BIG is a group of architects, designers and thinkers operating within the fields of architecture, urbanism, research and development with offices in Copenhagen and New York City.
BIG has created a reputation for completing buildings that are as programmatically and technically innovative as they are cost and resource conscious. In our architectural production, we demonstrate a high sensitivity to the particular demands of site, context and program.
BIG’s recently completed projects including the Danish Maritime Museum (2013), Superkilen (2012), the 8 House (2010) in addition to our first project the Copenhagen Harbor Bath (2003), an urban space that transformed the area of Islands Brygge from a rundown harborfront to the recreational and social center of the city. Current projects under construction include: West 57th, a 750-unit residential building in Manhattan; the Vancouver House tower in Vancouver; the LEGO Brand House in Denmark; the Faroe Islands Education Center; the Shenzhen Energy Mansion in China; and a Wasteto-Energy plant in Copenhagen that will double as a ski slope.
BIG is a group of architects, designers and thinkers operating within the fields of architecture, urbanism, research and development with offices in Copenhagen and New York City.
Yves Béhar is the founder of the San Francisco-based design studio fuseproject. Béhar’s design strategy involves focusing on the emotional experience of the user and communicating it through storytelling. fuseproject’s recent clients include Herman Miller, Swarovski, MINI, Nike, Toshiba, Sony, Birkenstock, Target, OLPC, Magis and Coca Cola Béhar’s work has been featured in two solo shows in 2004 – one at the San Francisco Museum of Modern Art, and another at the Musée de design et d'arts appliqués contemporains in Lausanne, Switzerland.
He is also a recipient of numerous design awards, including the prestigious National Design Award for industrial design, awarded by the Cooper Hewitt Smithonian National Design Museum. Mr. Behar was design leader at frogdesign and Lunar design before founding fuseproject. He is a graduate of the Art Center College of Design.
He was born in Milan in 1918 and graduated with a degree in architecture in 1944.
As early as 1940 he dedicated himself to testing industrial production with brothers Livio (1911-1979) and Pier Giacomo (1913-1968).After graduating, he began research into shapes, techniques and new materials, aimed at developing an integral design process.
In 1969, he was authorized by the Ministry of Education to teach "Artistic Design for Industry" and was a professor at Turin´s Faculty of Architecture until 1980 and then professor of "Industrial Design " in Milan until 1993.
Since 1950 he has worked in the area of testing and research into outfittings and presentations for exhibitions (Triennale di Milano, Montecatini, Agip, Rai) .He was one of the founders of ADI in 1956.
MoMA in New York features 14 of his works. Other works can be found at:Victoria and Albert Museum (London), Kunstgewerbe Museum (Zurich), Staatliches Museum fur Angewandte Kunst (Munich), Museo del Design (Prato), Uneleckoprumyslove Prague Museum, Israel Museum (Jerusalem), The Denver Art Museum, Vitra Design Museum (Weil am Rhein), Angewandte Kunst Museum (Hamburg and Cologne).
He has been awarded 9 Compasso d´Oro.
He staged a one-man show between 1984 and 1986 organized by the Museum fur Angewandte Kunst (Vienna), then at Akademie der Kunst (Berlin), Triennale di Milano (Milan), Kunstgewerbe Museum (Zurich), Haags Gemeentemuseum (the Hague), Circulo de Bellas Artes (Madrid) and at the Centre Georges Pompidou (Paris).
1985 - Honorary Member of the "Committee of Advisors" at Art Center College of Design (Pasadena, California and Montreaux, Switzerland).
1986 - Honorary Member of the Faculty of Royal Designers for Industry, Royal Society of Art (London).
1987 - Honorary Degree from the Royal College of Art (London).
1993 - Annual award from "The Chartered Society of Designers" (London).
1994 - "Primavera del Design" Award from the Department of Culture (Catalonia).
1995 - "Art sur Table" Award from the Conseil National des Art Culinaire (Paris).
1996 - "IF Design Wettbewerb" Award from Industrie Forum Design (Hanover).
1996 - "Longevity-Langlebigkeit" Award from Design Center (Stuttgart).
1999 - "Domus/INARCH 1998 Award" alla carriera from INARCH.
1999 - "Targa d´Oro Unione Italiana per il Disegno" Award from the Faculty of Architecture of Genoa.
1999 - Wins the Enel "Sostegni per l´Ambiente" competition together with architect Michele De Lucchi.
Achille Castiglioni died in 2002.
Matali Crasset is by training an industrial designer, a graduate of the Ateliers – E.N.S.C.I. (Workshops – National Higher School of Industrial Design). At the beginning of 2000, after her initial experience with Denis Santachiara Italy and with Philippe Starck in France, she set up her own studio in Paris called matali crasset productions in a renovated former printing firm in the heart of Belleville. It is there, with the coming and going of children and neighbours that she dreams up her projects.
She considers design to be research, working from an off-centred position allowing to both serve daily routines and trace future scenarios. With both a knowledgeable and naive view of the world, she questions the obviousness of codes so as to facilitate her breaking these bonds. Like her symbolic work, focused on hospitality, “Quand Jim monte à Paris” (When Jim goes up to Paris), is based on a mere visual and conscious perception which she invents another relation to the everyday space and objects. Her proposals are never towards a simple improvement of what already exists but, without rushing things, to develop typologies structured around principles such as modularity, the principle of an interlacing network, etc. Her work revolves around searching for new coordination processes and formulating new logics in life. She defines this search as an accompaniment towards the contemporary.
Matali Crasset works with a variety of actors, just as easily with the curious craftsman as with an individual in search of a new life scenario, with the industrialist ready to experiment as with the hotelier who wants to develop a new concept (Hi Hotel in Nice or Dar Hi à Nefta), with a small rural commune which wants to develop its cultural and social dynamism or the museum which wants to be transformed (SM’s in s’Hertogenbosch in the Netherlands).
Always in search of new territories to explore, she collaborates with eclectic worlds, from crafts to electronic music, from the textiles industry to fair trade, realising projects in set design, furniture, architecture, graphics, collaborations with artists, and so on such as with artists (Peter Halley), with young furnituremaking companies (Moustache), as well as with municipalities and communes.
This experienced acquired over the years has led her to currently work on more participative projects, on a local and global level, both in rural and urban settings. From her meetings, creative workshops, discussion and common desires, she works with different project leaders who nevertheless all have the same conviction that these collective processes result in plausible social bonding scenarios.
It’s ultimately the core question of living together which defines her imaginative designs, writings and the sense of matali’s work.
Elliott Erwitt was born in Paris to Russian émigré parents on July 26th, 1928. His formative years were spent in Milan. At the age of 10 his family moved back to Paris only to immigrate to New York a year later, then transferring to Los Angeles in 1941. While attending Hollywood High School he worked in a commercial darkroom processing “signed” prints for fans of movie stars.
In 1948 by good fortune while looking for work on exploratory trips to New York City, Erwitt met Edward Steichen, Robert Capa and Roy Stryker who liked his photographs and took a personal guiding interest becoming significant mentors. The following year he returned to Europe traveling and photographing in Italy and France thus marking the start of his professional career. Drafted in to the US Army in 1951 he continued taking photographs for various publications totally apart from his military duties while stationed in New Jersey, Germany and France.
In 1953 freshly decommissioned from military service, Erwitt was invited to join Magnum Photos as a member by its founder Capa. In 1968 he became President
of the prestigious agency for 3 terms. To date he continues to be one of the leading figures in the competitive field of photography. His journalistic essays, illustrations, and advertisements have been featured in publications around the world for over half a century.
While continuing his work as a photographer, Erwitt began making films in the ‘70s. His documentaries include: Beauty knows no pain (1971), Red white and blue grass (1973) sponsored with a grant from the American Film Institute, and the awarded The The Galss Makers of Herat (1979). He also produced 17 comedies and special satire programs for Home Box Office in the ’80s.
While actively working for magazine, industrial and advertising clients Erwitt devotes all his spare time toward creating books and exhibitions of his work.
To date he is the author of over 20 photography books including: Eastern Europe (1965), Photographs and Anti-photographs (1972), Observations on American Architecture (1972), The Private Experience (1974), Son of Bitch (1974), Recent Developments (1978), The Angel Tree (1984), Personal Exposures (1988), On the Beach (1991), To the Dogs (1992), Between the Sexes (1994), Dog Dogs (1996), Museum Watching (1998), Snaps (2001), Elliott Erwitt’s Handbook (2002), Woof (2005), Personal Best (2006), Unseen (2007), Elliott Erwitt’s Dogs (2008), Elliott Erwitt’s Rome (2009), Elliott Erwitt’s New York (2009), The Art of André S. Solidor (2009), Elliott Erwitt’s Paris (2010). Forthcoming: Sequentially Yours, Elliott Erwitt’s Color, Kids, Angel Tree III.
A listing of one man shows at significant public venues include: The Museum of Modern Art in New York, International Center of Photography, The Chicago Art Institute, The Smithsonian Institution in Washington D.C., The Museum of Modern Art in Paris (Palais de Tokyo), The Reina Sofia Museum in Madrid, The Barbican in London, The Royal Photographic Society in Bath, The Museum of Art of New South Wales in Sydney, The Spazio Oberdan in Milan, various Asian venues too difficult to pronounce and many others. Private galleries scattered throughout the world display, promote and sell Erwitt’s “fine art” photographs.
Since the early ’50s Erwitt has settled himself in New York, establishing his funda- mental base of operations ...although ‘settling’ in Erwitt parlance means “where
you are at the moment for as long as you don’t go somewhere else”. Flexibility and adaptation to the requirements of the profession and personal interests have kept him moving about the globe before returning to base.
Elliott Erwitt likes children and dogs.
Marco Ferreri was born in Imperia on February, 26th 1958.
He graduated from the Politecnico of Milan in 1981 and has lived and worked in this same city since 1984.
His project research includes various fields, such as industrial design, architecture, graphics and set design.
Some of his works are part of important design collections, such as the “Pemanent design Collection” of the MoMA of New York, the permanent collection of the Israel Museum of Jerusalem, the Collection of the FNAC of Paris and also in various private collections.
His works have also received various prizes and awards: The “Libroletto”, in collaboration with Bruno Munari, and the “Less” chair, produced by Nemo, were selected for the 40th Compasso d’Oro competition, the broom Titi won the Design Plus prize in 2000 and the chair Foglia by Novecentoundici was selected for the Red Dot Award in 2002.
Member of the Architect Professional Association of Milan, Member of A.D.I.and of BEDA/Bureau of European Designers Association, he has also held lessons and lectures in various important Italian and foreign universities.
He currently teaches at the Politecnico of Milan and at the Accademia di Belle Arti of Brera.
Born in Yamanashi 1956, Graduated from Tama Art University’s Product Design Department. As an in-house designer, he engaged in the design of microelectronic devices including watches.
In 1989, Fukasawa moved to the United States and joined IDEO and it was a very rare case for Japanese product designer of that time. It was the time when Silicon valley was experiencing a rapidly growth with the computer technologies and Fukasawa was mainly involved in the design of computers and electronics for companies in Silicon Valley, medical equipment, furniture and sporting goods.
In 1996 he returned to Japan, where he set up and headed IDEO’s Tokyo office.
In 2003 he established Naoto Fukasawa Design. Fukasawa’s approach for product design is very original and his “Without Thought”, and “Design dissolving in behavior” are internationally supported. Fukasawa regards achieving simpleness in design as a way to achieve completeness and harmonious relationship between users, objects and environments as a purpose for design. Such a way of thinking is also described as “Outline”.
Outline is about defining the boundaries of relationships between objects, people and environment.
Today, Fukasawa is based in Tokyo with his small team and collaborating with many international leading companies.
Being accorded the title of Honorable Royal Designer for Industry (Royal Society of Arts) in 2007 as one of the examples, Fukasawa received a number of international awards.
Fukasawa is one of the directors of 21_21 Design Site, as well as acting on the design advisory board of MUJI. He acts as the chairman for “GOOD DESIGN AWARD”.
He is a professor at Musashino Art University, a visiting professor at Tama Art University, and a member of the Ministry of Economy, Trade and Industry’s Research Group on Applications for Strategic Design.
Ron Gilad was born in Tel Aviv in 1972.
In 2001 he moved to New York, running his studio and exploring the logical and the absurd for 12 years. Gilad’s hybrid objects combine material with aesthetic play. They sit on the fat, delicious line between the abstract and the functional. His works deals with the relationship between the object and its function, questioning our perceptions.
Varying from one-off to limited editions and production pieces, the works have no “expiration date” and reside in both public and private collections worldwide. Gilad asks unceasing questions in 3D form and fabricates answers that create an arena for fertile doubt.
Metaphorically, Gilad is a linguist; creating his own language. He learns the origins of “words” and develops “synonyms”. In 2013 he has been named designer of the year both by Wallpaper and Elle Décor. His designs for the Italian industry won numerous awards as well. After so many years of fruitful collaborations in Italy, Ron still doesn’t speak Italian…
Francisco Gomez Paz, born in October 1975 in Argentina . After obtaining the Industrial Design degree at Universidad Nacional de Cordoba he moves to Milano, where he obtains his Master in Design at Domus Academy.
In 2000 he works as tutor for Domus Academy and since then has collaborated with them in the fields of research and teaching. He is former Design Manager of Domus Design Lab.
After working for architect Paolo Rizzato for four years he opens his own studio in Milan, developing product and communication projects for design studios and companies in Europe and Argentina: BMW, Danese Milano, Driade, Domus Academy, Paolo Rizzatto, Alberto Meda, Olivetti, Sector Pirelli, Conven, Apen Group, Italkero and Sumampa.
Received several international prizes: Design Preis Schweiz, Honorable Mention (1999), LG Competition Korea, 2 Honorable Mention (1999), ID Magazine Annual Design Review (2000), BMW/Domus “A key for future mobile solutions”, First Prize (2001), Design Report Award nomination (2001), Design Report Award (2004), Special Mention.
Exhibited at Future Concept Lab Seminars, Salone Satellite 2001 and 2004 and Fuori Saloni 2002, 2003 and 2005 at Milano.
Martí Guixé was born in 1964. Formed in Barcelona and Milan as an interior and industrial designer.
In 1994, living in Berlin, he formulated a new way to understand the culture of products. Guixe started to exhibit his work in 1997, work that characterizes on the search for new product systems, the introduction of design in food ambits and presentation through performance. His non-conventional gaze provides brilliant and simple ideas of a curious seriousness. He is based in Barcelona and Berlin and work as a Designer for world wide companies.
Recent publications: Marti Guixé 1:1, 010 publishers Rotterdam (ISBN 90 6450 441 5), Martí Guixé Cook book, Imschoot Publishers (ISBN 9077362045) and Don´t buy it if you don´t need it. All Marti Guixe´s Camper Commodityscapes. (ISBN 13 84 609 9135 0).
Exhibitions at MoMA (New York), MuDAC (Lausanne), MACBA (Barcelona) and Centre Pompidou (Paris). Ciutat de Barcelona Price, 1999 and National Design Price of the Generalitat de Catalunya 2007.
Enzo Mari was born in 1932 in Novara. Since the time of his studies at the “Accademia delle Belle Arti” in Milan, he had an intensive artistic activity, with personal and collective exhibitions in various museums of contemporary arts.
In 1963 he became the coordinator of the italian group “Nuove Tendenze” (New Trends), caring in 1965 the exhibition of optical kinetic, and program-art for the “Biennale” of Zagreb .
He took part of variuos editions of the “Biennale” of Venice and the “Triennale” of Milan. In the same period he started his activity as designer, at the beginning with personal research, later in collaboration with various companies in grafic and editorial areas and in the sector of industrial produkts and the organisation of exhibitions.
Characteristic of his complete work, which is presenting one of the most popular of the Italian Design, is the continious research and experimentation of new shapes and signifities of products, even being contrast with the traditional mould of Industrial Design.
In 1971 Enzo Mari was participating on a critical speech at the exhibition “Italy: The New Domestic Landscape” at the MOMA in New York.
His position of art and design is documented in many of the published reports dedicated to his work and in the works of important associations, like the “Associazione per il Disegno Industriale” where Mari has been president from 1976-1979. Enzo Mari received the “Compasso d’Oro” for thre times. His works and his objects are presentated in various museums of contemporary art: “Galleria Nazionale d’Arte Moderna” in Rome, “Moderna Museet” in Stockholm, “Stedelijk Museum” in Amsterdam, “Kunstmuseum” in Düsseldorf.
In 1983 an important exhibition has been dedicated to him by the “Centro Studi e Archivio della Comunicazione” of the University of Parma. Enzo Mari donated 8.500 of his drawings and elaborates to this archives.
Recently his activity is extending to the research and to plannings for urbanistic projects (Milan, project for “Piazza del Duomo) and to didactics, performed with conferences and courses of lectures in Italy and in foreign countries. Among them, he gave courses in the “Istituto of Storia dell’Arte” of the University of Parma and in the faculty of Architecture of the Polytechnicum in Milan.
Bruno Munari was born in Milan in 1907, he began artistic work at a very early age in the cultural area of Futurism: in 1927 he exhibited for the first time at collective exhibition “33 Futurist Painters” at the Galleria Pesaro in Milan. At the same time he pursued various activities - art-director, publicist, illustrator.
In 1930 he produced the “Air Machine”, from which came the “Useless Machines”, anticipating his interest in the destruction of the traditional work of art. He progressively moved away from the influence of Futurism and more generally from the historic avant-garde which he took as a pretext to develop an extremely personal and singular style.
After the war he began work designing products, lay-outs and above all toys for children, for which he is best know by the general public.
All his work is characterized by a pedagogic finality which is explicit in his passionate interest in the development of childrens creativity through play but is also expressed in research intro the most diverse opportunities for wider and non-élitist communication: he writes for newspapers and weeklies, illustrates and produces many books. In 1962 he coordinated the first large exibition of kinetic art for Olivetti; in this area Munari created numerous works, conceived as single compositions or as the starting point for the production of “multiples” which could be produced in series.
Attracted by the simplicity of material Oriental culture, he travelled widely, particulary in Japan; the influence of Zen and more generally an almost philosophical attention towards the extreme synthetycity of the object is to be found in much of his work as a designer.
More recently he has concentrated more and more on the problem of visual and artistic education, organizing and taking an active part in courses, seminars and “animation” for children, teachers and adults in collaboration with schools and museums.
Numerous exhibitions have been dedicated to his work in galleries and the world’s principal museums of contemporary art. Among the most complete were the personal at the Centro Studi e Archivio della Comunicazione of the University of Parma in 1979, the travelling personal organized by the Museeo Fondacion Soto di Ciudad Bolivar (held in 1984 in seven Venezuelan cities) and the large retrospective which he himself organized, at Palazzo reale in Milan in 1986.
Jean Nouvel born 12 August 1945 in Fumel. He graduated in 1972 at the National School of Fine Arts in Paris. In the intellectual architect Claude Parent (for whom he worked from 1967 to 1970) and Paul Virilio, he opened his first studio in 1970 with François Seigneur. Meet the critic Georges Boudaille and became the architect of the Paris Biennial since 1971.
His first striking achievement, exemplary of what used to be called “critical architecture”, is the House Dick (Saint-André-les-Vergers, Aube, 1976). From then on successive significant projects of his career: the Surgical-Medical Centre of Val-Notre-Dame in Bezons (Val-d’Oise, 1976), the Board of Anne Frank in Antony (Hauts-de-Seine, 1978) , until 1981, the year in which he won the competition for the Institut du Monde Arabe, a real turning point in his career.
In 1981, François Mitterrand begins to “Grands Projets” in Paris and Jean Nouvel is invited to participate in the competition for the Institute of the Arab World, winning. The realization of this project marks a turning point for French architecture on the international scene. In subsequent years, the office, which employs more than one hundred employees are drafted by various international dimension and destination. In 1990, Jean Nouvel won the competition for the theater Palace of Culture and Congress Center in Lucerne and in the spring of 1996 inaugurated the building of Galeries Lafayette in Berlin.
Architect of the concept and the context, and the dematerialization of the image, demanding and undeniably original, Nouvel pursues and develops a work always updated with relevance to the spirit of the time. Real charismatic figure of contemporary culture, world-renowned architect, has received three awards so far in 2001 (the Borromini Prize, the Gold Medal of the Royal Institute of British Architetcts, awarded the Praemium Imperiale in Tokyo).
For Nouvel architecture is “visual art, image production.” A dematerialized architecture, where the protagonists are the light and the surfaces rather than the sculptural quality of the work. Nouvel is the bearer of the social and cultural architecture, which is committed in the world, in a continuous exchange with other disciplines.
Jonathan Olivares was born in Boston in 1981 and graduated from Pratt Institute. In 2006 he established Jonathan Olivares Design Research, an office based in Los Angeles that works in the fields of industrial, spatial and communication design. His designs engage a legacy of form and technology, and ask to be used rather than observed. Recent projects include the exhibition Source Material, curated with Jasper Morrison and Marco Velardi (2014); the website A View on Natural Motion, for Nike (2014); the Olivares Aluminum Chair, for Knoll (2012); and the book A Taxonomy of Office Chairs, published by Phaidon Press (2011). Olivares’ work has been published internationally, granted several design awards—including Italy’s Compasso d'Oro—and supported by the Graham Foundation for Advanced Studies in the Fine Arts through two grants.
Mimmo Paladino was born in 1948 in Paduli (BN), where he lives and works still today. He trained in the neapolitan area of conceptual expressiveness, approaching painting and sculpture at the end of Seventies.
In 1980 he exposes in the Aperto’ s section of “Biennale di Venezia”, an event supervised by Harald Szeemann and Achille Bonito Oliva; all this reveals the group of Transavanguardia on international artistic panorama. Since that moment Mimmo Paladino takes part at the most important international exhibitions: Biennale di Venezia, Biennale of San Paolo, Biennale of Lubiana, Tate Gallery of London, Fondazione Mirò of Barcellona, Biennale of Paris, Kunsthaus of Basilea, Kunsthaus of Hannover, Louisiana Museum of Humblebaeck, National Museum of Pechino, Forte Belvedere of Florence, Palacio Revillagigedo of Gijon, Musée Royale des Beaux Arts of Bruxelles, Centro Pecci of Prato, and so on.
Paladino’s private exhibitions have been organized in many public museums and private galleries all over the world. His paintings and sculptures lie either in important public places, or in prestigious private collections.
In 2006 he works for the first time as director of the feature film “Quijote”, presented at the “Mostra d’arte Cinematografica di Venezia
Paolo Rizzatto was born in 1941 in Milan. He took his degree in Architecture in 1965 at the Milan Polytechnic. In his studio he works as a freelancer in the field of architecture, design and interior design and continues to develop his experience as interior lighting designer.
In 1978 he founded Luceplan together with Riccardo Sarfatti.
His architecture works include: Baby-kindergarten in Segrate (Milan) 1972; holiday house, Formentera (Baleari) 1976; residential district, Feltre (Belluno) 1974; house, Bazzano (Bologna) 1976; double house Montesiro (Milano) 1985;Old people's home, Galliate (Novara) 1986;Factory and offices for Luceplan (Milano) 1997.
He designed for italian and international companies: Alias,Arteluce, Artemide, Cassina, Guzzini, Lensvelt, Kartell, Knoll, Luceplan, Mandarina Duck, Molteni, Montina, Nemo, Philips, Thonet.
He received numerous prizes:Three "Compasso d'oro" (Milan) 1981, 1989, 1995; Lampe d'Argent Sil (Paris) 1988; Forum Design Cosmit (Milan); Lampe d'Or Sil (Paris) 1990; Design Plus Ambiente (Frankfurt) 1992; Product Award Lighting Fair (New York) 1992; Red Dot Award Design Innovations '94 (Essen) 1994 European Community Design Prize (Hannover) 1996; Industrie Forum Design Prize (Hannover) 1996 Swiatlo '99 (Warschau) 1999;"Good Design" Award, Chicago Athenaeum Museum (Chicago) 1999.
His works have been publicated in magazins, catalogues and publications in Italy and in foreign countries.
His projects, which were presentated in seminaries or exhibitions of architecture and design, are exposed in permanent collections of various museums and foundation:Architectural Associations (London), Triennale Milan, Wave Hill Museum Center (New York), Museum of Modern Art (New York), Victoria and Albert Museum (London), Museo della Scienza e della Tecnica (Milan), Camere con vista in "Abitare il tempo" (Verona), "Creativitalia" (Tokio), "Halogen-20 Jahre neues Licht" "Museum für angewandte Kunst" (Köln), "Capitales Européennes du nouveau design" (Centre Pompidou Paris), "Tecniques Discretes" Musée des Arts Decoratifs Louvre (Paris), "Mutants Materials" Museum of Modern Art (New York).