsPronto

R

RackRavioloRock

S

SohoSpike - The Wild BunchSpunS.S.S.S.Steelwood Chair Steelwood Coat Stand Steelwood Shelving System Steelwood Stool Steelwood Table StillStool_One Striped, chairStriped, foot-stoolStriped, low chairStriped, stoolStriped, table Sussex, bench Sussex, table

T

Table_OneTable_One BistrotTambour TeatroTempoThecaTibuTide To the WallTogo Tom and Jerry - The Wild BunchTopsy - The Wild BunchToscaTraffic, armchairTraffic, benchTraffic, chaise longueTraffic, platformTraffic, sofa Traffic, tableTransit TrashTrattoria, chairTrattoria, table Troy, chairTroy, stoolTubbyTuffy - The Wild BunchTyke - The Wild Bunch

V

Vanity ChairVanity TableVeniceVigna, chairVigna, tableVikingVoido

X

XXXZ3

Z

Zartan

Chairs + Armchairs

Aida Air-Chair Air-Armchair BomboChair_OneChair_One_4StarCyborgDj-vuEasy ChairFirst First (Dressed)Flux MariolinaPaso DoblePilaPiaPipeSteelwood ChairStillStripedToscaTrattoria TroyTuffy - The Wild BunchVanity ChairVeniceVignaZartan

Folding chairs

AvivaFolding Air-Chair

Chairs an wheels

360AnnettBombo SohoTroy

Stools

360 Al Bombo Bombo Dj-vuLyraPaso DoblePipeS.S.S.S.Steelwood StoolStool_One StripedTibu Tom and Jerry - The Wild Bunch Troy

Low chairs + Chaise longue

FlowerMagis ProustNimrodPaso DoblePiaRavioloSpunStripedTrafficVoido

Public seating systems + Benches

Chair_One PSS 1Chair_One PSS 2 FollySussex

Tables + Low tables

360 Air-Table Baguette Big WillButch - The Wild BunchCalippoCentral Dj-vuEasy Table FirstFlareLemOfficinaPasse-partout PiggybackPiloPiaPipePizza TableSteelwood TableStripedSussexTable_OneTable_One BistrotTambourTeatroTopsy - The Wild BunchTrafficTrattoriaVanity TableVignaXZ3

Shelving systems

Boogie WoogieCosinoElyse My StorageSpike - The Wild BunchSteelwood Shelving SystemTideTo the WallTyke - The Wild Bunch

Drawers + Shoe storage system

360GaragePlus UnitRackTheca

Coat stands + Coat hangers

Birds on a WireBridgeFour LeavesGloboSteelwood Coat StandTogoViking

Umbrella stands

Eretteo GocciaPoppins

Step-ladders

FlNuovastep

Accessories

1, 2, 3A, B, CAmletoBottleBoxCappuccinoCu-ClockDj-vu Dish DoctorDoveGaronGibusHerculesLa ValiseMagis WagonMagMemoMeteoPebblesPipe DreamsProntoRock TempoTransitTrashTubbyXX

Fuoritema

ArcheToysBird TableMagis Dog House

Category indexAlphabetical index

213 214215218

220-221222

223227228229230231232234

236-237235

238241242-243

245246247248249

250265266267268269

270-271

217233

212216219244

252265

272273274275276

278-279277280281282283284285

286-287

361362363364365

366366367367368369369

370370371

372372

373373374374375375377376377378378379379380380381382382383383384384385385386387386

388-389390391

288-289290291

292294295297

298299

300-301302307

308

310311

309312

313314315

316-317318319320

321-322323324325326

327331332-333

334335336337338339340341342343344345346347348349350351

352353354355356357358359360

373212361272313

373213215214314273374216

388-389217

315316-317

390366218219274352374375366318

319375320

220-221222310311

353377

223227

228376275

321-322377378

229323354370

230231324325372

288-289232

244356299280245368357281339246282247301

300-301283340312341

342343344345385365284358359369285346248

302-303307306305304347385386249348

250265286-287

387266360

267349268269350369308

386351

270-271

233309367

362378379367370

379

380326276

391290380381234382382355

291372

327331

236-237292294

293-294278-279332-333

383334235335

238240295-296295297

336241

242-243383277337338363371384

364298384

213

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212

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360 design Konstantin Grcic, 2009

Matt colourOlive Green 1551 C

Matt colourOrange 1658 C

Matt colourLight Grey 1707 C

Matt colourBlack 1764 C

6363

69 / 7847/56

Swivel chair on 5 wheelsAdjustable in heightwith gas piston. Material: frame in steel painted in epoxy resin. Foot-rest in die-cast aluminium. Seat in integral self-bearing polyurethane.

Silla giratoria sobre5 ruedasRegulable en altura con pistn de gas. Material: estructura en acero barnizado epoxi. Reposapis en aluminio fundido a presin. Asiento en poliuretano integral autoportante.

Chaise pivotante sur5 roulettesRglable en hauteur avec piston gaz. Matriaux: structure en acier verni en rsine poxy. Repose-pieds en fonte daluminium. Assise en polyurthane intgral autoportant.

Stuhl, auf 5 Rollen,drehbarPneumatisch hhenverstellbar. Material: Gestell aus Stahl, epoxylackiert. Fusssttze aus Aluminium-Druckguss. Sitz aus Polyurethan-Integralschaum, selbsttraggend.

Sedia girevole su 5 ruoteRegolabile in altezzacon pistone a gas. Materiali: struttura in acciaio verniciato in resina epossidica. Poggiapiedi in pressofusione di alluminio. Sedile in poliuretano integrale autoportante.

Cha

irs

+ A

rmch

airs

Cha

irs

+ A

rmch

airs

Aida design Richard Sapper, 2000

5761

54

85,567

44

57 54

85,5

44

Stacking chairAlso available with arms.Material: frame in chromed steel rod. Seat in standard injection-moulded polypropylene. Linking device available.Material: nickel plated steel.

Silla apilableVersin con brazos.Material: estructura en barra de acero cromado. Asiento en polipropileno moldeado por inyeccin estndar. Disponibles tambin ganchos de unin. Material: acero niquelado.

Chaise empilableDisponible aussi avec accoudoirs.Matriaux: structureen l dacier chrom. Assise en polypropylene moul par injection standard.Disponible aussi avec couple dailettes dattache. Matriaux: acier nickel.

Stuhl, stapelbarAuch mit Armlehnen lieferbar.Material: Gestell aus verchromtem Stahldraht. Sitz aus Polypropylen. Hergestellt im Standard-Einspritzverfahren. Reihenverbindungspaar separat erhltlich. Material: vernickelter Stahl.

Sedia impilabileVersione anche con braccioli.Materiali: struttura in tondino di acciaio cromato. Sedile in polipropilene stampato ad iniezione standard.Disponibili alette di aggancio. Materiale: acciaio nichelato.

Matt colourYellow 1030 C

Matt colourRed 1100 C

Matt colourWhite 1730 C


215

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214

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tec

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ica

l in

foC

hair

s +

Arm

chai

rs

Cha

irs

+ A

rmch

airs

Air-Chair design Jasper Morrison, 2000

77,5

49 51

47

Stacking chairMaterial: polypropylene with glass bre added. Air-moulded. Suitable for outdoor use. Linking device available. Material: PVC.

image / p. 39

Silla apilableMaterial: polipropileno reforzado con bra de vidrio en air moulding. Apta para el exterior. Disponibles tambin ganchos de unin. Material: PVC.

Chaise empilableMatriaux: polypropylne charg avec bre de verre en air moulding.Conue pour lextrieur.Disponible aussi avec couple dailettes dattache.Matriaux: PVC.

Stuhl, stapelbarMaterial: Polypropylen mit Glasfaser verstrkt. Hergestellt im Gaseinspritzverfahren. Auch fr den Aussenbereich geeignet. Reihenverbindungspaar separat erhltlich. Material: PVC.

Sedia impilabileMateriali: polipropilene caricato di bra di vetro stampato in air moulding. Adatta anche per esterni. Disponibili alette di aggancio. Materiale: PVC.


Matt colourBrick 1135 C

Matt colourFuchsia 1150 C

Matt colourGreen 1320 C

Matt colourBeige 1450 C

Matt colourDark Green 1554 C

Matt colourPure White 1690 C



Air-Armchair design Jasper Morrison, 2006

53 50,5

45

72,5 68

Stacking chair with armsMaterial: polypropylene with glass bre added. Air-moulded. Suitable for outdoor use.

image / p. 38, 39

Silla con brazos apilableMaterial: polipropileno reforzado con bra de vidrio en air moulding. Apta para el exterior.

Chaise avec accoudoirs,empilableMatriaux: polypropylne charg avec bre de verre en air moulding. Conue pour lextrieur.

Stuhl mit Armlehnen,stapelbarMaterial: Polypropylen mit Glasfaser verstrkt. Hergestellt im Gaseinspritzverfahren.Auch fr den Aussenbereich geeignet.

Sedia impilabile conbraccioliMateriale: polipropilene caricato di bra di vetro stampato in air moulding. Adatta anche per esterni.


Matt colourFuchsia 1150 C

Matt colourGreen 1320 C

Matt colourGrey Anthracite 1418 C

Matt colourBeige 1450 C

Matt colourPure White 1690 C


217

M

ag

is

216

H

ome

Aviva design Marc Berthier, 1979/2010

FinishBeech

FinishBeech Stained Black

46

80

47

87

42

80 80

4665

4255,5

Folding chairAlso available with arms.Material: solid beech, natural or painted.

image / p. 14-15

Silla plegableVersin con brazos.Material: madera maciza de haya naturalo barnizada.

Chaise plianteDisponible aussi avec accoudoirs.Matriaux: htre massif, naturel ou teint.

KlappstuhlAuch mit Armlehnen lieferbar.Material: massive Buche, naturfarben oder lackiert.

Sedia pieghevoleVersione anche con braccioli.Materiale: massellodi faggio naturaleo verniciato.

Annett desi

magis cat home

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