Archives for posts with tag: creativity

We are glad to announce that Gabriele Centazzo, president of Valcucine receives the “Premio dei Premi per l’Innovazione” selected from the ADI Design Index 2010 “for the social and ecological awareness with which Valcucine, a company that expresses a business culture based on ethics, environmental friendliness and innovation, has been managed since the eighties .
The prize has been given to this commitment as an example for businessmen and designers to the aim of encouraging attention to sustainability as a method to be adopted, together with formal and functional research, in planning and producing design products.” The privileged location for the prize-giving ceremony is the Quirinal Palace where the prize will be awarded personally by the President of the Italian Republic Giorgio Napolitano. This prestigious prize, established by the Ministry of public administration and innovation, is aimed at sustaining business initiatives in many sectors, rewarding creative activities so that a culture of change and innovation can be developed in our country. The Italian Minister of Public Administration and Innovation, Renato Brunetta, has listed ADI amongst the reference associations for the Prize because of the value of the selections made by the Compasso d’Oro, that has been promoting Italian design for over 50 years, putting the innovative qualities of the project and of the product to the fore.

For us, the “Premio dei Premi” is the crowning achievement at the end of a thirty-year long path paved with genius and passion: an important award for a manufacturing company whose profit is, above all, the consequence of an ethical and cultural process. We have always been guided by Nature that inspires the potentials to be expressed as well as the limits to be respected. Our design is an “intellectual” one in which aesthetics and plenty of creativity go hand-in-hand and in which research into useful and beautiful things combines with respect for Man and for the environment.

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Home Gardening
is becoming an increasingly common activity in our everyday urban culture. We live in small apartments above busy, polluted cities, yet we make a point of dedicating precious time to surrounding ourselves with greenery, creating miniature gardens on our windows sills and balconies and verandas. We make space for storing soil and seeds in the kitchen cupboard, cooking utensils mutate and adapt to new agricultural tasks. Some of us grow trees for their seasonal fruits, maybe for their sweet fragrance or maybe just for their beauty; the fact is, we all have little secrets on how to care for and grow our little home gardens.
“Made to Cultivate” is a project by Simone Simonelli e Stefano Citi in collaboration with Valcucine for Lunedi Sostenibili. The aim is to open a window onto the world of DIY home gardening, creating a visual anthology of domestic gardening know how, a resource available to all, an open source collection of tools, mechanisms, instructions and gardening techniques, to which everyone will have access.
On the 29th November in Milan Lunedì Sostenibili with “Made to Cultivate” is going to open an exhibition on photos, home videos, drawings and even the actual objects about home gardening. The intention is to discover the most reliable utensils, something innovative and unusual which meets a specific need, which might also be something you inherited from your grandparents, or maybe it’s just that old spoon your mothers uses for her geraniums. “Made to Cultivate” wants to show the wide range of everyday objects and hidden techniques used in home gardens that are in danger of never being revealed to the rest of the world.
These will be shown on the 29th November at 7pm c/o Eco Bookshop Valcucine, Corso Garibaldi 99, Milano.


Both a trade show and an art exhibition, 1.618 Paris is the first annual “rendez-vous” of Sustainable Luxury supported by the French Ministry of Culture and the WWF.
Open to the public, the event proposes a transverse selection of products and services combining art, creativity, innovation and sustainable development at the service of another Luxury, more ethical. In an innovative and contemporary setting, 1.618 Paris presents works of artists who ponder the issues of Sustainable Development and consumption.

Valcucine has been selected among forty brands for its innovative, creative and ethic qualities. Protagonist of Valcucine’s show is the Artematica Vitrum program with Invitrum 100% recyclable glass and aluminum base unit system, suggested in the elegant total white version. A different approach to Sustainable Development that put the consumer in front of a necessary thought: to be consciouse about their choises. An event that join companies having the ethic, the environment, the patrimony, the society and the aestethics as principles to achieve a responsable production and an eco-friendly lifestyle.

source: The New York Times

Valcucine’s collaboration with the Italian artist Ugo Nespolo, whose career dates back to the Sixties to the era of Italian Pop Art to Conceptualists and Future Poverists, is espressed by some artistic collections of kitchen programmes, such a Artematica.

On the 27th November, The New York Times published an article about Ugo Nespolo, descibing his works through traditional and modern art. Here below is a part of the original article:

The paintings, sculptures and other playful objects raised in the fantastic nursery of Mr. Nespolo’s imagination bring to mind that whole new race of Futurist toys proposed in the “Futurist Reconstruction of the Universe” which, it was envisaged, would not only delight children but also be “very useful to adults, too, keeping them young, agile, joyful, self-assured, ready for anything, indefatigable, instinctive and intuitive.”
The authors of this manifesto, published in 1915, were Giacomo Balla and Fortunato Depero, whose works Mr. Nespolo has collected for many years. He is also the owner of around 4,000 manuscripts relating to Depero’s life and works, and the exotic waistcoat, designed by Depero, which Filippo Tomasso Marinetti, the founder of Futurism, can be seen sporting in a famous photograph taken in Turin in 1922.
The Futurists hated museums, or at least affected to — Marinetti likened them to cemeteries in the first 1909 Futurist Manifesto — but Mr. Nespolo is an avid enthusiast for them. One favorite, he says, is the Bargello in Florence, which contains some of Italy’s greatest sculptures — from Donatello’s “David” and “St. George” to Michelangelo’s “Bacchus” and Giambologna’s “Mercury” — alongside an outstanding collection of ceramics, glass, metalwork, ivories, enamels and other applied arts.
Mr. Nespolo was invited by the Bargello to stage a retrospective of his work in its temporary exhibition space, the first time it has ever hosted a contemporary artist. Mr. Nespolo’s “Novantiqua”- the name is a word play on new and old — is curated by Beatrice Paolozzi Strozzi, the museum’s director; it runs until Jan. 10.
The show consists of 40 paintings and sculptures in ceramic, glass, bronze and other media, spanning Mr. Nespolo’s career. It includes three pieces, “Novantiqua 1-3,” inspired by the Bargello itself and made especially for this exhibition.
Museums have long been a theme for Mr. Nespolo, as demonstrated by three earlier works among the paintings here.
“Andy Dandy,” from 1973, features a bizarre display of three identical flower paintings being observed by a man accompanied by a bulldog on a leash; “Ferrarese Suggestions” from 1982, offers a view of an imaginary gallery containing paintings by the Metaphysical artist Giorgio de Chirico; and “The Beautiful Gestures,” from 1999, presents a vista of a museum, or other exhibition, of modern art.
The images are constructed from jigsaw-like patterns of wooden pieces, painted in glossy, primary acrylic colors, suggesting a vision of childlike wonder and simplicity. In the three “Novantiqua” pieces, which employ the same technique, Mr. Nespolo has depicted internal views of the Bargello, reinforcing the chromatic richness with gilded sections, reminiscent of the golden backdrops of precious Byzantine mosaics and medieval Italian paintings. Among the exhibits, museum visitors — gazing at the displays, reading guide-books, taking photographs and sketching — themselves constitute unwitting living statues amid the antique marbles and bronzes.

Read the full article from the New York Times

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