"Boccio di Rosa" / "Rose Bud", series "grasse" / "Fat" lamps, 1985
The first time I encountered the work of Massimo Mariani was in the Ollo magazine (1988) directed by Alessandro Mendini for Alchimia.
I’d never seen his ‘FAT’ lamps, or the 'HARD STONES’ vases in marble and steel inspired by Ugo La Pietra, his medical cabinet furniture and many more which are masterpieces, iconic of their times.
After seeing the first works of Studio Alchimia, Massimo Mariani founded Studio STILEMA (with Alberto Casciani) in 1980, the principle of which was to work on the style of other designers. They produced a manifesto, prototypes, interiors and exhibitions.
In 1986, he co-founded BOLIDISMO with other architects who explored the notions of futurism, velocity, streamline, organic form and technology!
Alessandro Mendini curated Massimo Mariani's work for several Studio ALCHIMIA exhibitions.
After studying under Remo Buti (Global Tools co-founder) Massimo Mariani became his teaching assistant and then worked for him for 12 years, designing everything from the coffee table to the building.
Massimo Mariani is a prolific and celebrated architect of buildings and interiors for private and institutional projects, bringing into the real world new and positive living scenarios.
I had to learn more. Here’s my Q&A with the architect designer this past April.
The first time I encountered the work of Massimo Mariani was in the Ollo magazine (1988) directed by Alessandro Mendini for Alchimia.
Tele del desiderio/Cloths of desire, Mixed Media on Canvas by Massimo Mariani, 1987. Photo: Mario Niccolai
I’d never seen his ‘FAT’ lamps, or the 'HARD STONES’ vases in marble and steel inspired by Ugo La Pietra, his medical cabinet furniture and many more which are masterpieces, iconic of their times.
FAT lamps
After seeing the first works of Studio Alchimia, Massimo Mariani founded Studio STILEMA ( with Alberto Casciani ) in 1980, the principle of which was to work on the style of other designers. They produced a manifesto, prototypes, interiors and exhibitions.
SANDRA floor lamp for STILEMA
In 1986, he co-founded BOLIDISMO with other architects who explored the notions of futurism, velocity, streamline, organic form and technology!
RESTLESS CACTUS chairs prototypes
Alessandro Mendini curated Massimo Mariani's work for several Studio ALCHIMIA exhibitions.
"Rose Bud", "Fat" lamps series, 1985
After studying under Remo Buti (Global Tools co-founder) Massimo Mariani became his teaching assistant and then worked for him for 12 years, designing everything from the coffee table to the building.
LAMPADELLULA / DRAGONFLY-LAMP, EXHIBITION "NEO DESIGN" MILANO 1986
Massimo Mariani is a prolific and celebrated architect of buildings and interiors for private and institutional projects, bringing into the real world new and positive living scenarios.
The first time I encountered the work of Massimo Mariani was in the Ollo magazine (1988) directed by Alessandro Mendini for Alchimia.
Boccio di Rosa / Rose Bud, "grasse" / "Fat" lamps, 1984
After seeing the first works of Studio ALCHIMIA, Massimo Mariani founded Studio STILEMA (with Alberto Casciani) in 1980, the principle of which was to work on the style of other designers. They produced a manifesto, prototypes, interiors and exhibitions.
In 1986, he co-founded BOLIDISMO with other architects who explored the notions of futurism, velocity, streamline, organic form and technology!
I’d never seen his ‘FAT’ lamps, or the 'HARD STONES’ vases in marble and steel inspired by Ugo La Pietra, his medical cabinet furniture and many more which are masterpieces, iconic of their times.
Alessandro Mendini curated Massimo Mariani's work for several Studio ALCHIMIA exhibitions.
After studying under Remo Buti (Global Tools co-founder) Massimo Mariani became his teaching assistant and then worked for him for 12 years, designing everything from the coffee table to the building.
Massimo Mariani is a prolific and celebrated architect of buildings and interiors for private and institutional projects, bringing into the real world new and positive living scenarios.
Boccio di Rosa / Rose Bud
"Grasse" / "Fat" lamps, 1984
The first time I encountered the work of Massimo Mariani was in the Ollo magazine (1988) directed by Alessandro Mendini for Alchimia.
I’d never seen his ‘FAT’ lamps, or the 'HARD STONES’ vases in marble and steel inspired by Ugo La Pietra, his medical cabinet furniture and many more which are masterpieces, iconic of their times.
After seeing the first works of Studio Alchimia, Massimo Mariani founded Studio STILEMA (with Alberto Casciani) in 1980, the principle of which was to work on the style of other designers. They produced a manifesto, prototypes, interiors and exhibitions.
In 1986, he co-founded BOLIDISMO with other architects who explored the notions of futurism, velocity, streamline, organic form and technology!
Alessandro Mendini curated Massimo Mariani's work for several Studio ALCHIMIA exhibitions.
After studying under Remo Buti (Global Tools co-founder) Massimo Mariani became his teaching assistant and then worked for him for 12 years, designing everything from the coffee table to the building.
Massimo Mariani is a prolific and celebrated architect of buildings and interiors for private and institutional projects, bringing into the real world new and positive living scenarios.
I had to learn more. Here’s my Q&A with the architect designer this past April.
SANDRA floor lamp for STILEMA, 1981
"GRASSE" /"FAT" lamps, 1985
"CACTUS INQUIETI" / "RESTLESS CACTUS" chairs prototypes, 1985
"LAMPADELLULA" / "DRAGONFLY-LAMP", Exhibition "NEO DESIGN", Milano 1986
SANDRA floor lamp for STILEMA - OSCILLATING PROJECTS
I had to learn more.
Here’s my Q&A with the architect designer this past April.
RESTLESS CACTUS chairs prototypes
"Grasse" / "FAT" lamps
SANDRA floor lamp for STILEMA - OSCILLATING PROJECTS
I had to learn more. Here’s my Q&A with the architect designer this past April.
I had to learn more.
Here’s my Q&A with the architect designer this past April.
RESTLESS CACTUS chairs prototypes
"Grasse" / "FAT" lamps
Cover by Remo Buti for Global Tools Bulletin n1
Edizioni L’uomo e l’arte, Milan, June 1974.
Joachim Lapotre: In a 2015 video interview you explain that you studied under Remo Buti. I’m curious to know what kind of teacher is he? What kind of person? What do you feel he transmitted to you? What teachings help you the best in your everyday practice?
Massimo Mariani: I met Remo Buti, exponent of Radical architecture, in 1974. He was assistant to Professor Savioli and he followed my examination of interior decoration. He was a spirited, anti-academic type and introduced us to Radical architecture and Florentine groups.
"He was a spirited, anti-academic type"
Remo Buti. Global Tools, 1974. Adolfo Natalini Archive
Massimo Mariani: Remo Buti was a nice and histrionic teacher, his lessons were fun and his courses were very crowded, but he was not much loved by the Academy. I was one of the historical assistants and I saw the evolution of his course. We worked on all aspects of the home, from the table to various types of houses. In his courses irony and lightness won. Everyone had to work with their hands and at the end of the course three days of exams turned into a great performance where all the students were involved, it was enough to be there to learn. I think it was an unforgettable experience for many.
After doing our thesis with Savioli, we stayed in touch with Buti who went on to have a course in interior design. When he heard about the Stilema studio, he called us to assist him. Alberto (Alberto Casciani, co-founder of the Stilema design movement, ndlr) stayed only 1 year because he was engaged in another job. I stayed for 12 years. During the 12 years, the project themes dealt with have been manifold, but always in an atmosphere of sharing and fun.
Cover by Remo Buti for Global Tools Bulletin n1, Edizioni L’uomo e l’arte, Milan, June 1974.
Joachim Lapotre: In a 2015 video interview you explain that you studied under Remo Buti. I’m curious to know what kind of teacher is he? What kind of person? What do you feel he transmitted to you? What teachings help you the best in your everyday practice?
Massimo Mariani: I met Remo Buti, exponent of Radical architecture, in 1974. He was assistant to Professor Savioli and he followed my examination of interior decoration. He was a spirited, anti-academic type and introduced us to Radical architecture and Florentine groups.
"He was a spirited, anti-academic type"
Remo Buti. Global Tools, 1974. Adolfo Natalini Archive
Massimo Mariani: Remo Buti was a nice and histrionic teacher, his lessons were fun and his courses were very crowded, but he was not much loved by the Academy. I was one of the historical assistants and I saw the evolution of his course. We worked on all aspects of the home, from the table to various types of houses. In his courses irony and lightness won. Everyone had to work with their hands and at the end of the course three days of exams turned into a great performance where all the students were involved, it was enough to be there to learn. I think it was an unforgettable experience for many.
After doing our thesis with Savioli, we stayed in touch with Buti who went on to have a course in interior design. When he heard about the Stilema studio, he called us to assist him. Alberto (Alberto Casciani, co-founder of the Stilema design movement, ndlr) stayed only 1 year because he was engaged in another job. I stayed for 12 years. During the 12 years, the project themes dealt with have been manifold, but always in an atmosphere of sharing and fun.
Cover by Remo Buti for Global Tools Bulletin n1
Edizioni L’uomo e l’arte, Milan, June 1974.
Joachim Lapotre: In a 2015 video interview you explain that you studied under Remo Buti. I’m curious to know what kind of teacher is he? What kind of person? What do you feel he transmitted to you? What teachings help you the best in your everyday practice?
Massimo Mariani: I met Remo Buti, exponent of Radical architecture, in 1974. He was assistant to Professor Savioli and he followed my examination of interior decoration. He was a spirited, anti-academic type and introduced us to Radical architecture and Florentine groups.
"He was a spirited, anti-academic type"
Remo Buti. Global Tools, 1974. Adolfo Natalini Archive
Massimo Mariani: Remo Buti was a nice and histrionic teacher, his lessons were fun and his courses were very crowded, but he was not much loved by the Academy. I was one of the historical assistants and I saw the evolution of his course. We worked on all aspects of the home, from the table to various types of houses. In his courses irony and lightness won. Everyone had to work with their hands and at the end of the course three days of exams turned into a great performance where all the students were involved, it was enough to be there to learn. I think it was an unforgettable experience for many.
After doing our thesis with Savioli, we stayed in touch with Buti who went on to have a course in interior design. When he heard about the Stilema studio, he called us to assist him. Alberto (Alberto Casciani, co-founder of the Stilema design movement, ndlr) stayed only 1 year because he was engaged in another job. I stayed for 12 years. During the 12 years, the project themes dealt with have been manifold, but always in an atmosphere of sharing and fun.
Cover by Remo Buti for Global Tools Bulletin n1, Edizioni L’uomo e l’arte, Milan, June 1974.
Joachim Lapotre: In a 2015 video interview you explain that you studied under Remo Buti. I’m curious to know what kind of teacher is he? What kind of person? What do you feel he transmitted to you? What teachings help you the best in your everyday practice?
Massimo Mariani: I met Remo Buti, exponent of Radical architecture, in 1974. He was assistant to Professor Savioli and he followed my examination of interior decoration. He was a spirited, anti-academic type and introduced us to Radical architecture and Florentine groups.
"He was a spirited,
anti-academic type"
Remo Buti. Global Tools, 1974. Adolfo Natalini Archive
Massimo Mariani: Remo Buti was a nice and histrionic teacher, his lessons were fun and his courses were very crowded, but he was not much loved by the Academy. I was one of the historical assistants and I saw the evolution of his course. We worked on all aspects of the home, from the table to various types of houses. In his courses irony and lightness won. Everyone had to work with their hands and at the end of the course three days of exams turned into a great performance where all the students were involved, it was enough to be there to learn. I think it was an unforgettable experience for many.
After doing our thesis with Savioli, we stayed in touch with Buti who went on to have a course in interior design. When he heard about the Stilema studio, he called us to assist him. Alberto (Alberto Casciani, co-founder of the Stilema design movement, ndlr) stayed only 1 year because he was engaged in another job. I stayed for 12 years. During the 12 years, the project themes dealt with have been manifold, but always in an atmosphere of sharing and fun.
Coltelli / KNIVES
EXHIBITION "Acciai di famiglia"/"FAMILLY STEELS" AT Alchimia, Firenze
1983
MM: The knives were made for Studio Alchimia exhibition 'Acciai di famiglia', curated by Alessandro Mendini in 1983 at gallery Memorie e luoghi del XX secolo, Firenze.
S - T - I - L - E - M - A
Coltelli
KNIVES
EXHIBITION "Acciai di famiglia"/"FAMILLY STEELS" AT Alchimia, Firenze
1983
MM: The knives were made for Studio Alchimia exhibition 'Acciai di famiglia', curated by Alessandro Mendini in 1983 at gallery Memorie e luoghi del XX secolo, Firenze.
The japanese characters reads:
S
T
I
L
E
M
A
83
PISTOLA / GUN
TOOL FOR HARMLESS ATTACK
EXHIBITION "l'oggetto Naturale", Prato
1982
JL: Could you tell me more about this Pistola? Was this object ever produced? In the Alchimia book by Kazuko Sato: the technical drawing is described as a “plexiglass gun for harmless attack”. In the photo you shared, the Pistola is in steel with a fur ball (and that is fantastic!!!!) Did you sketch Pistola as a plexiglass object first, and later decide to make one in metal?
MM: Pistola was for the exhibition "Unexpected consequences" Art, fashion, design. Curated by Alessandro Mendini and Studio Alchimia. Studio STILEMA, Prato 1982.
From what I remember it is possible that at first we had thought of the plexiglass, and then in the execution phase, of the aluminum. I believe there were only drawings in the exhibition catalog. The one in the photo is the gun that was on display. The gun is made of aluminum, a single copy was made and approximately measures 25x30x5 cm
Pistola, Exhibition "Unexpected consequences" Art, fashion, design. Curated by Alessandro Mendini - Alchimia, Prato 1982.
Pistola by Studio Stilema, Tool for harmless attack made of transparent plexiglass. From 'Alchimia' by Kazuko Sato.
From CATALOGO STILEMA n1, November 1982
PISTOLA
GUN
TOOL FOR HARMLESS ATTACK
EXHIBITION "l'oggetto Naturale", Prato
1982
JL: Could you tell me more about this Pistola? Was this object ever produced? In the Alchimia book by Kazuko Sato: the technical drawing is described as a “plexiglass gun for harmless attack”. In the photo you shared, the Pistola is in steel with a fur ball (and that is fantastic!!!!) Did you sketch Pistola as a plexiglass object first, and later decide to make one in metal?
MM: Pistola was for the exhibition "Unexpected consequences" Art, fashion, design. Curated by Alessandro Mendini and Studio Alchimia. Studio STILEMA, Prato 1982.
From what I remember it is possible that at first we had thought of the plexiglass, and then in the execution phase, of the aluminum. I believe there were only drawings in the exhibition catalog. The one in the photo is the gun that was on display. The gun is made of aluminum, a single copy was made and approximately measures 25x30x5 cm
Pistola, Exhibition "Unexpected consequences" Art, fashion, design. Curated by Alessandro Mendini - Alchimia, Prato 1982.
Pistola by Studio Stilema, Tool for harmless attack made of transparent plexiglass. From 'Alchimia' by Kazuko Sato.
From CATALOGO STILEMA n1, November 1982
TELE DEL DESIDERIO
CLOTHES OF DESIRE
MIXED MEDIA ON CANVAS
1987
JL: How did you meet Alessandro Mendini who curated your work several times within Studio Alchimia, including an exhibition and the paintings in the Ollo magazine?
MM: Mendini saw the paintings in a photo I sent him with greetings and wanted those pictures photographed in the garden like a scenography for Ollo Magazine.
The paintings Tele del desire/Cloths of desire are from 1987.
They belong to the post-STILEMA period and adopt a different vocabulary made with new signs, you can recognize the shapes of the "FAT" lamps and of the "NATURALIST'S SUITCASE".
Tele del desiderio/Cloths of desire, Mixed Media on Canvas by Massimo Mariani, 1987. Photo: Mario Niccolai
Front cover: Ollo Rivista senza messaggio diretta da Alessandro Mendini, Alchimia
Ollo Magazine without message directed by Alessandro Mendini, Alchimia
TELE DEL DESIDERIO
CLOTHES OF DESIRE
MIXED MEDIA ON CANVAS
1987
JL: How did you meet Alessandro Mendini who curated your work several times within Studio Alchimia, including an exhibition and the paintings in the Ollo magazine?
MM: Mendini saw the paintings in a photo I sent him with greetings and wanted those pictures photographed in the garden like a scenography for Ollo Magazine.
The paintings Tele del desire/Cloths of desire are from 1987.
They belong to the post-STILEMA period and adopt a different vocabulary made with new signs, you can recognize the shapes of the "FAT" lamps and of the "NATURALIST'S SUITCASE".
Tele del desiderio/Cloths of desire, Mixed Media on Canvas by Massimo Mariani, 1987. Photo: Mario Niccolai
Front cover: Ollo Rivista senza messaggio diretta da Alessandro Mendini, Alchimia
Ollo Magazine without message directed by Alessandro Mendini, Alchimia
Le pietre dure / Hard stones
Carrara marble and steel
Series of ten pieces
1983
MM: I had made these objects myself in the Stylomatic period. The 'Hard Stones' are an operation on the work of Ugo La Pietra, changing scale and material of the handles that Ugo La Pietra had made for the 'infinite mobile' handles of Studio Alchimia. Even the cutlery I made for Studio Alchimia comes from the handles of Ugo La Pietra for the 'Infinite Mobile'.
Le pietre dure
Hard stones
Carrara marble and steel
Series of ten pieces
1983
MM: I had made these objects myself in the Stylomatic period. The 'Hard Stones' are an operation on the work of Ugo La Pietra, changing scale and material of the handles that Ugo La Pietra had made for the 'infinite mobile' handles of Studio Alchimia. Even the cutlery I made for Studio Alchimia comes from the handles of Ugo La Pietra for the 'Infinite Mobile'.
SURGEONS MEDICAL OFFICE
Montecatini Terme
1989
MM: Placed on the ground floor of a building which was constructed at the beginning of the twentieth century, the studio originally was a residential apartment.
The interior has been completely renovated to satisfy the new needs about medical use.
I thought the office must not appear like a common medical centre, so I joked a little with illnesses and designed a project based on local interventions, instead of structural changes.
The metal furnishings are designed like fellows of conversation, they have got human characteristics: eyes and legs. They are big innocuous bacterias, comfortable and a little curious to amuse patients waiting for doctor. In the same time I had the idea to stay in a waiting room which looks like the living room of my house, with paintings, traditional curtains and plants.
Crossing the entrance door (in false marble) you come in a real medical office even if there is the replace on, a soft carpet on the floor and maybe a comfortable armchair. In short, at that moment you have no more illnesses!
SURGEONS MEDICAL OFFICE
Montecatini Terme
1989
MM: Placed on the ground floor of a building which was constructed at the beginning of the twentieth century, the studio originally was a residential apartment.
The interior has been completely renovated to satisfy the new needs about medical use.
I thought the office must not appear like a common medical centre, so I joked a little with illnesses and designed a project based on local interventions, instead of structural changes.
The metal furnishings are designed like fellows of conversation, they have got human characteristics: eyes and legs. They are big innocuous bacterias, comfortable and a little curious to amuse patients waiting for doctor. In the same time I had the idea to stay in a waiting room which looks like the living room of my house, with paintings, traditional curtains and plants.
Crossing the entrance door (in false marble) you come in a real medical office even if there is the replace on, a soft carpet on the floor and maybe a comfortable armchair. In short, at that moment you have no more illnesses!
LAMPADE GRASSE / FAT LAMPS
TABLE LAMPS SERIES
1984
Last photo:
Installation (with Hard Stones)
exhibition "METAFORA",Montecatini
1985
JL: The name "Grasse" seems to come for the french name "Plantes grasses" for Succulents.
Boccio di Rosa / Rose Bud
LAMPADE GRASSE
FAT LAMPS
TABLE LAMPS SERIES
1984
Last photo:
Installation (with Hard Stones)
exhibition "METAFORA",Montecatini
1985
JL: The name "Grasse" seems to come for the french name "Plantes grasses" for Succulents.
Boccio di Rosa / Rose Bud
CACTUS INQUIETI / RESTLESS CACTUS
SEATING SERIES
1985
CACTUS INQUIETI
RESTLESS CACTUS
SEATING SERIES
1985
LA STANZA VERDE / THE GREEN ROOM
INTERIOR FOR PRIVATE HOME
1987
LA STANZA VERDE
THE GREEN ROOM
INTERIOR FOR PRIVATE HOME
1987
"ABO" & "PERESTROICA"
TABLES
LIMITED EDITION OF TEN
1988
"ABO" & "PERESTROICA"
TABLES
LIMITED EDITION OF TEN
1988
DRAWINGS
1990
DRAWINGS
1990
DRAWINGS
1990
STILEMA
JL: How did you start Stilema? The works exhibited during the 2 years are very interesting. How did you come with the idea of an exhibition of pieces made in the “style of”?
MM: Studio Stilema was born in 1980, based in Montecatini Terme, with the aim of designing and producing avant-garde objects and furniture for new possible scenarios. Exhibitions of objects between art and design. Unique pieces, but also professional works. The founders are Alberto Casciani and Me.
Stilema was born because there was a strong need to do as it is typical of young people at the same time, you had to find a road that was not trivial. Care had to be taken to make furniture with crooked legs. + Content was needed. We loved certain authors, but it couldn't be them. They had to be transcended. Alberto was already doing some operations on the authors, especially in the art world, we decided to extend it also to the world of design. They were conceptual + operations. [In order] to pre-date history, to quote the contemporary that we liked.
Cover of CATALOGO STILEMA
CATALOGO STILEMA
CATALOGO STILEMA
STILEMA
JL: How did you start Stilema? The works exhibited during the 2 years are very interesting. How did you come with the idea of an exhibition of pieces made in the “style of”?
MM: Studio Stilema was born in 1980, based in Montecatini Terme, with the aim of designing and producing avant-garde objects and furniture for new possible scenarios. Exhibitions of objects between art and design. Unique pieces, but also professional works. The founders are Alberto Casciani and Me.
Stilema was born because there was a strong need to do as it is typical of young people at the same time, you had to find a road that was not trivial. Care had to be taken to make furniture with crooked legs. + Content was needed. We loved certain authors, but it couldn't be them. They had to be transcended. Alberto was already doing some operations on the authors, especially in the art world, we decided to extend it also to the world of design. They were conceptual + operations. [In order] to pre-date history, to quote the contemporary that we liked.
Cover of CATALOGO STILEMA
CATALOGO STILEMA
CATALOGO STILEMA
STILEMA CATALOGO
Graphic design by
ALBERTO CASCIANI
BLACK & WHITE BOOKLET
65 PAGES
1981
STILEMA: Massimo mariani
"MOKA", 1981
"NON-STOP CITY", 1981
"DANZA DI CARIATIDI", 1982
"MOKA" by Massimo Mariani
CATALOGO STILEMA, Page 3
"NON-STOP CITY" by Massimo Mariani
CATALOGO STILEMA, Page 6
"DANZA DI CARIATIDI" by Massimo Mariani
CATALOGO STILEMA, Page 9
STILEMA CATALOGO
Graphic design by
ALBERTO CASCIANI
BLACK & WHITE BOOKLET
65 PAGES
1981
STILEMA: Massimo mariani
"MOKA", 1981
"NON-STOP CITY", 1981
"DANZA DI CARIATIDI", 1982
"MOKA" by Massimo Mariani
CATALOGO STILEMA, Page 3
"NON-STOP CITY" by Massimo Mariani
CATALOGO STILEMA, Page 6
"DANZA DI CARIATIDI" by Massimo Mariani
CATALOGO STILEMA, Page 9
INVITATION - PROGETTI OSCILLANTI
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
INVITATION - PROGETTI OSCILLANTI
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
STATEMENT - PROGETTI OSCILLANTI
OSCILLATING PROJECTS
CATALOGO STILEMA
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
MY MIND IS AROUND AND UNCERTAIN and finds here and there in the present stimuli to project, but he does not fall in love with anyone; he rides a few strands in nomadic ways, but is immediately ready to deny them to follow other paths. Watch carefully what happens around him feeds on images. It concentrates on a figurative datum, manipulates it and loads it with new uses and meanings.
This attitude favors the
"talent" on the "genius" and typical of the mannerist intellectual.
Because the mannerist intellectual always "oscillates", and the man of the possible never says: "This is, That is not", but it does image: it is endowed with the sense of possibility and does not give greater importance to what it is, or to what is not.
Being intermediate allows the Mannerist intellectual the possibility of all possibilities, in practice it allows him an absence of preference that eliminates all excitement and all desperation (A.B. OLIVA)
STILEMA
STATEMENT - PROGETTI OSCILLANTI
OSCILLATING PROJECTS
CATALOGO STILEMA
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
MY MIND IS AROUND AND UNCERTAIN and finds here and there in the present stimuli to project, but he does not fall in love with anyone; he rides a few strands in nomadic ways, but is immediately ready to deny them to follow other paths. Watch carefully what happens around him feeds on images. It concentrates on a figurative datum, manipulates it and loads it with new uses and meanings.
This attitude favors the
"talent" on the "genius" and typical of the mannerist intellectual.
Because the mannerist intellectual always "oscillates", and the man of the possible never says: "This is, That is not", but it does image: it is endowed with the sense of possibility and does not give greater importance to what it is, or to what is not.
Being intermediate allows the Mannerist intellectual the possibility of all possibilities, in practice it allows him an absence of preference that eliminates all excitement and all desperation (A.B. OLIVA)
STILEMA
ANDREINA
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
ANDREINA
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
ETTORE
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
ETTORE
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
HANS
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
HANS
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
MARIO
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
MARIO
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
MICHAEL
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
MICHAEL
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
M. L.
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
M. L.
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
SALVATORE
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
SALVATORE
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
SANDRA
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
SANDRA
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
SANDRINA
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
SANDRINA
OSCILLATING PROJECTS
STILEMA: Alberto Casciani & Massimo mariani
EXHIBITION, MONTECATINI TERME
1981
PORTA TELEFONO E PANNELLO DECORATIVO
TELEPHONE HOLDER AND DECORATIVE PANEL
FOR INTERIEUR '82, BELGIUM
1982
STILEMA: Massimo mariani
PORTA TELEFONO E PANNELLO DECORATIVO
TELEPHONE HOLDER AND DECORATIVE PANEL
FOR INTERIEUR '82, BELGIUM
1982
STILEMA: Massimo mariani
PORTA TELEvisore
TV HOLDER
1982
STILEMA: Massimo mariani
WATERCOLOR
PORTA TELEvisore
TV HOLDER
1982
STILEMA: Massimo mariani
WATERCOLOR
CASE / HOMES
SKETCHES & DRAWINGS
1982
STILEMA: Massimo mariani
CASE
HOMES
SKETCHES & DRAWINGS
1982
STILEMA: Massimo mariani
SPECCHIO SPECCHIO / MIRROR MIRROR
EXHIBITION "Specchi e riflessioni" /"MIRRORS & REFLECTIONS"
Galleria Vivita, Firenze
1983
SPECCHIO SPECCHIO MIRROR MIRROR
EXHIBITION "Specchi e riflessioni" /"MIRRORS & REFLECTIONS"
Galleria Vivita, Firenze
1983
BOLIDISTA
GROUP PHOTO
EPOCA N1916,
1987
LEFT: Massimo mariani HOLDING HIS 'FAT' LAMP
BOLIDISTA
GROUP PHOTO
EPOCA N1916,
1987
LEFT: Massimo mariani HOLDING HIS 'FAT' LAMP
BOLIDISTA
GROUP PHOTO
EPOCA N1916,
1987
LEFT: Massimo mariani HOLDING HIS 'FAT' LAMP
"The most beautiful house in the world"
COMPETITION
Reggio Emilia
1988
"The most beautiful house in the world"
COMPETITION
Reggio Emilia
1988
Negozio di preziosi
/ PRECIOUS STORE
EXHIBITION "Habitat e Identità"
/ "HABITAT & IDENTITY"
Arezzo
1989
MM: This project is part of a series begun in 1988, that
I call “Anemic Projects”. They are anemic because they are sickly, white, and pale. Maybe I have a desire to “cancel out” objects, to render them invisible even though I know this is impossible. At least there is an attempt to purify or cleanse us from the overload of signals that have saturated us in recent years... as far as the project at hand, my intention was to put an “apparition” (the large gold ingot) at the center stage in the scene where the ritual of buying a “precious” object takes place. Just someone of a few precious displayed in the room cause it is important. Each one is the sum of erotic, affective, sentimental and magic fancies as any jewel always contains in- side. Moreover some functional principles inspire the scene ensuring that everything goes ok in the interior. I hope I have been able to do that!
Negozio di preziosi
PRECIOUS STORE
EXHIBITION "Habitat e Identità"
"HABITAT & IDENTITY"
Arezzo
1989
MM: This project is part of a series begun in 1988, that
I call “Anemic Projects”. They are anemic because they are sickly, white, and pale. Maybe I have a desire to “cancel out” objects, to render them invisible even though I know this is impossible. At least there is an attempt to purify or cleanse us from the overload of signals that have saturated us in recent years... as far as the project at hand, my intention was to put an “apparition” (the large gold ingot) at the center stage in the scene where the ritual of buying a “precious” object takes place. Just someone of a few precious displayed in the room cause it is important. Each one is the sum of erotic, affective, sentimental and magic fancies as any jewel always contains in- side. Moreover some functional principles inspire the scene ensuring that everything goes ok in the interior. I hope I have been able to do that!
NEW HEADQUARTERS Banca Credito Cooperativo di Castagneto Carducci Donoratico, Livorno
1997-2001
NEW HEADQUARTERS Banca Credito Cooperativo di Castagneto Carducci Donoratico, Livorno
1997-2001
Banca a Firenze
OFFICE
Firenze
2011
Banca a Firenze
OFFICE
Firenze
2011
Banca a Firenze
OFFICE
Firenze
2011