ImaginareaDaily
Milan: A City in the Spotlight
Milan Design Week is a showcase of globally recognized excellence and innovation. Its foundation lies in a deep-rooted design culture—furniture design—which has historically shaped the city’s identity. Since 1961, this has been represented by the Salone del Mobile trade fair, and since 1990, thanks to Interni magazine, by the FuoriSalone, a citywide network of events that transforms Milan into the world’s design capital.
“The real question today,” comments Antonio Romano, “is how to strengthen the identity of the Salone del Mobile and define the evolving role of Design Week. Looking ahead, it cannot remain confined solely to furniture design (and its closest derivatives), especially as the term design is now one of the most widely adapted words in every vocabulary—even philosopher Luciano Floridi describes his field as conceptual design! What concerns me, ultimately, is success turning into self-celebration. That’s why Design Week must embrace the many dimensions of design, exploring their intersections and leveraging Milan’s long-standing ability to attract creativity.”
How Can Milan and Design Week Stay Attractive?
“We need to rethink FuoriSalone without weakening Salone del Mobile. It’s essential to promote a city-wide program of events that go beyond what happens at the fair and the furniture sector—preserving the quality of Milan’s genius loci while embracing international experiences. Milan must remain in the spotlight by enhancing its appeal across different creative and industrial fields.However, if the event becomes too focused on spectacle or turns into mere self-congratulation, its future is uncertain. The key shouldn’t be the obsession with the present moment or the relentless pursuit of the ‘new & more new’ driven by likes and instant metrics.”
What does Milan represent for Inarea?
“We opened our Milan offices in 1988: Enichem had become an important client, and we needed to ensure a near-daily presence. Shortly after, Snam and Union Carbide joined, and with the latter, we began a collaboration at a European level. Because Milan at that time was also this: a design capital where you could meet international players. Our first foreign clients were gained precisely because of our presence here.
In 1999, we won the competition to redesign the city crest and reorganize the identity system for the Municipality of Milan. This project allowed us to capture the essence of the city at a critical moment in its history, highlighting the distinctive Milanese combination of a deep attachment to tradition and a passion for innovation. The new design of the crest quickly replaced all previous versions, but the core of the project was the intention to turn the word ‘Milan’ itself into a brand. After all, many businesses (starting with Prada) had already associated their brands with their Milan identity, clearly proving that the city itself was (and still is) an added value. We designed a new typeface – aptly named Milano City – and separated the word from the phrase ‘Comune di Milano.’ The project was halted when the Albertini administration ended; though it still exists, it has since been modified.
During these years of profound urban transformation, we also completed significant branding projects for real estate developments that reshaped the city’s skyline: Milano Santa Giulia, followed a few years later by Milano Porta Nuova, and later Pirelli RE (now Prelios). Staying within the realm of Milan-based institutions, it’s worth noting our rebranding work for Borsa Italiana and Edison. Additionally, in the energy sector, we also created the name and brand for the new Lombard multiutility, A2A.” “In the same sector, but in more recent times, we worked on the rebrandings of Snam and Italgas, and continuing from memory, the brand identities for the Italian Infrastructure Fund F2i, Fondazione Cariplo, Fondazione Fiera Milano, Conservatorio di Milano, Casa Milan, and many other projects, some born in Milan but destined elsewhere, such as the brand identity for the Venice Biennale, which truly deserves a mention… However, one of the most enduring projects, which impacts the daily life of Milanese citizens, is the rationalization of ATM‘s wayfinding system. For this, we revised the signage (the pictogram system) and created a custom typeface (Metro Type).”
Mario Suglia, General Manager. Why companies need kind leaders
Why Companies Need Kind Leaders
Mario Suglia, general manager
“Gentle leadership in companies evolves into collaborative leadership. We discovered the importance of relationships, precisely when physical presence and proximity were taken away from us.”
We could say it all started with an elephant. Probably an elephant mother. And with her “gentle” push to the little one – who, to be fair, weighs a ton as soon as he’s born – perhaps using her trunk, guiding him on the right path, teaching him social habits, and encouraging him to make decisions, without wasting time. Above all, to prevent the little elephant, if he were ever aware of it, from asking: why are you treating me badly?
The question is the one posed by Guido Stratta, Human Resources Director at Enel, when discussing his book “Ri-evoluzione. The Power of Gentle Leadership,” co-written with psychotherapist Bianca Straniero Sergio (Franco Angeli Publisher). It’s a question he often asked himself at the beginning of his career and one that he has frequently heard from some of his younger colleagues when dealing with their “superior.”
Corporate machismo should be put aside, especially when we draw inspiration from pachyderms. The image of the elephant mother and her calf is the one that stays with us on the cover of “Nudge” (the gentle push, indeed), published in 2008 by Richard Thaler and Cass R. Sunstein. Behavioral economics has broken through the barrier of hierarchical and assertive habits that for a long time seemed like the only way to organize and lead work.
It is the awareness of fallibility – Thaler’s behavioral economics is based precisely on the “limited rationality” of the decision-maker – that should make us kinder. Stratta is keen to emphasize – in his book and in the conferences, almost always webinars, over the past year and a half, of course – that the kindness he talks about and wants to attribute to the new leadership has nothing to do with etiquette, nor with biology (in the sense of an individual’s more or less natural propensity for cordiality and courtesy). Gentle leadership is a choice. An intelligent choice, meaning a beneficial one. It may seem like a discovery of the post-pandemic era, when we had to adapt to distanced relationships, somehow more diffused, where the outburst of anger – the slammed door or the voice rising by two octaves – is less feasible and even less effective.
In “distant” relationships, there is an apparent slowness that rewards kindness; the choice to avoid exacerbating situations, rather, to foster understanding already weakened by communication that had to do without much non-verbal communication. Less instinct and more thought. It takes a bit more time to listen, and time imposes softer choices, ones filled with “positive energy,” as the authors say.
In the era of rediscovered sustainability – environmental, social, and organizational – relationships between people who work together are once again central, especially if they are sustainable. Even psychologically. Relationships make and will continue to make all the difference. Without going to the extremes of Johan Huizinga – the great medieval historian argued that friendship was the key difference in relationships between rulers and the ruled – it can be said that in the post-Covid era, relationships are fundamental in the connections between collaborators. One must fiercely compete with oneself, but always collaborate with everyone else.
Gentle leadership in companies becomes collaborative leadership. We have discovered the importance of relationships, precisely when physical presence and proximity were taken away from us. We discovered connection when we had to reinvent it beyond the screen of a computer. Kindness is the trait of the relationship rediscovered in its essence. The relationship – between people, between brands and consumers, between brands and stakeholders, between companies and local communities – is growing stronger. Therefore, it requires care, attention, kindness, and, of course, beauty.
It is the fate of design. Design is the representation of essence, of the soul once of the object and now of the relationship. It is the representation in a process dimension, and thus in a continuous state of becoming.
In this context, brought about by the digital age, brand design combines both material and immaterial dimensions, redefining the sense of community in a contemporary way. It is a much more complex process, impacting everything, and recovering the value-based meaning as the point of connection between those who propose and those who choose, according to principles focused on dialogue. This is why, today, the brand plays a very important role. In a time of crisis, many companies are looking to the future with the desire to reinvent themselves. They are redesigning themselves, placing more and more importance on their values, and rediscovering their identity. And this is precisely where the brand comes in: to represent the idea of the future, values, and aspirations.
The brand shapes the relationships between the company and its stakeholders, and among all internal collaborators, and like the elephant mother, provides the gentle push to make the company a… kind leader.
31 December: New Year’s Eve
As if we were catapulted into Hogwarts castle, let’s imagine entering a dark room and, candelabra in hand, illuminate all the scenes of this year one by one. Perhaps for some we deserve a slap (not a slap, not even Boniface VIII). But for others, we couldn’t help but give ourselves a caress.
There will be points we haven’t reached and which, in this room, will necessarily remain dark. Perhaps in 2022 we will be able to shed even more light on ourselves, perhaps by summoning lateral thinking more often: this is a bit what we have tried to do with “Imaginarea Daily” in these 365 moons.
Therefore, the gauntlet for 2022 is drawn. Meanwhile, for tonight, happy New Year’s Eve and happy New Year’s Eve!
Name day
San Silvestro I, Pope
30 December: Rudyard Kipling was born on this day in 1865
In “The Jungle Book” Mowgli is saved by Kaa the snake who frees him from a tribe of apes by hypnotising them. Some specialists trace our ancestral fear of this reptile back to that felt by primates from whom, non-coincidentally, we are said to descend. The fact is that snakes do hypnotise us: it happened to Eve, as well as to those ill-fated mortals who looked at Medusa a split-second before being turned to stone….
Apart from the two interlocked serpents who have become the symbols of doctors and pharmacists, “The Jungle Book” is one of those rare cases in which this animal is presented in a positive light: he’s something of a helper, maybe deaf initially but when he gets going he’s a source of memory. His function will change from the Disney cartoon onwards where he’s a lacklustre character and a secondary enemy (the main one being the tiger).
In spite of these deletions, we prefer the version that is closest to the novel. Zoos (iconographic or semantic ones included) are also beautiful because they are so varied.
Name Day
St Felix I, Pope
29 December: Charles Goodyear was born on this day in 1800
The jazz musician Gil Evans used to say that all art should be an experiment, and that masterpieces were successful experiments. In 1839 Charles Goodyear accidentally dropped some India rubber (compounded with sulphur) onto a hot stove and discovered that this caused the rubber to vulcanize.
After that moment, transport would never be the same again, although Goodyear’s own life did not roll along quite as smoothly: much fighting ensued over his patents and he even landed in prison in Paris on account of the heavy debts resulting thereof.
Art was our starting point because rubber tyres have always been able to conjure up interesting scenarios: just try counting the number of novels, books or films that have been inspired by motorbikes (to limit ourselves to two-wheelers). Small masterpieces, some of them, the result of a very successful experiment indeed.
Name Day
St Thomas Becket, Archbishop of Canterbury
28 December: The “Don Camillo” stories started appearing on this day in 1946
Luigi Meneghello is one of the least-known Italian writers, yet also one of the most brilliant of his times. He was born in a rural town in the Venetia region but moved to England after the War. There, far from his homeland, he devoted himself to Italian Studies and the teaching of Italian. This was more or less the same period in which Giuseppe Guareschi began to publish his “Don Camillo and Peppone” stories on a weekly magazine called “Candido, settimanale del sabato”. The backdrop against which these well-known characters are continually at loggerheads with one another was also that of a rural Italian town.
These characters are always so strongly in the limelight that few bother to look at the setting, which is in fact very similar to that depicted by the painter Giuseppe Pellizza da Volpedo. So let us, for once, look at his paintings without a heavy heart. Luigi Meneghello describes the people there with the word “need”, used in relation to sundry things: their many basic needs, their obligations (“one needs to work”), not forgetting their moral philosophy (“one needs to be good”).
And yet, when all was said and done, what need was there for anything more than what they already had? These people would go cycling along the banks of the River Po, they would merrily celebrate their town’s patron saint, and the innkeeper’s wine was always of the best. There’s no doubt that these simple characters needed to tighten their belts now and then, but they also knew how to sit tall in their saddles.
Name Day
Feast of the Holy Innocents