- Massimo Iosa Ghini
Massimo Iosa Ghini
One of Italy’s best-known contemporary architects and designers, Massimo Iosa Ghini (1959) graduated from Politecnico di Milano. He has participated in avant-garde currents in Italian and European design since the mid-eighties, first founding the Bolidismo group and then as a member of the prominent Memphis group.
This important early period in his career produced a collection of upholstery for Moroso (1987) which won him the Roscoe Award.
Active in all areas of design, from interiors to product design, he has planned transportation areas and facilities (such as Kropcke metro station in Hannover for Expo 2000) and “is the creator of an aesthetic of speed and fluidity” (Treccani).
He has produced numerous commercial projects for well-known brands such as Ferrari, Capital Group, IBM Italia, CMC Group Miami, Seat Pagine Gialle and Alitalia, for which he has designed showrooms and stores all over the world.
His many showrooms designed since 2002 for Ferrari have made Iosa Ghini one of the prestigious brand’s corporate design identity representatives: they include the store in central Milan (2005) and the Factory in Serravalle Scrivia (2009), as well as the Maserati Museum in Modena and the restyling of the Ferrari Museum and Gallery in Maranello (2004).
Since the year two thousand he has designed The Collection shopping mall in Coral Gables, Miami; the interior design of the New York Palace in Budapest; and renovation of San Marco Garage in Venice (2006).
He has lectured at numerous schools and academies including La Sapienza in Rome and Politecnico di Milano, Elisava School of Design and Engineering in Barcelona, Design Fachhochschule in Cologne, and Hochschule für angewandte Kunst in Vienna.
Two important anthological exhibitions have covered his thirty-year career: one in 2013 at Triennale di Milano and a recent exhibition at MAMbo in Bologna.
- Divano Frame e Tavolo Double Frame, Rossato Arredamenti, 2014
- Cabina armadio Kabina, Astor, 2014
- Cucina Frame, Snaidero, 2014
- IBM Italia, interior design, Roma (Italia), 2010
- Gioielleria Faraone, interior design, Milano (Italia), 2010
- Lampade per Leucos: Aria, 2010; Spore e Sasso, 2009
- Ferrari factory, Serravalle Scrivia (Italia), 2009
- Ministero Affari Esteri - Circolo M.A.E., Roma (Italia), 2009
- Poste Italiane, Uffici e spazi pubblici, interior design, Roma (Italia), 2008
- Full Circle Ltd, One 4 Units, Nicosia (Cipro), 2008
- Billionaire Italian Couture Stores, interior design, 2008
- Kiko Make Up, interior design, Milano (Italia), dal 2006
- Progetto The One Building, Miami (USA), 2004
- Stazione metropolitana Kropcke, Hannover (Germania), 2000
- Lampade Occhio e Faro, Memphis, 1988
- Mobile Bar Bertrand, Memphis, 1987
- Divano Elittico; panca Plana; divano Balzo; chaise longue Futuro, Moroso, 1987
- Poltroncina Otello, Memphis, 1986
What can we expect to see at MAMbo in Bologna? How did this thirty-year adventure begin?
The exhibition at Mambo reflects my own personal evolution, the evolution of the world of design and the evolution of Italian society and lifestyles, all starting in the '80s, a time of great power and strength. I started out in fashion, and in fact the exhibition includes some of my designs for Ferré, Krizia and other stylists at that time.
What is Bolidismo, the movement you became famous for when you were still very young, and what is its message for the present day?
Bolidismo’s manifesto was all about speed. There was no internet in those days, but the movement had an inkling of the idea of simultaneity, of a world in which information would travel much faster, practically instantly. And our reaction, as young architects, was to represent speed in the physicality of objects, in the objects themselves.
You have worked on a lot of shops and showrooms in your career. How has retail design changed in recent years, and how do you think of it today?
The first shops of any real importance that I worked on were Swatch stores. After which Elio Fiorucci asked me to design some of his stores, which were already something like a chain. And now this is the method: we come up with a concept and apply it to the world as a system, in some cases on a very large scale.
Then there are some retail projects linked with brands that don’t sell a physical product. We recently worked on IBM briefing centres, which are places where the company receives a brief from the client about the software. It’s still a matter of sales, not of a material product but of a project. There’s a shift from the atom to the bit.
The Mambo exhibition includes projects you designed for both Italian and international companies. How has the designer’s relationship with the client changed?
The Italian productive system generated an opportunity to cultivate creativity. Our industry is made up of lots of small but very flexible companies capable of working on projects that the big international companies wouldn’t dream of working on. And this is where the difference lies: the ability to set your heart beyond the barrier, which is a rule for us, an ability that we need to continue developing.
Tell us about Oko, the residential and office complex in Moscow, an important interior design project you currently have underway.
The Oko Office Building is a big complex in Moscow City, Moscow’s office district. In this project we’re using 150x300 cm tiles, a major technological innovation developed in recent years by Iris-FMG Fabbrica Marmi e Graniti, with some really new finishes. It truly is a pleasure to see them made, because these are surfaces that have very little grouting, creating a very prestigious look that I like to use both on the floor and, in part, on the walls.
And what does Massimo Iosa Ghini have to say about sustainability?
I think that what sustainability means today is managing to come up with new interpretations of the idea that we need to save energy, without giving up the effect of surprise, of discovery. Because this is the point: we need to make things that are sustainable, but beautiful too!
Linea di Luce came about after designing the Iris-FMG showrooms, in which the key idea is dematerialisation. A showroom must provide a background for a product, without competing with it for attention. The basic idea is transparency, light, intangibility as the substrate supporting the tile itself, to highlight all its expressiveness.
The idea of light also inspired me outside the building, where the product is clearly showcased in application in a public space, which also represents the company for practical purposes, where it can organise events. Conceptually the result is a sort of embrace, because the space has a curved shape inspired by the ancient Greek amphitheatre.
To me architecture is design, but also a place of dialogue determining something physical, a manufacture which is based on our culture, on the imagery we all have as citizens living in the city.
Related Articles: Massimo Iosa Ghini
most viewed architects
The Piranesi Prix de Rome for Lifetime Achievement was presented to Francesco Venezia at Casa...
The project entered by the team Pedro & Juana under the guidance of architects Ana Paula Ruiz...
Alessandro Melis is appointed curator of the Italian Pavilion in the Architecture Exhibition at Biennale di Venezia
Minister of Culture Alberto Bonisoli announced on March 8 that architect Alessandro Melis would be...