Inventario 11

Inventario continues its journey through the culture of the project, moving freely from architecture, to art, to design, genres that share the rationale of creation.

This time the cover story is dedicated to a small collection of ventilators that – based on the idea of Bruno Munari – are “making air visible”: these are artworks in movement created by authors capable of amazing us as they play with the rotation and the noise of the device itself, the vibration, movement, and sound of the objects that are struck by the air moving: an artificial breeze that forces one to smile and think.

As always, Inventario organizes the flow of objects and thoughts via an assemblage of permanent boxes housing contents that are expressly created and coherently arranged. In “Absolutes” (works that have changed our lives) Francesco Garutti tells of the African-American Flag by David Hammons, while Paolo Bocchi recalls Tomb for Pier Paolo Pasolini designed by Gino Valle. Matteo Pirola discusses Krijn de Koning in “The Architecture of Art”, and in “Lessons” Manolo di Giorgi explores the interior architecture of Milan’s architecture between the nineteenth and twentieth-centuries. In “Crossover Architects” Michele Calzavara describes the restless design work of the studio SITE, and in “Bagatelle” Francesco M. Cataluccio and Annalisa Ubaldi delve into the use of ice as a primordial material in both art and architecture. In “Myths of Today” Stefano Salis investigates the figure of the painter, illustrator and designer Eric Ravilious, while in “Personal Inventory” Corrado Levi discusses the work of the artist Bonomo Faita. In “Technical Matters” Daniele Greppi examines the “Radica Chic” pipe designed by Giulio Iacchetti for Savinelli, and in “Short Notes” Iacchetti himself presents a collection of emblematic ashtrays. In “Why” Arianna Panarella describes how a refined object of anonymous and popular design works: the fórcola (oarlock) the Venetian gondola; lastly, in “Other Gazes”, Roberta Valtorta introduces us to the art of Jean-Louis Garnell.