And Campaign Furniture. It's Something About

In , brothers Nevio & Fabiano Mattiazzi founded a wood workshop barring their family name and specialising in the production of top quality wooden chairs.

Friulano is a Language by itself and Friuli grows some of Italy’s finest ... wine as well as furniture. It’s a mountainous country with rich mineral resources serving as natural fertilizer for it’s outstanding Sauvignon grapes. The landscape is a little harsher and steeper than the gentle looking sceneries of central Italy one might be used to. This special geographic area enjoys both the mountains as well as the sea, forming a nourishing backdrop for a vivid culture of making. the eastern part of Friuli, towards the hilly border of Slovenia, nurtures a long and rich tradition of handicraft and woodworking. It was a natural process in which industry grew from the craft, leading many specialists from all scopes of wood processing to established themselves in the area. in 1979, brothers Nevio and Fabiano Mattiazzi founded a wood workshop barring their family name and specialising in the experts in the field production of top quality wooden chairs. The roofs of the productions halls an advanced solar farm, supplying all machines and production needs with in-house solar energy. Add- of high-quality wood ing to the environmental efficiency and healthy logic, all wood rests are used in the winter to heat up the factory. All Mattiazzi products are produced with great environmental sensibility and enjoy a mini- processing they base the mal environmental footprint. Mattiazzi is passionate about wood and delivers exceptional craftsmanship bringing in mind other times and standards. Giving a rare family business quality promise and trusting high-quality products the company forms carefully it’s growing collection.

Since 2009, Mattiazzi is presenting its own collection in the premium on clear concepts furniture market. Art directors Nitzan Cohen and Florian Lambl are the curators of the collection and through their collaborative work with world acclaimed designers stands a unique and thoughtful collection and exceptional ideas. of characters. A combination of uncompromising design with high- quality processing which caught people’s attention from the very first moment.

Being true to uncompromising quality Mattiazzi collaborates with the design elite. Designers Nitzan Cohen, Sam Hecht, Ronan and Erwan Bouroullec, Konstantin Grcic and Jasper Morrison used and expressed their inspiring encounter with Mattiazzi’s philosophy and the special circumstances within wood working in their designs. Each collection is unmistakeably characterised and represents a strong idea. However, the ideas are rooted in the passione of the Mattiazzi family and their exceptional team, always taking on new challenges with great curiosity and passion.

Passion, competence, and their years long handicraft familiarity with the particularities of wood have always served as a basis of their work. Traditional skill is complemented by state-of-the-art machinery and an environmental friendly energy efficient infrastructure.

The wood which primarily comes from the surrounding forests, does not undergo any chemical treatment. It is then processed with CUTTING EDGE TECHNOLOGY. The Collection

569 dark brown leather upholstery black ash available iN chair radice red 511 black Green 47 515 trio 2 steelcut Fabric upholstery orange 40 144 trio 2 steelcut Natural 383 trio 2 steelcut Natural oaK 39 915 trio 2 steelcut 60

product sheets radice couNter stool

80 65

43 42 available iN ash oaK

black red Green orange Natural Natural leather upholstery Fabric upholstery

dark brown black steelcut steelcut steelcut steelcut 569 511 trio 2 trio 2 trio 2 trio 2 515 144 383 915

radice, desiGNed by saM hecht / iNdustrial Facility

sam hecht was born in london in 1969. his training began at the Central Saint Martins School of art. his interest in industrial design and architecture led him to apprenticeships including david chipperfield. hecht thus began to define the style that characterises his personality as a designer. a profound search for the essential, acute observation of the world we live in and a belief that simplicity can be inspirational. in 1993 he completed his Masters at the Royal College of art, followed by 3 years in california with IDEo, and 3 years in tokyo. this period involved the collaborations with Naoto Fukasawa, producing some startling product typologies over the course of 6 years. in 2002, he co-founded Indus- trial Facility with his partner Kim colin. he began to work with manufacturers, and the number of clients increased in just a few years. For Muji Japan he created the ‘Second Phone’ (2004), which led to him being invited to become retained designer for World Muji. For taylor’s Eye Witness, a sheffield company, he also became main designer producing notable sequels to robert welch’s work, selected for the Museum Für Kunsthandwerk, Frankfurt and awarded the Design Plus and IF Gold prize for 2006. More recently he has been appointed design advisor to Herman Miller. his career has also included teaching and lecturing activ- ities. between 2006 – 10, he acted as senior tutor at the royal College of art, London, forming Platform 12 and in 2011 was appointed visiting professor of HfG Karlsruhe in Germany. in 2010 he was awarded the ‘Designs of the year’ for the braNca chair. in 2008, he was elected as a Royal Designer for Industry (RDI), the highest accolade a designer can receive in the uK, and was also nominated for the Prince Philip Design Prize.

“Radice finds its underlying beauty and simplicity in its structure.”

Sam Hecht Radice is a three-legged wooden stool, the result of Industrial Facility and Sam Hecht’s second collaboration with Italian furniture producer Mattiazzi – the first being theB ranca chair that re-invigorated our imagination of what is possible with wood production. Hecht and the office of Industrial Facility decided to push Mattiazzi further into the exploration of robot-craftsmanship, but this time to also challenge structure as a diagrammatic concept. Radice finds its underlying beauty and simplicity in its structure. It is the bringing together of what appears the front-half of a tradi tional 4-legged stool, with a single back leg – the ‘root’. It is a visual improvisation, where two things meet unexpectedly. “Radice has tension in its form and it is a slight surprise that the third leg works as well as it does to resolve the overall structure. It could be viewed as structurally diagrammatic, yet is made comfortable visually and physically because of how its third leg supports the seat,” says Sam Hecht. The backrest is small and reassuring, allowing a coat or handbag to rest on it; and the seat is open for large and small people. It is light both visually and in weight, using no screws or metal fittings, yet also passing stringent BIFMA standards to ensure it is structurally sound, stable and reliable. The coloured wood stain options for Radice are based on the cycle of an autumn leaf turning colour. Radice will be available in 650mm (stool height) and 470mm (chair height) with cushion options.

“I am attracted to the language of camping and campaign furniture. It’s something about the lightness of structure and required efficiency in achieving something comfortable…”

Jasper Morrison Fionda (meaning sling in Italian)

Fionda’s mother is a folding camping chair, which itself comes from a long line of chairs known variously as BKF, Hardoy, Butterfly or Tripolina in Italy, all of which suspend a canvas sling from a frame to create a surprisingly comfortable seat. I bought one of the camping chairs in Japan and liked having it in my living room, but the aluminium X bars at the front and back were uncomfortable and prevented it being a real living room chair, so I decided to make a project out of removing the X’s. I am attracted to the language of camping and campaign furniture. It’s something about the lightness of structure and required efficiency in achieving something comfortable which fits well in today’s mood. The frame needed a number of steps to perfect the joint but the result is light and strong, and can be stacked horizontally with the covers off. There are two chair models, a dining chair and a lounge chair, and table which is also stackable. It’s a chair for using inside or taking outside, for interiors which don’t need so much upholstery, and for the traveller who just got home and needs a rest!

Jasper Morrison

Product Sheets FioNda side chair FioNda table

76 73

63 55 70 70 available iN available iN ash FraMe ash FraMe

black Natural black Natural caNvas

Natural dark Grey red Nesting

FioNda diNiNG chair FioNda, desiGNed by Jasper MorrisoN

Jasper Morrison was born in london in 1959, and graduated in design at Kingston Polytechnic Design School, London and the Royal College of art for postgraduate studies. in 1984 he studied at Berlins HdK on a scholarship. in 1986 he set up an office for Design in london. his work was included in the Docu- 83 menta 8 exhibition in Kassel in 1987, for which he designed the Reuters News Centre. the following year he was invited to take part in “Design Werkstadt”, a part of the “Berlin, Cultural City of Europe” program, where he exhibited “Some new items for the house, part I”

54 53 at the DaaD Gallery. he then began designing products for SCP in london, the German door handle available iN producer FSB, the office furniture company Vitra, and the italian furniture producer ash FraMe Cappellini. in 1992 together with James Irvine, he organised Progetto oggetto for Cappellini, a collection of household objects designed together with a group of young european designers. he also worked with andreas brandolini and axel Kufus on a variety of installations, exhibition designs and town planning projects under the umbrella of Utilism International. black Natural recent projects include the design of furniture for tate Modern in london, “Luxmaster” for Flos, Folding air-Chair and Low air-table for Magis; a monograph “Everything but the caNvas Walls” published by Lars Müller Publishers; a bench for the Roppongi Hills development in tokyo ; atM desk system for Vitra, a line of kitchen appliances for Rowenta, Pots&Pans for alessi and asanitary- and brassware range for Ideal Standard. in 2005, founding of Super Normal with Naoto Fukasawa. in June 2006, first Super Normal exhibition in tokyo. Jasper Natural dark Grey red Nesting Morrison Ltd. currently based in london and paris. Product Sheets solo chair solo tables

48 65

49 55

75 75 available iN 50

65 ash oaK

black white Neon blue dark red turquoise Natural stackable (× 3) available iN leather upholstery ash oaK

white red Grey Grey black soft Grey blue Green black white Neon blue dark red turquoise Natural 500 535 565 566 559 562 556 547

solo bar stool / couNter stool solo bar table

78 / 65 110 50

35 available iN available iN ash oaK ash oaK

black white Neon blue dark red turquoise Natural black white Neon blue dark red turquoise Natural leather upholstery

white red Grey Grey black soft Grey blue Green 500 535 565 566 559 562 556 547 stool riNG

red white black Grey Solo, designed by Nitzan Cohen

Established in 2007, Studio Nitzan Cohen is a multi disciplinary design studio with projects ranging from industrial products, furniture and spaces to art-direction and strategic consultancy. Nitzan Cohen and his studio are busy combining a research oriented attitude with conceptual design and the ability to translate it into a new visual language of objects and spaces. Nitzan Cohen is a professor for Industrial and System Design at the HBK Saar in Saarbrücken, Germany.

“Solo is more of a character, a bit hard but very round, very simple but also intricate, practical and pragmatic…”

Nitzan Cohen

My chair series HE SAID / SHE SAID was the first product of the Mattiazzi collection. By now, the works by Sam Hecht, Ronan and Erwan Bouroullec, and Konstantin Grcic have entered and form an exciting discourse and dialogue. Solo continues this discourse but from a slightly different point of view, a more reduced one. When SOLO was developed, the aim was to incorporate as much advantages as possible coming from the Mattiazzi production process and combining it into a cost efficient, versatile unique chair. We can happily say now that this aim was successfully reached and SOLO is cost efficient like no other series in the Mattiazzi collection. Yet, it still upholds the quality level of handicraft and the love of details its predecessors so successfully marked. this robust yet simple and refined furniture family was sought to be used in cafés and restaurants, which is why it offers great flexibil- ity – both in use and in the variations offered. However, though simplicity was the outspoken key feature we were almost forced into, it was very important to find the right nuance and tune the right detail as means of accurately forming the right character for each piece. though in every project special details plays here a key role, here they became even more important since we could not have too many if wanted to maintain our cost efficiency. Such details and a special feature of both chair and stool is a leather inlay perfectly matched in the seat surface. offering wider colour matching possibilities as well as the great tactile qualities of natural leather. Playing further with SOLO’s versa- tility and offering a wider range of possibilities, we continued and developed together with a local craftsman a finely sawn leather upholstery for the chair’s backrest.

Nitzan Cohen

“I was looking for a distinct grammar for my design, a language which is very true to the material.”

Konstantin Grcic

Designing for Mattiazzi was a sort of personal time travel which took me all the way back to my professional roots. At the very beginning of my career I was trained a cabinet maker. Working with wood is what I learnt from scratch, it is where it all started for me. Mattiazzi make furniture in wood. They master the material not only in its traditional form but also using newest digital production technologies. MEDICI was born there, on the factory floor where things are physically made. The chair is inspired by the material, by the machinery and, of course, by the skill and craftsmanship of the people we worked with. right from the beginning I was looking for a distinct grammar for my design, a language which is very true to the material. I like the idea of wood cut into planks which is how it is processed in the first place: the tree is sliced into planks. I like the way a carpenter joins wood, very immediate and direct. The construction remains bare open, plain and legible. Structure turns into form. MEDICI is conceived as a low chair with a comfortably reclined posture. Its generous dimension gives the chair an embracing confi- dence. The chair can be imagined as solitary furniture or in small groups. It can be used in private or public, indoors and outdoors. It is produced in three different woods: American wallnut, douglas fir and thermo-treated ash which can be used outdoors. The douglas fir ver- sion is available in natural as well as yellow and grey stain.

Konstantin Grcic Product Sheets Medici louNGe Medici table

50 39

75 68 52 44 available iN available iN walNut ash walNut ash

Natural thermo treated (outside use) Natural thermo treated (outside use) douGlas Fir douGlas Fir

Natural yellow red black Natural yellow red black

Medici stool Medici, desiGNed by KoNstaNtiN Grcic

Konstantin Grcic (*1965) was trained as a cabinet maker at the John Makepeace School (dorset, england) before studying design at the Royal College of art in london. since setting up his own practice Konstantin Grcic Industrial Design (KGID) in Munich in 1991,

40 he has developed furniture, products and lighting for some of the leading companies in the design field. amongst his renowned clients are authentics, BD Ediciones, ClassiCon,

48 59 Flos, Magis, Mattiazzi, Muji, Nespresso, Plank, Serafino Zani, thomas-Rosenthal and Vitra. Many of his products have received international design awards such as the prestigious Compasso d’oro for his MayDay lamp (Flos) in 2001 and the Myto chair (Plank) in 2011. work by Konstantin Grcic forms part of the permanent collections of the world’s most available iN important design museums (a.o. MoMa / New york, Centre Pompidou / Paris). walNut ash Konstantin Grcic defines function in human terms, combining formal strictness with considerable mental acuity and humour. each of his products is characterized by a careful research into the history of design and architecture and his passion for technology and materials. Known for pared-down pieces, Grcic is often called a minimalist but the designer Natural thermo treated (outside use) himself prefers to speak of simplicity. douGlas Fir

Natural yellow red black Product Sheets Natural Natural Oak Black ASH A O Oak A S Osso Black ASH vailable in vailable in sso chair White White tools Black Black 46 35 Blue Blue 49 41 Grey Grey Pink Pink 41 44 Natural Natural 45 77 Osso Stools Osso Table

73 65 75 65

65 65

41 41

Available in Available in

ASH ASH

Black White Black Blue Grey Pink Natural Black White Black Blue Grey Pink Natural

Oak Oak

Natural Natural

Osso Table Osso Table

73 73 80

65 65 130 130

Available in Available in

ASH ASH

Black White Black Blue Grey Pink Natural Black White Black Blue Grey Pink Natural

Oak Oak

Natural Natural OSSO, designed by Ronan & Erwan Bouroullec

Ronan & Erwan Bouroullec have been working together for over ten years, bonded by diligence and challenged by their distinct personalities. In 2007, they were spotted by Cappellini, giving them their first industrial design projects. Since then, they have gone on to work with Vitra, Magis, Alessi, Established & Sons, Axor Hansgrohe, Flos, Kvadrat, Kartell, Cappellini, Ligne Roset, Nani Marquina, Mattiazzi and Mutina. From designing spaces to furniture, taking on architectural projects to designing textile wall systems or comprehensive collections, the designer brothers maintain experimental activity with Gallery kreo, which is also essential to the development of their work. Several exhibitions have been devoted to Ronan & Erwan Bouroullec including the Design Museum, London and the Museum of Contemporary Art, Los Angeles. In 2012, two exhibitions have been showing their work: Bivouac, a major monographic exhibition at the Centre Pompidou Metz and Album at the Vitra Design Museum. A new monographic book was released in 2012, Works, Phaidon Press.

“Working with Mattiazzi is comparable to work with an organic farm.”

Ronan & Erwan Bouroullec Working with Mattiazzi is comparable to work with an organic farm.

While being a small, family-owned company that has been manufacturing chairs for others since about thirty years, Mattiazzi decided to do less yet better. By using sophisticated CNC set of tools and at the same time a greatly refined manual know-how, Mattiazzi has a hybrid way to consider furniture production. We were particularly interest- ed by the fact that all the equipment is powered by solar energy and that the wood is coming from the surrounding areas to be carefully selected without the use of any chemical treatments. They came back to the basics and this is precisely what piqued our interest and our fascination for the Mattiazzi family. As designers, we feel involved in supporting such valiant microstructures that are always on the edge as they try to adjust to a constantly changing market. that said, the Osso chair had to be the illustration of what Mattiazzi is in its roots. We designed an object in plain wood but not in regular plain wood, the quality of the wood literally makes the object, like the best piece of meat would make the refinement of a dish. Our intention was to let the sensuality of the wood material – from oak to maple to ash – express itself. The Osso chair invites to be touched, even caressed as it is extremely sculpted and polished thanks to the use of highly sophisticated digital control equipment. The high-tech assembling system of geometrical wood panels allows a quite singular strength while preserving a design balance of the object. The Osso collections includes a chair, an armchair as well as high and low stools and a complete range of tables.

Ronan & Erwan Bouroullec

“For Industrial Facility this was undoubtedly an unusual project” Sam Hecht In 2009, Mattiazzi approached Sam Hecht and the office of Industrial Facility with an idea: To imagine a design office not commonly known for wooden furniture immers- ing themselves into the world of Mattiazzi and producing a furniture family. This combination of intelligence with all things wood (Mattiazzi) and innocent naivety (Industrial Facility) was to result in a familiar typology produced in an unexpected manner. It was to be Mattiazzi’s second collection under their own brand, the first having been designed by Nitzan Cohen. This new trajectory for Mattiazzi asks important designers of the 21st Century what is a new relevance for wood as applied to furniture? “For Industrial Facility this was undoubtedly an unusual project”, says Hecht. “Our studio normally finds itself tackling items of mass-production, where the ori- gins of production are rarely the same place where the project is commissioned”. Industrial Facility have never lost sight of reality when it comes to the reason for a project; its use; its production and even its marketing. This attitude has set them apart from what design has gradually become, because the studio sees great value in how something is made, its materiality, and its message, rather than succumbing to the proliferation of a rendered reality and an ‘at arms length’ vision of production. after several trips to Mattiazzi’s factory, along with close discussions with their craftsmen, Industrial Facility wished to push Mattiazzi further into the position of the robotic craftsman. What is a chair whose ingredients are a combination of highly com- plex parts (made possible with CNC machinery, most notably their eight Axis Robot which they had become expert at), alongside simple traditional shaping and finish- ing by hand? “I observed that the power of the robot, the repetition of the machine and the skills of the craftsmen already have synchronised relationships at Mattiazzi – where each process is as carefully selected as much as the wood blocks that were to be shaped”, says Hecht. however, instead of being blinded by limitles possibility Mattiazzi revealed to Industrial Facility a production formula that dealt with the relationship between cost, time, and technique. For instance a complete chair made by robots would be too costly, even though making it would be quicker compared to the hand. Too simple a part, and the robot’s use is not justified. But if a certain critical part where made by the robot, in combination with other traditional methods, the formula would allow the project to meet the right criteria – a kind of equilibrium. Hecht and his team saw this formula as the gestation of the project. it was in conversations with his partner Kim Colin, and his colleague Ippei Matsumoto that the focus was turned to nature, where complexity thrives with reason. Beauty is simply a result of constant growth. In particular, the branches of a tree were to provide the critical analogy for the project. like wooden branches on a tree, Branca is a chair that is familiar to the eye. We accept that branches support the joints of twigs and leaves at different points that may seem random but are all intentional. With Branca, its back leg supports the critical joints of the armrest, the seat and the back, and is made from a single piece of wood produced robotically. The joints are seen as but a part of the seamless nature of the chair and its simple outline belies the complexity of production. With no question, Branca had to hold all of the functional attributes we expect a chair to have in a modern condition - to be comfortable; to have armrests; to fit under a table; to be light enough to carry; and to stack for easy shipping. Branca is inspired by wooden branches that turn, twist, meet and branch off. The result is comfort to the eye, to the body and to the hand.

Product Sheets Branca Chair

54 57

Available in

ASH

Brown / Seat White Black Green Natural Stackable (× 3) Natural Wax

Beech

Black

Removable Wool Upholstery

Dark Grey Light Grey Green Orange

Branca Table

110

180

110

150 / 180 150

Frame Available in Top available IN

ASH ASH lacquered

Natural Natural White Product Sheets he said chair she said table

61 59

available iN available iN ash ash beech

black white Neon blue Natural stackable (× 2) black white Neon blue Natural black beech table top Glass

black smoke Grey tempered removable wool upholstery

she said chair she said lowide

77 71 45 40

61 59 54 71

available iN available iN ash ash

black white Neon blue Natural stackable (× 2) black white Neon blue Natural stackable (× 2) beech beech

black black removable wool upholstery removable wool upholstery He said counter stool

77 65

46 49 Available in

ASH

Black White Neon Blue Natural

Beech

Black

Removable Wool Upholstery

She said counter stool

87 75

48 50

Available in

ASH

Black White Neon Blue Natural

Beech

Black

Removable Wool Upholstery

“Its all about the basics, about carpentry work, an intuition for wood together with years of experience.”

Nitzan Cohen

NC,

I find several points of interest in your project for Mattiazzi. The masculine-feminine variation between HE SAID and SHE SAID reminds me of Mickey and Minnie Mouse. Aside from their clothing, the dif- ferences between them are subtle – Mickey’s nose is slightly bigger and Minnie has eyelashes, HE SAID has protruding, aggressive armrests, while SHE SAID’s curve down gently. It’s strange that chairs haven’t always had masculine and feminine variations, when so many products do. In Freudian analysis, knifes are male and spoons are female. The best sets of cutlery have great tension between the knife and spoon and I can see a similar tension between HE SAID and SHE SAID. Distinguishing chairs in this way re-imagines their role, intro- duces a new dynamic between chairs, and a new form of product development for them. Expanding a product’s range by varying its size and function is an approach common in the tableware industry. Your collection has the continuity of a family of plates and bowls. The propor- tional adjustments between SHE SAID and SHE SAID lowIDE are nicely done, there is a clear and natural relationship between them. Titling furniture with a phrase is refreshing! It reminds me of something Eames said regarding Saarinen; that he was a concept man and that the name “womb”, was outside the vocabulary of a decorator. I’m sure that in the 1940s calling his chair “womb” was a radical thing to do. I think it’s important that we renew the kinds of names we give to furniture and HE SAID / SHE SAID is doing just that. The top half of HE SAID / SHE SAID reveals the sophistication of Mattiazzi’s manufacturing technologies. The smooth geometry that joins the backrest, armrests and legs is the formal language of injection-molded plastic, and it’s surprising to see in wood. I gather that using a 6-axis CNC machine to carve wood is essentially the reverse process of ex- cavating an aluminum mould for a plastic chair. So industrial wood is not an oxymoron. The level of handcraft in the joints that run along these contoured surfaces is also impressive. when it came to the legs and seat you kept the manufac-turing simple, using straight stock and bent planes. This mixture of high and low – tech processes gives the collection a strong identity. These pieces are ambitious, push their production technology, update nomenclature, and restructure our concept of how a family of chairs is composed. You’ve brought some liberated and radical notions to furniture, and managed to make some solid products.

Cheers, Jo

Jonathan Olivares Design Research 15 Channel Center Street, Suite 504 Boston, MA 02210 USA

Artistic Direction Mattiazzi: Nitzan Cohen and Florian Lambl Photography: Gerhardt Kellermann & ANA RELVÃO Design: Lambl / Homburger Printing: Poligrafiche San Marco

Mattiazzi srl Via Sottorive 19/2 33048 S. Giovanni al Natisone (UD) Italy T +39 0432 757 474 F +39 0432 756 575 [email protected] www.mattiazzi.eu