“The sign of mankind marks every possible heaven on earth.”
Dino Gavina

It was a pleasure to design a space to display such amazing designers as – among the others – Man Ray, Roberto Matta and Tobia Scarpa. The brand name literally means “an heaven” (paradiso) “on earth” (terrestre). Starting from this meaning, the visual approach finds its focus on the menu (centered on the y-axis) as a meeting point between the top (heaven) and the bottom (earth). The images follow this vertical movement entering the page from opposite positions, but always finding their common ground in the middle of the screen.

paradisoterrestre.it

Collaboration with Andrea Guccini

Brand communication for Paradisoterrestre – historic Italian design brand founded by Dino Gavina – from the technical sheets to price list, from the social media to the certificates. It was a pleasure to have had the chance to design for such amazing designers as – among the others – Man Ray, Roberto Matta and Tobia Scarpa.
Collaboration with Andrea Guccini.

Rebranding and website for the Italian firm Bardelli Filati. Made in Italy high quality yarns for knitwear and hand-knitting in natural fibres. Project with Andrea Guccini
bardellifilati.com

Visual identity designed for Tobia Scarpa’s exhibition “Dall’arte della misura silenziosamente” presented by Paradisoterrestre on the occasion of Arte Fiera.
The show defines itself as an uncritical interpretation of the enigmatic artwork “Melencolia I” by Albrecht Dürer (1514). Since its birth the engraving has obsessed many literati, intellectuals and artists repeatedly. Among these, Tobia Scarpa focuses on two specific geometric elements of Dürer’s work – the polyhedron and the magic square. Researching hidden sides and identifying symmetries the designer created three limited edition artworks for Paradisoterrestre (two sculptures, Festuca Lapis in marble and Scudo Magico in iron and brass and Geometrie Nascoste, a print in a limited edition of 100).
Without breaking the conceptual continuity with the mathematical field, the exhibition identity silently strengthen its title. Through a meticulous typographical approach each letter’s position – as well as each empty space – is measured without leaving anything to chance and eventually reshaping the appearance of the chosen words.
Project with Andrea Guccini.

Promise è uno spazio di empowerment femminile dove diversità e distanze acquistano valore. Un’associazione nata con l’obbiettivo di creare uno spazio in cui ciascuna donna possa portare il suo contributo, indipendentemente dalle diversità o dalla condizione di fragilità in cui si trova. Promise crea spazio al desiderio di riscatto e di realizzazione delle donne, mettendole al centro della società e realizzando un effetto esponenziale di reciproco sostegno.

Website / Instagram / Facebook / Vimeo

Visual identity, web design and development for Sylvester Pandone, Mongol Rally Team 2019.
Mongol Rally is a charity competition of almost 16.000 kilometers of dirt roads, steppes, mountains and deserts. While driving a vehicle of at least 10 years of age and with less than 1000cc engine size, each team will test its abilities through 18 countries.

MadTools is a newborn company working in the field of metal cutting that is lead by people who are madly in love with designing and building cutting tools and driven by the customer’s needs. Its core concepts – such as customisation and tailoring – have been visualised through a strong typographical identity based on a consistent and subtle variation of selected letters. Visual identity and website designed with Andrea Guccini.

www.madtools.it

“Can a single digital image of my body call into question the perception I have of myself?” Guided by this query, The Unfamiliar Body unfolds as a speculation on the way the digital representation of the human body can affect our own self-recognition. A coded narrative experience which offers new insights into the possibilities emerging from the intersection of graphic design and coding. In a first-person narrative, the project twists the user’s digital representation until it extends into the absurd and surreal, challenging the viewer’s perception of his/her own digital likeness.

The core element highlighted in the catalogue is the architecture of the new building, where the students have been working with no departmental separations. This spatial setup has been the starting point to show the students’ artworks and the structure of the MA itself, thus the volume has been divided into four sections, corresponding to each floor and presenting what takes place in each of them. The decision to merge the students and not classify them by study course goes along with the interdisciplinary profile the academy has been shifting towards, where research-based practices have less boundaries and do not necessarily fit into established canons.

Project in collaboration with Ada Favaron and Zeynep Gürsel.

Visual identity and communication for the Graduation Shows 2018 of the AKV|St.Joost Master departments of Fine Art, Graphic Design and Photography. The design is part of the graphic identity devolped for the Institute MA Catalogue 2018.

Project in collaboration with Ada Favaron.

Does the mass media depiction of our body twist the way we perform ourself? Starting from this query the archive becomes a tool that brings to surface — and redesigns — hidden performative patterns lying behind the relationship between the body and the media. Within the framework of this research, repetition embodies a new value; it becomes a de-automatizing tool to slow down the process of reading of those patterns unconsciously perceived as automatic by the gendered body. The screening of the research project “Performative Gendered Gestures” stages the performative and emphatic side of children’s gestures, demanding a critical reinterpretation of gender and sexuality embodiment.

Al-Archive is a workshop series –– initiated by Imad Gebrayel –– inviting visual makers to visualize key moments in our recent history through comparing sources and contexts and encouraging cross-disciplinary collaborations. The multiple outcomes and perspectives are meant to be collected and mediated as a subjective archive targeting communication and media platforms. This specific project outcome shows through a website a comparison between the casualties of 9/11/2001 and the civilian death toll of the American war in Afghanistan 2001-8/2016.

Designed with Imad Gebrayel.

ìpsilon is an Osteopathic Studio in Bergamo (IT). Taking inspiration from the roots of Osteopathy, the design plays with the idea of the person as a unit of body, mind, and spirit. In order to underline the importance of movement within the osteopathic field, the chosen name recalls the shape of a dynamic body from a typographical point of view; its three declinations can be visually associated to the previously named units — body, mind and spirit — underlining their own interdependence in a playful way.

The use of the body as an expressive medium within the art field has always been object of critique and censorship by politics and society. The poster wants to show examples of different artists’ works that — from 1800 until today — have been victim of censorship due to their choice of embracing the human body’s representation as an artistic tool. The accent is on the path that censorship itself followed through the centuries, from a “physical” to a digital form. Facebook’s role within this scenario is visually recalled by the use of its colour palette that — through a chromatic growth towards the social network’s colour code — censors the artworks. The design of the A1 poster shows information in a schematic way — as a catalogue would do — in order to offer a layer of lecture that demands from the audience an high concentration level: an interpretation explicitly opposed to the way we are used to in digital environments.

“What makes a difference; materiality, concept, perspective? Material is the substance that comprises the whole, a gestalt matter of that which is tangible. Or is it? The material that leads to a play or a comedy routine isn’t tangible. So then, is material a tool? A yard of fabric? Is material a quality? Whether substantial or a mode of philosophical reasoning in our work; there is no material difference.” The visual grid system developed has its roots in the symbol used by the MFA students to represent their course. Its lines grow, reflect horizontally and suddenly form a grid that is supposed to divide and separate the works… but it doesn’t: the seven projects escape the grid in order to metaphorically recall the core idea that “there is not material difference” between the exhibited works.

“Society wants us to behave in a particular way, but knowing how we frame things by ourselves, and how society frames things, is a way of breaking its expectation.” (Dana Caspersen. Cools G., Bowler L. M. (2016). “Imaginative Bodies Dialogues In Performance Practices”. Amsterdam: Valiz.) Experimental workshop aimed at enhancing and valorising the role of the sentient body as an expressive tool to generate and transmit knowledge quickly, outside the common definitions disseminated by society.

• Participants: Ada Favaron (IT), Aubane Berthommé (FR), Imad Gebrayel (LB), Sara Bagheri (IR), Stanley Obobogo (FR)
• Workshop edition: 16th of May 2017, AKV|St.Joost Breda, the Netherlands

Is this the age of the “Citizen-Designer”? The symposium “Citizen Designer” highlights the various roles designers can play in order to contribute to critical discourses in present times. For the occasion I have been asked to design the visual identity of the Symposium held in Breda (the Netherlands) the 23rd of Febraury 2017.
Designed in collaboration with Ada Favaron.

“The project of a visual book between human boundaries and graphic” — BA thesis presented at the Polytechnic University of Milan — deeply analyses the process used in order to design the visual edition of the gothic novel “The Monk”, written by M. G. Lewis (see previous project). Simultaneously the dissertation reflects on the meaning and the potentialities in relation to the existence of boundaries in the whole graphic field as well as in a singular project, in order to enhance their power in stimulating design solutions.

Visual edition of the gothic novel “The Monk” by Matthew Gregory Lewis (1796). The focus has been settled on the meaning of limits, meant as religious/social bonds, and translated into two simple graphic marks repeated in every single page. In relation to these lines the width of the different paragraphs changes depending on characters’ behaviour, following three different increasing steps. Simultaneously the nouns that lead into temptation are marked in order to strengthen the main concept, and the print on the spine forms a path that represents the main character’s “moral fall”. The red shade (obtained through a Risograph printer) is repeated on the cover as well as at the beginning of every chapter, in order to give the reader the same feeling of obsession and repetition one can find in the book.

“We collect design studios, you discover the ones that are suitable for you.” In Thai “Nawa” is a very subtle word which has many different meanings. In the first place it stands for “new”, but it can also be used as a prefix to refer to innovation or even to the number 9. The polysemic and ambiguous nature of this word makes it a good representation of Nawa-team, which encompasses a wide range of people from various backgrounds. The idea is based on the creation of an online platform that gathers attractive design studios (from big design companies to small indipendent studios) in Milan as well as in Bangkok. The website provides an overwiew of those studios on two main levels: geographically and through an interview. Thanks to such format, Nawa offers an avenue for studios to promote themselves and for newly-graduated students to have connections with design studios that best suit them.

nawaproject.altervista.org

Sixteen pages specimen about GT Sectra, focusing not only on its different uses, shapes and details, but also on its own historical roots. The outcome is specifically designed to be an helpful tool for designers.

Experimental series about shadows and colours, inspired by several life’s circumstances.