design

free

2 July 201910 April 2020 Asili DesignLeave a comment

I designed an elaboration of the historic logo of Sardinia with the four Moors. It’s just a small idea, good for t-shirts and gadgets, but it brings together Sardinia and the word Free. However, I am intrigued by the message that combines the freedom and geographical finiteness of an island. Sardinia has always given me the feeling of freedom, because it has never bored me, and every thing, even revisited many times, I saw it under so many skies, always new, and with eyes that are always different in the course of life. This 80’s color amused me and I propose them to you.

[ Ho disegnato una elaborazione dello storico logo della Sardegna con i quattro mori. È solo una piccola idea, buona per magliette e gadget, ma mette insieme la Sardegna e la parola Free. Mi intriga però il messaggio che abbina la libertà e la finitezza geografica di un’isola. La Sardegna mi ha sempre dato la sensazione della libertà, perché non mi ha mai annoiato, e ogni cosa, anche rivista tante volte, l’ho vista sotto tanti cieli diversi, sempre nuovi, e con occhi sempre diversi nel corso della vita. Questa colorazione anni ’80 mi ha divertito e ve le propongo. ]

lavanda di elvio

20 June 201925 June 2019 Asili DesignLeave a comment

Lavanda di Elvio is a natural line of lavenders, grown organically. Produced in Sinis, a peninsula of powerful beauty in which the sea, the wind and the pristine bells are the treasure chest of the most ancient civilization of Sardinia. Elvio Sulas is an extraordinary character, of encyclopedic curiosity, who knows this land and its history better than the wrinkles on his face. Fascinated by a trip to France, he decided to set up a Lavender field in Sinis. It is a success and the eye-catcher of the flowery field, in June, is a show in the Sinis show. Elvio is passionate about esoteric stories, such as those that tell of the presence of the Templars in those lands. For him I designed a brand that reminds me of the lavender seedling, but is composed of the Flower of Life, a Templar symbol, which mimics the Caduceus of Asclepius of the pharmacopoeia. The result is a very modular brand that lends itself well to use as a pattern. And, remaining on the subject of esotericism, I discovered that one could derive a magic square from some literal elements: SULAS SINIS SALUS – the surname of the family, the place and the Salus of the Latins) literally mean: Sulas is the health of Sinis. And it’s perfectly palindrome. It has been added as a motto to the brand and the logo.

[ Lavanda di Elvio è un una linea naturale di lavande, coltivate con metodi biologici. Prodotti nel Sinis, una penisola di potente bellezza in cui il mare, il vento e le campane incontaminate sono lo scrigno della la civiltà più antica della Sardegna. Elvio Sulas è uno personaggio straordinario, di curiosità enciclopedica, che conosce questa terra e la sua storia meglio delle rughe della sua faccia. Affascinato da un viaggio in Francia, decide di impiantare nel Sinis un campo di Lavanda. È un successo e il colpo d’occhio del campo fiorito, in giugno, è uno spettacolo nello spettacolo del Sinis. Elvio è un appassionato di storie esoteriche, come quelle che raccontano della presenza dei Templari in quelle terre. Per lui ho progettato un marchio che ricorda la piantina della lavanda, ma è composto dal Fiore della Vita, simbolo templare, che mima il Caduceo di Asclepio, simbolo della farmacopea. Il risultato è un marchio molto modulare, che si presta bene all’uso come pattern. E, rimanendo in tema di esoterismo, ho scoperto che si poteva ricavare un quadrato magico da alcuni elementi letterali: SULAS SINIS SALUS – il cognome della famiglia, il luogo e la Salus dei latini) significano letteralmente: Sulas è la salute del Sinis. Ed è perfettamente palindromo. È stato aggiunto come motto al marchio e al logo. ]

new typocarpets

11 June 201911 June 2019 Asili DesignLeave a comment

Here 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

8 September 201529 September 2015 Asili DesignLeave a comment

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.

barigadu visual identity

28 June 201528 June 2015 Asili DesignLeave a comment

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.

sardinian handicrafts design

24 November 201224 November 2012 Asili DesignLeave a comment

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 www.associazionemalik.it/ 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.