Giuseppe Luraghi, a company director, publisher, poet, and writer, was born in Milan on 12 June 1905. After graduating in Economics at Bocconi University in 1927 with a thesis on civil aviation, and after publishing his first articles on the same subject, Luraghi was taken on by Pirelli in 1930 and was sent to the company’s Spanish headquarters. The outbreak of the Civil War forced Luraghi to leave Barcelona, and in 1938 he returned to Italy, where he became the head of Linoleum, a company in the Pirelli Group.

During these years he also embarked on what was to become a literary activity that was particularly intense from both a creative and an entrepreneurial point of view. It was from an intuition of his, which came about in part thanks to his friendship with the poet and engineer Leonardo Sinisgalli, that Pirelli magazine was launched in 1948. It became one of the most fascinating publishing phenomena of the post-war period. Luraghi’s ability to understand and interpret the company led him to imagine an “informative and technical” magazine written by the company and addressed to the general public. It was a way of reaching out to the consumer with much more than just a simple advertising message. Above all, it was a way of conveying business culture.

Together with Sinisgalli, Luraghi enlisted a group of writers, painters, and photographers who represented the best of Italian and international culture at the time. Their task was to present the multinational company through the magazine and to convey its vision of the world in the period of Reconstruction. The result can be seen in the 131 issues of Pirelli magazine that hit the newsstands between 1948 and 1972. In 1949, a year after the first issue of the magazine had come out, Luraghi put his name to an editorial that conveyed a broad reflection on the value of entrepreneurship: “It is no miracle that an industry […] should take on the loftiest, most pressing task of bringing into the cultural debate those issues that are normally considered to be of a lower order […] and to look for what is best in apparently barren, mundane matters, with a view to raising them up and infusing them with the power of the spirit. It is no miracle but simply a natural act of rightful intuition and orientation.

It is a sign of sensitivity and foresight. It is a manifestation of the instinct for conservation – by means of elevation – of our species.” Giuseppe Luraghi left Pirelli in 1950 for a new business venture at Finmeccanica, and was chairman of Alfa Romeo from 1960 to 1974. In Finmeccanica, too, Luraghi successfully launched a company magazine, called Civiltà delle Macchine and Leonardo Sinisgalli was once again by his side. From 1977 to 1982 he was at the helm of Mondadori and throughout his life Giuseppe Luraghi, the manager, never stopped also being a writer and poet, and an essayist as well as a painter: he penned over 20 publications in the form of novels, essays, and poetry books, as well as numerous articles on economics, and his literary output remained very lively until his death in Milan in 1991. His true legacy is his understanding of a corporate culture that we now refer to as “industrial humanism”.

Discover Pirelli’s innovative research with virtual tours and creative activities

La storia di Pirelli è densa di innovazioni che hanno cambiato il nostro modo di comunicare, vivere e viaggiare. Per ripercorrere questa storia, lunga quasi 150 anni, la Fondazione propone una settimana di attività digitali gratuite dedicate a visitatori di ogni età. Il nostro team condurrà queste esperienze virtuali, alla scoperta di un grande patrimonio di idee, arte, scienza “con la P maiuscola”.

Pirelli’s history is packed with new technologies and research that have changed the way we communicate, live, and travel. To retrace this almost 150-year-long history, the Foundation is putting on a week of free digital activities for visitors of all ages. Our team will guide you on this virtual experience, opening up a vast heritage of ideas, art, and science. All “with a capital P”.

Breakfast with the Inventors – online campus from 22 to 26 June, 10 a.m.

Every morning, a group of ten children aged from 6 to 8 will be able to take part in a virtual journey that will give them a close-up look at the stories of great inventors and find out how a revolutionary new idea is created. From the evolution of the wheel and bicycles, to foam rubber and photography: games, stories, and creative activities will show the children how to adopt a critical approach to the objects they have around them, helping them become inventors for a day.

Duration: about 60 minutes

Innovation in Art and Science – virtual guided tours, 6 p.m.

In the afternoon, the virtual tour of the Foundation will open the drawers and cabinets of the Historical Archive, revealing artistic prints from the early twentieth century, tyres that have won the most amazing races, toys designed by Bruno Munari, and much more besides. You will be plunged into a truly immersive experience in the spaces of the Foundation and in the Advertising with a Capital P exhibition, where you will find out about Pirelli’s many breakthroughs also in the development of visual communication.

Visits for everyone: Monday 22 – Wednesday 24 – Friday 26 June

Visits for children up to 11 years with their families: Tuesday 23 and Thursday 25 June

Duration: about 60 minutes

Booking is required for all activities: please write to visite@fondazionepirelli.org, giving your first name and surname, the activity you have chosen and, for visits, also the day of your choice.

Full information on how to take part will be given in the booking confirmation e-mail.

Booking ends:

at 12 noon on Friday 19 June for Breakfast with the Inventors

at 12 noon on the day of the visit for the Innovation in Art and Science visits.

Pirelli is a supporting partner of the 58th edition of the Premio Campiello, the prestigious literary award launched by Veneto industrialists in 1962 for works of Italian fiction. The company thus reconfirms its commitment to promoting reading and its support for cultural projects and events. Throughout its almost 150-year history, Pirelli has always recognised the importance of the interaction between the world of business and that of culture, and it has been the driving force behind many important innovations in the field of industry, communication, and corporate culture.

The five finalists of the 2020 edition of the Premio Campiello were announced on 1 June and will be officially presented on Friday, 3 July, at the Scuola Grande della Misericordia in Venice. The popular jury, made up of 300 readers, will have to choose the winner, who will receive the award in September. The finalists this year are:

Patrizia Cavalli, Con passi giapponesi (Einaudi, 2019)
Sandro Frizziero, Sommersione (Fazi, 2020)
Francesco Guccini, Tralummescuro. Ballata per un paese al tramonto (Giunti, 2019)
Remo Rapino, Vita, morte e miracoli di Bonfiglio Liborio (minimum fax, 2019)
Ade Zeno, L’incanto del pesce luna (Bollati Boringhieri, 2020)

Over the coming weeks, the libraries section of this site and our social media channels will have more to tell you about the finalists and their works, with reading suggestions, contributions from the authors and leading personalities of the award, and in-depth analyses. An absolute must for all book-lovers.

Manufacturing and interpersonal relationships analysed from an ethnographic perspective

Working and doing business as a human activity, to be observed from a scientific – and not solely economic – perspective. Work is an expression of the various cultures (of production), but also of social structures, interpersonal relationships, and world views that change from organisation to organisation, all of which have their own unique features, which must be understood and respected. This is business, and all that it entails, viewed from a humanities perspective. It is an interesting viewpoint indeed, and one which must be taken into consideration in order to gain an awareness of the aspects that are often overshadowed by the dominant perspective taken by business-centric studies.

This is precisely what “L’etnografia del lavoro e il lavoro dell’etnografia” (“the ethnography of work and the work of ethnography”) written by Andrea Bottalico and Valeria Piro and published recently, helps us to achieve. The two authors discuss the issue from a different point of view from the norm, and their goal is to provide a synopsis of the various studies “on work”, using the ethnographic method as their basis. Particular attention is also given to gaining an understanding of workplaces, in order to provide a general overview the current changes occurring in global value chains, and in work processes seen as a whole. One of the most unique characteristics of this study is the fact that it delves into the toolbox of ethnography, selecting instruments that overlap with the work of the ethnologist, including statistical surveys on certain groups of workers, and journalism and literature on business and employment.

The goal of the article – which was written as an introduction to a special issue of the journal Etnografia e ricerca qualitativa (“ethnography and qualitative research”) – is not to set out new theories with which to interpret the concepts of work and business; rather, it seeks to present everything that has been done so far in this regard in a clear manner. As such, the work touches upon themes such as the organisation of production, technological innovation, life in the workplace and the social relationships that are established in production organisations.

Bottalico and Piro’s analysis reveals all the complexity and depth of work which – even today – is widely viewed as one or the core elements of human activity, composed of both material and immaterial elements that are interwoven with one another, and as such, cannot be separated.

L’etnografia del lavoro e il lavoro dell’etnografia

Andrea Bottalico, Valeria Piro

Etnografia e ricerca qualitativa, 1/2020, pp. 5-29

The five final texts selected for the Biella Prize for Literature and Industry recount the different aspects of production and work

 Telling the story of business and businesses. And particularly, of those who work within them. An undertaking that must be carried out in a comprehensive manner, not only focusing on industry, but also looking at the wider and more complex production system. Telling these stories also means examining the human events that surround and take place within production sites; the social structures that are formed, the aspirations and dreams of individuals and groups, the victories and defeats, the things that need correcting, and the things that must be remembered, valued, passed on.

All of this is part of what it takes to construct a high-level business culture; a culture that does not merely apply to a few, but which is instead understandable and accessible for many, or indeed for all.

This is the meaning that lies behind the five books that have just been announced as the finalists of the 2020 edition of the Biella Prize for Literature and Industry, which on a yearly basis, seeks to give recognition to novels or essays that succeed in capturing the changes that are taking place in the economy and in society, and in exploring the links – which are often strong – between creating literature and creating industry.

The core of topics – which range from the context in which production takes place to the experiences of individual entrepreneurs, and from the analysis of various aspects of production that have almost been forgotten to the current possible social structure of modernity, along with emblematic stories of industrial Italy – are the focus of the five titles competing for the final prize, between now and November.

An essay written by Michele Ainis, “Demofollia. La Repubblica dei paradossi” (“democr-insanity: the republic of paradoxes”) highlights all the inconsistencies, short circuits, failings and paradoxes of a democratic system which, in order to be put back on track, must first be analysed and understood. It is the design of the frame within which production is obliged to remain. The author writes: “Italian democracy is as capricious as an unfledged teenager, like a flamenco dancer. Hence its signature style: mood swings, incoherence, whimsical choices.”

Meanwhile, Maria Paola Merloni recounts the story of an entrepreneur whose absence is still keenly felt today, in his “Oggi è già domani. Vittorio Merloni vita di un imprenditore” (“today is already tomorrow: Vittorio Merloni, the life of an entrepreneur”). She speaks of her father’s life, his social and corporate dedication, creating a text that seeks to sketch a model for making courageous choices, for cultivating a passion for work, and for conjuring a sense of responsibility with regard to the collective good. “His is a different distance; not one of space, but rather of time and absence. Of emptiness,” writes the author, who remembers “when the workers who have worked for him and for his company for a lifetime take to the streets to protest – concerned about their future – decide to wear a blue T-shirt bearing his photo and the words: ‘One of us. We miss you.’ ”

Meanwhile, a focus on forgotten souls characterises an essay written by Adriano Prosperi, “Un volgo disperso. Contadini d’Italia nell’Ottocento” (“missing commoners: Italian peasants in the nineteenth century”), which describes the subaltern nature of life as a peasant in the Europe of the past centuries, telling the story of a class that has been erased by the dominant culture. “That past,” writes the author, “is being dizzyingly erased by the change that has seen Italy transformed into a great industrial power. Something other than the sequence of events that concern industry and new technologies, but which has nonetheless in its own way constituted the basis for progress today.”

This today, meanwhile – as Luca Ricolfi explains in “La società signorile di massa” (“Mass noble society”), outlining an element that has been defined as a new category through which to interpret the current social order – is built on the concurrence of three conditions: the fact that the number of citizens not working has dramatically exceeded the number of citizens that work, the fact that access to opulent consumption has now been granted to a large section of the population, and finally, the fact that the economy has entered a period of stagnation, and productivity has been standing still for 20 years.

But this same today has arrived in the wake of a past that is composed of suffering and mistakes, as well as dreams, like the one described by Salvatore Romeo in “L’acciaio in fumo. L’Ilva di Taranto dal 1945 a oggi” (“steel up in smoke: Taranto’s Ilva, from 1945 to today”), which retraces the story of Ilva, the Italian steel company – a story within which economic and business history, urban and environmental history and political and social history intertwine, revealing the tale of a city and its relationship with the steelworks. A story that only “appears to be a local interest story.”

The corporate culture that is recounted and examined by the five titles vying for the Biella Prize 2020 is vast and complex. These are good books which enable us to gain a better understanding of what has happened in the past, and what is happening now, thus allowing us to become more consciously involved in current and future events.

Demofollia. La Repubblica dei paradossi

Michele Ainis

La nave di Teseo, 2019

Oggi è già domani. Vittorio Merloni vita di un imprenditore

Maria Paola Merloni

Marsilio Editori, 2019

Un volgo disperso. Contadini d’Italia nell’Ottocento

Adriano Prosperi

Einaudi Editore, 2019

La società signorile di massa

Luca Ricolfi

La nave di Teseo, 2019

L’Acciaio in Fumo. L’Ilva di Taranto dal 1945 a oggi.

Salvatore Romeo

Donzelli Editore, 2019

Our top universities are improving in the international rankings: 36 are among the top thousand in the world. The Polytechnic of Milan is the first in Italy and 137th in the Qs World University Ranking 2021, followed by the University of Bologna, the Sapienza of Rome and with 33 other universities. Milano-Bicocca is mentioned for scientific subjects (the USA are always at the top of the Qs, with Boston’s MIT, Stanford and Harvard). In another ranking, from the “Financial Times,” the Finance degree from Bocconi University is ranked seventh in the world, after five French universities and St. Gallen in Switzerland and before MIT Sloan and Imperial College London.

Here’s the good news: we have achievements to be proud of in the world of education.

But here’s the bad news – in general, our universities are getting fewer registrations, with 37,000 less enrolments over the last 15 years. It’s true that recently we had been regaining young people, but the first few months of Covid-19 have frozen everything.. Worse still, because of the squeeze caused by the health crisis and the resulting recession, graduate employment plummeted by 9% in the first five months of 2020.

Looking at both sets of data together, one thing leaps out to the critical observer: in a period where the “knowledge economy” is gaining importance, Italy is losing steam. We have less graduates than other European countries. In fact, numbers are in decline. This results in a competitiveness crisis.

The key issue is: a lack of competitiveness. Italy’s economic growth as been struggling for twenty years. The productivity of the country system is at a standstill. The boost from the best companies, those that innovate, invest and export, fails to compensate for the unproductivity of the public authorities. Many public services take away from market dynamics and the political sector has client lists with bad motives, companies that do not evolve, preferring to stick with protections and subsidies (Alitalia is the most striking example of this).

Unfortunately, the words “competitiveness” and “productivity” resonate little with the States-General, convened by the Conte government and ongoing Rome, apart from in the opinions of entrepreneurs about the issue. This should be the central problem when forming government responses, with serious and consequential choices. Otherwise, we will remain in the swamp.

There are basically two major pillars of economic development, especially in the most robustly industrialised countries. One is the green economy, choosing environmental and social sustainability for balanced growth, that does not devastate natural resources and radically corrects increasingly unacceptable social inequalities. The other is investment in the digital economy, for products and services that can take advantage of the opportunities of artificial intelligence, big data, cloud computing, robotics and all the developments of the Internet of Things.

These are the EU recommendations for the use of the Recovery Fund “Next Generation” resources, to try and get out of the pandemic and the recession: major investments in infrastructure, both material and intangible; the development of European-based 5G; a radical innovation in our economies, to finally address the issues of quality and sustainable development and to establish converging economic and social cultures and policies. These measures would help Europe and individual countries deal with health shocks and major environmental challenges (such as mitigating climate change without eliminating economic growth, or even strengthening it) and social balances.

How? By investing in research, education and lifelong training. Also, guiding the transformations that the evolution of the digital economy imposes on our lives, changing them and often improving them (we have seen the implications on health, work, school, transport and services in the months of the pandemic and lockdown).

We need knowledge and skills, culture, economic dynamism, commitment to science, research, training and innovation.

Italy is way behind in this respect. Graduates make up just 19% of the population, compared to an OECD average of 37%. Many of our young graduates go abroad, looking for better opportunities for life and work. We are in third place in the EU for digitisation and last for “digital skills” (the European Commission’s DESI index, Il Sole24Ore, 12 June). We suffer from a dramatic technological delay. The reduction in the number of university applicants and graduates, which we mentioned earlier, will only make the situation worse. Having a core of excellent universities, which can compete on an international level, is a source of Italian accomplishment and pride, but it does not bridge the gap in the country system. If anything, it shows that by following the example of the best facilities, the whole school and education system could improve greatly, at every level. There needs to be adequate investment, quality political decisions and awards for merit and competence.

It’s therefore essential to invest in education. In schools and universities. In research, science and technology transfer. In digital innovation which can transform all the country’s institutions, leading to a strong restoration of competitiveness.

It’s important for the politicians to focus on these issues, over and above platforms and rhetoric. The government and political forces need to study more and better, avoiding the easy communication choices of propaganda. They need to finally show that they are capable of being consistent with the opportunities put in place by the EU, in extraordinary amounts. They need to avoid wasting EU funds. Finally giving Italy what it is owed and what it deserves, following the struggle of these last few months: an improved development path, especially for the future generations. .

In 1993, Pirelli advertising came back to television with immensely popular endorsers and internationally renowned directors, like in the day of Juan Manuel Fangio and the Gammafilm commercials. Also the “If you’re going to drive, drive” campaign used a well-known face – one that everyone recognised and that reminded motorists that the Pirelli brand has always been a mix of performance and charm. It was the actress Sharon Stone, just back from her worldwide success in the film Basic Instinct in 1992. The Dutch director Willy van der Vlugt’s commercial, Driving Instinct, entered the homes of millions of European viewers.

The photograph of the American athlete Carl Lewis in red stiletto heels was taken in 1994 and appeared with the words Power is nothing without control. The advertising campaign, which in five words confirmed Pirelli’s brand reputation, was the brainchild of the Young & Rubicam agency. From print to video: in 1995 the “Power is nothing without control” campaign became a television commercial, which became a cult hit. Directed by Gerard de Thame, Carl Lewis is seen in a race, packed with special effects, along the New York skyline. He runs all the way to the Statue of Liberty, across the Brooklyn Bridge, and then over the waters of the Hudson River and up to the top of the Chrysler Building. In 1997, the French athlete Marie-José Pérec, the fastest woman in the world, took over from the “Son of the Wind”. Again with Gerard de Thame directing, Pérec revisited Carl Lewis’s race in a dreamlike manner: not in New York, however, but in an imaginary world of molten lava and ice, with the athlete fleeing from sea monsters, fiery lava flows, collapsing rocks and other dangers. At the end of the video, she shows her foot, revealing the Pirelli tread that has enabled her to race back to safety.

For the 2000-2001 advertising campaign, Pirelli Pneumatici turned to the Armando Testa agency, and this led to another turning point. The age of universally renowned endorsers was over, giving way to a new one, in which “the star is the product itself”. Wild was a television commercial directed by Thed Lenssen, who headed a group with stage effects by Allen Hall (Oscar winner for Forrest Gump), sound by Dane Davenis (Matrix), editing by Hank Corvwin (Natural Born Killer), and lighting by Harrisy Savides, who was famous for the video clips of pop star Madonna. An entire herd of tyres – with the sole exception of a Pirelli – go flying off the precipice in Colorado from which Thelma and Louise take flight at the end of the famous film: two thousand tyres launched at 80 km/h. The following year, the scene moved to the sea: in The Grip, directed by Jan de Bont, the herd becomes a school of fish: we see a deep-sea fishing boat with its crew waiting for their catch, which is soon upon them, pulling on the line and dragging the boat down. The marlins, who win the battle, emerge one by one almost as if to mock the fishermen: they are Pirelli tyres, which have perfect grip even on water. In the 2000s, Pirelli tyres are the stars of a visual communication that has gone from graphics to television, and has ended up in the world of cinema.

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“Riccardo Manzi is not a graphic artist. He is a painter, a philosopher, a humourist. His exhibitions and books have been acclaimed by the general public and critics.” This is how, in an article entitled “The graphic artists club”, Pirelli magazine no. 4 of 1961 describes one of the most representative and prolific interpreters of Pirelli’s visual communication in the 1960s: the years of the Cinturato, a revolutionary tyre that became a benchmark for the entire automotive world. The same article from 1961 reveals a curious aspect of Manzi: “He’s terrified of machines. He doesn’t know how to drive, and he can’t use an electric whisk, or even an electric razor: when faced with any mechanical contraption, he just yells and runs away.” And this explains a lot about the imagination of the painter-philosopher-humourist, who was born in Lazio but became Milanese by adoption. His little hominids always make purely jocular use of tyres, pulling them down over their eyes, using them as an umbrella, or turning them into an elegant hat. The Cinturato, Inverno and BS3 tyres are so safe that you can “drive blindfolded” and you don’t need to worry “about snow and ice”, or you can just use them as elegant objects. Just as their creator, who is terrified of machines, would prefer to do.

At the opposite extreme from Manzi’s meta-message is the “N+R” campaign of 1961 and 1962, which promoted the safe, ultra-efficient tyre with a nylon and rayon casing. “Their safety is worth more than a thousand lire” warn the posters created by Ugo Mulas, Giulio Confalonieri, and llio Negri, in which photos of children and puppies are followed by long, meticulous explanations and the results of physical tests. Rational, direct, and effective, the “N+R” tyre is perfect for the father who wants a truly safe product for his car and his loved ones. It is no coincidence that the logo, with its clean lines and use of colour, is the work of the hyper-rationalist Bob Noorda – another great name in the universe of artists who have worked with Pirelli during its long history of communication.

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As the 1990s drew near, the Pirelli range of car tyres was completely renewed, with the exception of the P600, which had been approved for a wide range of models in the sports sector and continued to be a benchmark on both sides of the Atlantic. This massive renovation involved the medium and medium-high range of European cars. The P2000, a “universal” tyre suitable for both compact cars and medium-class sedans, started the ball rolling in 1989 and was immensely popular. The following year, in 1990, the P4000 was destined for a very demanding, high-end market, offering high levels of comfort, quiet running, and safety. The new family of “three-digit” Pirelli tyres for the 1990s was completed in 1991, which brough the launch of the P1000. This was a “small” tyre created for city cars and sub-compacts, a market that was new but rapidly expanding. For Pirelli tyres, it was the beginning of a new journey. A great new journey.

In the magical world of advertising, the tyre went back to being the absolute star of the road. It was almost like going back to the 1930s, to those advertisements painted by poster artists such as Renzo Bassi, with gigantic Stella Bianca tyres in the foreground, looming over the landscape and taking centre stage. Another star in the illustrations was the tread pattern of the Pirelli P600 in the 1988 advertising campaign, when it was shown from the front, in three-quarter profile, or even reflected in a puddle. The lead actor changed, but not the close-up approach in the 1989 campaign, which was devoted to the Pirelli P2000.

Portrayed in a hyper realistic manner by the Greek-American painter Miltiades Skouras, the tyre fills the field of vision, promising motorists that they will remain firmly on the ground, or ready to wear out the road before they wear out themselves, or to be so comfortable as to be totally insensitive to the cobblestones. Another year, and another actor: the star of the 1990 campaign was the Pirelli P4000. In the viewfinder of the photographer Paolo Gandola‘s camera, the tyre appeared in a way that was very different from traditional photos of such products, for it was seen entirely from the side, highlighting the Pirelli “8P” circle. The idea of the safety and comfort of the P4000 was entrusted to a cat peacefully sleeping on it, as well as to a compact disc that could eliminate any background noise, and to a pair of red high heels that convey the idea that skidding had been mastered.  In 1991 the family was completed with the Pirelli P1000, the tyre that “makes life simpler” for those who drive compacts and the latest-generation city cars. In the advertisement, the perspective changes yet again: the view is now from above, “like from a window on the first floor of a hotel”, to see what really is beneath the bodywork of the car.

Artistic styles old and new come together to put a product with “a rubber soul” at the heart of communication.

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In 1957, Arrigo Castellani, the director of Pirelli’s “Ufficio Propaganda”, invited the six top designers of the time to his home by the Ticino River. Ezio Bonini, Antonio Boggeri, Franco Grignani, Erberto Carboni, Bob Noorda, and Pino Tovaglia thus came together to create a multi-artist advertising campaign. The theme was the same for all of them: roads and journeys, by car and in safety. With 33 subjects and a total of more than 500 advertisements, the 1957 advertising campaign for Pirelli Stelvio, Rolle and Cinturato tyres captures the spirit of an age – that of the Fabulous Fifties, in which any and every road can be taken. La strada è bella – “The road is beautiful”, is the message in Grignani’s collages, which invite people to take to the roads and motorways of Italy and travel far and wide. To visit villages and cities of artistic importance, Carboni adds, with his views of the monuments and squares that are the treasures of Italy. Travelling through clean, ethereal geometries, as Noorda puts it in his drawings of road junctions, bridges, and highways, in the name of modernity.

If you want to travel, you need a car, so Boggeri uses roundabouts, hairpin bends and crossroads in his drawings to convey the message promoting Cinturato, Rolle, and Stelvio tyres for Fiat, Alfa and Lancia models. Bonini makes reference to physics and experimentation to ensure a safe journey. In 1953, Bonini, who was something of a veteran in the field of communication, had himself already created the historic campaign called “How many calculations nature makes” starting from the ideas of the engineer-poet Leonardo Sinisgalli. Molecules, geometric sequences, and genetic sediments form a snail shell or the shell of a crustacean, or even a Pirelli Stelvio tyre.

The individual personalities behind these very different visions and creative forms all expressed the unique and unmistakable style of the Long P.

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