Bel­la la fac­cia­ta in­tel­li­gen­te

The Beau­ty of a Smart Faça­de

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At a di­stan­ce of mo­re than fif­ty years, Kar­tell Kids is har­king back to the at­ten­tion paid by Mar­co Za­nu­so and Ri­chard Sap­per to the world of chil­dren: it was in 1964, in fact, that they de­si­gned the fa­mous 4999, the fir­st chair in the world to be ma­de out of pla­stic. The new col­lec­tion of fur­ni­tu­re and toys is in­ten­ded to reaf­firm a pre­ci­se iden­ti­ty, per­fec­tly in kee­ping wi­th the brand, th­rou­gh pro­duc­ts ai­med at chil­dren aged bet­ween 3 and 8 and crea­ted by so­me of the mo­st fa­mous de­si­gners who ha­ve tra­di­tio­nal­ly wor­ked wi­th Kar­tell. Phi­lip­pe Starck has de­si­gned the Air­way swing, whi­le Pie­ro Lis­so­ni has co­me up wi­th the Te­sta­cal­da trac­tor and the Di­sco­vo­lan­te car, Nen­do an es­sen­tial roc­king hor­se cal­led H-hor­se and La­via­ni the Clip Clap ta­ble/de­sk, con­struc­ted from small trans­pa­rent blocks that can be stac­ked to suit the child’s height. All of them, ob­viou­sly, ma­de out of trans­pa­rent or co­lou­red me­tha­cry­la­te or po­ly­car­bo­na­te. A dou­ble fil­ter of hi­gh ae­sthe­tic va­lue. Wi­th In­ver­ted Land­sca­pe, de­si­gned for the en­tran­ce hall of the Zev Ya­ro­sla­v­sky San Fer­nan­do Val­ley Fa­mi­ly Sup­port Cen­ter in Los An­ge­les, Ele­na Man­fer­di­ni has suc­cee­ded in in­su­la­ting a gla­zed faça­de wi­thout re­noun­cing its de­co­ra­tion. Two pa­nes of glass se­pa­ra­ted by a film that is prin­ted on the front and back ha­ve in fact been cou­pled wi­th a So­lar­ban R100 low-emis­si­vi­ty pa­nel that, whi­le re­mai­ning set back from the faça­de pro­per, main­tains its in­su­la­ting ro­le, whi­ch is ac­tual­ly boo­sted by the pre­sen­ce of the co­lou­red film. The de­si­gns on the film ha­ve been crea­ted by means of a tech­no­lo­gi­cal pro­cess that gi­ves a th­ree-di­men­sio­nal ef­fect to the wall. The prin­ted images we­re ac­qui­red by 3D scans, then re­pain­ted using com­pu­ter soft­ware and de­struc­tu­red in­to a stri­ped pat­tern that turns them, if viewed sin­gly, in­to ab­stract ele­men­ts.

A ol­tre cin­quant’an­ni di di­stan­za, Kar­tell Kids si ri­col­le­ga ideal­men­te a quell’at­ten­zio­ne di­mo­stra­ta da Mar­co Za­nu­so e Ri­chard Sap­per per il mon­do in­fan­ti­le: nel 1964 di­se­gna­ro­no in­fat­ti la fa­mo­sis­si­ma 4999, la pri­ma se­dia al mon­do pro­dot­ta in pla­sti­ca. La nuo­va col­le­zio­ne di ar­re­di e gio­chi in­ten­de ri­ba­di­re una pre­ci­sa iden­ti­tà, in per­fet­ta coe­ren­za con il mar­chio, con pro­dot­ti ri­ser­va­ti ai bam­bi­ni dai 3 agli 8 an­ni non a ca­so fir­ma­ti da al­cu­ni dei più fa­mo­si de­si­gner in­ter­na­zio­na­li che tra­di­zio­nal­men­te col­la­bo­ra­no con Kar­tell. Phi­lip­pe Starck ha di­se­gna­to l’al­ta­le­na Air­way, Pie­ro Lis­so­ni si è ci­men­ta­to con il trat­to­re Te­sta­cal­da e l’au­to­mo­bi­le Di­sco­vo­lan­te, Nen­do con l’es­sen­zia­le ca­val­li­no a don­do­lo H-hor­se, La­via­ni con il ta­vo­li­no/scrit­to­io Clip Clap, rea­liz­za­to con bloc­chet­ti tra­spa­ren­ti im­pi­la­bi­li che si ade­gua­no all’al­tez­za del bam­bi­no. Tut­ti, ov­via­men­te, rea­liz­za­ti in me­ta­cri­la­to o in po­li­car­bo­na­to, tra­spa­ren­te o co­lo­ra­to. (MP) Un dop­pio fil­tro ad al­ta va­len­za este­ti­ca. Con In­ver­ted Land­sca­pe pro­get­ta­to per l’atrio del­lo Zev Ya­ro­sla­v­sky San Fer­nan­do Val­ley Fa­mi­ly Sup­port Cen­ter di Los An­ge­les, Ele­na Man­fer­di­ni è riu­sci­ta a ga­ran­ti­re l’iso­la­men­to di una fac­cia­ta ve­tra­ta sen­za ri­nun­cia­re a de­co­rar­la. Due ve­tri in­ter­val­la­ti da una pel­li­co­la stam­pa­ta fron­te e re­tro so­no in­fat­ti sta­ti ac­cop­pia­ti a un pan­nel­lo So­lar­ban R100 a bas­sa emis­si­vi­tà che, pur ri­ma­nen­do in po­si­zio­ne ar­re­tra­ta ri­spet­to al­la fac­cia­ta ve­ra e pro­pria, man­tie­ne il suo ruo­lo coi­ben­te, ad­di­rit­tu­ra am­pli­fi­ca­to dal­la pre­sen­za del­la pel­li­co­la co­lo­ra­ta. I di­se­gni so­no sta­ti crea­ti se­guen­do un pro­ces­so tec­no­lo­gi­co che dà un ef­fet­to tri­di­men­sio­na­le al­la pa­re­te. I sog­get­ti stam­pa­ti so­no sta­ti ac­qui­si­ti tra­mi­te scan­sio­ni 3D, poi ri­di­pin­ti con un soft­ware e de­strut­tu­ra­ti in pat­tern a stri­sce che li fan­no di­ven­ta­re, se pre­si sin­go­lar­men­te, ele­men­ti astrat­ti. (AP)

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