Lemmi Alessi (for Mike) (go to) - mmRyan

Lemmi Alessi (for Mike) (go to)
__________________________________________
Contents: aggiornato al 2010 dic 16 giovedì
02. Tonale caraffa (go to) Chipperfield
03. Tonale cont. (go to) Chipperfield
04. Tonale cake (go to) Chipperfield
05. Enriqueta salad (go to) Clotet
06. Sumpta centrepiece (go to) Clotet
07. Mezuzah (go to)
08. Shiba intro (go to) Fukasawa
09. Shiba saucepan (go to) Fukasawa
10. Shiba frying pan (go to) Fukasawa
11. Shiba stockpot+ cass (go to) Fukasawa
12. Shiba lids (go to) Fukasawa
13. Baby 1 (go to) Fuksas
14. Baby 2 (go to) Fuksas
15. Milkyway 1 (go to) Gasparini
16. Milkyway 2 (go to) Gasparini
17. Milkyway 3 (go to) Gasparini
18. Pirouette (go to) Gooris
18. Scoop (go to) Kontuori
19. Adagio 1 (go to) Lassus
20. Adagio 2 (go to) Lassus
21. Birillo (go to) Lissoni
22. Fioretto (go to) Chiave
23. Blossom (go to) Manfredini
24. Moka Alessi (go to) Mendini
25. Hellraiser vass (go to) Rashid
26. Hellraiser porta (go to) Rashid
27. Hellraiser centro (go to) Rashid
28. Scirocco (go to) Trimarchi
29. Croce (go to) Trimarchi
30. Dressed 1 intro (go to) Wanders
31. Dressed 2 piat (go to) Wanders
32. Dressed 3 serv (go to) Wanders
33. Dressed 4 cutl (go to) Wanders
34. Dressed 5 cups (go to) Wanders
35. Dressed 6 glass (go to) Wanders
36. Dressed 7 placemat (go to) Wanders
37. Dressed 8 coaster (go to) Wanders
38. Dressed 9 tray (go to) Wanders
39. Uselen (go to) Iacchetti

Lemmi Alessi (for mike) (back to top)
2
Tecniche, materiali, finiture …....(go to)
Tavola ……………………..………... (go to)
Cucina ……………….…………..…..(go to)
Altro ………………..……………...... (go to)
Misc ……………..……….…………..(go to)
Vocab vario …………………….….. (go to)
Italiano English link
http://www.alessi.it/it http://www.alessi.it/en http://www.alessi.com/en/
Tecniche, materiali e finiture back to lemmi
- in…, o realizzati in… = (are) in… or are made of…
- =
- 10/18 acciaio = 10/18 stainless steel, 10/18 steel
- microfusione d'acciaio = die-cast steel
- =
- cristallo = crystal
- vetro cristallino = cristalline glass
- =
- porcellana = porcelain (not bone china) .
- stoneware = stoneware, earthenware??? see Tonale
- =
- =
- plastica termoindurente = thermosetting plastic
- resina termoplastica = thermoplastic resin
- materiale termoplastico PMMA = PMMA thermoplastic
- =
- forma testurizzata = embossed plastic ???
- =
- acciaio inossidabile stampato = deep drawn stainless steel / metal
- acciaio stampato colorato = deep drawn steel coloured
- (acciaio) stampato a freddo = cold-pressed (steel)
- =
- (finitura) lucida = mirror polish (inox), glossy (paint)
- (finitura) opaca = matte
- (finitura) elettrolitica = electrolyte
- =
- rivestito con polvere di zirconi = coated using a zirconium electrolytic process
- =
- traforatura = open-work
- tranciatura meccanica = mechanical shearing
- =
- trilamina = triply
- =
Tavola back to lemmi
- caffettiera = coffee maker
- caffettiera a presso-filtro = ?????
- caffettiera infusiera = infuser
- =
- =
- sottobicchiere = glass coaster
- porcellane = china or bowls and plates
- posate = cutlery
- =

3
- =
- sottopiato = placemat
- piatto piano = flat plate
- piattino = side plate
- =
- piatto fondo = soup bowl
- piatto da dessert = dessert plate
- =
- =
- =
- piatto da servizio = serving plate
- = salad serving bowl
- =
- ciotola = bowl
- coppa =
- coppetta = small bowl
- =
- caraffa = carafe
- =
- caffettiera = coffee maker
- caffettiera a presso-filtro = ?????
- caffettiera infusiera = ?????
- =
- servizio da tè = tea service
- sottobicchiere = glass coaster
- sottobottiglia = bottle coaster
- =
- sottopentola = trivet
- =
- portalume = tealight
- =
- tazze = cups
- tazzine = ?????
- = mocha cup
- = teacup
- = saucer for mocha cup
- =
- = milk jug
- = sugar bowl
- =
- =
- fruttiera = fruit bowl
- portaagrumi = fruit holder
- =
- centro tavola = centrepiece
- antipastiere = hors d'oeuvre set
- =
- passaté = tea-strainer link
- =
- ??????? per lumache = snail tongs
- forchetta per lumache = snail fork
- =
- servizio da tavola (piatti) = dinner service; dinner set;
- servizio da tavola (posate) = cutlery set; flatware set
- =
Cucina back to lemmi
- barattoli = jars, ( kitchen boxes ??? see Clotet link )
- tagliere = board (not cutting board)
- casseruola a manico lungo = long-handled saucepan
- casseruola a due manici = two-handled saucepan

- pentola a manico lungo = long-handled pot, stock pot ??
- pentola a due manici = two-handled pot, stock pot ??
- portautensili = utensil holder
- =
- =
- =
4
Altro back to lemmi
- porta fermagli = paper clip holder link
- svuotatasche = desk organiser, valet tray link
- portaborse = purse hook
- portachiavi = keyring
- =
- =
misc
back to lemmi
- liquidi grassi = geasy liquids; oily liquids
- uso alimentare = use with foodstuffs
- salvagoccia = drop-stop link
- appoggio antiscivolo = anti-slip stop, non-slip stop (stop ?)
- =
- =
Vocab vario
back to lemmi
- falda = brim, rim, border, flap, (snow)flake, pitch (roof), layer
- posto tavola = table setting; place setting
- mise en place = table setting; place setting
- authors = designers
- è completato da = is completed by; rounded out by; finished off with
- a vista = in view, in sight, visible (avoid if possible)
- bordo a versare (caraffa) = lip, rim link
- bordo (piatto) = rim, border
- bocca (caraffa, bottiglia) = mouth, link
- tappo (caraffa) = stopper
- tappo (vino) = cork
- becco = spout
- =
- se ne sconsiglia il lavaggio = not recommended for use in the dishwasher
in lavastoviglie
or not dishwasher safe
- =
- decorazione = decoration, pattern, design
- forma = form, shape
- deriva da = is based on, is derived from, comes from
- ad alto spessore = ultra-thick, very thick
- =
- =

SCHEDE ALESSI SS 2011
5
Tonale
David Chipperfield
"Nothing is more abstract than reality." (Giorgio Morandi)
CARAFE
(back to top)
"Nothing is more abstract than reality," said Giorgio Morandi (1890-1964), the painter who
gave a sense of order, a set of norms and rules, to bottles, carafes, fruit bowls, flower
vases, etc.. Launched successfully in 2009, the Tonale series can be traced back to these
Morandian axioms, offering a selection of pieces derived from a few basic shapes and a
calibrated range of colour tones. In this latest edition, a few new elements have been
added to expand and round out the series. For example, a second carafe, in crystalline
glass (1) has been added, designed with the same tapered shape as in the previous one
-a truncated cone- but with a larger capacity (2). The generously-sized lip imparts a feeling
of solidity to the carafe and serves as an anti-slip stop for a firm grip. The lip’s shape also
functions as a drop-stop (3) to keep the exterior of the carafe clean while in use. Unlike
the previous carafe, designed primarily for use with water, this new one is intended for
use with foodstuffs thanks to the silicon stopper making it suitable for conserving and
protecting wine and other beverages. The stopper’s truncated-cone shape fits snugly in
the mouth of the carafe, even given the exacting tolerances required by glass
manufacturing (4). The material used for the stopper, as well as its red colour, give the
object a sophisticated importance. The rubber stopper is not suitable for use with oils or
greasy liquids and is not recommended for dishwasher use.

6
Tonale
David Chipperfield
"Nothing is more abstract than reality." (Giorgio Morandi)
(back to top)
"Nothing is more abstract than reality," said Giorgio Morandi (1890-1964), the painter who
gave a sense of order, a set of norms and rules, to bottles, carafes, fruit bowls, flower
vases, etc.. Launched successfully in 2009, the Tonale series can be traced back to these
Morandian axioms, offering a selection of pieces derived from a few basic shapes and a
calibrated range of colour tones. In this latest edition, a few new elements have been
added to expand and round out the series. Two new containers have been added,
conceived along the formal lines of the entire Tonale series that are based on truncatedconical
volumes. They are simple, archetypal forms: a circular disk forms the base,
varying in diameter; the sides are tapered (in reality, truncated cones) and come in varying
heights. Special attention has been paid to the surface finishes: matte on the exterior, for
a comfortable grip and glazed on the inside for ease of cleaning. The containers are in
stoneware and available in two colours from the existing range of greys in the Tonale
series. The containers are fitted with a silicon stopper for use with foodstuffs making it
suitable for conserving and protecting wine and other beverages. The stopper’s
truncated-cone shape fits snugly in the mouth of the carafe, even given the exacting
tolerances required by ceramics (4). The material used for the stopper, as well as its red
colour, give the object a sophisticated importance. The rubber stopper is not suitable for
use with oils or greasy liquids and is not recommended for dishwasher use.
With the stopper removed, these containers can also be used as a utensil holder or
flower vase.

(back to top)
7
Tonale
David Chipperfield
"Nothing is more abstract than reality." (Giorgio Morandi)
"Nothing is more abstract than reality," said Giorgio Morandi (1890-1964), the painter who
gave a sense of order, a set of norms and rules, to bottles, carafes, fruit bowls, flower
vases, etc.. Launched successfully in 2009, the Tonale series can be traced back to these
Morandian axioms, offering a selection of pieces derived from a few basic shapes and a
calibrated range of colour tones. In this latest edition, a few new elements have been
added to expand and round out the series. For example, an oven plate has been added,
designed along the formal lines of the entire Tonale series that are based on truncatedconical
volumes. They are simple, archetypal forms: a circular disk forms the base,
varying in diameter; the sides are tapered (in reality, truncated cones) and come in varying
heights. Special attention has been paid to the surface finishes: matte on the exterior, for
a comfortable grip and glazed on the inside for ease of cleaning. The oven plate is in
stoneware and available in two colours chosen from the existing range in the Tonale
series. The stoneware common to many products in this series, is resistant to high
temperatures and thermal shock, making the containers equally at home in the kitchen or
on the table, thereby renewing a tradition of versatility that has become unconventional by
today's standards.

Enriqueta
Lluis Clotet
A studied imperfection to soften steel shapes
(back to to p)
8
Lluis Clotet's informal language, by now successfully established in our catalogue,
continues to come up with new effects and new products. Thanks to its size and the large
volume, the Enriqueta Salad serving bowl, in 18/10 stainless steel, is a typology that
lends itself particularly well to his language of tormented surfaces that are full of
unpredictable reflections. The inner surface's irregularity, with its uneven contours is well
suited to the task of tossing ingredients. Clotet belongs to the league of designers who
are attempting to question the perfection of form, a perfection which is viewed as a
reflection of industrial production that is distant from the thinking processes and the
manual nature of humankind. As with all his projects for Alessi, the name Enriqueta
couldn't help but follow in the tradition of referring to the literary works of the poet JV Foix
(Barcelona 1893-1987), to whom he dedicated his first project designing a tray (1),
followed by: the trivet Gertrudis (2), the kitchen boxes Lluis (3) and Julieta (4), the snail
dish Amelia (5) with fork and tongs, Maria Dolors and Marta, and the hors-d'ouevre dishes
Francesca and Pepa (6).

Sumpta
Lluis Clotet
A studied imperfection to soften steel shapes
(back to top)
9
Lluis Clotet's informal language, by now successfully established in our catalogue,
continues to come up with new effects and new products. The centrepiece Sumpta, like
with the Salad serving bowl Enriqueta, is in 18/10 stainless steel and enriched by his
language of tormented surfaces that are full of unpredictable reflections. Clotet belongs to
the league of designers who are attempting to question the perfection of form, a
perfection which is viewed as a reflection of industrial production that is distant from the
thinking processes and the manual nature of humankind.
As with all his projects for Alessi, the name Enriqueta couldn't help but follow in the
tradition of referring to the literary works of the poet JV Foix (Barcelona 1893-1987), to
whom he dedicated his first project designing a tray (1), followed by: the trivet Gertrudis
(2), the kitchen boxes Lluis (3) and Julieta (4), the snail dish Amelia (5) with fork and
tongs, Maria Dolors and Marta, and the hors-d'ouevre dishes Francesca and Pepa (6).

10
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Mezuzah
Unless the house is built by the Lord, its builders labor in vain.
In the Jewish religion, the Mezuzah is the name of the case containing a scroll inscribed
with two verses from the Torah (Deuteronomy 6:4-9 and 11:13-21) and is affixed to the
doorframe of a home's entrance. The letter "Shin", which stands for Shaddai (God) and is
normally present on the front of the Mezuzah, has been incorporated into the undulating
pattern reminescent of topography, leaving the task of discovering its location to the
viewer. The geometric part of the Mezuzah represents the future while the corrugated
portion refers to the past. Mezuzah is in die-cast steel with a matte finish. It comes is
empty, without the parchment. Mezuzah was designed by Dror Benshetrit with the
approval of Jewish Museum in New York.

Shiba INTRODUCTION
Fukasawa
Fusion design for a fusion cuisine
11
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With this project, Fukasawa uses functional and symbolic values of material culture in
Japan, adapting them for use with a more international cuisine. In this regard, the series
comes with a special Japanese-Italian cookbook by Naoto Fukasawa and Alberto Alessi.
The Shiba series concentrates on the essential pots and pans needed for cooking that, at
first sight, not only suggest practicality of use, but also the quality results that can be
achieved. This aspect emerges from the careful design of the series' handles, which are
available in two versions, wood and thermosetting plastic. The wooden version,
extraordinary for its comfort and sure grip, requires a careful and attentive approach when
using it over an open flame so as not to damage the handle's material, the same kind of
care and attention required in preparing good food. In any event, following the attitude of
Wabi Sabi that is so dear to Japanese culture, all instruments age and take signs
showing the passing of time, thereby increasing their attractiveness and value. The forms
are extremely compact, thanks also to the high level of integration between the parts. The
handles are essential and made in exactly the correct dimensions. The size and
thickness of the materials have been calculated to achieve the proper weight required to
perform as many tasks as possible in the kitchen. The series is in triply, 2.5 mm thick.
(The exterior is in AISI 304 magnetic steel and aluminium; the interior is 18/10 stainless
steel), a versatile material that lends itself to many uses thanks to its heat conducting
qualities, to its ease of cleaning and the possibility to be used on any heat source
including electromagnetic induction. The same designer also designed the packaging,
differentiating between the items made with wooden handles from those in thermosetting
plastic.

12
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Shiba LONG-HANDLED SAUCEPAN
Fukasawa
Fusion design for a fusion cuisine
The long-handled Saucepans of the Shiba Series are chubby and compact,
foreshadowing the quality of the sauces and gravies that can be prepared in them. They
are available in two sizes, each with the handle available in either wood or thermosetting
plastic (1). In die-cast steel, the joint between the body and the handle was designed for
ease of replacement and studied to make it "invisible", not altering the visual continuity of
the form (2-3). The handle is a truncated cone with a swelling in the area below the rear
which aims to "fill" the hand for a safe and enjoyable grip. The overall shape comes form
the amply-rounded corners between the bottom and sides, which noticeably facilitate
stirring. The spout helps when pouring liquids from one container to another (4).
"Hiba", a special wooden disc, resinous and fragrant, is proposed as an accessory for
typically Eastern preparation of delicate ingredients: the wooden disc functions as a
presser in direct contact with food when cooking with very little water and without the
turbulent movements of boiling. The Saucepans are in triply, 2.5 mm thick. (The exterior is
in AISI 304 magnetic steel and aluminium; the interior is 18/10 stainless steel), a versatile
material that lends itself to many uses thanks to its heat conducting qualities, to its ease
of cleaning and the possibility to be used on any heat source including electromagnetic
induction.The relative lids for each Saucepan are included in the package.

Shiba FRYING PAN
Fukasawa
Fusion design for a fusion cuisine
13
(back to top)
The curved sides of the Shiba series' frying pan, suitable for many cooking uses, is
particularly adapted for sautéing. It is available with a handle in either wood or heatresistant,
thermosetting plastic (1). The joint between the body and the handle was
designed for ease of replacement and studied to make it "invisible", not altering the visual
continuity of the form (2-3). The handle is a truncated cone with a swelling in the area
below the rear which aims to "fill" the hand for a safe and enjoyable grip. The wooden
version, extraordinary for its comfort and sure grip, requires a careful and attentive
approach when using it over an open flame so as not to damage the handle's material,
the same kind of care and attention required in preparing good food. In any event,
following the attitude of Wabi Sabi that is so dear to Japanese culture, all instruments age
and take signs showing the passing of time, thereby increasing their attractiveness and
value. The ample flare of the pan's broad rim (4) helps when pouring liquids from one
container to another (4). The Frying pan is in triply, 2.5 mm thick. (The exterior is in AISI
304 magnetic steel and aluminium; the interior is 18/10 stainless steel), a versatile
material that lends itself to many uses thanks to its heat conducting qualities, to its ease
of cleaning and the possibility to be used on any heat source including electromagnetic
induction.The Frying pan's lid for is included in the package.

Shiba STOCKPOT E CASSEROLE
Fukasawa
Fusion design for a fusion cuisine
14
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The Shiba series' versions of the stockpot and casserole with two handles, in burnished
steel, have been designed in order to show off their body by keeping the handles
understated and small. This also makes them less cumbersome, especially useful when
the stovetop is crowded. To avoid being burned when picking them up, a towel or
potholders should be used. Unlike the pots and pans, however, they are not handled
much once they're on the burner. The handles' design has been reduced to the
essentials. They are in solid steel, welded directly to the pot's body and, as with the rest of
the series, have an ample surface area where the joint occurs. The stockpot and
casserole are in triply, 2.5 mm thick. (The exterior is in AISI 304 magnetic steel and
aluminium; the interior is 18/10 stainless steel), a versatile material that lends itself to
many uses thanks to its heat conducting qualities, to its ease of cleaning and the
possibility to be used on any heat source including electromagnetic induction. The lid for
two-handled versions of the stockpot and casserole (which have the same diameter) is
available separately, and only in version with a black knob in thermosetting plastic plastic.

Shiba
Fukasawa
Fusion design for a fusion cuisine
15
(back to top)
The Shiba series is completed with lids for every item, in steel using double-wall
technology (1-2), a rather innovative choice for this typology. This detail heightens the
covers' insulating properties, accentuating the cooking chambre's heat containment
capacity. The enhanced performance is suited to long, slow cooking over low heat or use
with a saucepan when cooking without need of stirring the contents. In the case of the
saucepan, in fact, the effect is multiplied by the very small size of the cooking chambre.
The lids' knobs are available in two different materials: wood and thermosetting plastic
(3). Lids are included with the long-handled pot and saucepan. However, for the twohandle
pot and saucepan (which have the same diameter), the lids are available
separately and only in version with the black thermosetting plastic knob.

Baby
Doriana e Massimiliano Fuksas
a porcelain grate in the form of a vase
16
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The interesting shape previously seen in the large vase Zouhria, produced in a limited
edition by Alessi, has been reinterpreted in the form of two new objects: the Baby Citrus
basket and Baby tealight holder. Both are made in porcelain by means of a dual-casting
technology that allows the inner and outer surfaces to be made in different colours. The
thicker, outer layer is cast first, followed by a second casting to for the interior. This
process, however, does not create the holes in the object, rather, it simply leaves faint
outlines marking their position, thus facilitating the subsequent step of carving them out
by hand.
The resulting pattern creates a sort of grating through which you can peek and catch a
glimpse of the fruit inside. The Baby bowl is available in two colour combinations: a brown
exterior and blue interior, or white and red, respectively. The finish is glossy.

Baby
Doriana e Massimiliano Fuksas
a porcelain grate in the shape of a small vase, lit from within
17
(back to top)
The interesting shape previously seen in the large vase Zouhria, produced in a limited
edition by Alessi, has been reinterpreted in the form of two new objects: the Baby Citrus
basket and Baby tealight holder. Both are made in porcelain by means of a dual-casting
technology that allows the inner and outer surfaces to be made in different colours. The
thicker, outer layer is cast first, followed by a second casting to for the interior. This
process, however, does not create the holes in the object, rather, it simply leaves faint
outlines marking their position, thus facilitating the subsequent step of carving them out
by hand.
The light inside T-light filters through Baby's lattice pattern resulting in a striking effect of
light and shadows on the walls. The Baby Tealight holder is available in two colour
combinations: grey and blue, or white and red. It comes in a glossy finish.
The same colours and finish are used for the Tealight holder's base, assuring overall
continuity throughout the object.

Milky way minor
Anna e Gian Franco Gasparini
Hard, semi-hard, semi-soft, soft. Every cheese has its own blade.
18
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Milky Way Minor is a set of cheese knives that, in the structuring of the blades, have been
derived from the previous series for Officina Alessi, "La Via Lattea". Thanks to their
smaller size of the blades, however, they are intended for table use. When cutting hard
cheeses, the tip of the blade (1) is its primary asset. The blade should be thick and the
axis of the handle (2A) perfectly aligned with the tip (2B). The latter must be pointy and
sharp. Rounding off the back of the handle (2C) provides ergonomic support for the palm
of your hand, in order to press down on the blade along its longitudinal axis. The wedgeshaped
section of the blade, and the sharpened top edge of the tip (3), facilitate
penetration into the rind and pâté. The blade for semi-hard cheeses (4) has a very thin,
wedge-shaped section (6), yet is still rigid and stable. The back of the blade provides a
flat, dull surface for your hand (5-1) to easily push the knife into the cheese. Semi-hard
cheeses are cut with a sliding motion of the blade from top to bottom (5-2). The blades
are in AISI 420 steel, the handles of thermoplastic resin. The manual accompanying the
knife is based on its predecessor from the previous series, but to make it as easy to use
as possible, special emphasis has been placed on the use of images in addition to the
descriptive texts.

Milky way minor
Anna e Gian Franco Gasparini
Hard, semi-hard, semi-soft, soft. Every cheese has its own blade.
19
(back to top)
Milky Way Minor is a set of cheese knives that, in the structuring of the blades, have been
derived from the previous series for Officina Alessi, "La Via Lattea". Thanks to their
smaller size of the blades, however, they are intended for table use. The blade for soft
cheeses (1) is very thin, reducing to a minimum the surface area that comes in contact
with the sticky dough-like consistency of the cheese and minimising friction upon
penetration. The thinness of the blade is offset by an adequate width of the metal (2)
ensuring sufficient strength and stability during use. Soft cheeses are cut with a
movement from top to bottom, starting off with the knife in an inclined position and rotating
it downward until reaching a horizontal position in contact with the cutting board (3). The
knife for semi-soft cheeses (4) is almost a piece of cutlery, its blade being only slightly
sharp (5). With the same gesture, given the large semicircular area, you can separate and
gather up the portion of cheese that's just been cut (6). This type of serving works well for
test tasting and sampling, with the addition of jams, jellies and sauces. The blade can
also be used for desserts or other foods that have the typical size and texture of soft
cheeses, such as Bavarian cream, crème caramel, etc.. The blades are in AISI 420 steel,
the handles of thermoplastic resin. The manual accompanying the knife is based on its
predecessor from the previous series, but to make it as easy to use as possible, special
emphasis has been placed on the use of images in addition to the descriptive texts.

Milky way minor
Anna e Gian Franco Gasparini
It opens like a book to reveal its contents.
20
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The blades are in full view, but protected. This small knife block from the Milky Way Minor
series was conceived as a two-sided, hard case, hinged together to open like a book (1-
2). Each side has a slit in the top for inserting the blades like in a conventional knife block
(3). The book-like opening feature allows it to be kept open during use to easily identify
the knife to be used (4-5). It also allows access to the inside of the knife block for
periodical cleaning. Magnets placed under the wood of the vertical wall hold the knives
firmly in place once inserted (5-6). The knife block is in laminated bamboo, a wood that is
very stable and moisture resistant.

Pirouette
Frederic Gooris
It can be useful or fun
21
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A spinning metal top, following in the long tradition of tin toys, is presented here as a desk
organiser. Of course, when it's used as a desk organiser it does not work as top and vice
versa. It all depends on where you want to "play" with it. In the office, for example, it can be
used to hold paper clips or other small desk items. The top's body is in painted, deep
drawn metal, the handle is in multicoloured thermoplastic resin (2) and the tips are in
stainless steel (3). Pirouette is available in two colours, white and grey.
By the same designer we have produced the purse hook, Minou (4) and the keyring, Pip
(5).
Scoop
Helen Kontouris
(back to top)
The shape of the egg cup Scoop, was obtained by adding a brim to the shape of an egg.
This resulted in an object that could also be used for serving finger food or individual, mini
portions. Made of deep drawn stainless steel, it comes complete with a long, narrow
spoon suited for scooping out the contents of the egg. Scoop's brim can be used as a
spoon rest.

22
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Adagio
Kristiina Lassus
Two-pieces-in-one, even if it doesn't seem so. Steel conceived the way it should be.
The double wall carafe Adagio, by Kristiina Lassus is available in 60 cl and 100 cl sizes.
Although it looks like a simple carafe with a normal, thin-rimmed mouth, in reality, the
double wall made with two containers: a slightly conical-shaped outer one, and an inner
one that is perfectly cylindrical. The mouths of each container are nearly identical in size,
so when one is inserted into the other, they can be welded together to form a thin, single
edge (2).The insulation provided by the double wall is very effective in maintaining a
constant temperature for both hot and cold beverages. The container's shape helps guide
the liquid to the spout, whose shape acts as an effective drop-stop. The carafe is in 18/10
cold-pressed, stainless steel. The external finish is mirror polish, the internal is
electrolyte. The spout is formed directly from the walls of the carafe, as opposed to being
welded on (3). This carafe is derived from the Adagio family of jugs and jugs with lids,
A405, already in production (4-5).

Adagio
Kristiina Lassus
Two-pieces-in-one, even if it doesn't seem so..
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The Filter coffee maker or infuser Adagio, by Kristiina Lassus, with a capacity of 60 cl, is in
a double wall in18/10 stainless steel. Although it looks like a simple carafe with a normal,
thin-rimmed mouth, in reality, the double wall made with two containers: a slightly conicalshaped
outer one, and an inner one that is perfectly cylindrical. The mouths of each
container are nearly identical in size, so when one is inserted into the other, they can be
welded together to form a thin, single edge (2).The insulation provided by the double wall
is very effective in maintaining a constant temperature for both hot and cold beverages.
The container's shape helps guide the liquid to the spout, whose shape acts as an
effective drop-stop. The filter is made entirely of grey-coloured thermoplastic resin,
eliminating any possibility of noise caused by rubbing against the interior walls during
use. The external finish is mirror polish, the internal matte. This Filter coffee maker is
derived from the Adagio jug with lid, A405, already in production (5).

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Birillo
Piero Lissoni
Easy to look at, easy to use
True to the minimalist style that characterises all his work, Piero Lissoni has designed a
line of bath products, starting from a classical form. The basic form chosen for the objects
of the "Skittles" family is the rounded square (1), "an imperfect square or completely
wrong circle" as Lissoni himself he likes to define it. The base recedes from view, making
the objects appear to float. The packaging was designed by the studio Graph.x (2). The
liquid soap dispenser is made from white, extra-thick thermoplastic PMMA with a glossy
finish. The shape of the liquid soap dispenser has been reduced to the essentials: it was
covered with a larger stainless steel shell, hiding the pump system, which is normally
visible (3). The upper lid is flush with the entire cover, thus giving an ample surface to
press on.

Fioretto
LPWS Chiave
Handled like a weapon, laid to rest like a flower
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This knife sharpener, Fioretto, has been fitted with a sturdy handguard and grip, known as
a hilt, that makes it resemble both a flower and a fencing foil. The hilt is appropriate
protection indeed while sharpening a knife, an operation that must be carried out when
the knife no longer cuts cleanly and the edge needs to be freshened up. (There is no
need not wait until the blade cuts poorly or not at all). With Fioretto held firmly in one hand,
slide the cutting edge of the knife against the sharpener with the other in the direction
away from your body, similar to the way you would sharpen a pencil with a pen knife. The
angle of incidence between the blade and the steel portion of the sharpener should be
about 16° (2). The operation must be performed on both sides of the cutting edge, making
sure that the entire length of the blade (A-B) comes in contact with the sharpener. (3-4).
If this simple rule is observed, the knife will stay sharp a long time. The sharpener is
coated using a zirconium electrolytic process that provides the best abrasive effect on the
blades. The handguard and grip are in white thermoplastic resin. Thanks to its
appearance resembling a flower, Fioretto can have a softening effect on a kitchen's
utensil holder (5).

Blossom
Manfredini
Inside and out, an oxymoron of a bowl
Inside and out: bowl as oxymoron OR enigma OR chameleon
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The decoration for the Fruit bowl Blossom is in open-work stainless steel and its design
has been conceived following a pattern that evolves gradually from geometric to floral
forms. On each of the four sides, the density of the pattern undergoes another gentle
evolution as the relationship between solid and void changes, thinning out as it extends
from the centre outwards. Blossom's highly polished, mirror finish in 18/10 stainless
steel, together with the unique perforations, create more than just a single effect. For
example, an object placed in front of it is reflected in such a way that it appears to be
inside the bowl. (2). This occurs due to the well-known effect of illusory contours by which
our brain tends to reconstruct the missing parts of a well-known figure. In the image (3)
the perception is of a white triangle superimposed on a grey triangle and three blacks
disks. In reality, the image is achieved using three black circles, each with a slice
removed, and three grey triangles (4). The Fruit bowl is composed of three welded parts.
Usually the welding is hidden, but in this case it was decided to take advantage of the
pattern's shapes and accentuate the seams to decorative effect. Blossom is available in
two versions: stainless steel and painted white.

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Moka Alessi
Alessandro Mendini
Even the Moka changes, from good to better
The rounded shapes proposed by Mendini make this coffee maker both original and
innovative. But to bring real innovation to the Moka, it's not enough to simply "round off" it's
form, like so many others have tried to do in recent years. What is needed is a distinctive
mark, something that would give it the credibility necessary to substitute the archetypal
Moka. Mendini identified that mark in the sinuous, tapering profile (3) giving the coffee
maker a strong formal character that is immediately recognisable. Beyond that, everything
else about the Moka Alessi has striven to be faithful to the original in every traditional
detail, building on and improving every formal and technical detail. The thickness of the
material and the volumes of containers have been optimised; the proportions between
the boiler and collector have been recalculated; a partition has been introduced to direct
the condensation from steam back into the collector cover (4), the ergonomics of the
knob has been redesigned. Particular attention was paid to the design of the handle,
positioned parallel to the side of the coffee maker, leaving enough space to prevent
contact between the coffee maker's hot body and the users fingers. The Moka Alessi is in
cast aluminium, brushed and tumbled (mechanical polishing with steel balls). It comes in
the the two classic dimensions of 3 and 6 servings. Optimising the thickness of the
material makes it possible to offer a quality product at a reasonable price. The packaging
was designed by Mendini.

Hellraiser tray
Karim Rashid
Hard, angular steel to carry smooth, round shapes
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Hellraiser has been added to our gallery of trays, Citrus baskets and centrepieces with
three new designs by Karim Rashid. The designer has opted for a very aggressive
graphical language, somewhere between the iconography of Star Trek and a printed
circuit board. The aggressiveness is heightened through the use of open-work
decoration, realised with mechanical shearing. As a result of the perforations, the tray has
a very light appearance and the sense of lightness is accentuated by the feet, obtained by
simply folding under a small steel flap (2), which is practically invisible. The hard, sharp
geometry of the perforations creates an interesting contrast with the contents Hellraiser
will usually be carrying, which will inevitably be smooth and round (cups, saucers, etc.).
The tray comes in two versions: 18/10 stainless steel and in anthracite grey, epoxy resin
coated steel.

Hellraiser Citrus basket
Karim Rashid
Hard, angular steel to carry smooth, round shapes
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Hellraiser has been added to our gallery of trays, Citrus baskets and Centrepieces with
three new designs by Karim Rashid. The designer has opted for a very aggressive
graphical language, somewhere between the iconography of Star Trek and a printed
circuit board. The aggressiveness is heightened through the use of open-work
decoration, realised with mechanical shearing. This Citrus basket recalls unstructured
architecture. The erratic path of the drawing on all the sides, together with the irregular
perforations, create a geometric effect that is disorienting and makes it difficult to perceive
how many sides the basket has (3). . The hard, sharp geometry of the perforations
creates an interesting contrast with the contents Hellraiser will usually be carrying, which
will inevitably be smooth and round (cups, saucers, etc.).
The Citrus basket comes in two versions: 18/10 stainless steel and in anthracite grey,
epoxy resin coated steel.

Hellraiser centrepiece
Karim Rashid
Hard, angular steel to carry smooth, round shapes
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Hellraiser has been added to our gallery of trays, Citrus baskets and Centrepieces with
three new designs by Karim Rashid. The designer has opted for a very aggressive
graphical language, somewhere between the iconography of Star Trek and a printed
circuit board. The aggressiveness is heightened through the use of open-work
decoration, realised with mechanical shearing. As a result of the perforations, the
centrepiece, like the tray, has a very light appearance and the sense of lightness is
accentuated by the edge's slender shape and irregularity. . The hard, sharp geometry of
the perforations creates an interesting contrast with the contents Hellraiser will usually be
carrying, which will inevitably be smooth and round (cups, saucers, etc.).
The Centrepiece comes in two versions: 18/10 stainless steel and in anthracite grey,
epoxy resin coated steel.
.
.

La Stanza Dello Scirocco
Mario Trimarchi
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The Stanza dello Scirocco (Room of the Desert winds) is a place for getting together and
playing cards… then, every once in a while, the wind would blow the cards away
The Stanza dello Scirocco, a project presented in 2009 consisting of a small Basket, a
Teaight holder, a Fruit holder, a Centrepiece, and a Fruit bowl (see photo of collection),
has been enlarged to include a Vase cover for orchid. thanks to its light, airy form, this
Vase cover allows you to perceive a space of light and shadow between the container and
its contents. This precious effect is cleverly obtained in a by inserting transparent floral
water tubes, like the plastic ones normally used with orchids, into small Vase covers. The
part of the Vase cover that extends upward holds the orchids' stems erect, thereby
eliminating the unsightly supports normally used. The Vase cover of the Stanza dello the
Scirocco is available in 18/10 stainless steel and in black or white painted steel.

Croce
Mario Trimarchi
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Croce (Cross) is an attempt to impart a contemporary look to an object that seems to
have almost vanished from our homes. Croce is an iconic symbol and immediately
recognisable, proposed here in a state of dynamic tension thanks to being inclined with
respect to the wall and to the presence of its black shadow.
An interesting aspect behind the project is the rationale leading up to the chosen size and
dimensions. As its designer puts it: "The armspan of the Croce (2), 3 times 3, can be
traced back to the Holy Trinity; the distance from the top to the nail hole at the bottom (3),
9.9 cm, represents man's inability to fully observe the Ten Commandments, therefore
underscoring the difficulty of aspiring to perfection; and the distance between the top of
the cross and its "shadow" (4) , is 33 mm, referring to Christ's age when he was
crucified."
Croce is made by bending a steel sheet that has two different surface finishes, one side
brushed 18/10 stainless steel and the other side finish in black PVD. Croce can be hung
on the wall with the double stick tape provided.
Croce is accompanied by a collection of significant images of the crucifixion covering an
important part of art history (5-6):
1) Cimabue, 1268-71 Pala in San Domenico, Arezzo, 2) Cimabue, 1268-71, San
Domenico, Arezzo, 3) Giotto di Bondone, ca 1290, Santa Maria Novella, Florence, 4)
Michelangelo Buonarroti, 1551, British Museum , London, 5) Antoine van Dyck, XVII sec.,
Museo Nazionale di Capodimonte, Naples; 6) Salvador Dali, 1951, Art Gallery, Glasgow;
7) Paul Gauguin, 1889, Albright-Knox Art Gallery, Buffalo; 8) Marc Chagall, 1938, The Art
Institute, Chicago.

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Dressed
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. In this way, even though he uses a language
of signs that is very rich and complex (1), a bit 'flowery', a little baroque, Wanders
manages to maintain a certain level of overall elegance and lightness. The effect is
culminated by the use of subtle contrasts between the background and the decorations,
at times relying only the use low relief. The very name of the series, Dressed, highlights
the notion that decoration should be designed, like a beautiful dress, to bring out the
contents, without being overpowering.
The Dressed series is complete in every aspect of a typical place setting and is
composed of plates and bowls (2), cutlery (3), glasses (4), plates (5), a tray (6), and glass
and bottle coasters. The packaging was created and designed by Studio Wanders.

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Dressed
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. The very name of the series, Dressed,
highlights the notion that decoration should be designed, like a beautiful dress, to bring
out the contents, without being overpowering.
This flat plate has a decoration that is visible on top of the rim (1-2), the soup bowl is
decorated underneath the rim and on the bottom (3), there is no decoration on the top. It's
interesting to note that the only way to perceive the bowl's decoration is through the sense
of touch.
The Dressed series is complete in every aspect of a typical place setting and is
composed of plates and bowls (2), cutlery (3), glasses (4), plates (5), a tray (6), and glass
and bottle coasters. The packaging was created and designed by Studio Wanders.

35
Dressed (back to top)
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. The very name of the series, Dressed,
highlights the notion that decoration should be designed, like a beautiful dress, to bring
out the contents, without being overpowering. This serving dish has a visible decoration
on top of the rim, the Salad serving bowl is only decorated on the bottom, which is
normally out of sight. The serving dishes and salad bowl are in white porcelain. The
Dressed series is complete in every aspect of a typical place setting and is composed of
plates and bowls (2), cutlery (3), glasses (4), plates (5), a tray (6), and glass and bottle
coasters. (add picture of everything together)

36
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Dressed
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. The very name of the series, Dressed,
highlights the notion that decoration should be designed, like a beautiful dress, to bring
out the contents, without being overpowering. The cutlery in the Dressed series is only
decorated on the side facing down when the table is set, leaving the undecorated part in
view (1). The decoration, produced by coining (an incision technique used for high
pressure of a punch as coins), is noticed only when handling the cutlery. In this sense,
the cutlery from the Dressed series is the first multi-sensorial cutlery.
The Dressed series is completed by serving utensils, plates and bowls, glasses, plates,
bowls and a tray (6). (add picture of everything together)

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Dressed
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. The very name of the series, Dressed,
highlights the notion that decoration should be designed, like a beautiful dress, to bring
out the contents, without being overpowering. The tea and coffee cups are only decorated
on the bottom (2-3). The accompanying saucers are decorated on the top, in full view.
The coffee and tea service is in white porcelain. The Dressed series is complete in every
aspect of a typical place setting and is composed of plates and bowls (2), cutlery (3),
glasses (4), plates (5), a tray (6), and glass and bottle coasters. (add picture of everything
together)

38
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Dressed
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. The very name of the series, Dressed,
highlights the notion that decoration should be designed, like a beautiful dress, to bring
out the contents, without being overpowering. The crystal glasses are characterised by
the elegant decorated of their stems. The typologies proposed are the classic ones: water
(1) with a shorter-than-average stem, red wine (2), white wine (3), flutes for sparkling
wines (4). The Dressed series is complete in every aspect of a typical place setting and is
composed of plates and bowls (2), cutlery (3), glasses (4), plates (5), a tray (6), and glass
and bottle coasters. (add picture of everything together)

39
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Dressed
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. The very name of the series, Dressed,
highlights the notion that decoration should be designed, like a beautiful dress, to bring
out the contents, without being overpowering. The placemat, in 18/10 stainless steel, is
decorated by in relief, visible in the centre of the plate, but significantly, the decorated part
is inevitably covered by the flat plate placed on top of it and therefore not visible while
eating. Glass and bottle coasters (3) and a tray (4) complete the features of this series in
stainless steel. Also part of Dressed series are china, cutlery, glasses (5) (add picture of
everything together)

40
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Dressed
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. The very name of the series, Dressed,
highlights the notion that decoration should be designed, like a beautiful dress, to bring
out the contents, without being overpowering. The Glass and bottle coasters, in 18/10
stainless steel, have a visible, decorative relief design in the middle.
A placemat (3) and tray (4) complete the features of this series in stainless steel. Also
part of Dressed series are china, cutlery, glasses (5) (add picture of everything together)

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Dressed
Marcel Wanders
Decoration, like a beautiful suit of clothes, should never overpowering.
We believe Marcel Wanders to be one of a few designers who has really known how to
innovate in terms of decoration. His approach to decoration consists of constructing a
special relationship between the decorated parts and the object itself. Traditionally, the
rules would require that decoration be applied in the most important and most visible
areas of the object. Wanders, on the other hand, applies it to secluded areas, a little out of
sight, sometimes even in areas that aren't normally visible at all, so much so that we
could call it a sort of introverted decoration. The very name of the series, Dressed,
highlights the notion that decoration should be designed, like a beautiful dress, to bring
out the contents, without being overpowering. The tray, in 18/10 stainless steel, is the
exception to the rule in this collection. Through the technique of relief molding, It has been
completely decorated, on the top as well as the bottom, with the decorative theme of the
series(1-2). Furthermore, the pattern (3) has been enlarged in scale, to adapt better to the
tray's proportions. Glass and bottle coasters and a placemat complete this group in
stainless steel. Plates, bowls, cutlery and glasses (6) are also part of the Dresses series.
(add picture of everything together)

Uselen
Giulio Iacchetti
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Desk pet, sometimes useful.
"Uselen" brings to mind images of a bird right from the name itself, which, in the dialect of
Cremona, means precisely that: 'bird'.
The flattened "beak" makes it easy to grip, while the slightly sharpened "tail" functions as
a letter opener (2). The notable thickness and sinuous shape are pleasing to the eye and
pleasant to the touch. "Uselen" continues the trend of Alessi objects with an
"ornithological inspiration" such as the Paperclip holder "Chip" by Rodrigo Torres (3), the
Soy sauce container "Lily" and the Salt and Pepper shakers "Paradise Birds" by Stefano
Giovannoni (4 - 5) or more recently, the Tea-strainer "Tea Matter" by Alan Chan (6).
"Uselen" is in die-cast steel with mirror polished finish.