





Architect, designer and art director. In 1986, he and Nicoletta Canesi founded Lissoni Associati, a multidisciplinary architecture and design firm based in Milan.
This was followed by the opening of the visual communications company Graph.x in 1996 and later by the architecture firms Lissoni Architettura and the New York based Lissoni Inc.. With its multinational staff, the group encompasses all aspects of architecture, interiors and product design, as well as graphics, art direction and corporate identity, extending globally to include hotel, restaurant, residential, corporate, retail and exhibition design. Piero Lissoni is art director for major brands such as Boffi and De Padova and designs collections for internationally renowned names including Alessi, Flos, Glas Italia, Living Divani, Kartell, Kerakoll, Knoll and Porro. He has received an array of international awards, amongst which the Good Design Award, the Red Dot Award and the ADI Compasso d’Oro.
Recently completed architectural projects include the Conservatorium Hotel in Amsterdam (2012), the Mamilla Hotel in Jerusalem (2009), renovation of the historic Teatro Nazionale in Milan (2009) and the headquarters and production facilities of Kerakoll Design Lab (2014), Matteograssi (2011), Glas Italia (2010) and Living Divani (2007) in Italy.
Soon to be inaugurated are the Oberoi Resort Al Zorah in Ajman, UAE, two towers for the Swire Hotel Group in Shanghai, exclusive waterfront condos and villas for the Miami Beach Ritz-Carlton Residences, twelve hotels across South Korea for the Shilla Stay Hotel brand, the new Roomers Hotel in Baden-Baden, a boutique hotel on the shores of the Italian lakes, a mixed-use development in central Moscow and a luxury townhouse in Chelsea, New York.
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Born in 1954, he completed his master’s degree at the University of Tokyo in 1979. After studying at Columbia University as Visiting Scholar, he established Kengo Kuma & Associates 1990. In 2009, he was installed as Professor at the Graduate School of Architecture, University of Tokyo.
Among Kuma’s major works are Kirosan Observatory (1995), Water/Glass (1995, received AIA Benedictus Award), Stage in Forest, Noh Stage in the Forest (received 1997 Architectural Institute of Japan Annual Award), Bato-machi Hiroshige Museum (received The Murano Prize). His recent works include Yusuhara Wooden Bridge Museum (2010), Asakusa Culture and Tourism Center (2012), Nagaoka City Hall Aore (2012) and Ginza Kabukiza (2013).
Kuma is also a prolific writer, including Anti-Object, translated into English. Most of his latest titles have been published in English, Chinese and Korean and have won wide readership from around the world.
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Sofia Lagerkvist and Anna Lindgren are the members of the Swedish design group Front. Their works are based on common discussions, explorations and experiments and they are all involved in the projects from initial ideas to the final product. Front’s design objects often communicate a story to the observer about the design process, about the material it is made of or about conventions within the design field. In their work they have assigned part of the making of design to animals, computers or machines. They have made a constantly changing interior, created objects with explosions, robotic furniture and a range of furniture inspired by their fascination with magic.
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Founded in 1983 in Sao Paulo by brothers Fernando (born 1961) and Humberto (born 1953) Campana, Estudio Campana became famous for its furniture design and the creation of intriguing objects such as the Vermelha and Favela chairs and has grown to include Interior Design, Architecture, Landscaping, Scenography, Fashion, Artistic Partnerships and more.
The Campanas work incorporates the idea of transformation, reinvention and the integration of craftsmanship in mass production. Giving preciousness to common materials carries not only the creativity in their design but also their very Brazilian characteristics—the colours, the mixtures, the creative chaos, the triumph of simple solutions.
Companies such as Alessi, Artecnica, Baccarat, Bernardaud, Consentino, Corsi Design, Edra, Fendi, Grendene, H. Stern, Lacoste, Louis Vuitton, Moleskine, Nodus, Skitsch, Trousseau, Venini and others produce the ideas created by the team at the studio, which also signs its own line of limited numbered editions and unique pieces often crafted in partnership with artisan communities and NGOs.
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Born in Innsbruck, Austria, in 1917, Ettore Sottsass received his degree in architecture from the Turin Polytechnic in 1939. In 1947 he opened his own architecture and design office in Milan.
His collaboration with Olivetti began in 1958 and lasted for over thirty years, during which he received three Compasso d’Oro design awards. Among the items he designed for Olivetti are: “Elea”, the first Italian electronic calculator, in 1959; “Tekne 3”, “Praxis 48”, the red portable typewriter “Valentina” and “Sistema 45”.
All throughout the ‘60s and early ‘70s, Sottsass’s work explored the themes that would stand central to his designs in the years to come: it was during this period that he laid the foundations for what would later be called Nuovo Design. In the second half of the ‘60s, Sottsass starts Pianeta Fresco, magazine co-edited with Allen Ginsberg and Fernanda Pivano and he is involved in the first debates on Radical Architecture, followed, at the beginning of the ‘70s, by several conceptual counter-design works.
In 1980 he founded Sottsass Associati Studio and Memphis.
In 1981 the first Memphis exhibition opens in Milan (shows will follow until 1987). Memphis, gathering internationally known architects and desingers, quickly became the symbol of Nuovo Design and point of reference for all contemporary avant-garde directions.
His works are in the permanent collections of a wide range of museums: Centre Georges Pompidou, Paris; Musée des Arts Décoratifs, Paris; Victoria & Albert Museum, London; Stedelijk Museum, Amsterdam; MOMA, New York; Metropolitan Museum, New York; Musée des Arts Décoratifs, Montreal; Israel Museum, Jerusalem; National Museum, Stockholm.
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Alessandro Mendini (1931–2019) was born in Milan to an artistic family. After taking his degree in architecture at the Milan Polytechnic, his direct influences were Ernesto Nathan Rogers, Marcello Nizzoli and Gio Ponti. Interested in writing and theorising in addition to drawing, he successively directed the magazines Casabella (1970–1976), Modo (1977–1981) and Domus (1980–1985 and 2010–2011). He published the books Paesaggio casalingo (1978), Architettura addio (1981), Progetto infelice (1983), Scritti (2004) and Scritti di domenica (2016). As the editor of design magazines, Mendini established himself as the voice of eclectic, incoherent architecture, which he considered a marvellous device for the mixing of styles and visual languages both contemporary and historical, looking both to art and mass production.
In the 1970s he became an exponent of the turning point toward postmodern design. He defended the concepts of banal and kitsch, using them as secret weapons to disperse the boringness of functionalistic and serious architecture. From 1979 to 1991, he gave existence to Alchimia, one of the best-known radical-design groups, whose principle was the hybridisation of the arts.
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Stine Gam, Danish architect with a master in furniture design. Enrico Fratesi Italian architect graduated with a master in industrial design. Gam and Fratesi gained experience as architects in several architecture studios in Japan and Scandinavia before establishing their own design studio based in Copenhagen.
GamFratesi’s design takes its creative drive from a fusion of tradition and renewal and in an experimental approach to their chosen materials and techniques. With their dual traditional background, Stine Gam and Enrico Fratesi draw on the classic Danish furniture and craft tradition as well as the classic Italian intellectual and conceptual approach.
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ALPI
ALPI was the first company in the world to industrialise the production process of composite wood.
From a workshop of fine cabinet making the company rapidly evolved into an industrial leader in the production of decorative surfaces. Its story is a vibrant tale of a manufacturing tradition focused on excellence and of the Alpi family, still at the helm of the firm today, through three generations, starting with founder Pietro Alpi in 1919.
The progress from a carpentry workshop to an industrial firm specialising in the production of prefabricated panels and wooden surfaces for the still nascent furniture sector began in the 1950s, with the arrival in the company of Valerio Alpi, son of the founder, and the launching of widespread distribution across the national territory. In 1961 the product ‘ALPIlignum’ was introduced, the first composite veneer and still the brand’s most representative item.
A true revolution made possible by extraordinary technological research and an extensive background in cabinet making, which led to rapid growth on international markets. Elton Group recognized the potential of the product and became the first export customer for ALPIlignum back in the early 1960’s.
ALPI is today, under the leadership of Vittorio Api, a partner of leading brands in the luxury, automotive and nautical sectors, as well as prestigious companies in the fields of furnishings, product design, interior architecture and contract, with projects ranging from hotels to multi-apartment complexes, retail to public spaces.
APPLICATIONS
Surfaces for furnishings; surfaces and facings for interior architecture; hotels, multi-apartment and residential complexes, shops, retail outlets, offices, public spaces; wood for floors, window and door frames, wall panelling, acoustic panelling; surfaces and facings for the interiors of yachts and cruise ships; dashboard surfaces and interior finishing for automobiles; objects.
ALPI DESIGNER COLLECTIONS
The profound synergy with the world of design has led, over the years, to prestigious collaborations starting in the 1980s with outstanding names in Italian design, including (among others) Clino Castelli, Aldo Cibic, Dino Gavina, Pierluigi Ghianda, Ugo La Pietra, Piero Lissoni, art director of the firm since 2015, Angelo Mangiarotti, Alessandro Mendini, Matteo Ragni, Ettore Sottsass, Matteo Thun, Marco Zanini.
Working with art director, Pierro Lissoni, ALPI has now launched Designer Collections, created in collaboration with some of the world’s leading designers, creating patterns that cannot be found in nature, with utterly original chromatic effects.
To create these unique wood veneers, Alpi peels, slices and reassembles Poplar, Lime Wood or Ayous, all of rigorously controlled origin, into infinite varieties and decorative effects, through a particular process that peels the log, tones the wood by immersion, then layers the sheets to create a new log. A fascinating production process, where a living material like wood is enhanced thanks to the most innovative technologies and the remarkable cultural heritage of manual skill. The ‘squaring’ of the wood.
ADVANTAGES
- Unique designer veneers and inlay work at a fraction of the cost of handmade marquetry
- Environmentally traceable, sustainable and certified
- More suited to modern furniture manufacturing processes saving time and materials
- Highest quality, free from the splits, knots, holes and discolouration found in conventional veneers
FEATURES
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ALPI Burgundy
Alpi Designer Collections
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ALPI Sottsass Grey
Alpi Designer Collections
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ALPI Sottsass Grey
Alpi Designer Collections
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ALPI Sottsass Red
Alpi Designer Collections
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ALPI Tarsie 1 Sand
Alpi Designer Collections
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ALPI Xilo 2-Flamed Black
Alpi Designer Collections
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ALPI Xilo 2-Flamed White
Alpi Designer Collections
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ALPI Xilo 2-Flamed White
Alpi Designer Collections
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ALPI Xilo 2-Flamed White
Alpi Designer Collections
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ALPI Xilo Planked White
Alpi Designer Collections
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ALPIlignum is a decorative multilaminar wood veneer compliant with ISO 18775 standard.
STANDARD DIMENSIONS
Lengths: 1500, 2200, 2500 or 3150 (- 0/+30 mm)
Widths: 360, 600, 620 or 640 (- 0/+30 mm)
THICKNESS
0.58mm (nom)
Hover over thumbnail for individual item dimensions
WOOD DENSITY
450-900 kg/m3 (measured in compliance with standard IS9427)
FORMALDEHYDE EMISSION
In compliance with E1 (analyzed according to EN 717). On request ALPI can supply ALPIlignum with two levels of formaldehyde emissions below the E1 standard:
BE – ALPIlignum with a formaldehyde emission level equal to a fraction of the E1 standard.
ZeroF – ALPIlignum without added formaldehyde.
It is in any event impossible to guarantee a complete absence of formaldehyde in ALPIlignum wood veneers as formaldehyde is a naturally-occurring substance in wood.
REACTION TO LIGHT
ALPIlignum is not a finished product and therefore its resistance to light in part depends on the cycle and chemical nature of the finish. On demand, ALPI can supply a version of ALPIlignum which, if varnished with an appropriate varnishing cycle, can achieve values of > 3 on the grey scale (UNI EN 15187:2007). The buyer is advised that discolouring may occur. It is recommended that the buyer perform advance tests depending upon the particular purpose and intended use in order to optimise results.
PATTERN MATCHING
The Alpi Designer Collections include patterns which require extra care when matching at junctions. Please make the cabinet maker aware of the need for matching and balancing the veneer in your drawings and/or specifications.
MECHANICAL SPECIFICATIONS
The mechanical characteristics of ALPIlignum depend on the nature of the finish and the type of backing. It is recommended that the buyer perform prior tests depending upon the particular purpose and intended use in order to optimise results.
COLOUR AND STRUCTURE
Being a natural wood product, ALPIlignum may vary in its reference colour. It is recommended that before use the buyer check both the colour and grain of the delivered product as against the ordered product.
ALPI stands out for its direct control of the entire supply and production chain, from the log to the finished product. Forestry management by means of the chain of custody guarantees legal and sustainable origin of wood, and total product traceability.
Today the company holds licenses for the management of 500,000 hectares of forest, also ensuring the growth of local communities in terms of economics and infrastructure, thus combining the core business with activities of social and environmental sustainability.
ALPI operates in complete transparency regarding environmental and social responsibility, constantly focusing on excellence in the use of natural resources. Every ALPIlignum is made with Poplar, Lime Wood and Ayous from certified sustainable forests, directly controlled for maximum respect of environmental biodiversity.
Maximum care also goes into safety in the workplace and environmental protection, including an advanced industrial water purification system.
For the specifier and end user
In general, timber veneered surfaces should be kept clean and dry, out of bright light, in a controlled environment).
Dusting
Use a soft dry cloth or feather duster.
Polishing
Use a high quality furniture polish and a soft dry cloth. It is recommended the polish used not contain any silicone as this may cause re-coating or refurbishment problems at a later date. Do not use harsh cleaners, chemicals, bleach, ammonia or solvents that affect the surface finish. Abrasive cleaners will of scratch the surface and reduce the visual clarity.
Extreme Temperature Changes
The expansion or contraction of timber due to extreme temperature changes may cause damage to the surface coating. Care should be taken in air conditioned or heated environments or next to windows to keep temperature changes within reasonable limits. Use heat resistant place mats under hot items to avoid heat damage.
Spillages
Spillages should be cleaned with a damp cloth as soon as possible as moisture may cause damage to the coating. High humidity, steam and excessive water in contact with the coating may cause the coating to crack and if it gets under the coating causes staining of the veneer surface. If spilled, chemical substances and alcohol should be removed immediately from all veneered surfaces.
Dirty or Greasy Marks
After first wiping with a dry cloth, wipe with a cloth lightly dampened with a mixture of water and a high quality furniture polish. Persistent dirty or greasy marks may be removed with a mild, nonabrasive proprietary cleaner appropriate for the type of surface finish. The appropriateness of the cleaner should be sought from the surface coating or cleaner manufacturer. The effect of the cleaner on the surface should be tested on a hidden or a less conspicuous section of the finished veneer surface.
Bright light and UV
Direct sunlight, very bright indirect light and excessive heat should be avoided on all internal veneered surfaces because fading, bleaching or colour changes to the surface coating and the veneer may occur. Use curtains, blinds and UV filter-membranes on windows to reduce the intensity of the light. Excessive hot sunshine may dry the veneer surface more quickly than the veneer substrate thereby causing small surface checks parallel to the grain to appear and possibly damage the surface coating.
Alpi Designer Collections are supplied in the raw form and we do not have control over the finishes/clear coats used in fabrication. Please contact your fabricator or coatings supplier for specific care instructions or warranties for the finished product.
For the manufacturer
Veneer and veneered panels should not be exposed to bright light, excessive heat, high-humidity, chemicals, water and other liquids. Avoid even temporary contact with water and other liquids and avoid any moisture on the product surface. Store flat at least 200mm from the floor and keep covered with plastic sheeting and/or a cover sheet. It is preferable for veneered boards to be coated immediately after sanding, because raw wood exposed to air may oxidise and discolour. To protect from the effects of light and dry air or wind, always keep the raw veneer and uncoated veneered panels completely covered with a panel of flat plywood, MDF, etc. Keep the humidity range of the storage area between 40% and 70% (RH). When transporting veneer, care must be taken to keep it dry, protected from air/wind and clean from road dirt and dust. As in all wood working operations, it is essential that adequate protection is taken against the contact and the breathing of wood dust when processing, and that normal workplace hygiene practices are followed.
SPECIFICATION
We have prepared a sample short form specification to help you specify Alpi Designer Collections timber veneer. Please highlight and copy and paste the relevant details into your specification sheet. You can add other clauses as appropriate. *delete as applicable.
Timber Veneer
Alpi Designer Collections insert veneer name
If FSC® certification is required, please specify.
Contact
Elton Group
1-5 Brough St Springvale 3171 Victoria Australia
T +61 3 8555 2235 F +61 3 8555 3009
enquire@eltongroup.com
Grain Direction
As indicated on the drawings (with crown cut veneers note the direction and location of the crowns)
Pattern Matching
Ensure veneer patterns are matched at junctions and balanced over the joinery.
Substrate
MDF/particleboard/plywood/other* including thickness (mm)
Backing
Veneered board to be backed with a balancing veneer back face grade/down grade/BAMO* (back at manufacturer’s option)
Edges
0.5mm/1.5mm/other* matching veneer edging
Finishing
Veneer is to be finished using isolator, sealer and top coating products engineered for wood finishing insert finish information supplied by the polish manufacturer. Finish must include UV inhibitors in each coat. All materials must be used in strict accordance with the manufacturer’s instructions. Unfinished veneer must be protected from UV and water exposure.
Gloss Level
Insert gloss level % open pore/fully choked
SAMPLES
To help with your selection, Alpi Designer Collections items are available in 100mm x 100mm polished samples. The polish used is a high quality acrylic polyurethane in a 5% gloss level. Samples are sent by Australia Post regular mail service. Sample requests received before 2pm will be processed same day.
To order samples click on the desired product and add to sample cart. At the end of your session proceed to sample cart, at the top right hand of your screen, fill in your details and complete your sample order.
If you require A6 raw veneer samples to replenish your catalogue, please contact Elton Group 1300 133 481 or enquire@eltongroup.com
Polished samples supplied by Elton Group are not warranted as representative of the finished article. If your client is happy with the veneer selection, it is important for you to arrange a polished sample of the veneer specified, indicative of the finished product, be provided by the cabinet maker responsible for the project. It is recommended that you also run fabrication tests to determine the potential for colour change in your specific application.