do ut do 2014

Model of a fully automatic office chair, ergonomically designed with a wide range of features.
This example aims more for aesthetic quality than the ​​expressive values of its particularly advanced technology, achieving a "soft tech" result. The upholstery is removable and can be customized with different solutions. The automatic forward tilting mechanism helps blood circulation in the lower limbs, while the column of the high backrest enhances back support.
The series production of this model won the Compasso d'Oro Award in 1991.

The bracelet is in silver but its shape resembles something sartorial and, like most garments, it has two colours: silver on the outside, enamelled acid yellow on the inside. Depending on the angle of the flare one wishes to show, it can be worn in a number of ways and, when not being worn, it transforms into a truly decorative piece of furnishing if resting on a flat surface, and can act as a table or furniture ornament, a vase.
The size, the elaborate form and shiny material give it the dignity of a design object.

This sculpture-chandelier is made of a series of joined tri-dimensional elements with low lighting. These shapes, produced on rough "ghinea" 100 % cotton canvas, recall a symbology which is now part of Balzano’s artistic production. Such canvas rolls, found in an old storage area made by "Cotonificio Veneziano" in the 40's-50's, were meant to become pillow cases and sheets. This work is a part of a never-ending search for balance between rationality and instinct, religion and folk beliefs, being and appearance, life and death.

Elegance and function are inextricably linked to form a sculpture of intersecting structures, creating a bridge, a command post, representing the solid, dynamic essence of human action. This action becomes, day after day, without hesitation or second thoughts, the certainty of having reached a clear milestone along the journey of life. “Mast” is the union of precious materials, technical solutions and far-reaching aspirations, the presidential furniture with its spatial elements and stunning suspended sections shows that any dream is possible.

The gift is part of a collection of thirteen terracotta vases, moulded to form an allusion to trees. The objects are presented as table architectures, and they demonstrate the size and the scope of the gestures and of the hands that crafted them. They are matt black enamel vases and the sections of their trunks are in terracotta colour. The presence of flowers with their distinctive shapes and colours contrasts with the plain geometry of these primary forms. “Vase 13” is signed on the bottom “Mario Botta P.A.”

The “Bague" stool together with the related table is part of a collection. The form of this sculptural stool is inspired by a ring, and was made from a single block of Polyurethane. The type of finish is exclusive to do ut do.

It alludes to a non-symmetric solid. We can also find this in the 20th century avant-garde as a "dynamic motion of the masses." Asymmetry appears here as a "moment of progression towards a fulfillment that will take place in the finding of symmetry - Gratia perficit naturam - ". The creature, just like the work, is pure nothingness.

First designed in 1937 by the creativity of Jac Jacobsen, the lamp "JJ" is one of the most famous icons of design in the world. Leucos proposes the archetype, revisiting the original solely proportions.
A rigorous design, clean lines and the choice of a material such as aluminum are the main features that have made this lamp a timeless, yet contemporary today.

"A delicate work involving white, gray and silver painting on a white lamp. Small geometric light presences that do not upset the form but rather enhance the content. Joyous creations born on the object like crystals on the walls of a cave”. M. Jori

“Mappamondo 6” is part of a series of works commissioned to the artist by Franco and Roberta Calarota for an important show at the Museo Internazionale delle Ceramiche in Faenza in 2011. In this series Chia gives birth to new experimentations with the matter. The artist creats a poetic continuum where the sign is transferred from the canvas to the ceramic surface, to the clay, embraces its secrets and reflects its fragility in an intriguing dialogue between two clearly distinct languages: bronze

Cementofono is an outdoor diffuser that allows creating a unique sound ambience. Activated either by voice or through a technological device, it amplifies sound waves which create a striking atmosphere redefining the boundaries of the surrounding space.
Two pieces were specifically made for the ""Do ut Do"" event: one in white to reproduce the natural colour of the basic i.design Effix material and the other one in orange gold. A soundscape has been created for the project, composed of two complementary files that users can download through QR codes.

From 2004 De Lucchi sculptures little wooden houses with the chain saw to create the essentiality of the architecture. 

"(…) I moved from the lightness and quietness of the pencil to the roughness and din of the power saw, but without sacrificing my effort to treat the wood tenderly. These are solid little houses, found inside dead tree trunks knocked down by the wind. They were delicately worked with the power saw, and then trimmed by successive stages, modeling the surface with “brush-strokes” applied by the blade."
Michele De Lucchi, 2005

Big ring composed of 45 black Freshwater pearls tied by an elastic thread.

Colored methacrylate disc hot-extruded and handmade. Internally illuminated by an halogen lamp.

A silver line that bends, reflects and becomes double its length. The transpositive magic of the dynamism of form that seduces and captures.

The "Elephant” sculpture, is part of the collection “Animalove”, is a laser-cut metal figure, folded and molded. It is a project of reverse self production. The designer has reclaimed a serial-produced object designed by herself, and, through an additional step for its characterization and differentiation, through a return, she traced it to its original dimension of "matrix - one piece". In this case, the interest of Alessi was in the production of an object without a purely "functional" function: the nature of its identity is essentially ethical-aesthetic-poetic, with a deep re-connective character, and not "functionally" linked to the world of commodities. All of the colored steel objects are part of her focused research on the animal iconography through the years.

“The gods show themselves all over the earth in the form of animals. Therefore the animal is also an imago dei (image of god), a face of our eternal nature. It could also be that, in recognizing the animal of man, we perceive rudiments of divinities, archetypal modes of consciousness, essential modes: leonine, porcine, hawk-like, rat-like; essential natures present in the psyche".
A. Guerriero

Glicine is a light installation that is presented in two parts one horizontal and one vertical.
The artist was inspired by the plant of wisteria and wanted to objectify it, making it a decorative and bright element with unpredictable vibrations.

Daniele Innamorato loves to paint everywhere, like a total invasion.
This work is started from the canvas without frame and has stretched on and inside the voids and forms of the chair designed by Ron Arad, then moved to the frame work.

An extraordinary and historic piece part of “Memphis” collection, a side board designed by Massimo Iosa Ghini with streamlined and fluid shapes which marked his aesthetics of ‘80/90s. It has been part of many anthological exhibitions and quite often came under the hammer by Sotheby’s.

“The Wedge” by Daniel Libeskind, a sculpture designed for the do ut do exhibition, is a representation of the metaphysics of space. It poses the question: is space tangible if infinite, or a finite dream? Through the disjuncture between positive and negative spaces, The Wedge is an homage to the tradition of Italian sculpture which challenges the weight and solidity of marble with the malleability of pure Form.

The work is a “wall lamp” picture. The artist very much liked the idea of ​​mixing the world of art with the world of design. The picture “Beginning” contains cells, one of her favourite themes. Cells, which she loves and considers quite beautiful, inspire her, as do all organic forms. The work represents the beginning of life, humanity and the light behind the white square indicates hope.

Thready figure, suspended, evanescent and evocative "The Bride" has been made using poor materials, such as canvas, and other ones very precious, such as lace, embroideries, jacquard, matching them together thanks to inlays and notches in order to show and express the dichotomy which is the main part of each of us.
Thanks to the play of light and shadow, created by putting a light inside, The Bride changes the sense of space and of itself, which becomes impossible and sinister garment or a figure of rare beauty and sensuality, depending on who looks at it.

It is a luminous wheel consisting of two elements made of white methacrylate opal fixed to a central joint made of metal, a zig zag of light, two central shimmering disks where colours follow the itinerary of those who look at them. It is produced in five examples and shown during the Exhibition “Ruote d’artista”, (“Artist’s Wheels [n.d.t.]) organized simultaneously with the World Cycling Cup Toscana 2013, which took place at Lucca from the 5th to the 30th September 2013.

“I have been producing collage for nearly fifty five years, many of the early one’s were done during long flights or in the waiting areas at airports. Despite their inherent uniqueness – layered compositions of “found” papers, shapes and colors – these colleges are very much of a piece with my architecture. As a presentation drawing is no substitute for the physical experience of architecture, the visual power of the collages derives from the suggestion of the “space” that we do not see: small fragments of letters and pictures with their own histories, former uses and meanings. And, as my architecture is activated by color and light collected on the surfaces of white panels, the silent dynamic of each collage is focused within a standard square frame. It is difficult to view the collages without imagining the architectural grid, portioned and worked over by time, the hand and chance”.
RM – New York, 11 September 2013

The snail "Lulu" is part of the collection created for Dog Design along with a big "Fish" and a "Turtle". All made ​​of expanded polyurethane, each finished and varnished by hand after being placed in their mold. "Lulu" is foreseen in a different color every twenty-five pieces.

Sculpture with marble base, leaves in silver made with manual fusion and assembled on a brass rod.

“Quadricromia” is a two-dimensional element that adapts to the three-dimensional nature of environments.
With respect to people, it works on three senses to improve perception of the environment. It has excellent sound absorption capacities and therefore has a positive effect on the comfort of the space. It also has tactile qualities that can be appreciated in different ways in the variety of its uses. Furthermore, it also has fractal qualities. Its appearance has been created randomly, using an irregular structural web or net combined with inhomogeneous materials to generate a variety of perceptions in which beauty is imprecision.

“Filmy or ground, two-dimensional or abraded, the surface of art always marks a threshold with respect to life, the metaphysical stopping point of an investigation that doesn't require answers, but rather a deambulation of the mind through different points put into focus by the image. Luca Pancrazzi presents us with the possibility of exploring the Elysian Fields of creation and of getting closer to the nature of art, but always with the awareness that looking doesn't mean possessing the tree, but only its bark”.
Achille Bonito Oliva, 2001

"Pagoda Table" is a project that developed accidentally from the observation of the relationship between wood and the environment.
The table is a sort of photograph of several months spent working outdoors with a worktable that, over the course of a full year, was exposed to rain, humidity, hail, snow, and finally, the summer heat and sun. After a year of exposure to the weather we removed the prototype from exposure to weather conditions, rebuilding it in the same measurements as the original table, and above all with the same form that the these natural elements had created in their interactions.

Picture in hand-cut glass mosaic tiles arranged one by one according to trends in decorum.

This is a chair whose concept is a single sheet of material: shaped like a modern origami, it achieves harmony of form, folded back upon itself to identify the legs and the structure. The plastic movement of the flat surface stresses on the one hand the clarity of the approach to its composition and, on the other, the care lavished on executing the finished product. Made of high-density polyurethane, the chair is available in monochrome or in a two-tone version (inside and outside) that highlights the fold in the surface at the point where the backrest meets the rear legs.

Bowls/vases with top in chestnut wood turned from solid wood. Forms as exaggerated and stylized silhouettes of nuts, acorns and chestnuts. A tribute to the woods, to our autumns, to those childhood memories made of smoke and winter chestnuts. Chestnuts split in baking as well as these bowls, made of solid wood, move and crack, becomes relics and memories alive.
Nearly of primitive and archetypal sculptures and at the same time exclusive pieces of design.

A fine cut seems to divide in two this bowl of solid walnut with a pulverised bronze finish, at the same time allowing it to contain dry objects inside. The crevice reminds us of the gesture of a knife, halving a watermelon; the thickness is therefore kept to a minimum. Metaphorically, it is like our desire to be cut free from a world of constant fluidity; or better still, from a fluid culture.
The choice of a spherical form, maternal and timeless, gives the bowl its simplicity. But the shape is not to be taken for granted, or considered trivial or predictable. Rather, the cut makes it extremely elegant, stimulating our visual sensibilities, even when we see it as an empty form.

This ceramic piece was designed by Ettore Sottsass in 1985 for the Tendentse collection. “Many years ago I happened to lay my hands on a big book with photographs of Aztec pottery. The colours of the pottery were pale, very dull and dusty as if the Aztecs had used coloured powders in place of vitreous enamels for their pottery. That idea of ​​objects that were so soft, so fragile, so temporary that they 'appeared' in places rather than 'existing' in places, intrigued me a lot."
E. Sottsass

A hand that wants to share Unity through the mixing of Nations, bypassing boundaries for a New Earth and a New Unity. “One Earth, one humanity. I do not see why there should be so many marks on maps. (...) They do not exist on the Earth or in the sky. They were invented by men. (...) As long as humanity is one, nations will disappear, those lines will disappear. The world belongs to us: one humanity, one Earth, and we can turn it into a paradise.”
Osho Rajneesh, on human rights.

“Stones used to be split and they broke according to their natural structure. Nowadays, stones are cut straight by machines in the quarries. These “floating stones” are designed and cut by hand to expose their inner peace, strength and serenity. The soul of each stone is different”.
A. Vervoordt