Category Archives: Design

[Video] Three questions to Barbara Santoro, co-author of “Italian Factor”

Barbara SantoroWe had the pleasure of meeting Barbara Santoro a few weeks ago in Rome, at the presentation of the book co-authored with Francesco Morace, “Italian Factor – How to multiply the value of a country”.

While we have been following, with great interest, the work of Francesco Morace for many years, meeting Barbara Santoro was a revelation and a pleasure both for her entrepreneurial passion and  her talent for communication.

We asked her to answer a few questions for our blog.

ermes ponti – I understand that the book Italian Factor, co-authored with Francesco Morace, was your idea, “ a sudden intuition” as you put it.  Can you tell us what inspired you?

Barbara Santoro – – Like all apparently “sudden” intuitions this too was the fruit of a complex series of different events, personal and professional experiences and reflections.

The most significant of these goes way back to when I was seven, when my family and I emigrated to Canada.

The moment the Leonardo Da Vinci  left the port of Genoa, I became profoundly aware of being Italian, and when I finally set foot in Vancouver, I understood what it meant to be a foreigner.

The first few years were tough; I learned the language quickly enough, but there were more profound issues:  back then, being Italian was seen with diffidence and prejudice.

In the span of only a few years however, thanks to the talent, the courage and the entrepreneurial spirit of my fellow Italians, everything changed:  being Italian became something to be proud of and everything that was Italian, tasty, tasteful and masterfully crafted became extremely desirable.

I came  back to Italy many  years ago, and in my work with Italian businesspeople,  managers and professionals in every field, on the development of their international communication skills , I realized  just how precious my intercultural experience had been.  Because I learned, without a doubt, that each one of us, besides our individual talent, education and determination, can count on the added value of a brand which is universally recognized and positioned as the third most important in the world:  Made in Italy.

Because  the sheer fact that WE are Made in Italy means we can count on an extraordinary competitive advantage.

The question is: how can we leverage this heritage?

A year ago, or so, I was working with an entrepreneur who in a few days was going to have to take part in an international press conference, in Brazil, in English, for the inauguration of his project.

He was in a state of panic not because his English wasn’t adequate but because he didn’t know how to describe what he did in a few, effective words.  When I asked him the question he said: “it’ll take at least a couple of days”.

After a torrent of words I understood that his company “italianizes” huge construction projects in the world.  Simply put, they complete office buildings, hospitals, shopping centers, and hotels with finishings, flooring, fixtures, furnishings and art, strictly Made in Italy.  The result is, that without incrementing expenditures, and  staying within the original budget,  market value  and sales are increased by 30%.

The challenge was: how to tell the story not just effectively but with marketing flair?  How to condense genius, beauty, artistry, innovation, tradition, culture and the know-how of a family, a business a regional territory and a country?

I suddenly realized that the sum total of all these typically Italian attributes constituted in fact a business development “factor”, a multiplier of value, that could be expressed in three words:  The Italian Factor!

italian factorep – Let’s start from “The missing ingredient”… you mentioned it in your presentation  at the Chamber of Deputies in Rome.  What do you think it is?  And what is the recipe?  And finally, who do you think can benefit the most from it?

BS – Every company is unique; the specific ingredients may vary, but the recipe is the same in every case:

For every company or value offering we need to

1) recognize the value and uniqueness of what we have to offer (The Italian Factor);

2) acquire with humility and determination that which know and aknowledge is missing or weak;

3) study, study, and keep studying  the market, the competition, the trends and the best practices of the major players;

4) enter the International arena armed with the most appropriate and effective marketing and communication tools possible.

We  must use the language and the tools of communication (brand identity, country of origin heritage, narrative and storytelling) and marketing (relations-based and  cultural)  using the media channels appropriately: web-based, social and interpersonal.

In my experience with Italian companies, the “missing ingredient”  lies almost always in the ability to communicate and promote the unique value proposition with confidence, and absolute effectiveness not only in Italian but most importantly in English, the language of International marketing.

This, I believe is one of the most important ingredients, which combined with the distinctive qualities summarized in the “Italian Factor”, can give the necessary propulsive energy to people, enterprises and to our Italian economy.

ep  – You repeatedly stressed the importance of self-branding as essential for Italian companies:  where would you begin?  And which, would you say, are some of the best practices to emulate?

BS– I stress the point because the talent and creative originality of our “cultural heritage” is uniquely ours; it cannot be acquired or imitated, whereas the techniques and strategies of International marketing and communication can and must be learned.

To underestimate the importance of this often means handing over, on a silver platter, our brands and our excellence to foreign groups who know how to leverage, enhance and promote our distinctive quality characteristics  and cultural value summarized in “The Italian Factor”.

Best practices?

There are many among the brands which are fortunately still Italian-owned:  Prada, Tod’s, Cucinelli, Ferragamo, to name just a few.

But among those acquired and repositioned by International groups we have historic brands such as Poltrona Frau, Gucci, Fendi, Bottega Veneta, Cova and Acqua di Parma.

The list is long, painful to read,  and it cries out for serious reflection.

There may be any number of negative factors which can critically affect the life of a business: from inter-generational transition to the hair-raising evolution of new technologies, to the sudden challenges of socio-demographic changes and the threats of International competition from emerging markets.

But the same factors, if faced with entrepreneurial passion, creativity , courage and the drive to affirm the quality of our work, can profoundly modify the destiny not only of a single company but of an entire country.

We thank Barbara for kindly sharing with us her personal experience, her observations and her vision.

And now, a brief video excerpt from the “Italian Factor” presentation in Rome.

Interiors and Architecture? It’s complicated. Thoughts after the Alberto Campo Baeza lecture.

When Facebook asks you what’s your relationship status, among the options you find…

“It’s complicated”

Well, maybe that’s what we should consider as the situation between Architecture and Interiors: complicated.

Facebook "it's complicated"

Why is it so complicated?

Well, it seems like architecture no longer cares for interiors.

Architects act like if interior space were a matter of… something empty that will eventually be filled with furniture.

The gap between architecture and interiors reminds of another complicated relationship: the one between interiors and industrial design (remember the “design by vs. designed for” post?)

Many reasons for this, in our opinion.

Contemporary architecture puts top emphasis on the star architects, just like industrial design only seem to care about star designers and big brand names.

Both these approaches can be described as “design by”.

They are closer to the rules of fashion than those concerning the art of building a space. 

Alberto Campo Baeza – one of the most famous Spanish architects and Architecture Professor – gave a lecture here in Mantua a few weeks ago inside the fabulous church of San Sebastiano.

san sebastiano mantova

It is one of the greatest churches of the Renaissance, built according to the designs of the Italian humanist, architect and philosopher Leon Battista Alberti.

The lecture was impressive, it made me think about the role of interiors in contemporary architecture.

Of course, I loved the projects he showed and I also appreciated the relationship between his principles and the contexts where he applied them.

chiesa di san sebastiano a mantova

I agree with his thinking about what was something similar to what I call “Genius-Loci” as the first condition for a new project of architecture. (He is also a great lecturer… I found his Italian speech with a strong Spanish accent amazing!)

But, from a personal point of you, there is still something missing in this kind of approach to architecture.

Baeza and his colleagues – sons of the Modern Movement and the Minimalism approach – are used to designing such beautiful white buildings overlooking squares in the old city centers of Spanish and Portuguese towns… or else to planning splendid houses overlooking  the sea.

They all seem like… Greek temples!

What surprise me more, is that they recognize the Greek concept of “temenos” as one of their most significant models!

campo baeza cadiz home

On the long road of western architectural history there is a strong division.

Essentially, Greek architecture is more about the relationship of the building with the landscape and Roman architecture is more concerned in the a relationship with people.

The concept itself of interior spaces emerged with Roman architecture and especially the architecture of the late Latin period.

With the Italian Renaissance the centrality of human beings is rediscovered in architecture as it is in art.

Our cultural and architectural identity comes from here.

Also the most revolutionary fathers of the modern movement have also never neglected it.

So, why we should we do it now?

A quick impression from the opening of the 14th Architecture Biennale in Venice.

Padiglione Germania Biennale VeneziaWe were at the German Pavillion at the Venice Biennale on Friday: we got there a little late, but in time for the opening.

We’ve never felt so proud for a work done.

Our client appreciated it so much that they mentioned ermesponti even during the public speech: incredible!

I mean, never ever a client have given to us such a recognition. Even for bigger assignments.

ermes ponto work for the venice architecture biennale: pad germania

But we really appreciate working and cooperate with these guys.

We found strong affinities since our first meeting.

I have a doubt; are we of Ermesponti  Germans? Or are  that is Ciriacidis& Leherner Italians?
No, neither.

We just have the same deep roots in the cultural heritage of the western architecture history, that’s all.

We found we both have this in common: we love doing our work at the best!

ermes ponti: padiglione germania @ the venice biennale

We care for it. In everything we do, we search for perfection.

And I believe you can feel it very well.

If you will go in Venice in the following months, please have a look at the German Pavilion.

For what I am concerned, there is a special feature that makes it different from each other national pavilion of the 14th Architectural Biennale in Venice.

All the national pavilions are – of course- about architecture, but they just talk about it.
The German Pavilion is architecture for real!

venice biennale architecture: work by ermes pontiTwo buildings in one; each one brings to its own identity and style to compare with the other.

And what a strong impression for visitors of that hybrid spaces; no need of taglines here!

No need of critical explanations; anyone can understand it by himself.

To be honest, I think this is the real reason why we literally felt in love for this project.

We believe that architecture means experiencing interior space; from the feeling  of the main space to the last small detail.

Please go and visit the Bungalow Germania in Venice. We wait for your impressions about it!

Venice Biennale Architecture 2014

“The Bonn Chancellor’s Bungalow today at the Venice Biennale… also thanks to ermes ponti.” By Alex Lehnerer and Savvas Ciriacidis.

Lehenerer and Ciriacidis architects

The architects in charge of the German Pavillion at the Venice Biennale talk about how they met our company and the way the collaboration between us evolved.

Thank you for your post, Alex and Savvas!

ERMES PONTI: A CAREFUL AND INSPIRING COLLABORATION ON THE VENICE BIENNALE GERMAN PAVILLION.
By Alex Lehnerer and Savvas Ciriacidis.

Padiglione Germania Biennale Venezia

We were very fortunate to have been able to work with ermesponti on the project “Bungalow Germania” of the German Pavilion at the 14th International Architecture Biennale 2014.

At first we were quite concerned about how to rebuild the Chancellor’s Bungalow in Bonn from 1964 here in Venice.

Then, only by chance we met Daniela and Paolo from ermesponti.

Our Italian friend and collaborator Eugenio Squassabia from Mantua recommended them to us as years ago he used to work for them.

We have already heard a lot about the exquisite craftsmanship of North Italian companies, but never really imagined what kind of enthusiasm and precision there is involved in their work since we met ermesponti.

key hole study by ermes pontiDaniela and Paolo immediately went to Bonn themselves as they had to see the “original” and to have a close look at all the details of the wooden furniture of the Bungalow to be reproduced in Venice – all the way to the brass key holes of the cabinet doors, as shown in the drawing.

This analysis almost resembled an archeological project into Bonn’s recent past.

Paolo’s dad then went to Milan to get exactly the right kind of veneer for the built-in cabinets of the Bungalow in Bonn.
The result is stunning.

Padilgione Germania Biennale Venezia

There was so much care and love involved that we almost feel guilty that after six months of the Biennale everything has to disappear again.

But before that you should go and see the exhibition yourself and how precise all the ermesponti furniture is crafted in the Pavilion.

We even started to tell people there: if they wanted to see how everything looks in 50 years, they should go to Bonn!

Padiglione Germani Biennale Venezia

But maybe you should also go to Mantova and have a look at ermesponti’s workshop and listen to Paolo how carefully they choose and compose every piece of veneer by hand to get the right character of wood for every single project.

It is amazing and inspiring to still have people around today who care so much about what they do.Paolo Ponti of ermes ponti at work on Biennale German pavillion

From Design to Architecture; from “Design by” to “Designed for”.

Both industrial design and interior architecture are undertaken to furnish a space. But they do it in different ways. Let’s have some examples.
design awards 2014
In the first case, the client who is going to furnish his house using industrial design products can do it by himself. Sometimes he could need the help of an interior decorator. They will choose together a certain brand, they will leaf through the pages of beautiful catalogs and make their own selection of a certain number of pieces of furniture. They will fill each room of the house with industrial products they need and sometimes they  will overfill it with a lots of beautiful stuff they don’t need at all. Everything will be in fashion in the new house, but not for a long time. They will pay a certain amount of money, but they will never know the real cost of production of each piece of furniture. It doesn’t matter if the furniture is from Ikea or one of the best Italian brands, the way is really the same. The production, distribution and marketing processes are similar.
This client is choosing a product “design by” someone. Sometimes the designer is a big name or sometimes the brand name is more famous. Often both of them are very popular. And they are the main reason for the customer’s choice. The customer feels confident buying something well-known worldwide. Especially a customer who is looking to keep up with the Jones’s. In new markets this kind of situation  is very common and that’s why fashion or design brands have great success.
In the second case, the client is looking for something completely different from the brands. Often he is not brand orientated.  For example, he could be searching for eco sustainable production, fair trade or just “Made in Italy”.  He can also be interested in crystal clear distribution and he is very careful about the real value he brings home. He doesn’t want merely to fill his house, but, first and foremost, he has a specific plan for it. He wants a site-specific project for his house; something “designed for” him and no one  else.
john pawson
Of course he is not able to do it by himself. “It takes a hatter to make a hat”, they say. Especially a first class hat. A bespoke suit made in Savile Row could be the best way to express his own personality.  A bespoke interior might be the best investment for a comfortable daily life as well. The hatter or the tailor in this case should be an architect, but not an ordinary architect. The client needs  to build a good relationship with an architect. A close affinity is necessary. He will express his needs and also sometimes his dreams for his home. He  wants an architect able to translate furniture and interiors in architectural form. Something “designed for” him is more than a comfortable, bespoke suit worn once or twice a year!
In the end, the two clients have similar results  and spend almost the same amount of money. There is no significant difference between a house totally decorated with top-brand furniture and another house furnished with custom-designed furniture. The key point is not a question of money. The average person spends or invests what is affordable.
Actually, it is only a question of taste and education. People are ready to spend only on what they really care about. If they are interested in a sense of modern beauty they will feel in fashion when buying what design brands are offering. But, if they are looking for their own specific expression of beauty, personality and well being, they will ask for an interior that is not just the fashion, but custom designed for them.
poddaponti dining 
As architects we feel our mission is designing and making timeless interiors in an end-to-end process. We can guarantee top-quality materials and pleasing contemporary design. At the same time- we can keep a watchful eye on  the client’s budget and schedule.
We believe architectural interiors should be done in this way. Everything is bespoke at ermesponti. This is our core-business; give us a try!

Salone Del Mobile 2014.

The world-famous fair Salone Del Mobile is the most eagerly awaited industrial design event of the year.
We have been there of course just to keep up with the latest trends and to have a look at what the big brands of industrial design are preparing for the next 12 months.This period of economic crisis in Europe  and in general in old markets  is also a challenge for them.
trussardi- salone2014
Design weaves its threads ever more thickly with other disciplines: fashion first of all, but also art and everything that might involve the everyday lifeof design products. The concept of design is expanding ever wider with influences stemming from other disciplines and  with receptiveness to other visions probing beyond function to social aspects and philosophy as well. But from my personal point of view, even if this kind of cross fertilization can be useful and interesting in a certain way, this time it seems too much. Actually, you can’t really understand where design ends and art begins or vice versa.
Industrial design risks losing its own spirit and essence. Creative work is no longer a feature of design and almost every kind of problem-solving attitude can be considered creative. That’s what emerges from  the famous theory expressed by  the book “creative confidence”  ( written by David Kelley)  and many other books with the same philosophy.
As an architect with a strong architectural training from the  university of  Florence, I can see that industrial design has definitely lost its native relationship with architecture. It has links and bonds with any other discipline but this.  There is something going on about it.  It is a tree without roots. I think we have to rediscover the natural background of both architecture and design, a “Common Ground”-as David Chipperfileld pointed out at last Biennale.
Of course there are lots of reasons why and it will take another long post to describe them, but , to be honest, my final question after Saturday’s visit to the Fiera Rho was: are you sure, guys, you need all that jumble?

Ermesponti’s new motto

One year ago we choose to add a motto to our company name “designed+made+to measure”  because we wanted to underline the end-to-end process, from the very first interior design idea to making and installing the furniture on site. Those three words seemed to describe our work properly.

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However, recently we realized that our job is not just to make furniture. We design and build specific-location interiors.
We have discovered that our interiors are not comparable to a made-to-measure suit, but rather to a bespoke suit. The made-to-measure suit  is a standard model with some adjustments made for the customer, whereas the bespoke one is completely designed and made to order according to customer specifications. The first needs a good shop assistant, but the second one a highly skilful tailor. So now, our motto has become “bespoke interiors”.

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The starting point is a white sheet of paper and a pencil. In front of us there are both the client’s requirements and the location. Our architects talk to clients and at the same time they make a thorough survey of the location – a total survey – which is not just measuring, but collecting both general informations and small details  needed to draw sketches, plans and 3D drawings. We share our ideas with the client and step by step fulfill his expectations.

Then we do actual drawings to coordinate the work done on site with making furniture. We take care of the installation and of the deadlines to be met. The overall aim is to make the customer feel he or she is in the right place. This is what the idea of bespoke interiors with ermesponti actually means. Make the ermesponti experience.

Gio Ponti’s cultural heritage: our tribute.

For Ermes Ponti, Gio Ponti was a master, almost a grandfather.

Not only a rare coincidence of names and neither a simply business relation between them; a friendship that still exists between the two families- the Pontis from Milan and the Pontis from Mantua.

Gio Ponti was “four-times-twenty” and Ermes was not 25 yet; Gio was one of the most famous architects of the last century and Ermes was simply a young carpenter with a great passion for his job.

From their joint work emerged some beautiful projects and, as Gio put it, we feel they represent a beautiful story of our past and- at the same time- a legacy, a heritage for the present and for the future.

So we feel we have this heritage to be shared. Gio Ponti designed for our company an interior concept (“la casa adatta”) and a full furniture collection dedicated to it- the Apta line.

Both of them were truly revolutionary in the early 70’s as they are absolutely up-to-date now. Continue reading