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Summer 2013 | HK$50

Fashion ForwardInside Kenzo’s new Parisian pad

Como: the seat of Moncler’s empire參觀Kenzo的巴黎新居 Moncler靈魂人物的Como家園

Access All AreasLust-worthy residences of Asia’s jetset crowd

亞洲環球旅人的夢幻家居

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Style Files

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open house

As the Bisazza Foundation celebrates its first anniversary, Rossella Bisazza shares her hopes for the cultural space, as well as the future of the arts in Italy

在慶祝Bisazza Foundation成立一周年的同時， Rossella Bisazza跟我們分享了她對這個文化空間和意大利

藝術界前景的期待

BY ALICE CHAN

Style Files

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Super-sized silverware by Studio Job, a mammoth multi-coloured Rococo-esque armchair by Alessandro Mendini and a towering Pinocchio figure reimagined by Jaime Hayon are just a sampling of what’s on show at

the Bisazza Foundation. The whimsical collection has an Alice in Wonderland meets Gulliver’s Travels feel to it – a glittering celebration of all things big, shiny and clad in glass tiles.

Thanks to its collaborations with major league designers and architects, the Italian family mosaic company has amassed a substantial collection over the past 20 years – one that had largely been unseen by the public until the Bisazza Foundation for Design and Contemporary Architecture opened its doors in June 2012. The foundation is located at the company’s headquarters in Montecchio Maggiore, and it spans an impressive 65,000sqft.

Italy is oft heralded for its design excellence, yet there is a surprising lack of institutions that focus solely on design. Other than the Triennale Design Museum in Milan, you’d be hard pressed to name any. “It’s quite ridiculous, especially in northern Italy where there are so many companies that design furniture

clockwise FRoM leFTThe Bisazza Foundation was designed by local architect Carlo Dal Bianco; Pixel Ballet (2007) by Jaime Hayon; Poltrona di Proust Monumentale (2005) by Alessandro Mendini

pRevious pageLove Over All (2003) by Fabio Novembre

左圖起順時針方向 Bisazza Foundation由當地建築師Carlo Dal Bianco設計；Jaime Hayon的Pixel Ballet (2007)；Alessandro Mendini的Poltrona di Proust Monumentale (2005)

前頁圖 Fabio Novembre的Love Over All (2003)

and objects, that until a few years ago, there was nothing dedicated to design,” laments Rossella Bisazza, the daughter of founder, Renato Bisazza, and the company’s director of communications, as well as the foundation’s vice-president. “We decided it was time for us to open something for design, and because we work with architects and designers, it was a natural step for us,” Bisazza says of the company’s decision to set up the non-profit foundation.

由Studio Job創作的超大型銀

器、Alessandro Mendini設計

的彩色洛可可風格扶手椅，還有

Jaime Hayon重新製作的巨型小木

偶像，都可見Bisazza Foundation之內。這

些夢幻系列有著愛麗絲夢遊仙境結合小人國歷險記的感覺，具特大、閃亮和玻璃元素。

全賴與業界頂尖設計師和建築師共同聯

手發揮創意，家族營運的意大利馬賽克公

司Bisazza過去20年已累積了豐富矚目的系

列——直到Bisazza Foundation for Design and Contemporary Architecture在2012年

6月開幕終於面世。Bisazza Foundation位

於公司在Montecchio Maggiore總部，佔地

65,000呎。

意大利以優質設計聞名，但卻缺乏專

注設計範疇的機構——大概只有米蘭的

Triennale Design Museum。公司創辦

人Renato Bisazza的女兒、公司的傳訊總

監兼Bisazza Foundation副主席Rossella Bisazza惋惜說：「這頗荒謬，特別是在意

大利北部，當地設有無數出品設計傢具和

產品的公司，但自數年前開始再沒有專為

設計業而設的支援。」提到成立非牟利的

Bisazza Foundation時，她指出：「我們認

為是時候為設計界作出貢獻，加上公司一直

跟很多建築師和設計師合作，成立Bisazza Foundation對我們來說便變得理所當然。」

Bisazza Foundation大部份地方也用來擺

放永久展品，包括上文提過特別為米蘭設計

周而創作的大型作品。還有來自大師級人馬

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“Collaborating with big names is crucial to us making a mark for ourselves,” explains Bisazza

This page FRoM TopUS architect and Pritzker Prize winner, Richard Meier; Internal Time (2013) by Richard Meier

opposiTe, clock-wise FRoM Top leFTBisazza Motel (2004) by Marcel Wanders; Il Cavaliere di Dürer (2011) by Alessandro Mendini; Jet Set (2008) by Jaime Hayon; Buon Viaggio e Buona Fortuna (2006) by Mimmo Paladino

本頁圖從上美國建築師兼Pritzker Prize得獎者Richard Meier；Richard Meier的 Internal Time (2013) 對頁圖，順時針左上方起 出自Marcel Wanders之手的作品Bisazza Motel (2004)；Alessandro Mendini的Il Cavaliere di Dürer (2011)；Jaime Hayon製作的Jet Set (2008)；Mimmo Paladino的Buon Viaggio e Buona Fortuna (2006)

Much of the centre is taken up by the permanent collection, which includes the aforementioned super-sized commissions for the annual Milan Design Week. Other big-hitting design names on show include Patricia Urquiola, Marcel Wanders and the late Andrée Putman. There are also site-specific installations by British architect John Pawson and Israeli designer Arik Levy, both of whom held temporary exhibitions at the foundation last year.

The foundation’s third exhibition – Richard Meier. Architecture and Design – opened last month, celebrating 50 years since the launch of the Pritzker Prize-winning architect’s firm. The retrospective includes some of Meier’s most representative works, and like Pawson and Levy, the firm has produced a site-specific installation entitled Internal Space – a contemplative area styled out of white Bisazza tiles.

Meier was a huge “get” for the foundation; one that Bisazza hopes will further cement its credibility. Showcasing emerging talent is part of the plan for the future, but for now, the focus is on established names. “Collaborating with big names is crucial to us making a mark for ourselves,” explains Bisazza.

Bisazza is aware of sceptics over this meeting of culture and commerce. “Bisazza the brand benefits from the foundation in terms of brand awareness, but the two operate separately. We host exhibitions not necessarily linked to the company, and with designers we have never worked with.” Case in point: the Pawson exhibition. The architect is known for his minimalist aesthetic, and his work is the polar opposite of Bisazza’s decorative glass tiles. Bisazza continues, “The foundation is created from our personal passion for everything to do with art and design.”

Still, with all these good intentions, the gallery’s slightly out-of-the-way location means it has some way to go in terms of attracting visitors. But, Bisazza doesn’t let geography get in the way of her dreams for the space: “It’s our hope that the foundation becomes a destination, like Vitra [Design Museum].”

Given the ongoing economical struggles Europe is facing, it’s commendable that the business invested in such a space. Bisazza hopes that other companies can do their part to support the arts. “The government doesn’t give

如Patricia Urquiola、Marcel Wanders和已

離世的Andrée Putman的作品。系列內以

特定空間為題的裝置出自英國建築師John Pawson和以色列設計師Arik Levy之手，兩

位去年均舉行了短期展覽。

Bisazza Foundation的第3個展覽Richard Meier. Architecture and Design剛於上月揭

幕，慶祝成立50周年。這個回顧展會展出

這位Pritzker Prize得獎建築師的代表作。

公司跟Pawson和Levy一樣推出以特定地

點為題的裝置設計Internal Space，一個用

Bisazza白色馬賽克瓷磚打造的冥想空間。

Meier是Bisazza Foundation重點目標，

因Bisazza希望能藉著該品牌進一步鞏固其

可信賴性。公司未來的計劃會以展示新興設

計師的才華為本，但現階段的焦點還是要放

在一些大牌子上。Bisazza說：「跟知名品

牌合作是必須的，能讓更多人認識我們。」

另一邊廂，Bisazza明白有些品牌會顧慮

文化和商業結合的可行性。「從品牌知名度

而言，Bisazza會因Bisazza Foundation而受

惠，但兩者是獨立營運的。我們舉辦展覽不

一定要跟公司連上關係，也可跟從未合作的

設計師一起工作。」如Pawson展覽：建築

師以簡約純美風格聞名，跟Bisazza的華美

玻璃瓷磚可說是南轅北轍。Bisazza續說：

「開設Bisazza Foundation是以我們對藝術

和設計的個人熱情和奉獻為基礎。」

可是，藝廊卻鄰近以建築見稱的旅遊熱點

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FRoM leFTRock Chamber (2012) by Arik Levy; Rossella Bisazza is the family company’s director of communications and the foundation’s vice-president

左起Arik Levy的Rock Chamber (2012)； Rossella Bisazza是這家族公司的傳訊總監兼Bisazza Foundation副主席

money for culture in this country anymore, so I think it’s good for companies to get involved,” Bisazza stresses. “It’s vital, I think; we cannot live without culture. So, that is my hope, not just for my company but for my country.”

The Bisazza Foundation’s Richard Meier exhibition runs until 28th July, 2013.Im

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維琴察，但Bisazza絕不讓地理條件嚇倒：

「希望藝廊變成像設計博物館Vitra。」

歐洲經濟低迷，他們仍願投資難怪備

讚。Bisazza望其他公司也能加入：「政府

不再投資文化，大家能作支持便更好。生活

不能失去文化。這是我的希望，不單從公司

角度出發，而是就整個國家而言。」

Richard Meier展覽至2013年7月28日。