baglioni hotels - luxury is not a waste

Luxury is not a waste.

The quality of work in the new Italian Contemporary Design.

Enzo MARI

DonataPARUCCINI

LorenzoDAMIANI

AlbertoNASON

MicheleDE LUCCHI

EttoreSOTTSASS

PaoloULIAN

Giorgio BONAGURO

Valentina CARRETTA

The project is in progress and open to other authors

The idea for the “LUXURY IS NOT A WASTE” site-specific project came about

following a meeting between Guido Polito, CEO of Baglioni Hotels, and Vin-

cenzo Basile, Design consultant Manager and Editor of research projects in

Contemporary Design.

The aim is to host Contemporary Design projects – all of them connected

with the “fare italiano”, do it in Italy – strictly “made in Italy”, and devel-

oped by the new generations of architects and Designers, and by the Mas-

ters of Contemporary Design and of the ‘900 as well.

The project follows the event “PAST/FUTURE” – Enzo Mari and the Italian

contemporary Design, realized in Milan at the Carlton Hotel Baglioni and in-

side Amaranto Boutique, during the Salone del Mobile in April 2013; it was

one of a number of events of Milanese Design Week’s Fuorisalone.

The outcome of the meeting between Mr. Polito and Mr. Basile has become

a challenge: presenting innovative or unpublished projects by Italian up-

and-coming Designers, especially the youngest generations, in a context

that is different from the usual venues where objects of design research

are placed and communicated. This, in order to find a contact with different

kinds of public, and to create new forms of communication and synergy in

a high-quality context.

The location that has been chosen is the exclusive “Roman Penthouse” Top

Suite of the Regina Hotel Baglioni in Rome. The Suite occupies the entire top

floor of the palace – once the residence of Queen Margherita di Savoia. The

space has been completely renovated, and it is now a prestigious window

from which you can admire the Eternal City, and enjoy the spectacular and

exclusive view as well.

A spacious apartment, very luxurious, but reserved at the same time, is in-

habited by a number of objects that are not only part of the furniture, but

symbols of memory and affection, to be used, and looked at, and admired.

Precious and stimulating presences, sometimes also critical of the contem-

porary consumer patterns.

The Italian high-quality Design has always told a story, always stimulated

reflections, always stirred emotions.

It intertwines the “intellectual work” and the communication of the qual-

ity and of the work, it transmits the knowledge and the skill, the ability to

realize objects that are useful, as well as beautiful: the “work of making”

– il “lavoro del fare”. The objects are witnesses of a projectual research:

sophisticated, stimulating, often critical and connected to a reality which is

continually evolving in taste and fashions. Also, and most interesting, these

objects are designed to meet the demands of cultural changes and new

experiences.

If one looks at the Italian Design as a union/alliance between intellectual

project and handicraft realization, luxury may well be interpreted not only

as a waste, or a mere display of wealth and ephemeral consumption, but as

the imprint of the intellectual and material work of the very many people

who take part in the projects: artisans, professionals, intellectuals, enter-

prises, common workers who, often behind the scene, realize the Quality.

These objects represent the Excellence of the italian making “il fare italiano”,

they communicate to the world our authenticity. Our history.

A site-specific project curated by Vincenzo BasileBASILE ARTECO

REGINA HOTEL BAGLIONITop Suite “ROMAN PENTHOUSE”

Via Veneto 72, Roma (ITALY)

May/November 2013

Just a little is quite enough “Poco poco quel poco che basta” is a creative method, starting

from everything that exists. With small deformations, small displacements and small vari-

ations, it makes everything look different, fresh and surprising. It is an invitation to work

very carefully in search of minimal rejections, that produce more revolutions than total

protest and give more thrust to innovation than a general requestioning of basic knowl-

edge. The glass effect is called “optical” due to the facets that give a particular brilliancy

and transparency. Dimensions are important.

LIMITED EDITION – 2008

Certificate of Authenticity

“Introverso” is a vase in Carrara white marble.

Hidden within it, another vase, of different shape, but from the same material. Two par-

allel stories, yet independent, where one excludes the other, and viceversa.

A hammer is attached to the vase: you are left with the hard decision wheter to choose

the visible vase,or the one that is waiting to be freed from the marble, personifiying it by

breaking the white marble flaps or leaving a few of them untouched.

LIMITED EDITION – 2011 numbered pieces


LibeccioMichele De Lucchi

Introverso Paolo Ulian

Root Vases are ambivalent objects: the outer cylinder – sem-transparent – is connected

to the internal element in colour glass representing the roots of a flower.

Designed as top-down vases, they contain one only flower on one side, and a bunch of

flowers on the other. The SOFFIATURA A LUME – glass-bloing - is a handicraft technique

for working the glass. The starting point is a borosilicate glass tube that is heated a sec-

ond time on a horizontal flame from a mechanic nozzle. The “Maestro di lume” – the

glass Master, dilates the glass and moulds it with small tools.



Each vase is a composition of two handblown glass volumes, one inside another. Silhou-

ettes and details of the pieces open individual interpretation. The title could represent a

suggestion. Also in this case the experimentation, the research, develop the theme of a

face, declining it in different shapes, connecting the form of the object to the presence of

a person in the panorama of household objects. The aesthetic research doesn’t exclude

the material use of these objects, actually, it gives them a formal touch that makes them

stylish, and unique.



Roots-VasesGiorgio Bonaguro

Vaso VisoValentina Carretta

This is a vase with an indefi nite aspect, vague, apparently without internal logic. Its fi nal

form, instead, is the natural consequence of the working method that has been used to

obtain the pieces that compose it. Made of 24 superimposing concentric rings that have

been cut out of three slabs 60 X 60 cm. Carrara white marble.

The concentric layout of the rings on the slab makes it possible to waste as litt le material

as possible.

LIMITED EDITION – 2008 numbered editi on

Certi fi cate of Authenti city

Small vases made by fi tti ng discarded light bulbs, specially milled, with various material.

Each object is unique. The simple acknowledgement of the beauty of a form, that of the

incandescent light bulb, and the creati vity of a poeti c project.

The bulb is suspended, with a lightness that has Eastern overtones, on a sleder bamboo

and a wire frame. The fragility - merely apparent- of the device created by the Author

contains the secret of its beauty: unstable equilibrium, small knots.

A piece in which the dimension of design turns rapidly into art.

UNIQUE PIECES – 2002


Vaso VagoPaolo Ulian

Bulbi VasoDonata Paruccini

A beauti ful vase realized at Murano, in mouthblown glass.

Part of the permanent Collecti on of Beaubourg-Centre Pompidou in Paris.

The contrast between the round and soft glass form and the shape of the squared base,

essenti al, in row unprocessed metal and the materic and cromati c justapositi on of the

luminosity and brilliance of the glass and the opacity, almost cold, of a metallic support,

embedded in the base reminds the metallic tools of the glass-blowing Masters in the

incredible Furnaces in Murano at Veneti an dawns.



A beauti ful vase realized at Murano, in mouthblown glass.

Part of the permanent Collecti on of Beaubourg-Centre Pompidou in Paris.

The contrast between the round and soft glass form and the shape of the squared base,

essenti al, in row unprocessed metal and the materic and cromati c justapositi on of the

luminosity and brilliance of the glass and the opacity, almost cold, of a metallic support,

embedded in the base reminds the metallic tools of the glass-blowing Masters in the

incredible Furnaces in Murano at Veneti an dawns.



Basequadra NeroMichele de Lucchi

Basequadra VerdeMichele de Lucchi

Venetian born Alberto Nason’s Collection is the result of an interesting experiment that

combines two important traditions related to glass-blowing, the “Murano” and the “Ma-

rostica” school. Unruly Collection of vases and glasses is a modern reinterpretation of

the classic glass, the Venetian Tripeto. All items in the collection are hand-crafted in bo-

rosilicate glass by Masters with traditional tecniques. The designer plays with our sensory

experiences in two ways: we feel the solid and cylindrical forms of vases, while we see

the forms of classic Venetian glasses revealed by the fluid.

UNIQUE PIECES – 2008 prototype


Unruly VaseAlberto Nason

In this simple but smart project Paolo Ulian develops the theme of the eggholder: he

comes out of the usual patterns referring to the bare design of the metallic component

and the intelligent use of ordinary dishes, that can be found in every kitchen, for collect-

ing the remains of the eggshell and as a kind of container of the bread that is usually

dunked in the yolk. That of the re-cycling, of the non-wasting, of the use of what is al-

ready available in the home, is a dear theme to Paolo Ulian, who aims at making objects

whose design is respectful of their use.



CoquetierPaolo Ulian

Limited Edition version of the Collection, since colour black is the most difficult and ex-

pensive to be worked on. An object that is different from the “Root Vases” family because

of its colour, playing on e more essential image.

The SOFFIATURA A LUME – glass-blowing - is a handicraft technique for working the

glass. The starting point is a borosilicate glass tube that is heated a second time on a

horizontal flame from a mechanic nozzle.

The “Maestro di lume” – the glass Master, dilates the glass and moulds it with small tools.

LIMITED EDITION – 2013 numbered edition.


Black Root VaseGiorgio Bonaguro

Essential object, simple, but not minimal, not banal, bearing with it the memory of the

work on the material, the choice of the material, the mastery and the skills in the manu-

facturing, and, at the same time, the preciousness of the Carrara white marble, its light,

the fascination of the history within this fantastic material, even on a piece apparently to

be thrown away, to be put apart, to be disposed of, that finds a new life thanks to intel-

ligent, projectual and executive interventions. Centrepiece and fruitholder realized by

working on fragments, reject from the working process.

UNIQUE PIECES – 1992 prototype


CarraraPaolo Ulian

Each vase is a composition of two handblown glass volumes, one inside another. Silhou-

ettes and details of the pieces open individual interpretation.

The title could represent a suggestion.

Also in this case the experimentation, the research, develop the theme of a face, declin-

ing it in different shapes, connecting the form of the object to the presence of a person

in the panorama of household objects.

The aesthetic research doesn’t exclude the material use of these objects, actually, it gives

them a formal touch that makes them stylish, and unique.



Vasi Viso Valentina Carretta

Table penholder in bronze, handpolished.

Apparently simple object, it is the product of a “controlled error”: the drilling, from part

to part, is made “fuori asse” – out of axis - creating a series of “decorative” loopholes on

the sides. From these, the body of the pencil will become visible.

The aspect of a block, proper of the object, is not changed, and gives it a pleasant sensa-

tion of “weight”.

LIMITED EDITION – 2011 special edition


MonobloccoDonata Paruccini

A powerful and at the same time precious project by Enzo Mari, Master of the ‘900 and

contemporary Italian Design. Handcrefted Forged Iron, manufactured with the technique

that has been used since ancient times for making swords, and schytes as well, beautiful

and luminous mouthblown glass created in Furnaces in Murano by skilled Masters, they

are unique pieces made for this Edition, numbered and signed personally by the Author.

A precious Collection, the “Ferri Forgiati” enclose in the project the secret of what Design

should be today.

UNIQUE PIECES – 2008 numbered and signed by the Author Collection


SboccioEnzo Mari

“Mazzucco” allegorically hints at archetypal forms linked to the history of Man: a flower-

shaped fruitholder from which fuits pour out. A powerful project by Enzo Mari, Master of

‘900 and contemporary Italian Design. Handcrafted Forged Iron, manufactured with the

technique that has been used since ancient times for making swords, and schytes as well.

Unique pieces for this Edition, numbered and signed personally by the Author.


should be today.

UNIQUE PIECES – 2008 numbered and signed Collection


MazzuccoEnzo Mari

A powerful and at the same time important and precious project by Enzo Mari, Master of

the ‘900 and contemporary Italian Design. Handcrefted Forged Iron, manufactured with

the technique that has been used since ancient times for making swords, and schytes as

well, beautiful and luminous mouthblown glass created in Furnaces in Murano by skilled

Masters, they are unique pieces made for this Edition, numbered and signed personally

by the Author.


should be today.

UNIQUE PIECES – 2008 numbered and signed by the Author Collection


ViticcioEnzo Mari

“Dronero” In Forged Iron, a bridge-shaped fruitstand of unusual weight, yet so visibly

light and full of magic, it creates a striking contrast between the dark of the forged iron

and the bright natural colours of the fruit.


should be today.

UNIQUE PIECES – 2008 numbered and signed Collection


DroneroEnzo Mari

Sottsass realized 14 objects in ceramic and Murano glass , designed between 2000 and

2002. They are called Upupa, Allodola, Cuculo: sculpture-vases, in some of them Sottsass

uses for the first time in ceramics the acrylic colour. He got the idea while reading a book

showing Atzech pottery:

“The colours were very light, opaque and dusty, as if the Atzech had used coloured pow-

ders instead of glass enamels. And this made the pottery extremely fragile, and precious”.

UNIQUE PIECES – 2003


AllodolaEttore Sottsass

Paolo Ulian carries out an intelligent research on the shape of the centrepiece tray de-

veloping a working technique on a block of Carrara marble, slowly carving concentric

elliptical forms.

The use of the slightest possible material, the slightest waste, the respect of the material

and its reasonable use make up an object that shows an out-of-time elegance, almost

classic. minimo utilizzo di materia, il minimo scarto, il rispetto del materiale ed un suo

consumo ragionato portano alla realizzazione di un oggetto di una eleganza senza tempo,

quasi classico.



LevelPaolo Ulian

Bowls of clear Murano glass, hand-blown in molds and then filled with fragments of glass

left over from previous manufacturing processes that have to be disposed of under Ital-

ian regulations as «special material».

Arriving on Murano to design a chandelier, Damiani was fascinated by the beauty and

quantity of rejects and broken pieces in extraordinary colors and patterns.

These become the core of the design, which is thereby transformed, taking on not just

the character of a decorative object but also that of a reflection on the problem of waste

disposal.



D.L. 152 Lorenzo Damiani

Valentina has worked in FABRICA’s international creative team to develop the theme of

the relationship between the exhibition of flowers and their containers; she has created

an extraordinary support that, slightly poetically, shows flowers suspended on a branch-

shaped base.

This precious object in borosilicate glass is worked and handblown by Italian handicraft

Masters.



Floating floraValentina Carretta + FABRICA

Table penholder in brass, handpolished.

Apparently simple object, it is the product of a “controlled error”: the drilling, from part

to part, is made “fuori asse” – out of axis - creating a series of “decorative” loopholes on

the sides. From these, the body of the pencil will become visible.

The aspect of a block, proper of the object, is not changed, and gives it a pleasant sensa-

tion of “weight”.

LIMITED EDITION – 2011 special edition


MonobloccoDonata Paruccini

A modular bookcase made in white Carrara marble. Whichever material Paolo Ulian hap-

pens to be working with, he designs with waste, scrap, bits, optimisation, and re-usage in

mind. This was initially an ethical stance, but it gradually developed into a very definite

approach. Working with marble currently in production and generally used for covering

walls, four different modules were constructed based on compositional interplay, refer-

ring to the Roman numerals from I-IV.

The overlapping and juxtaposition of these modules simultaneously creates the structure

and symbolic form of each bookcase.

LIMITED EDITION – 2011 numbered edition


NumericaPaolo Ulian

Should you desire to acquire “LUXURY IS NOT A WASTE” artworks, please write to [email protected]

or call Regina Hotel Baglioni at +39 06 421111.

LEA ANOUCHINSKY/FabricaMATTEO BALDINIANDREA BASILEMICHELE DE LUCCHIPOLIFEMO FOTOGRAFIAHANS LEO HOGERGUSTAVO MILTON/FabricaLILLIANA NOERO RERICCARDO BIANCHILUIGI DI PASQUALEITALO PERNAALESSANDRO RIZZI BENVENUTO SABALUCA TAMBURLINIPAOLO ULIAN

Photo credits:

The Roman Penthouse.

LIVING AREA

DINING ROOM LIVING ROOM OF THE MASTER BEDROOM

MASTER BEDROOM

LIVING ROOM OF THE MASTER BEDROOM

JACUZZI POOL ON TERRACE

MASTER BATHROOM

PRIVATE TERRACE

A site-specific project curated by Vincenzo BasileBASILE ARTECO

Graphic DesignPIERGIORGIO CAPOZZA

LayoutTIJANA MIJAILOVIC

TextsVINCENZO BASILE

www.basilearteco.it

www.baglionihotels.comromanpenthouse.baglionihotels.com

romanpenthouse.baglionihotels.com

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