Inventario 11

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Everything, every gesture, even the simplest, is a project. Starting from the point that innovation and method can be foundin all things, we have imagined a place in which to gather and organize ideas, a container we have named “Inventario” because taking an inventory is the most effective way to understand what lies before us.

“Inventario” is not just a magazine; “Inventario” is not just a book. “Inventario” is a new publishing project that talks about all creativity-driven disciplines. We are convinced that method and rigor (key project words) can be found in all things: in an object, of course; in a work, obviously; in a building, undoubtedly; but also in the preparation of food, the organization of a voyage, the writing of a story. So we have imagined that it might be possible to create a place in which to gather and put into order all these actions, a container we have called “Inventario” because taking an inventory is the best, most effective way to decipher what we have before us. “Inventario” is our way of looking at the world.

 “Inventario” gathers and puts into order new forms of expression, organizing and structuring them by category, typology, author and original leitmotivs. “Inventario” is composed only of columns, boxes “designed” to convey content precisely sought and organized in a certain way, and only in that way, because they are observed in a certain way, and only in that way. (...). In all this, we will always and above all make free choices, based only on the force of the ideas we come across, the ones capable of lighting up our eyes. Because putting ideas into order is also a project.

This 11th issue of Inventario continues the magazine's journey through the culture of the project, moving freely from architecture to art to design. Vol. 11 is dedicated to a collection of mechanical fans that - based on an idea from Bruno Munari - are 'making air visible': artworks in movement that play with the rotation and noise of the device itself, the vibration, movement, and sound of the objects that are struck by the air moving: an artificial breeze that forces one to smile and think.

As always, Inventario organizes the flow of objects and thoughts via an assemblage of permanent boxes housing contents that are expressly created and coherently arranged. In 'Absolutes' (works that have changed our lives) Francesco Garutti tells of the African-American Flag by David Hammons, while Paolo Bocchi recalls Tomb for Pier Paolo Pasolini designed by Gino Valle. Matteo Pirola discusses Krijn de Koning in The Architecture of Art, and in 'Lessons' Manolo di Giorgi explores the interior architecture of Milan?s architecture between the nineteenth and twentieth-centuries.

In 'Crossover Architects' Michele Calzavara describes the restless design work of the studio SITE, and in 'Bagatelle' Francesco M. Cataluccio and Annalisa Ubaldi delve into the use of ice as a primordial material in both art and architecture. In 'Myths of Today' Stefano Salis investigates the figure of the painter, illustrator and designer Eric Ravilious, while in 'Personal Inventory' Corrado Levi discusses the work of the artist Bonomo Faita. In 'Technical Matters' Daniele Greppi examines the 'Radical Chic' pipe designed by Giulio Iacchetti for Savinelli, and in 'Short Notes' Iacchetti himself presents a collection of emblematic ashtrays.

In 'Why' Arianna Panarella describes how a refined object of anonymous and popular design works: the forcola (oarlock) the Venetian gondola; lastly, in 'Other Gazes', Roberta Valtorta introduces us to the art of Jean-Louis Garnell.

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