Bruno Munari conceives this original toy as an incentive for children’s imagination: the foam rubber – with a simple wire, whose extremities are stuffed, so they are not dangerous – can be bended to take different configurations, that fulfil the narrative ambitions of the game. Zizì was developed starting from a cat-shaped toy, called Meo Romeo, designed by Munari in 1949. Pablo Picasso – who had an example in his studio – defined it as “a philosopher’s work”.

Mirella by Marcello Nizzoli – sinuous, ergonomic, easy to use and at the same time offering a professional performance – determines the Necchi’s transition from being the first Italian company to produce sewing machines to be one of the most important actors on the international market. Mirella belongs to the MOMA NY collection.

Maybe it is the most rooted symbol – together with the moka pot – of the idea of Italy. The 500 Car is an everlasting icon, that shows how it still manages to raise interest both on an international and national level. Designed by Giacosa after the Topolino’s success, this is the predecessor of the city car, and it has represented an unprecedented combination between the compactness of lines and sinuosity, as well as to become the first economy car of many Italians. It was developed in several models – the N, the economic N, the convertible, the Giardiniera etc. – and even today it has been restyled in one of the most successful models of the automotive industry: the new 500 Car.

The T12 was the result of a national competition organised under the aegis of the Triennale to produce a school chair to furnish the tens of thousands of new schools to be built during the Italian economic miracle. Inspired by Montessori’s philosophy, the chair in tubular metal and curved plywood guarantees fluid movement for the body and rethought ergonomics thanks to a lower back support.

An evolution of the snap clocks – such as the Cifra 5 clock – developed by Solari, the alphanumeric tele-indicator for departures and arrivals boards in airports and railway stations became a familiar icon in the daily life of all Italians. The foreign feedback was exceptional as well: adopted in train stations and airports around the world, it was also used for the “countdown” of the Cape Canaveral aerospace base.

An earthly translation of a heavenly inspiration, Vico Magistretti’s Eclisse lamp for Artemide has become a great design icon for its fair versatility. Thanks to its spherical lampshade in painted steel with integrated double screen, it allows to adjust and direct the light at will, while the “interactive” screening mechanism transforms it into a fun device capable of meeting the needs of the moment.

An emblem of an informal style that knows how to be elegant, Soriana celebrates softness and the absence of sharp edges. The use of polyurethane foam, revolutionary at the time, is combined with the equally innovative use of a metal tube that wraps around the seat, recompacting it and at the same time imposing itself as a graphic sign.

The history of Italian design is inextricably related to the magazines that have told it. Among them, Modo has been a very important critical platform for design culture. It was founded by Valerio Castelli, Giovanni Cutolo and Alessandro Mendini and financed in the early years by ten Italian companies that shared its spirit and function. Modo was published from 1977 to 2006 and represented a crossroads for the exchange of critical opinions, an open space for the contributions by the major figures in the sector, as well as an instrument of contamination between design in the strict sense and the broader applied culture.

A formal synthesis between structural solidity and geometric elegance. The modular suspended ceiling designed by Carla Venosta is a metal structure designed to adapt to large surfaces, particularly those in industrial spaces.

The service conceived by Richard Meier is a play of volumes that combines an ideal type teapot with the shape of its mould. Alessi is one of the most awarded Italian companies at the Compasso d’Oro: coffee makers and table accessories have won 10 awards.

Essential in its lines and overall dimensions without exceeding in thoroughness. Enzo Mari’s Tonietta is the result of a complex technical experimentation to ensure a competitive serial reproduction of the die-cast aluminium structure. Enzo Mari called it a reinterpretation of the Thonet because of the lack of pretentiousness in its lines. 

An integrated chair for dentists. It stands out for its ability to combine ergonomic prerogatives for both patient and dentist, ensuring the latter a wide operating range in a small space.

A self-supporting screen made of corrugated cardboard that can be shaped as desired. Cartoons overturns the stereotype of the preciousness and sumptuous decoration of this type of furniture and stands out for its sinuosity, enhanced by brushed die-cast aluminium profiles.

Inspired by the anonymous model of the coachbuilder’s light, MayDay – the name refers to the first of May and the celebration of the working class – is as accessible in price as it is in use. Its handle allows a flexible use of the lamp, which can be hung or carried by hand.

Ptolomeo is an innovative model of pillar and concealed bookcase, to be decorated with books and at the same time to be placed where the house offers a dead angle ready to cram volumes in. Ptolomeo is the result of Bruno Rainaldi’s brainchild, a sales manager who is a keen observer of consumption and the latent needs of the home world, and who has become a designer here.

A concave polyurethane ring embraces the steel case of the watch characterised by its iconic yellow dial, and combined with a vanilla-scented polyurethane strap. Lorenz achieves with Neos its second Compasso d’Oro after the famous Richard Sapper’s Static. 

A curious hybrid between a seat and a game – by pushing it with your feet you can make it rotate on itself. Spun is a kinetic seat that works both statically and in motion, while always encouraging a dynamic position of the body. Made from a single piece of polyethylene using the rotational moulding technique, it can also be used outdoors.

OMA’s project marks the entry of architecture into the Compasso d’Oro and is celebrated for “the original combination of architecture that moves among preservation, creativity and sustainability”.

Hannes is a prosthetic hand that can recover up to 90% of the function of an amputated limb. Designed from anatomical models, haute couture dummies and works of art, it harmoniously integrates with the body, imposing itself as a new formal synthesis for bionic components.