B&B ITALIA, 1979
DIESIS, SOFA
Antonio Citterio and Paolo Nava
Antonio Citterio and Paolo Nava
XILITALIA – B&B ITALIA,
1981
QUADRANTE,
STORAGE UNIT
In my first projects I sought an expressive language of my own. My direction then shifted towards analysis and recovery of elements from certain references throughout the history of design.
B&B ITALIA, 1986
SITY, SOFA SYSTEM
I always work on the typology — the common, basic forms of the object in question — investigating the changes in progress in our way of living, while revising the strategy of the production process.
B&B ITALIA, 1986
SITY, SOFA SYSTEM
Sity was really the first sofa with multiple functions and depths. It was a real breakthrough at the time, due to the concept of the chaise sectional sofa, achieved with the inclusion of the chaise longue.
B&B ITALIA, 1986
SITY, SOFA SYSTEM
Some of the products I have developed over the years were attempts to break out of the traditional typology and propose new solutions.
B&B ITALIA, 1986
SITY, SOFA SYSTEM
The work I do on interiors or on product design is inseparably connected with the design and use of space.
B&B ITALIA, 1997
CHARLES, SOFA
SYSTEM
Charles was the continuation of Sity, but trying to be a little bit more elegant and airy, with thinner cushions.
B&B ITALIA, 1997
CHARLES, SOFA
SYSTEM
Charles was originally conceived for the living room of my apartment in Milan, where I felt the need to remove at least one lateral support from the linear sofa I was imagining for the space.
B&B ITALIA, 1997
CHARLES, SOFA
SYSTEM
The upside-down L foot in die-cast aluminium, along with a single seat cushion and the slender raised base, all bring a feeling of lightness to the sofa.
FLEXFORM, 2001
GROUNDPIECE, SOFA
SYSTEM
The design for Groundpiece originates from research on simple, user-friendly products with ample, soft surfaces. It was based on the awareness that its use was linked to new actions and behaviors.
FLEXFORM, 2001
GROUNDPIECE, SOFA
SYSTEM
Groundpiece combines the typology of the bookshelf with that of the sofa, introducing a shelving system that also functions as an armrest. We wanted to achieve a product that looked like it was lying on the floor, with large upholstered surfaces, juxtaposing the soft, goosedown-filled cushions with slender, pared back armrest/bookshelves upholstered in leather or suede.
ARCLINEA, 1988–2017
COLLECTION
Many of the projects for Arclinea are actually ‘solution’ designs, that resolve and respond to needs of layout and use of space.
ARCLINEA, 1988–2017
COLLECTION
ARCLINEA, 1988–2017
COLLECTION
My approach to designing kitchens has always had a typological focus, envisioning what the kitchen could be like from the vantage points of function, emotions and practical use.
ARCLINEA, 1988–2017
COLLECTION
The kitchen is now offered as an integral part of a system, in a seamless arrangement, between the concept of the wall and the technical spaces, from the cabinets to the dividers between zones.
KARTELL, 1994
MOBIL
Design is not just a problem of expression, but something that encompasses all the processes that go into a project. Design is an integral part of the industrial production process.
KARTELL, 1994
MOBIL
Presented in 1994, Mobil, thanks to the introduction of an innovative batch-dyed thermoplastic technopolymer, revived the use of plastic as a noble material in a wide range of products.
VITRA, 2010–2018
OFFICE CHAIRS
The design of any chair for Vitra begins with an industrial perspective, and the relationship between the design and the final cost is a fundamental aspect of the industrial product.
VITRA, 2010–2018
OFFICE CHAIRS
VITRA, 2010–2018
OFFICE CHAIRS
We wanted to achieve a family of transversal products enabling a variety of sitting postures, that could fit into different office settings, from conference rooms to studios or operative/executive spaces. It is an open, modular system, sustainable and economical.
VITRA, 2010–2018
OFFICE CHAIRS
Despite the many possible variations, it remains essentially the same chair in terms of looks and construction – with benefits for companies in terms of aesthetics, maintenance and service.
B&B ITALIA, 2014–2017
MIRTO OUTDOOR
COLLECTION
The Mirto Outdoor Collection features die-cast aluminum structural elements which bring a high level of technical quality to the market of outdoor products.
B&B ITALIA, 2014–2017
MIRTO OUTDOOR
COLLECTION
It all started with the die-cast aluminium bridge-like frame of the sun lounger: a design where proportions and thicknesses count.
B&B ITALIA, 2014–2017
MIRTO OUTDOOR
COLLECTION
Instead of wheels, it has two small and very discreet rollers that allow it to move, placed on one of the two crosspieces.
B&B ITALIA, 2014–2017
MIRTO OUTDOOR
COLLECTION
The inclusion of seats, dining tables and small tables makes Mirto a complete outdoor furniture collection.
FLOS, 2003–2015
KELVIN
I delve deeply into the concept of the mechanism, down to the details of the construction: a lamp has a structural-technological synthesis that has nothing purely aesthetic about it; its form comes from a series of points of knowledge, of very precise elements.
FLOS, 2003–2015
KELVIN
FLOS, 2003–2015
KELVIN
Products are ever more surprising from a technical standpoint and their size gets smaller and smaller. The new LED Edge Lighting technology has made it possible to reduce the size of the head; the cable between the arm and head has been eliminated; the rotation joint has been modified and the cross-section of the tubular arm reduced.
FLOS, 2003–2015
KELVIN
The head is connected to a double pantograph arm with slender steel ties, which permit a fluid movement, to adjust the light as desired.
HANSGROHE,
2003–2014
AXOR CITTERIO
BATHROOM
COLLECTIONS
My work never concentrates on the creation of a single product, but is always inserted in a strategy of corporate offerings. It all started with a faucet, which then led to the design of a complete system of fittings for the bathroom.
HANSGROHE,
2003–2014
AXOR CITTERIO
BATHROOM
COLLECTIONS
When I design a new product I try to consider how people might use it, rather than focusing on a specific detail. Easy volume and temperature control is an important feature of the entire collection – Joystick or cross-handle, a well-designed mixer needs to always be comfortable to use.
HANSGROHE,
2003–2014
AXOR CITTERIO
BATHROOM
COLLECTIONS
With the “Citterio E” collection we wanted to create a product that would be as intuitive as possible during use. Its comprehensive range of products allows a virtually infinite number of solutions in bathroom design.
TECHNOGYM,
2006–2016
TECHNOGYM
PERSONAL
COLLECTION
In my design research, knowledge of technical processes is very important. The Personal collection represents a successful synthesis of technology and design.
TECHNOGYM,
2006–2016
TECHNOGYM
PERSONAL
COLLECTION
TECHNOGYM,
2006–2016
TECHNOGYM
PERSONAL
COLLECTION
With the Personal line of training products we set the objective of implementing design aesthetics within the pure function of fitness machines.
TECHNOGYM,
2006–2016
TECHNOGYM
PERSONAL
COLLECTION
From my viewpoint one of the main goals of design is to improve the quality of life of the people who interact with a given product.

TYPOLOGY

LANGUAGE - HISTORY - MEMORY

TECHNOLOGY & PROCESS

DIESIS, SOFA

B&B ITALIA, 1979

Antonio Citterio and Paolo Nava

QUADRANTE, STORAGE UNIT

XILITALIA - B&B ITALIA, 1981

Antonio Citterio and Paolo Nava

In my first projects I sought an expressive language of my own. My direction then shifted towards analysis and recovery of elements from certain references throughout the history of design.

SITY, SOFA SYSTEM

B&B ITALIA, 1986

I always work on the typology — the common, basic forms of the object in question — investigating the changes in progress in our way of living, while revising the strategy of the production process.

Sity was really the first sofa with multiple functions and depths. It was a real breakthrough at the time, due to the concept of the chaise sectional sofa, achieved with the inclusion of the chaise longue.

Some of the products I have developed over the years were attempts to break out of the traditional typology and propose new solutions.

The work I do on interiors or on product design is inseparably connected with the design and use of space.

CHARLES, SOFA SYSTEM

B&B ITALIA, 1997

Charles was the continuation of Sity, but trying to be a little bit more elegant and airy, with thinner cushions.

Charles was originally conceived for the living room of my apartment in Milan, where I felt the need to remove at least one lateral support from the linear sofa I was imagining for the space.

The upside-down L foot in die-cast aluminium, along with a single seat cushion and the slender raised base, all bring a feeling of lightness to the sofa.

GROUNDPIECE, SOFA SYSTEM

FLEXFORM, 2001

The design for Groundpiece originates from research on simple, user-friendly products with ample, soft surfaces. It was based on the awareness that its use was linked to new actions and behaviors.

Groundpiece combines the typology of the bookshelf with that of the sofa, introducing a shelving system that also functions as an armrest. We wanted to achieve a product that looked like it was lying on the floor, with large upholstered surfaces, juxtaposing the soft, goosedown-filled cushions with slender, pared back armrest/bookshelves upholstered in leather or suede.

COLLECTION

ARCLINEA, 1988-2017

Many of the projects for Arclinea are actually ‘solution’ designs, that resolve and respond to needs of layout and use of space.

My approach to designing kitchens has always had a typological focus, envisioning what the kitchen could be like from the vantage points of function, emotions and practical use.

The kitchen is now offered as an integral part of a system, in a seamless arrangement, between the concept of the wall and the technical spaces, from the cabinets to the dividers between zones.

MOBIL

KARTELL, 1994

Design is not just a problem of expression, but something that encompasses all the processes that go into a project. Design is an integral part of the industrial production process.

Presented in 1994, Mobil, thanks to the introduction of an innovative batch-dyed thermoplastic technopolymer, revived the use of plastic as a noble material in a wide range of products.

OFFICE CHAIRS

VITRA, 2010-2018

The design of any chair for Vitra begins with an industrial perspective, and the relationship between the design and the final cost is a fundamental aspect of the industrial product.

We wanted to achieve a family of transversal products enabling a variety of sitting postures, that could fit into different office settings, from conference rooms to studios or operative/executive spaces. It is an open, modular system, sustainable and economical.

Despite the many possible variations, it remains essentially the same chair in terms of looks and construction – with benefits for companies in terms of aesthetics, maintenance and service.

MIRTO OUTDOOR COLLECTION

B&B ITALIA, 2014-2017

The Mirto Outdoor Collection features die-cast aluminum structural elements which bring a high level of technical quality to the market of outdoor products.

It all started with the die-cast aluminium bridge-like frame of the sun lounger: a design where proportions and thicknesses count.

Instead of wheels, it has two small and very discreet rollers that allow it to move, placed on one of the two crosspieces.

The inclusion of seats, dining tables and small tables makes Mirto a complete outdoor furniture collection.

KELVIN

FLOS, 2003-2015

I delve deeply into the concept of the mechanism, down to the details of the construction: a lamp has a structural-technological synthesis that has nothing purely aesthetic about it; its form comes from a series of points of knowledge, of very precise elements.

Products are ever more surprising from a technical standpoint and their size gets smaller and smaller. The new LED Edge Lighting technology has made it possible to reduce the size of the head; the cable between the arm and head has been eliminated; the rotation joint has been modified and the cross-section of the tubular arm reduced.

The head is connected to a double pantograph arm with slender steel ties, which permit a fluid movement, to adjust the light as desired.

AXOR CITTERIO BATHROOM COLLECTIONS

HANSGROHE, 2003-2014

My work never concentrates on the creation of a single product, but is always inserted in a strategy of corporate offerings. It all started with a faucet, which then led to the design of a complete system of fittings for the bathroom.

When I design a new product I try to consider how people might use it, rather than focusing on a specific detail. Easy volume and temperature control is an important feature of the entire collection – Joystick or cross-handle, a well-designed mixer needs to always be comfortable to use.

With the “Citterio E” collection we wanted to create a product that would be as intuitive as possible during use. Its comprehensive range of products allows a virtually infinite number of solutions in bathroom design.

TECHNOGYM PERSONAL COLLECTION

TECHNOGYM, 2006-2016

In my design research, knowledge of technical processes is very important. The Personal collection represents a successful synthesis of technology and design.

With the Personal line of training products we set the objective of implementing design aesthetics within the pure function of fitness machines.

From my viewpoint one of the main goals of design is to improve the quality of life of the people who interact with a given product.