Scuoladesign.Com

scuoladesign.com scuoladesign.com Founded in 1954 in Milan, SPD Scuola Politecnica di Design is the first Italian is the first di Design Politecnica SPD Scuola in Milan, in 1954 Founded design to from product in various design areas, school active postgraduate is centered advanced education The offer of and communication. architecture institutions and businesses involving primary Master's courses on one year or with with an internship is completed partners. The experience as didactic has been more than 50 years school, which for dissertation. The a individual background, talents from a strongly international educating young design d'Oro price. awards including the ADI's Compasso has received prestigious with important Italian are organized in collaboration The Master programmes courses under recognized as first level university Master's universities and are the ECTS credit system. SPD è la prima a Milano la Scuola Politecnica di Design Fondata nel 1954 dal product design attiva in differenti aree di progetto, master school italiana ha il suo centro comunicazione. L’offerta formativa all'architettura e alla istituzioni e realtà aziendali di primo nei Master che coinvolgono nella didattica tirocinio o un percorso di ricerca piano. L'esperienza si completa con un cinquant'anni nella formazione personale. La scuola, impegnata da oltre base fortemente internazionale, di giovani talenti del design con una tra i quali il premio Compasso d’Oro ADI. ha ricevuto prestigiosi riconoscimenti collaborazione con importanti università I programmi di Master sono attivati in Universitari di I livello. italiane e sono riconosciuti come Master 1 become a designer

3 mission Creativity is a daily task at fields and visiting tutors. Patricia Urqui- SPD. Since its foundation in 1954 it ola, Denis Santachiara, Ross Lovegrove has welcomed an extraordinary com- and Chris Bangle among the others munity of students from various coun- have been lecturing at SPD. Teaching is tries and backgrounds. Everyone has arranged into intensive workshops, stu- an unequalled opportunity: they work dio classes, theoretical lectures, seminars side by side with excellent professionals, and visits. Researchwork carried out in engage in dialogue with a number of collaboration with leading companies academic partners and swap experienc- such as Volkswagen, Beiersdorf, Polt- es with young talents from all over the rona Frau Group, Microsoft, Heineken, world. All of this takes place in Milan, Alfa Romeo, Alias is a crucial experience a city with an incredibly close-to-hand at SPD. These projects are developed ac- and accessible heritage made up of ar- cording to a comprehensive approach chitecture and design, production and which is a proving ground for the stu- business, communication and art. dent’s skills, from the concept idea to its execution. The result of this work is methodOLOGY At SPD every student is translated into high quality education followed individually by a faculty made up with a professional orientation. of designers, professionals from various The school boasts affiliations to the most important organizations in the field such as ADI (Italy’s Industrial Design Asso- 2 ciation), AIAP (Italian Graphic designers’ There are many things still to be invented or simply Association), and ASFOR (Italian associa- devised in new ways. Design is what makes ideas tion for management development). It is possible and has the power to envision solutions a member of the Cumulus network that brings together the most prestigious de- for the future, from everyday objects to the most sign academies worldwide. complex intangible systems.

4 Scuola Politecnica di Design

5 laboratory Today SPD is an interna- The programmes demand full-time com- tional laboratory for swapping experi- mitment including regular coursework, ences, for getting in touch with compa- individual and group study as well as nies and professionals, for developing the internship or the preparation of the projects always keeping the balance be- final project. Scholarships and tuition tween experimental reserch and a solid waivers offered also in association with orientation towards the market needs. academic partners are available for high Throughout the year students are en- potential candidates. gaged in different projects - either intensive one-week workshops or studio RECOGNITION AND QUALITY SYSTEM experiences lasting the whole semester In 2009 SPD implemented the UNI EN - allowing them to acquire a global vi- ISO 9001:2008 Standard, obtaining the sion of the job and round off sounder Quality Management System Certifi- professional skills. cate that assures that quality management standards are in place. SPD is rec- ACADEMICS Master’s and One-Year ognized as an educational institutions Courses have limited entries. Admission by Regione Lombardia. The Master’s is based on the assessment of the port- courses offered by SPD are organized in folio and relevant background and on a collaboration with partnering Universi- motivational interview with the candi- ties and award academic credits under date. Courses generally begin in October the ECTS system. Plese check with the and finish by December of the following Student Information Office for further year. Classes are held in English. details on the course of interest. Attendance is compulsory. 6 7 SPD came into 60 years of project-based education existence at the very same time as Italian design was developing 8 as an industrial HISTORY SPD was founded in 1954 by Louvre and at the Centre Pompidou in and cultural asset, Nino di Salvatore, painter and theorist of Paris, a piece by its students was part contributing to its the project based application of the prin- of 2010 edition of the Triennale Design international ciples of the Gestalt psichologie. Since its Museum, Serie e Fuoriserie, curated by very beginning Scuola Politecnica di De- Andrea Branzi with Silvana Annichiarico. recognition. It was sign programmatically brought together SPD was awarded the Gold Medal at the founded in 1954 various disciplines from product to visual X Triennale di Milano and the prestigious in Milan, as the first design up to car design. The school pio- Compasso d’Oro prize in 1994 for its 60 Italian school of design. neered design education thanks to its year long progression of achievements in solid grounding and to this peculiar ap- design education. proach integrating different domains: ergonomics, art, perception studies, ALUMNI Thanks to this blend of pratice semiotics. The founder’s ties with the ar- and culture, methodology and experi- tistic community have gathered around ence, the school has brought forward the school names of the first rank. Bruno many talents over the years. Aldo Cibic, Munari, Max Huber, Pino Tovaglia, Gio Ferruccio Laviani, Christoph Radl, Cino Ponti, Rodolfo Bonetto, Heinz Waibl Zucchi, Elio Carmi, Marco Ferreri, Mau- have all lectured at SPD. rizio Di Robiliant, Martì Guixé, Lorenzo Damiani have all studied at SPD. Names to AWARDS This brilliant activity has watch closely from the newest generation been rewarded with major recognitions are Cedomir Pakusevskij, Erasmo Ciufo, through the years. Just to name a few, Jorge Manes Rubio, Salvatore Franzese. SPD was selected for the exhibition at the Venice Biennale in 1986, its works were displayed at the Carrousel du

10 educational offering

9 STRUCTURE AND PROGRAMS SPD’s offering of postgraduate education consists of annual Master’s degrees from five different departments: Indus- trial Design, Interior Design, Transporta- tion and Car Design, Visual Design, Web Media Design. The catalogue of full time annual programmes includes also One-Year Cours- es in Product Design or Visual Design addressed to candidates with an academic background that is not relevant to the selected area of further studies. One-Year Courses provide a balanced combination of theoretical teaching and project-based training. They can also be intended as a foundation to the Masters. The school’s offer of advanced education is completed with intensive specializa- tion programmes, one-week experiences, summer workshops and technical training. Every year SPD organizes a dense calendar of lectures given by international speakers. Participation is open to the general public. 11 master in industrial design

13 aim Industrial design is responsible for role of dialogue and mutual exchange in the most common consumer goods as the creative process. well as for new and innovative artifacts. The association with major industrial It is also what lays behind the tools and partners has the purpose of perfecting the processes involved in their produc- the education by providing students with tion and distribution. challenging tasks that allow them to face the relationships with business and features The Master provides an organizations in a mature way. Techni- overall experience in product design, cal training is particularly emphisized to from the preliminary concept to its re- build up solid professional groundings. finement, from physical and digital rep- Students can use modelling and com- resentation to the communication of puter design laboratories equipped with the project. the most advanced softwares. The educational approach stresses the experience provided to the user and the entry Upon selection the Master ad- social meaning of the product. Students mits graduates in Industrial or Product are proposed an open, interdisciplinary Design, Architecture, Product Engineer- methodology that values their own cul- ing or equivalent, and students from tural background and emphasizes the academies of applied arts; candidates who have gained significant professional experience in the field. 12 Today designing products means dealing with both their ideation and their feasibility, addressing the entire lifecycle according to a sustainable logic.

14 master in interior design

16 aim Contemporary interiors as a cul- support the creation of a working knowl- tural system require a broader set of edge base. Collaborations with brands professional skills. The course promotes and institutions enable the students to creative thinking along with sound comprehend how interiors communicate design abilities and an architectural the brand values in a retail environment 15 orientation. or in a corporate space through the use Space expresses of architectural elements and spatial a function and meaning. features Interior design is a clearly graphics. As a result of this education, expressed system created to respond to on the one hand students are encour- multiple demands for efficiency, com- aged to develop a conceptual approach fort or entertainment. Interiors trigger in design practice gaining a strategic un- a sense of personal identity, aggrega- derstanding of elements and processes tion or emotional engagement with involved. On the other hand, technical the introduction of sensory experiences representation and architectural detail- or through the use of carefully woven ing serve the students as a mirror for narrative threads. Course contents deal reviewing their design and refining their with concept design, space planning, professional skills. interior layout and display. The programme provides discerning insights entry Upon selection the Master ad- into the language of materials, lighting, mits graduates in Interior Design or colour, furniture and the integration of Architecture, Product Design or equiv- technical components. The relation with alents and students from academies the building is deeply investigated. All of applied arts; candidates who have these aspects meet in the studio class- gained significant professional experi- es led by renowned professionals that ence in the field. 19 17 At SPD designers are master in transportation and car design being called on to envision progressive transportation concepts 18 that fit a future aims Alongside micromobility solutions After the initial exploration, students scenario where cars are or people mover systems that respond to move forward into design concepts and not the unrivaled player the challenge of the new megacities and their refinement up to both physical and anymore. their fast-growing economies, today’s digital modelling. It’s a long process that car design paradigm can also be brought demands a high level of personal com- into question in the urge to better inter- mittment and flexibility, organizational pret new social habits and environmental and time management skills as well as a issues. strong attitude to teamwork. Projects are subject to group critiques and critiques features The Master’s programme with outsider reviewers. Transportation embraces the entire design development designers thus acquire a constant spur process by researching into new experi- to innovation both in form language and ential concepts, redefining architectural function, allied with the understanding solutions and moving forward with new of engineering and production processes. criteria for comfort and efficiency. Parallel to the technical training, studio projects entry Upon selection, the Master ad- are organized in collaboration with ma- mits graduates in Transportation or Car jor car companies. In particular SPD has Design, Industrial Design, Vehicle Engi- signed a long term educational partner- neering or their equivalents, and candi- ship with Volkswagen Group Design dates who have gained significant pro- involving the participation of designers fessional experience in the field. from the various brands - from Audi to Lamborghini - into the teaching activites.

21 22 aim The Master’s course caters the master in visual design complexity of this scenario and allows profound experiences in the various areas of graphic design in order to promote a higher level of professional awareness 20 and operational proficiency. Graphic design has established itself features From identity to editorial de- as a vast professional sign, from information graphics to dig- field integrating ital communication, the programme develops in an ongoing relation between different strands these disciplines. Format, layout and which are reflected composition, typography, content man- into in the variety agement and visual references are close- of specialized career ly investigated as key elements of the paths in the market. language of the graphic representation. The plan of studies includes advanced training into all the professional tools and up-to-date technologies. Finally, studio classes draw up the students’ visual culture and enhance their overall design skills by reproducing challenging dynamics which are peculiar to the professional practice.

entry Upon selection, the Master ad- mits graduates in Visual Communica- tion, Graphic Design, Advertising or their equivalents and students from Fine Arts Academies with graphic orientation; candidates who have gained significant professional experience in the field. 23 master in web and multimedia design

25 Project-based activities in particular are aim The Master is intended to enable central to the learning experience and students to correctly develop and imple- leverage abilities and information ac- ment projects in a web-based environ- quired in the other courses. All projects ment. The aim is the creation of differ- follow a proper workflow encompass- ent professional profiles within the web ing the definition of the digital strategy media design area which are able to and its relevant objectives, concept and plan, produce and share through the on- information design up to front/back end line communities a new generation of programming. As the user experience is content and services in an effective way. increasingly developing through social media, companies are changing their FEATURE The Master offers an experi- business accordingly. This new and thrill- mental pathway at the forefront of de- ing scenario is deeply investigated with sign, marketing and technology. The specific regard to the integration of con- plan of studies blends art direction and tent and navigation flow between web- design contents with solid technical skills sites and social network platforms and and a comprehensive background in viceversa. The overall didactic experience digital communication. The programme provides the students with professional develops in the interplay between theo- abilities that allow them to engage in retical teaching and practical tasks. dialogue with the different figures involved in digital media projects.

24 entry Upon selection, the Master ad- The academic approach puts the user experience mits graduates in Media Studies, Com- at the centre in order to create websites, digital munication and Graphics, IT Sciences, applications and mobile interfaces that prove usable Design or Architecture and their equivalents or candidates who have gained and accessible. significant professional experience in the field.

28 PRODUCT This One-Year Course allows a challenging experience in product and one-year courses interior design highlighting their mutual relations and the specific set of skills required. The academic approach inte- 26 grates design practice with theoretical aim An intense year-long training of- and technical teaching. fered in two different directions – Prod- The programme conveys operational uct Design and Visual Design – is spe- skills: colour theory and practice, techni- cifically intended for candidates with cal drawing, 2D and 3D representation a degree that is not relevant to the techniques, general knowledge of ma- 27 field of interest. Both these extensive terials and their production processes, One-Year Courses programmes guide students to tackle photography and computer graphics in Product or Visual design practice through a number of to prepare effective presentations. The Design allow a creative projects of increasing complexity. In the project based workshops offer gradu- ally more complete experiences both in immersion into design meantime they build up solid groundings in methodology and operational product and interior design. The tasks practice while techniques. One-Year Courses can also submitted embrace the entire creative presenting the essential be intended as a foundation to the Mas- workflow from the concept up to its tools to handle way ter’s programmes in their respective aca- representation and communication. The demic areas. abilities thus developed over the year are more complex projects. directly in relation with the Master programmes in Interior or Industrial Design that can also be intended as the ideal continuation of the One Year Course. 29 visual design Graphic design is This comprehensive approach values the viewed as an instrument of representa- cultural background of the students and tion and communication with its own enhances the potential of their ideas and set of principles, practices and tools. insights in a professional perspective. The Through a series of creative exercises - course can also be intended as a founda- developed both digitally and with mock tion to the Master in Visual or Web and ups - students will steadily refine the Multimedia Design. critical skills required to face stimulating projects with a professionally consciuos entry One Year Courses admit candi- attitude. The study plan embraces all the dates holding a degree that is not rel- basic elements of the visual alphabet and evant to their area of further study. its syntactic structure: colour theory and its application, lettering and typography, layout and compositional design ma- trixes for controlling text and imagery by defining their inner hierarchy up to the exploration into non-grid based systems. As a result of SPD’s peculiar historical heritage, tuition pays specific attention to the mechanisms underlying human visual perception and constantly stresses the ties of graphic representatation with the cultural aspects rooteed in arts and humanities.

31 services The Academic Office is available for information on entry and enrol- location and services ment procedures. In order to facilitate foreign students, the whole admission and enrolment process can be con- 32 30 ducted on-line. The personal motiva- LOCATION The whole city of Milan tion interview and further possible tests Studying at SPD means can be taken at distance by email and plunging yourself into provides unique opportunities. It is the world capital of design, furniture and Skype video call. A visit to SPD’s facilities a living, dynamic fashion; it is a city of the present, cul- can also be easily arranged by appoint- and international turally vibrant and business-wise. The ment. The school staff provides foreign environment where design week held every year is the major students with help in obtaining visas, residence permits, and health coverage foreign students make international event attracting creative professionals and manufacturers from in Italy. It also offers assistance in find- up to 70% of the total all over the world. During the fashion ing an accommodation in private apart- and cultural differences weeks as well the entire city is trans- ments or students’ residences. are highly valued. formed into a showroom where presentations and events take place nonstop. LANGUAGE English is the official lan- Around SPD there’s a dense network guage at SPD. Master classes are held of art galleries, architectural and design in English, an intermediate level of profi- studios and a lively university district. ciency is required. The area is quickly and easily connected to the centre by subway: piazza Duomo, the main monuments and museums can be reached within minutes. MINDSET 1 3

in q u e s t e p a g i n e : studenti al lavoro in SPD. La didattica favorisce l’esperienza project based. in t h e s e p a g e s : students at work. The educational approach focuses on project based experiences.

2 4 in q u e s t a p a g i n a , d a l l ’a l t o : revisione con Giulio Cappellini e Riccardo Blumer; prima della presentazione. p a g i n a a c c a n t o : studenti al lavoro su un modello di studio; Walter de Silva, responsabile del design del gruppo Volkswagen, commenta i lavori degli studenti. t h i s p a g e , f r o m t h e t o p : revision with Giulio Cappellini and Riccardo Blumer; before the presentation. o p p o s i t e : students preparing their study models; Walter de Silva, Head of Design of Volkswagen Group, discusses the students’ submissions.

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in q u e s t a p a g i n a , d a l l ’a l t o Nino di Salvatore, fondatore della Scuola Politecnica di Design SPD; Bruno Munari insegna in SPD per un decennio. t h i s p a g e , f r o m t h e t o p : Nino di Salvatore, founder of the Scuola Politecnica di Design SPD; Bruno Munari taught at SPD PROFESSIONALLY for a decade. ORIENTED EDUCATION

6 in q u e s t a p a g i n a , in s e n s o o r a r i o d a l l ’a l t o : Attilio Marcolli; lezione di ergonomia; Gio Ponti in SPD. p a g i n a a c c a n t o , d a l l ’a l t o : Guido Petter; lezione di fotografia. t h i s p a g e , c l o c k w i s e f r o m t o p : Attilio Marcolli; ergonomics class; Gio Ponti in SPD. o p p o s i t e , f r o m t h e t o p : Guido Petter; photography class. in q u e s t e p a g i n e : training su tecniche e strumenti. in t h e s e p a g e s : technical training.

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in q u e s t e p a g i n e : True Stories. Mostra dei progetti degli studenti in occasione del Salone del Mobile 2010. in t h e s e p a g e s : True Stories. Students’ exhibition during the 2010 Milan Design Week.

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QUALITY

a s i n i s t r a : progetto di Isaac Pineiro (Spagna), Kelly Pearson (USA), Hiromi Fukikoshi Ruffatti (Giappone), Roberto Rossi (Italia) in collaborazione con La Murrina; supervisione di Huub Ubbens. l e f t : project by Isaac Pineiro (Spain), Kelly Pearson (USA), Hiromi Fukikoshi (Japan), Roberto Rossi (Italy) in collaboration with La Murrina; supervised by Huub Ubbens. in q u e s t a p a g i n a d a l l ’a l t o : progetto di Evangelos Karapetsas (Grecia) e Jumpei Ushiyama (Giappone) in collaborazione con Ceramica Flaminia; supervisione di Huub Ubbens con Giulio Cappellini. Progetto di Gilda Borgnini (Svizzera) in collaborazione con Ceramica Flaminia; supervisione di Huub Ubbens con Giulio Cappellini. p a g i n a a c c a n t o : progetto di Francesca Imperiali e Alessandro Pasotti (Italia) in collaborazione con Gebrüder Thonet Vienna; supervisione di Riccardo Blumer con Giulio Cappellini. t h i s p a g e f r o m t h e t o p : project by Evangelos Karapetsas (Greece) and Jumpei Ushiyama (Japan) in collaboration with Ceramica Flaminia; supervised by Huub Ubbens with Giulio Cappellini. Project by Gilda Borgnini (Switzerland) in collaboration with Ceramica Flaminia; supervised by Riccardo Blumer with Giulio Cappellini. o p p o s i t e : project by Francesca Imperiali and Alessandro Pasotti (Italy) in collaboration with Gebrüder Thonet Vienna; supervised by Riccardo Blumer with Giulio Cappellini. 13

in q u e s t a p a g i n a , d a l l ’a l t o : progetto di Alessandro Stabile (Italia), Isaac Pineiro (Spagna) in collaborazione con Nutella e Interni; supervisione di Odoardo Fioravanti. Progetto di Serdar Ozsumer (Turchia), Igor Lukic (Slovenia), Vivek Anand Muthuswamy (India); supervisione di Marco Merendi. p a g i n a a c c a n t o : progetto di Enrico De Lotto (Italia), Evangelos Semizidis (Grecia), Georgios Kolliopoulos (Grecia) in collaborazione con Beiersdorf; supervisione di Odoardo Fioravanti. t h i s p a g e f r o m t h e t o p : project by Alessandro Stabile (Italy), Isaac Pineiro (Spain) in collaboration with Nutella and Interni; supervised by Odoardo Fioravanti. Project by Serdar Ozsumer (Turkey), Igor Lukic (Slovenia), Vivek Anand Muthuswamy (India); supervised by Marco Merendi. o p p o s i t e : project by Enrico De Lotto (Italy), Evangelos Semizidis (Greece), Georgios Kolliopoulos (Greece) in collaboration with Beiersdorf; supervised by Odoardo Fioravanti. a d e s t r a : progetto di Hafsteinn Juliusson (Islanda), Joana Pais (Portogallo) e Rui Pereira (Portogallo). o n t h e r i g h t : project by Hafsteinn Juliusson (Iceland), Joana Pais (Portugal) and Rui Pereira (Portugal).

CONNECTIONS 14

in q u e s t a p a g i n a : progetto di Armand Rrasa (Albania), Marianne Diebow (Germania), Chiara Taddei (Italia) in collaborazione con Stone Island; supervisione di Diego Grandi. p a g i n a a c c a n t o , d a l l ’a l t o : progetto di Mauro Marciante (Italia), Marco Manicone (Italia), Marina Gloulobtchik (Svezia). Supervisione di Diego Grandi con Andrea Schmidt, Adidas. Progetto di Asia Maria Sierra Martinez (Spagna), Joanna Kozaczek (Germania/ Polonia), Erica Tironi (Italia), Daniela Aru (Italia); supervisione di Diego Grandi con Andrea Schmidt, Adidas. t h i s p a g e : project by Armand Rrasa (Albania), Marianne Diebow (Germany), Chiara Taddei (Italy) in collaboration with Stone Island; supervised by Diego Grandi. o p p o s i t e , f r o m t h e t o p : project by Mauro Marciante (Italy), Marco Manicone (Italy), Marina Gloulobtchik (Sweden); supervised by Diego Grandi with Andrea Schmidt, Adidas. Project by Asia Maria Sierra Martinez (Spain), Joanna Kozaczek (Germany/ Poland), Erica Tironi (Italy), Daniela Aru (Italy); supervised by Diego Grandi with Andrea Schmidt, Adidas. in q u e s t a p a g i n a : progetto di Daniel Simonini Raiser da Silva Ramos (Brasile), Lorenzo Marini (Italia), Fernando Gonzalez Sandino (Guatemala); supervisione di Huub Ubbens. p a g i n a a c c a n t o : progetto di Armand Rrasa (Albania), Marianne Diebow (Germania), Chiara Taddei (Italia) in collaborazione con Feltrinelli; supervisione di Guendalina di Lorenzo e Paolo Cesaretti. t h i s p a g e : project by Daniel Simonini Raiser da Silva Ramos (Brazil), Lorenzo Marini (Italy), Fernando Gonzalez Sandino (Guatemala); supervised by Huub Ubbens. o p p o s i t e : project by Armand Rrasa (Albania), Marianne Diebow (Germany), Chiara Taddei (Italy) in collaboration with Feltrinelli; supervised by Guendalina di Lorenzo and Paolo Cesaretti.

16 a d e s t r a : progetto di Nelson Simoes (Portogallo), Viktar Filipchanka (Bielorussia) in collaborazione con Lamborghini; supervisione di Filippo Perini, Responsabile del Design Automobili Lamborghini SpA. r i g h t : project by Nelson Simoes (Portugal), Viktar Filipchanka (Belarus) in collaboration with Lamborghini; supervised by Filippo Perini, Head of Design Automobili Lamborghini SpA.

STUDIO EXPERIENCE

17 in q u e s t e p a g i n e d a l l ’a l t o : progetto di Ryu Seung-Wook (Corea) in collaborazione con Alfa Romeo; supervisione di Alessandro Maccolini, Alfa Romeo. Progetto di Dimitrov Krassimire (Bulgaria) con Felipe Palermo (Brazil) in collaborazione con Volkswagen; supervisione di Andreas Zapatinas 18 con Alessandro Dambrosio, Volkswagen AG. t h e s e p a g e s f r o m t h e t o p : project by Ryu Seung-Wook (Korea) in collaboration with Alfa Romeo. Supervised by Alessandro Maccolini, Alfa Romeo. Project by Dimitrov Krassimire (Bulgaria) with Felipe Palermo (Brazil) in collaboration with Volkswagen; supervised by Andreas Zapatinas with Alessandro Dambrosio, Volkswagen AG. 19 in q u e s t a p a g i n a d a l l ’a l t o : progetto di Marc Reisen (USA) in collaborazione con Audi; supervisione di Andreas Zapatinas con Frank Lamberty, Audi. Progetto di Sergey Velet (USA) in collaborazione con Lamborghini; supervisione di Filippo Perini, Responsabile del Design Automobili Lamborghini SpA. p a g i n a a c c a n t o , d a l l ’a l t o : progetto di Richard Cullis (Regno Unito) in collaborazione con Audi; supervisione di Andreas Zapatinas con Audi Design Team. Progetto di Ian Dunn (USA) per EICMA; supervisione di Jacek Peplowski. t h i s p a g e f r o m t h e t o p : project by Marc Reisen (USA) in collaboration with Audi; supervised by Andreas Zapatinas with Frank Lamberty, Audi. Project by Sergey Velet (USA) in collaboration with Lamborghini; supervised by Filippo Perini, Head of Design Automobili Lamborghini SpA. o p p o s i t e , f r o m t h e t o p : project by Richard Cullis (UK) in collaboration with Audi; supervised by Andreas Zapatinas with Audi Design Team. Project by Ian Dunn (USA) for EICMA; supervised by Jacek Peplowski. a d e s t r a : EMI masters progetto di Valeria Panizza (Svizzera), Onofrio Magro (Italia), Sara Makki (Libano) in collaborazione con EMI Music; supervisione di Daniele Barbiero. Beethoven: Symphony No. 9 o n t h e r i g h t : project by Valeria Panizza (Switzerland), Sir Simon Rattle Onofrio Magro (Italy), Sara Makki (Lebanon) in collaboration with EMI Wiener Philharmoniker Music; supervised by Daniele Barbiero.

RESEARCH

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in q u e s t a p a g i n a , d a l l ’a l t o : progetto di Davide Bignotti (Italia), Sigitas Guzauskas (Lituania); supervisione di Paolo Tassinari. p a g i n a a c c a n t o : progetto di Nicolas Vargas Camargo (Colombia), Lisa Bedogni (Italia), Tiziano Frigoli (Italia) in collaborazione con Adidas; supervisione di Mauro Carichini. Progetto di Fabrizio Piccolini (Italia); supervisione di Marta Bernstein. Th i s p a g e f r o m t h e t o p : project by Davide Bignotti (Italy), Sigitas Guzauskas (Lithuania); supervised by Paolo Tassinari. o p p o s i t e : project by Nicolas Vargas Camargo (Colombia), Lisa Bedogni (Italy), Tiziano Frigoli (Italy) in collaboration with Adidas; supervised by Mauro Carichini. Project by Fabrizio Piccolini (Italy); supervised by Marta Bernstein. in q u e s t a p a g i n a : progetto di Davide Bignotti (Italia), Pietro Paciullo (Italia), Vladimir Sabillon (Honduras) in collaborazione con Museo Nazionale della Scienza e della Tecnologia, Milano; supervisione di Daniele Barbiero. 22 p a g i n a a c c a n t o : progetto di Cenk Ersumer (Turchia); supervisione di Daniele Barbiero t h i s p a g e : project by Davide Bignotti (Italy), Pietro Paciullo (Italy), Vladimir Sabillon (Honduras) in collaboration with Museo Nazionale della Scienza e della Tecnologia, Milano; supervised by Daniele Barbiero. o p p o s i t e p a g e : project by Cenk Ersumer (Turkey); supervised by Daniele Barbiero. 23

A COMPLETE SET OF SKILLS

a s i n i s t r a : progetto di Agnese Bite (Lettonia), Asif Jaleel (Pakistan), Dmitry Gontarev (Russia), Enis Baruh (Turchia), Jonas Gruemann (Svizzera), Stefano Bucci (Italia) in collaborazione con Volkswagen; supervisione di Paulo Bernini e Marco Catani. o n t h e l e f t : project by Agnese Bite (Latvia), Asif Jaleel (Pakistan), Dmitry Gontarev (Russia), Enis Baruh (Turkey), Jonas Gruemann (Switzerland), Stefano Bucci (Italy) in collaboration with Volkswagen; supervised by Paulo Bernini and Marco Catani. 24

in q u e s t a p a g i n a d a l l ’a l t o : 25 progetto di Lorenzo Guerrerio (Italia); progetto di Jonas Grumann (Svizzera), Serena Seghizzi (Italia), Tommaso Chiari (Italia) in collaborazione con Interni; supervisione di Andy Scupelli. p a g i n a a c c a n t o , d a l l ’a l t o : progetto di Priscila Dominguez Vidales (Messico), Federica Nioi (Italia), Gabriela Nunez Luna (Messico), Adriano Guarnieri (Italia) in collaborazione con Heineken; supervisione di Paulo Bernini e Marco Catani. Progetto di Vladimir Strajnic (Serbia), Priscila Morgante Bohlsen (Brasile), Luigi Console (Italia) in collaborazione con Beiersdorf; supervisione di Paolo Iabichino. t h i s p a g e f r o m t h e t o p : project by Lorenzo Guerrerio (Italy); project by Jonas Gruemann (Switzerland), Serena Seghizzi (Italy), Tommaso Chiari (Italy) in collaboration with Interni; supervised by Andy Scupelli. o p p o s i t e p a g e , f r o m t h e t o p : project by Priscila Dominguez Vidales (Mexico), Federica Nioi (Italy), Gabriela Nunez Luna (Mexico), Adriano Guarnieri (Italy) in collaboration with Heineken; supervised by Paulo Bernini and Marco Catani. Project by Vladimir Strajnic (Serbia), Priscila Morgante Bohlsen (Brazil), Luigi Console (Italy) in collaboration with Beiersdorf; supervised by Paolo Iabichino. 26

in q u e s t a p a g i n a : 29 progetto di Luigi Console (Italia), Giorgio Chatzikostis (Italia). a s i n i s t r a : progetto di Ricardo Seola (Brasile). t h i s p a g e : project by Luigi Console (Italy), Giorgio Chatzikostis (Italy). l e f t : project by Ricardo Seola (Brazil).

28 31 in q u e s t a p a g i n a : mostre e presentazioni dei progetti degli studenti negli spazi della scuola. p a g i n a a c c a n t o : L’interno della scuola e il distretto culturale circostante, frutto della brillante riconversione di un’area industriale. t h i s p a g e : exhibitions and end of the year shows inside the school. o p p o s i t e p a g e : 32 interior views of the school and its surroundings, a former industrial area now reconverted into a lively design district.

30 in q u e s t a p a g i n a , d a l l ’a l t o : visiting professor in SPD. Chris Bangle; Fernando e Humberto Campana: p a g i n a a c c a n t o : Patricia Urquiola; Ross Lovegrove. t h i s p a g e , f r o m t h e t o p : visiting professors at SPD. Chris Bangle; Fernando and Humberto Campana. o p p o s i t e p a g e : Patricia Urquiola; Ross Lovegrove. VISION