Director of Centro Cesare Cassina from 1969 to 1975.
Art Director of Cassina from 1973 to 1988.
Working with Edra since 1992.

From 1967 to 1980 he created a series of drawings that formed the analogical basis of his research. At the Cesare Cassina Centre he transferred the artistic process into design research and involved various architects and designers in the creation of products which have turned into Italian design icons. He coordinated the selection of projects for the ground breaking exhibition New Domestic Landscape of Italian Design at MOMA in New York in 1972. In order to pursue his research, he travelled to India, the US and Japan (1970-1973). He investigated new methodologies to support and promote individual and collective creativity. Experimental initiatives such as Braccio di ferro, for an edition of avant-garde prototypes, and Environmedia for promoting the use of interactive media in project practices (1973). In 1980 he set up his own Design and Communication Centre for project research and development. He was involved in many important projects for Cassina, Marcatrè, De Padova and Venini (1980-1992).
As Art Director he designed themed installations. Some of the most interesting examples of his work are: Il Ponte (“The Bridge”) 1977, Le Corbusier, I fiori crescono sulle rovine (“Flowers growing from the ruins”) 1978, Il tempo dell’acqua o dei bagnanti dopo Marx (“The Time of Water or Bathers after Marx”) 1982 per Cassina, Design: Autoritratto con padre e architetture (Design: self-portrait with father and architecture) for the Triennale 1979, New Adam and Eve for Venini 1985, La mia mano destra(“My right hand”) 1996 at Galleria Milano. He has been a lecturer at Milan’s Domus Academy, London’s Royal College of Arts, Milan’s Istituto Europeo di Design and has held workshops and conferences in major cities around the world. In 1992, in a phase of intense dialogue with Pierre Restany, he embarked upon a series of huge paintings on sheets called Tracce emozionali domestiche (Traces of domesticated emotions) after which he was invited by Massimo Morozzi to design for Edra. The sofa L’homme et la femme, was launched at the Galleria Kastern Greve, durino the Cologne Furniture Fair in 1993 and marked the beginning of a successful collaboration with Edra and the start of a singular and fascinating period rich with stimuli and invention, as seen in the products such as Flap (2000), On the rocks (2004), Corbeille (2006), Sherazade, Sofa (2008) which were able to connect the power of innovation with commericial success. Prefers working on domestic furniture products and in particular sofas as it interpolates a sense of the Other with Space and Communication. These are the areas of work that he loves the most because, more than anything else, they respond to the interrogative of human behaviour and of its relationships. He retains that Design of this century of mass communication is closer to Art than Science, and that Technique, in the same way we view the great masters of the classical periods, is the secret to cherish and cultivate. For this reason it is not possible for him to think the design of a product without the understanding and collaboration of the manufacturer.
The couches Sofa (2008), Brenno (2010) and Sfatto (2011) for Edra are the result of this new period of expression.

Born in the province of Sao Paolo in 1961, Fernando Campana attended a course in Industrial Design at the Brazilian Museum of Sculpture after graduating from university. Born in the province of Sao Paolo in 1953, Humberto Campana also followed a course in Industrial Design at the Brazilian Museum of Sculpture after graduating in law. Together they began to work in the field of artistic design, taking part in international exhibitions and workshops with pieces they had made by hand. Among their most important solo exhibitions, we can cite The Uncomfortables in Sao Paolo in 1989, Retrospective in Rio de Janeiro in 1999, Never Letting the Poetry Escape at the Tama in Tel Aviv in 2003, Personale at the Banco do Brasil Cultural Centre in Brasilia in 2003 and in Lisbon as part of Experimenta as well as in Stockholm. In 2004 they created their Ideal House for the Cologne Exhibition and Convention Centre. Again in 2004, the Design Museum of London paid homage to the pair with the Zest for Life exhibition. Their work has also been seen along with other designers’ work in important exhibitions such as Project 66 in 1998 with Ingo Maurer at the Moma in New York, and Air en Forme at the Museum of Design and Applied Arts in Lausanne. Again in the year 2000, they took part in the Saint’Etienne Biennial exhibition, and in Blow Up at the Vitra Design Museum in Berlin. In 2002 their work was seen in the Milano in a Van exhibition held at the Victoria and Albert Museum in London. In 2003 they designed a lamp for Swarowski in 2003. They have worked with the Italian companies O Luce, Fontana Arte and Cappellini Progetto Oggetto. They are currently working for Edra. They are also working for Alessi and are developing new products for Vitra. Their work is displayed in some of the world’s most important museums. In 2004 they created clothes accessories for Firma Casa in Sao Paolo and for Melissa, the Brazilian company from Rio Grande do Sul.

Was born in Rimini in 1958 and after studying at Florence University he gained his degree in Architecture in 1985 with a thesis on a project for a motorcycle prototype. He obtained his Master's Degree in Industrial Design from the Domus Academy in Milan. He has been working as a free-lance designer in Milan mainly on architectural projects and design and in the furniture field with Edra, Vittorio Bonacina, Disform, Metals, Ollko, Masterly, Steel, Morphos and Mimo. Recently he has been working with international firms such as Piaggio, Bimora, Yamaha and KTM in the motorcycle field. He is a consultant for commercial space projects for firms in the fashion field such as Fiorucci and Basile. Among other awards, in 1992 he won the Forum Design Prize at the furniture exhibition in Milan for his armchair "Quadronda" produced by Vittorio Bonaccini &Co. In 1993 he won the "Top Ten" Prize for his sofa "Tatlin" produced by Edra at Cologne Furniture Exhibition organized by Dupont International.

Roberto Semprini was born in Rimini the 24th August 1959. At present he lives and works in Milan. He graduated in Architecture at the University of Florence. He collaborated with several companies such as: Edra, Moroso, Fiam, Arredaesse, Tonelli, Play-Line, Fly-Line, Trivellini, Ferrart, Esse 81, Camaeri Arte. In 1993 his sofa "Tatlin", produced by Edra, set him among the winners of the "Top Ten" Prize in Düsseldorf. In 1994, his coffee table "Manta", produced by Fiam, set him among the winners of the "Young Design" prize. He wrote articles on design and architecture for Modo, Casa Amica, Vogue, L'Atelier (France). He lectured in seminars on history of design and planning at the L.A.V. in Orléans (France), I.S.I.A. in Florence, I.S.I.A. in Faenza, at the Politecnico di Milano, at the Università del Progetto in Reggio Emilia and at the I.E.D. in Milan. At present he is a lecturer for design at the Accademia di Belle Arti in Brera, Milan.

Denton, Corker, Marshall are one of the outstanding architectural offices in Australia, based in Melbourne. They designed, among the others, the new australian embassies in Beijng and Tokyo, the new Exhibition Center and the Museum of Victoria in Melbourne. The Adelphi Chair was originally designed as part of the furniture for the Adelphi Hotel in Melbourne.

Nasce a Torino nell’agosto 1966.
Milanese di adozione, Jacopo Foggini scopre durante un periodo di lavoro nelle aziende di famiglia la natura versatile del metacrilato, materiale comune normalmente utilizzato per produrre i catarifrangenti delle automobili.
Affascinato dalle qualità estetiche e cromatiche straordinarie di questa resina termoplastica che è simile al vetro, ma al contrario di quest’ultima è estremamente leggera, Foggini comincia all’inizio degli anni Novanta a sperimentarne l’utilizzo.
Grazie a una macchina di sua invenzione, Foggini porta il metacrilato ad una temperatura di 200 gradi, riducendolo ad un filamento che modella con le mani sino a creare forme luminose e opere monumentali, labirinti di fili in un’elegante mescolanza di colori.

The architect Massimo Morozzi was born in Florence in 1941. He lives and works in Milan. Up until 1972 he was a member of the Archizoom group. Between 1972 and 1977 he co-ordinated the Montefibre Design Centre, designing furnishing fabrics and helping to establish the discipline of Primary Design. He later became a part of the CDM (Consulenti Design Milano) group, developing projects for co-ordinated corporate design (Rome Airports) and product lines (Louis Vuitton - Paris). In 1982 he opened his own studio and began devoting his attention to the sector of product design for housewares and general consumer goods.

Functional innovation and highly figurative approaches are the keys to his most recent work with Alessi, Cassina, Driade, Fiam, Giorgetti, Ideal Standard, Mazzei, Tendentse, Edra, Progetti, Metals and Sintesi. He has developed important projects and creations for Japanese companies, including a concept car for Nissan and the logo for Crea. Since 1987 he has worked as art director for Edra and has designed various products for the company, including the modular system Paesaggi Italiani. He has held lectures and seminars in Amsterdam, Sao Paolo, Melbourne, Tokyo, Cape Town, Stockholm and at the Domus Academy and the European Institute of Design in Milan. His works are displayed in the collections of the Museum of Modern Art in New York and the Musée des Arts Decoratives in Paris.

Born in Paris (1968). Lives and works in Paris. Degree from ENSCI-les Ateliers (Paris) in 1993. Worked with George Sowden (1989). After graduation, in 1994, worked six months for Marc Newson in Paris; 1997-1999 worked with Andrée Putman in Paris. 2000, began working free-lance, presented projects to VIA: a jointed lamp and a watch with a patented system. In 2001 a second lamp developed with VIA is selected by Cappellini. In 2001 a one-year fellowship at the French Academy in Rome (Villa Medici). In 2002 other lamps with Cappellini and projects with Baccarat. Personal exhibitions: June-September 2003 at the Musée des Arts Décoratifs, Paris. Awards: 2000, Prix de la critique de la press internationale, lighting category. 2002, Grand Prix de la création de la Ville de Paris.

Born in Israel in 1962, Ezri Tarazi has been running the Tarazi studio since 1990. He works as a designer for important international companies such as Intel, Beko, Sagitte, Sonacris, Keter, Magink and Microsoft. In 2002 he was awarded a prize by the Israeli government for his work both at home and abroad. His works have been displayed in galleries and museums throughout the world. He has been director of the Department of Industrial Design at the Bezalel Academy in Jerusalem for eight years, and is currently organising the department’s new Master programme. In 2001 he founded Design Cap, an international network of 70 designers, and with them he has held five international workshops on alternative design. He is a member of the new Israeli Museum of Design, and in 2004 he set up the Design Centre of Israel.

He was born in 1979 at Telegen in the Netherlands. He studied design, first at Arnhem, and later at the Royal College of London, the city where he now lives and works. Before gaining his diploma, he began to work with the Mike Smith studio in 2003, designing exhibitions and displays. At the same time he also began to develop his own design projects. Sponge, his first piece produced on an industrial scale and created for Edra, came after his designs were exhibited at the Design Museum of London and he had worked with the British Council, again in London. He has also been awarded a scholarship from the Esmée Fairbairn Foundation.

Was born in 1941 at Kanagawa in Japan. He obtained his diploma from the Kuwasawa School of Design in Tokio in 1962. In 1967 he went to live in Milan and work in the studio of Achille Piergiacomo Castiglioni. From 1970 to 1979 he was Design Consultant for Olivetti. In 1980 he returned to Japan and opened his own studio. U-Metadesign Inc. Among his most important projects in 1981 is the Tawaraya bed for Memphis, the lamp projects in 1988 for Yamagiwa, and the toilet projects for working areas in 1989 for the Inax Corporation and the Tornato Bank in Okayama. He has participated in several international exhibitions and won the Braun Prize in Germany in 1968, the Japanese Associated Commercial Designer's Prize in 1984 and the first prize for glass design in 1986.

Belongs to a new generation of designers: not only for his age (he was born in 1961), but also for his mentality, his approach which is substantially realistic to the object. This realism derives from his collaboration and tight contact with the factories - where he started to work very young after having got his degree at the I.S.A. of Cascina. Leonardo grows up professionally next to technicians - getting involved day after day in industrial problems - which are created by the genesis of the transformation from prototype to products of series. He knows what it means to design products for the market and he knows with a lot of humility (which means maturity), to mediate between the autoexpressive deman-dings and commercial ones. He defines himself a naturalist because he preferes natural materials. The nature he intends to change in semplicity, in immediate beauty. Even if he is just at the beginning, his curriculum is rich: different collaborations with factories in the furnishing and illumination sector. Restructuring and designing of commercial spaces. From 1987 he designs and organizes the industrial production of the products for Edra and Mazzei. He alternates the working as a engineering consultant of furnishing products to his architectural studies