MA­SE­RA­TI MAN Nel se­gno di Ma­se­ra­ti

Crea­ti­vi­ty ac­cor­ding to the head de­si­gner for Fiat, Lan­cia, Ma­se­ra­ti and Al­fa Ro­meo La crea­ti­vi­tà se­con­do il ca­po del de­si­gn di Fiat, Lan­cia, Ma­se­ra­ti e Al­fa Ro­meo

Top Yacht Design - - Profile - By Mat­teo Zac­ca­gni­no Pho­to by Gio­van­ni Mal­ga­ri­ni

“We de­si­gned a Ma­se­ra­ti that hap­pe­ned to be an SUV”

«Ab­bia­mo pro­get­ta­to una Ma­se­ra­ti che fos­se un SUV»

What is the dif­fe­ren­ce bet­ween designing a C F " ! 0 the two ap­proa­ches mu­st be worlds apart. G ! " that they ha­ve mu­ch in com­mon. Star­ting wi­th the fact that bo­th cars and boa­ts are de­si­gned to mo­ve in spe­cif > 0 ? ! ) ! - tu­re in mo­ve­ment. But the­re is one fac­tor abo­ve all others that seals the link bet­ween cars and boa­ts. And it has to do wi­th the ex­pe­rien­ces they gi­ve their oc­cu­pan­ts.

KG " 0 ) % dif­fe­rent to being aboard a boat as it ne­go­tia­tes the open !L < G # ) @ " ) O ! & ! F ) ; % P - 7 Q

K# 0 ! ' ) " one and the sa­me in ma­ny in­stan­ces: that is why the mo­st " " ! ! is to esta­bli­sh a com­mu­ni­ca­tions chan­nel on an emo­tion 0 ! 0 uni­que and in­vol­ving ex­pe­rien­ce pos­si­ble.” It is this phi­lo­so­phy that pro­vi­des the ful­crum of eve­ry sin­gle de­si­gn to ) % + ' + K Y 0 " 0 2 " 0 & ! we had two choi­ces: de­si­gn an SUV and ma­ke it look li­ke a Ma­se­ra­ti or start wi­th the idea of designing a Ma­se­ra­ti Z (! 0 0 0 L F -

$ ) ) " ' C A pri­ma vi­sta la di­stan­za che se­pa­ra que­sti due mon­di può sem­bra­re si­de­ra­le. Ep­pu­re so­no mol­te le co­se che han­no in F ) ' [ ' - " ) ) - $' , 9 ! \ ! " ' ; " + ' ] % , ' " ^! < G - 7 Q # ) @ " % ! F ) ; ! O &

]3 9 ' , * _ " " ! ) ! ' \ , - ' ! " ' \ - le uni­ca e coin­vol­gen­te». È que­sto il ful­cro di ogni pro­get­to $ % ] & , " ' due stra­de da per­cor­re­re: crea­re un SUV e ren­der­lo si­mi­le % ! ! ) ! ' - " % ) Z (^ P ! "

thou­gh the new mo­del hails a ra­di­cal new di­rec­tion for the ! " # $%

A vo­ca­tion that is clear too in a who­le slew of oth " & " & " has slee­ker forms ty­pi­cal of a hi­gh per­for­man­ce car.

“When the mo­ment co­mes to think about fu­tu­re mod " " & ' ( % ) not ju­st going to be designing a sports car but crea­ting * + * , & # %'

or in a bro­chu­re. The crea­ti­ve pro­cess and the ap­proa­ch to craf­ting ea­ch new car are the real star­ting poin­ts.

)/ # ' ( % ) 0 / / % I let fee­lings gui­de my pen­cil. In­spi­ra­tion to me is a crea­ti­ve ener­gy that I open up to and un­lea­sh.” No truer words we­re ever spo­ken. Emo­tio­nal in­put is vi­tal to cre- 1 2 & ! " " $% 3 " 2 4 " & " & ra­stre­ma­ta ti­pi­co di una vet­tu­ra ad al­te pre­sta­zio­ni.

«Quan­do ar­ri­va il mo­men­to di pen­sa­re ai mo­del­li fu­tu­ri si 5 " " & 67 ( 8 $ " *+ * , 4 " 2 2 7% 9 il ra­gio­na­men­to al­le in­for­ma­zio­ni con­te­nu­te in una sche­da tec­ni­ca o evi­den­zia­te in un li­sti­no di­ven­ta mol­to ri­dut­ti­vo. Si de­ve par­ti­re dal pro­ces­so crea­ti­vo e dal ti­po di ap­proc­cio che ac­com­pa­gna ogni nuo­vo pro­get­to. Tut­to ha ini­zio da un fo­glio di car­ta» com­men­ta Bus­se «Quan­do di­se­gno met­to da par­te la com­po­nen­te ra­zio­na­le. So­no le sen­sa­zio­ni a gui­da­re % ! 2 5 & " 7% : " % 3 2 4 sen­za il coin­vol­gi­men­to del­la sfe­ra emo­ti­va di chi lo pro­get­ta.

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