new typocarpets

gianni alessandraHere are three new projects for my typographic carpets. One, monochrome, was created, as always by Mariantonia Urru, for Gianni and Alessandra. The second was composed in two different versions, one monochromatic and the other in color, for a family composed of Marco and Laura, the parents, and Daniela and Elisa, their daughters. The larger version is a family rug, divided into three equal bands. I would like that, when Elisa and Daniela will fly from the nest, the carpet can be divided into three narrower bands (although perhaps it could be technically complex), each of which brings with it however all the information of the family, like a DNA.

a) marco laura elisa daniela 2

[ Ecco tre nuovi mie progetti di tappeti tipografici. Uno, monocromatico, è stato realizzato, come sempre da Mariantonia Urru, per Gianni e Alessandra.
Il secondo è stato composto in due versioni diverse, una monocromatica e l’altra a colori, per una famiglia composta da Marco e Laura, i genitori, e Daniela ed Elisa, le loro figlie. La versione più grande è un tappeto di famiglia, diviso in tre fasce uguali. Mi piacerebbe che, quando Elisa e Daniela voleranno dal nido, il tappeto possa essere diviso in tre fasce più stretti (anche se forse potrebbe essere tecnicamente complesso), ognuna delle quali porti dietro però tutta l’informazione della famiglia, come un DNA. ]


food carpet with roberto petza

A few months ago, during a meeting with the great starred chef Roberto Petza, I had the idea of a food tapestry. A carpet made of Sardinian food from appetizers to desserts, prepared as a large and colored finger-food table. Roberto (I had already designed for him a typographic tapestry, a “typestry”), welcomed the project with enthusiasm. From this meeting came a performance that took place at the MAN in Nuoro, Sardinia’s most important museum for contemporary art, on June 26th. Roberto Petza cooked for ninety guests an extraordinary sequence of incredible flavors, then placing them with a remarkable graphic awareness. Framing Roberto’s work, four of my typographical tapestries were exhibited on the walls. For the occasion, I also designed the table with a trapezoidal section, a strong and white solid wood. The result was fantastic, both for the eyes and the palate. We will repeat this experience for the opening week of Sardinia all’Expo2015, in Milan, on September 11th.

imagepatternpetza asili carpetpetza asili carpet 2

barigadu visual identity

The Barigadu is an extraordinary territory, a heart of water in the middle of Sardinia. The landscape is dominated by nature and by the rivers that surround it like a treasure chest. As a brand, I chose a brace, unifying and simple to use: it is the recurring architectural frieze of Aragonese Gothic, wich can be seen on windows and doors of many local historical heritage. The same shape of the eagle wing and of the deer horn. It keeps jealously what it contains, as the rivers protect the land. A sign of separation, but that juts out as a double human profile to establish a communication with the outside. I combined it with a modern and essential typeface, Maven, in a newly designed stencil version developed together with Claudio Rossi. Among the first realizations, I designed the railing of the elementary school in Neoneli, where the letters of the alphabet and other diacritics become iron tapestries that shot lighting laces on the steps. The corten steel artwork has been made by BAM, Nuoro.

ispirazioni neoneli ridbarigadu logo per sito ringhiera neoneli

sardinian handicrafts design

During the recent workshop “Tessere il racconto dei luoghi – Grafica e Tessitura” (Weaving the tales of the places – Graphic design and textures), organized by Associazione Culturale Malik and held in Armungia together with Tommaso Lussu and Barbara Cardia (two modern weavers who rediscovered the ancient art of handloom) we taught a class of ten students to understand the weaving basics and the graphic design methods, trying to wrap the two themes together. We developed some ideas as “the talking carpets”, applying some local identity concepts and figures to find new ways to design without any betrayal of the tradition. For example, we started a new carpet (1) which shows an abstract decoration that is in fact an histogram of Armungia’s population historic series since the Italy’s unification in 1861. Some months ago I saw some videos which transformed music into graphic plots. I went the opposite way, transposing into music one of the traditional subjects of Armungia’s carpets, (2) “su priali” (almost each sardinian village has his own). I put the dots on a Garage Band scheme (3) and presented to the students the sound of a piece of the “identity matrix” of Armungia. Also, I designed some new projects for the traditional Sardinian carpets. Here I show (4) “Nuraghi e frecce” (Nuraghe and obsidian tips, built fitting full and empty spaces on the whole surface), “Emilio Lussu” (Inspired by the figure of the legendary commander and politician from Armungia, Tommaso’s grandfather). A lot of fun.