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They graduated from Design Academy Eindhoven in 2009, and their work focuses on experimental material research and the transformation of natural resources into commodities. They collaborate with brands like Fendi, Hermès, and Flos, blending craft and industry. Their designs are in prestigious museums such as MoMA, V&A, and the Centre Georges Pompidou. Formafantasma lectures internationally and leads workshops, including a new Masters program in “GEODESIGN” at Design Academy Eindhoven. They were named Wallpaper* Designer of the Year in 2021.",[],[107,115,123,131,139,147],{"_key":108,"_type":8,"children":109,"markDefs":114,"style":25},"66e13ac17b07",[110],{"_key":111,"_type":12,"marks":112,"text":113},"e81a75d76aa2",[],"Andrea Trimarchi (1983) and Simone Farresin (1980) are Formafantasma, an Italian design duo based in Milano. Their interest in product design developed on the IM master course at Design Academy Eindovhen, where they graduated in July 2009.",[],{"_key":116,"_type":8,"children":117,"markDefs":122,"style":25},"01537ad2e9eb",[118],{"_key":119,"_type":12,"marks":120,"text":121},"679bb471f0be",[],"Since then, Formafantasma’s practice has been characterised by experimental material investigations and detailed explorations of the history, context and implications of the transformation of natural resources into commodities. In perceiving their role as a bridge between craft, industry, object and user, they are interested in forging links between their research-based practice and a wider design industry. As a result, works by Formafantasma have been commisioned by a variety of partners including Fendi, Max Mara – Sportmax, Hermès, Droog, Nudus rug, J&L Lobmeyr, Gallery Libby Sellers, Established and Sons, Lexus, Krizia International and Flos., Gallery Giustini / Stagetti Roma.",[],{"_key":124,"_type":8,"children":125,"markDefs":130,"style":25},"cc0ff53e39bd",[126],{"_key":127,"_type":12,"marks":128,"text":129},"3763aea84e34",[],"Wheter designing for a client or investigating alternative applications of materials, Formafantasma apply the same rigouros attention to context, process and detail to every project the undertake. The added nuance for the duo is that they do so with an eye to the historical, political and social forces that have shaped their environments.",[],{"_key":132,"_type":8,"children":133,"markDefs":138,"style":25},"15e233d752f5",[134],{"_key":135,"_type":12,"marks":136,"text":137},"d36c25e161c4",[],"Their work has been presented and published internationally and museums such as New York’s MoMA, London’s Victoria and Albert, New York’s Metropolitan Museum, the Chicago Art Institute, Paris’s Centre Georges Pompidou, the TextielMuseum in Tilburg, the Stedelijk’s-Hertogenbosch, the Stedelijk Museum Amsterdam, Mudac Lausanne, the Mint Museum of Craft and Design in North Carolina and the MAK Museum in Vienna have all acquired Formafantasma’s designs for their permanent collections.",[],{"_key":140,"_type":8,"children":141,"markDefs":146,"style":25},"7486803768d5",[142],{"_key":143,"_type":12,"marks":144,"text":145},"2f29b09c6960",[],"In March 2011 Paola Antonelli of the Museum of Modern Art in New York and esteemed design critic Alice Rawsthorn listed their studio amongst a handful of practices that would shape the future of design. Andrea and Simone are lecturing and heading workshops in various Universities and Institutions. Currently they are teaching at the “Well Being” and “Contextual Design” Departments of the Design Academy Eindhoven. This exhibition will become the foundation of the new Masters programme that Formafantasma are leading from autumn 2020 at the design Academy Eindhoven, titled “GEODESIGN”. Since October 2016, they have been at the head of the Design bachelor at MADE Program in Siracusa, Italy.",[],{"_key":148,"_type":8,"children":149,"markDefs":154,"style":25},"af1f9684422b",[150],{"_key":151,"_type":12,"marks":152,"text":153},"5d01da72a08f",[],"Formafantasma has been awarded Wallpaper* Designer of the Year 2021.",[],[156,164],{"_key":157,"_type":8,"children":158,"markDefs":163,"style":25},"d23635d39c06",[159],{"_key":160,"_type":12,"marks":161,"text":162},"e086f264d4c9",[],"Formafantasma",[],{"_key":165,"_type":8,"children":166,"markDefs":171,"style":25},"b64f02da9df2",[167],{"_key":168,"_type":12,"marks":169,"text":170},"2529a373ea27",[],"Andrea Trimarchi (Bolzano, 1983) and Simone Farresin (Malo, 1980)",[],{"alt":46,"asset":173},{"_id":174,"height":175,"orientation":176,"ratio":177,"url":178,"width":179},"image-f26493e8e9a7b9fa77ca39292ec8825456574d02-600x900-jpg",900,"portrait",0.6666666666666666,"https://cdn.sanity.io/images/w19bax1v/production/f26493e8e9a7b9fa77ca39292ec8825456574d02-600x900.jpg",600,{"_type":51,"current":181},"formafantasma",{"end":183,"start":184},"2025-09-28","2025-05-08",{"landingImage":186,"thumbnailImage":193},{"alt":46,"asset":187},{"_id":188,"height":189,"orientation":176,"ratio":190,"url":191,"width":192},"image-4b85937f51376e64f20b0d02dfcbab1b444bf249-4125x5500-tif",5500,0.75,"https://cdn.sanity.io/images/w19bax1v/production/4b85937f51376e64f20b0d02dfcbab1b444bf249-4125x5500.tif",4125,{"alt":46,"asset":194},{"_id":195,"height":196,"orientation":197,"ratio":198,"url":199,"width":200},"image-0a9496b72b83b5dd1a4135f375bda2ccf2798626-4122x3092-jpg",3092,"landscape",1.333117723156533,"https://cdn.sanity.io/images/w19bax1v/production/0a9496b72b83b5dd1a4135f375bda2ccf2798626-4122x3092.jpg",4122,"Negozio Olivetti",[203,223,323,340],{"_type":204,"caption":205,"image":215,"settings":221},"imageBlock",[206],{"_key":207,"_type":8,"children":208,"markDefs":214,"style":25},"a4b6bc0e9be8",[209],{"_key":210,"_type":12,"marks":211,"text":213},"498fe219aa81",[212],"highlight","Photo credit: Marco Cappelletti",[],{"alt":46,"asset":216},{"_id":217,"height":218,"orientation":176,"ratio":177,"url":219,"width":220},"image-a23f064e32d7d18749028a82b58b082182ffff3c-6336x9504-tif",9504,"https://cdn.sanity.io/images/w19bax1v/production/a23f064e32d7d18749028a82b58b082182ffff3c-6336x9504.tif",6336,{"imageSize":222},"default",{"_type":224,"text":225},"textBlock",[226,234,243,251,259,267,275,283,291,299,307,315],{"_key":227,"_type":8,"children":228,"markDefs":233,"style":25},"7ed25df56626",[229],{"_key":230,"_type":12,"marks":231,"text":232},"3cac95ef18ef",[],"",[],{"_key":235,"_type":8,"children":236,"markDefs":241,"style":242},"b1d1746f6d59",[237],{"_key":238,"_type":12,"marks":239,"text":240},"6a13d8c83db7",[],"On the occasion of the 2025 Venice Architecture Biennale, FAI – the Italian National Trust – is pleased to announce the exhibition “The Shape of Things to Come” by the designer duo Formafantasma, curated by Bartolomeo Pietromarchi and hosted at the Olivetti Store in Piazza San Marco.",[],"blockquote",{"_key":244,"_type":8,"children":245,"markDefs":250,"style":242},"b864879bcd94",[246],{"_key":247,"_type":12,"marks":248,"text":249},"5445122e4184",[],"\nThe exhibition is closely intertwined with the space designed by Carlo Scarpa – a masterpiece of modern architecture – and with the history of Olivetti, a company symbolic of technological innovation, cutting-edge design, and social commitment. The project aligns with the thematic framework of the Biennale, exploring the intersections between architecture, technology, and science, while offering a reflection on FAI’s core values, including the protection of heritage and the environment, in a particularly significant year for the institution as it celebrates 50 years of activity.",[],{"_key":252,"_type":8,"children":253,"markDefs":258,"style":242},"71a890f06f31",[254],{"_key":255,"_type":12,"marks":256,"text":257},"96a3668e1242",[],"\nAs curator Bartolomeo Pietromarchi states:",[],{"_key":260,"_type":8,"children":261,"markDefs":266,"style":242},"e80fc95573b3",[262],{"_key":263,"_type":12,"marks":264,"text":265},"16d016b02432",[],"\n“I believe the project presents a truly fascinating tension between the content and the container of the exhibition. On one hand, we have the ephemeral logic of planned obsolescence – the concept upon which Formafantasma developed this project and its new ceramic and gold works; on the other, Scarpa’s architecture and Olivetti’s products, which share a philosophy of durability, aesthetics, and social value through materials and design solutions intended to endure over time.”",[],{"_key":268,"_type":8,"children":269,"markDefs":274,"style":242},"4ebf22649258",[270],{"_key":271,"_type":12,"marks":272,"text":273},"7480d942e45c",[],"\nA New Chapter of Ore Streams",[],{"_key":276,"_type":8,"children":277,"markDefs":282,"style":242},"c24b7ab823fd",[278],{"_key":279,"_type":12,"marks":280,"text":281},"feed5126b09d",[],"\nThe starting point for the Venice exhibition is Ore Streams, a project launched by Formafantasma in 2017, focused on recycling waste from the electronics industry, now revisited and expanded in a new chapter. Through a series of design objects, documentary videos, and 3D animations, the exhibition addresses the environmental impact of the tech sector from multiple perspectives, emphasizing the role of design as a tool for transformation and awareness.",[],{"_key":284,"_type":8,"children":285,"markDefs":290,"style":242},"5fd42d4a2c41",[286],{"_key":287,"_type":12,"marks":288,"text":289},"fc6ff1111b92",[],"\n“The Shape of Things to Come” draws inspiration from the famous science fiction novel by H.G. Wells, offering a vision for the future of design where recycling, environmental and social impact, durability, and resource management are central and no longer overlooked. The project aims to raise awareness of the fact that the electronics industry is not an abstract or immaterial entity confined to the cloud, but a concrete and highly impactful supply chain, with tangible effects on the environment.",[],{"_key":292,"_type":8,"children":293,"markDefs":298,"style":242},"32502aaf4f6f",[294],{"_key":295,"_type":12,"marks":296,"text":297},"4be166feac0a",[],"\nOne of the key themes of the exhibition is planned obsolescence – a strategy that intentionally limits a product’s lifespan to encourage replacement, often at the expense of the consumer. This phenomenon, now dominant in the electronics sector, contrasts sharply with Olivetti’s design philosophy, which has always promoted quality, durability, and the cultural value of objects. The Olivetti Store thus becomes an ideal place to reflect on this dichotomy, embodying an alternative vision in which design is conceived to withstand the test of time.",[],{"_key":300,"_type":8,"children":301,"markDefs":306,"style":242},"e3cda5777b89",[302],{"_key":303,"_type":12,"marks":304,"text":305},"bbedfa370c7c",[],"\nAs Formafantasma notes:",[],{"_key":308,"_type":8,"children":309,"markDefs":314,"style":242},"45b13515dd16",[310],{"_key":311,"_type":12,"marks":312,"text":313},"da084f43dc17",[],"\n“From this perspective, it’s not just an aesthetic or functional gesture, but a critical act. It’s as if every object created or reinterpreted for this project becomes a carrier of memory, capable of narrating a journey – of use, reuse, and transformation – that subverts the traditional paradigm of consumption and disposal.”",[],{"_key":316,"_type":8,"children":317,"markDefs":322,"style":242},"b294d3a66685",[318],{"_key":319,"_type":12,"marks":320,"text":321},"9f0e9ab97c17",[],"\nFormafantasma’s installation, in perfect harmony with the historical and architectural context of the Olivetti Store, offers an opportunity to rethink our relationship with technology and resources, opening up new perspectives on how to design the future in a more responsible and sustainable way.",[],{"_type":204,"caption":324,"image":332,"settings":339},[325],{"_key":326,"_type":8,"children":327,"markDefs":331,"style":25},"585ba08e28fb",[328],{"_key":329,"_type":12,"marks":330,"text":213},"b0dc0cf1d98f",[212],[],{"alt":46,"asset":333},{"_id":334,"height":335,"orientation":176,"ratio":336,"url":337,"width":338},"image-1bb83c1808a4bf66b00fdb7cf1f25eef079d6d4b-5588x7450-jpg",7450,0.7500671140939598,"https://cdn.sanity.io/images/w19bax1v/production/1bb83c1808a4bf66b00fdb7cf1f25eef079d6d4b-5588x7450.jpg",5588,{"imageSize":222},{"_type":204,"caption":341,"image":349,"settings":354},[342],{"_key":343,"_type":8,"children":344,"markDefs":348,"style":25},"4ea7ddaa5482",[345],{"_key":346,"_type":12,"marks":347,"text":213},"d9a5c222129d",[212],[],{"alt":46,"asset":350},{"_id":351,"height":352,"orientation":176,"ratio":190,"url":353,"width":220},"image-4764e2232558064a7c9d6932a837ed4c8af120bb-6336x8448-tif",8448,"https://cdn.sanity.io/images/w19bax1v/production/4764e2232558064a7c9d6932a837ed4c8af120bb-6336x8448.tif",{"imageSize":222},{"_type":51,"current":356},"the-shape-of-things-to-come-venice","The shape of things to come, Venice",1778622957742]