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Ethics above all

Paul Collier’s latest book, now available in translation in Italy, describes the crisis of modern capitalism and shows the road we need to take in order to get out of it

Capitalism is on the ropes: a problematic present, an uncertain future. Social and economic systems are finding themselves forced to revise their principles of conduct, and fast. Walls on one side, and gaps on the other. Juxtapositions, rifts, anxieties. These are the themes around which the latest book by Paul Collier – Professor of Economics and Public Policy at Oxford and former director of the World Bank’s research department – revolves. “Il futuro del capitalismo” (the original title of which is The Future of Capitalism) has just been released in translation in Italy, and is a great read for anyone who wishes to focus on the broad theme of the current state of capitalism and the way in which it is developing (including in light of the most recent emergencies).

Collier begins with a vivid description of the reality in which we find ourselves today, where new and deep-rooted contrasts and juxtapositions are tearing up the social fabric of Western societies: big cities versus poor provinces, highly-specialised elites versus the masses of low-skilled workers, rich countries versus poor countries. These conflicts are giving rise to new anxieties, new anger and new political passions.

On the basis of this situation, the author discusses the need to re-found our ethical principles, beginning with the very foundations of morality and then moving on to the ethical State, ethical business, families and the ethical world as a whole.  In this section of the book, among other things, Collier cites a number of examples of companies such as GM and Toyota, drawing attention to crucial issues such as the relationship between profit and the other goals of production organisations.

Having concluded his description of reality as it currently stands and after an exploration of the potential for a recovery of ethics, Collier then goes on to analyse the fundamental elements required for a “reconstruction of inclusive society”, focusing on both geographical divides and those pertaining to social class.

The author’s conclusion is this: the only way to ensure a dignified life for all is if capitalism succeeds in creating an ethical foundation for itself, rendering it fair and compassionate, and not simply efficient and economically thriving. In other words, a capitalism in which dignity and reciprocity prevail over aggression, fear and humiliation – the core characteristics of our “rottweiler society”.

Paul Collier’s book is a brilliant, fascinating read – it doesn’t shy away from issues, but nonetheless offers a potential route towards a new path for renewal – one which, in light of recent events, is even more necessary.

Il futuro del capitalismo (The Future of Capitalism)

Paul Collier

Laterza, 2020

Paul Collier’s latest book, now available in translation in Italy, describes the crisis of modern capitalism and shows the road we need to take in order to get out of it

Capitalism is on the ropes: a problematic present, an uncertain future. Social and economic systems are finding themselves forced to revise their principles of conduct, and fast. Walls on one side, and gaps on the other. Juxtapositions, rifts, anxieties. These are the themes around which the latest book by Paul Collier – Professor of Economics and Public Policy at Oxford and former director of the World Bank’s research department – revolves. “Il futuro del capitalismo” (the original title of which is The Future of Capitalism) has just been released in translation in Italy, and is a great read for anyone who wishes to focus on the broad theme of the current state of capitalism and the way in which it is developing (including in light of the most recent emergencies).

Collier begins with a vivid description of the reality in which we find ourselves today, where new and deep-rooted contrasts and juxtapositions are tearing up the social fabric of Western societies: big cities versus poor provinces, highly-specialised elites versus the masses of low-skilled workers, rich countries versus poor countries. These conflicts are giving rise to new anxieties, new anger and new political passions.

On the basis of this situation, the author discusses the need to re-found our ethical principles, beginning with the very foundations of morality and then moving on to the ethical State, ethical business, families and the ethical world as a whole.  In this section of the book, among other things, Collier cites a number of examples of companies such as GM and Toyota, drawing attention to crucial issues such as the relationship between profit and the other goals of production organisations.

Having concluded his description of reality as it currently stands and after an exploration of the potential for a recovery of ethics, Collier then goes on to analyse the fundamental elements required for a “reconstruction of inclusive society”, focusing on both geographical divides and those pertaining to social class.

The author’s conclusion is this: the only way to ensure a dignified life for all is if capitalism succeeds in creating an ethical foundation for itself, rendering it fair and compassionate, and not simply efficient and economically thriving. In other words, a capitalism in which dignity and reciprocity prevail over aggression, fear and humiliation – the core characteristics of our “rottweiler society”.

Paul Collier’s book is a brilliant, fascinating read – it doesn’t shy away from issues, but nonetheless offers a potential route towards a new path for renewal – one which, in light of recent events, is even more necessary.

Il futuro del capitalismo (The Future of Capitalism)

Paul Collier

Laterza, 2020

Rubber and its Stories:
Distance Education for Primary Schools

The first course shared with teachers in the Pirelli Foundation Educational programme, which is designed to help Italian schools expand their remote education services, lets children find out about the origin of natural rubber, its characteristics and its uses – with a particular focus on tyres – and to see and listen to the stories that have sprung from the imagination of great authors inspired by this material.

The school subjects involved in these analyses are: Art and Image, Science, Italian, and History.

Each teacher can choose whether to present the children with all the elements included in the course or only one or more elements, depending on the time available and their study plan. At the end of each section, some activities are suggested, which the children can perform on their own, as instructed by the teacher.

The content is structured as follows:

  • Video – Natural rubber

Pirelli: where rubber comes from and how it is used

  • Audio – Il bambino di gomma by Alfonso Gatto

Reading of the poem on the “child made of rubber” by the Salerno-born writer Alfonso Gatto, from Pirelli magazine, with an introduction on the author

 

  • Video – News from the Turin Motor Show

A humorous animated commercial created in 1951 by Toni Pagot, the cartoonist and pioneer of Italian animation cinema

  • Audio – Il gatto di gommapiuma ha i baffi di nailon by Bruno Munari

Reading of the text on “the foam-rubber cat with nylon whiskers”, from Pirelli magazine, by the famous artist Bruno Munari, the inventor for Pirelli of the toy cat Meo Romeo, with an introduction on the author

 

  • Video – Auteur sketches

Guided interpretation of two historical sketches for Pirelli tyre advertisements

 

VISIT TO THE FOUNDATION

The course ends with a Virtual Tour – a visit to the Pirelli Foundation from home.

Like a treasure hunt, the children will be able to move around the rooms of the Foundation looking for objects related to the themes examined in the course.

If you would like to receive this information, or have any further requirements, please write to scuole@fondazionepirelli.org

caption: Sketch for a Pirelli Rolle tyre advertisement, 1958, Brunati – Mendini – Villa

 

 

The first course shared with teachers in the Pirelli Foundation Educational programme, which is designed to help Italian schools expand their remote education services, lets children find out about the origin of natural rubber, its characteristics and its uses – with a particular focus on tyres – and to see and listen to the stories that have sprung from the imagination of great authors inspired by this material.

The school subjects involved in these analyses are: Art and Image, Science, Italian, and History.

Each teacher can choose whether to present the children with all the elements included in the course or only one or more elements, depending on the time available and their study plan. At the end of each section, some activities are suggested, which the children can perform on their own, as instructed by the teacher.

The content is structured as follows:

  • Video – Natural rubber

Pirelli: where rubber comes from and how it is used

  • Audio – Il bambino di gomma by Alfonso Gatto

Reading of the poem on the “child made of rubber” by the Salerno-born writer Alfonso Gatto, from Pirelli magazine, with an introduction on the author

 

  • Video – News from the Turin Motor Show

A humorous animated commercial created in 1951 by Toni Pagot, the cartoonist and pioneer of Italian animation cinema

  • Audio – Il gatto di gommapiuma ha i baffi di nailon by Bruno Munari

Reading of the text on “the foam-rubber cat with nylon whiskers”, from Pirelli magazine, by the famous artist Bruno Munari, the inventor for Pirelli of the toy cat Meo Romeo, with an introduction on the author

 

  • Video – Auteur sketches

Guided interpretation of two historical sketches for Pirelli tyre advertisements

 

VISIT TO THE FOUNDATION

The course ends with a Virtual Tour – a visit to the Pirelli Foundation from home.

Like a treasure hunt, the children will be able to move around the rooms of the Foundation looking for objects related to the themes examined in the course.

If you would like to receive this information, or have any further requirements, please write to scuole@fondazionepirelli.org

caption: Sketch for a Pirelli Rolle tyre advertisement, 1958, Brunati – Mendini – Villa

 

 

The Pirelli Foundation for a Film on Fangio

A Life of Speed: The Juan Manuel Fangio Story, a feature film made by the Argentine production house Cinema 7 Films, is being distributed on the Netflix platform. The film tells the long, passionate life story of the man who is still considered as the greatest car driver of all time. With the wholehearted backing of the family of the driver from Balcarce, the documentary comes vividly to life with an abundance of testimonies from great racing champions of yesterday and today. It has a wealth of vintage footage, based on the stories of those who had the good fortune to know him and to work with him.

The Pirelli Foundation was one of the first to be contacted by Cinema7: as the headquarters of the Group’s Historical Archive, the Foundation holds much of the historical memory of this driver who, possibly more than any other, linked his career to the “Long P” brand. Because, in the case of Fangio, it was not just a “technical” partnership between a racing champion and the manufacturer of the tyres fitted on the many cars in which he raced and won: Fangio and Pirelli formed a bond that went way beyond their professional relationship.
The racing results naturally came first, and Fangio’s long career with Pirelli, from 1949 to 1957, in Formula 1 and in the Mille Miglia, is fully documented in our Historical Archive. Countless photos have been preserved, some of them personally autographed by the Argentine driver. And both Pirelli magazine, and the Páginas house organ of Pirelli Argentina repeatedly wrote about Fangio and his sporting successes.

But then, as we were saying, there was also “another Fangio” for Pirelli. By 1950 the driver was already starring in some scenes of the film Last Meeting. In a photo reportage now in the Historical Archive on the backstage of the film, Fangio plays himself at the start of the Italian Grand Prix: the scene is set in the Alfa Romeo-Pirelli pits at the Monza race track.
Again in 1965, Fangio shot a series of commercials for the Pirelli Cinturato, which appeared on the Carosello programme of the Italian RAI television station. In the commercial, which was directed by Roberto Gavioli for Gammafilm, the driver is seen racing on the Monza track in an Alfa Romeo Giulia GT. Recalling that he had previously raced with the Stelvio, Fangio acknowledged that the Cinturato was “extraordinario”. Our Foundation also has the original photo shoot created by Ugo Mulas on the backstage of that commercial. Also in 1965, the designer Pino Tovaglia created the “Extraordinario” campaign of printed advertisements.

In the following year, 1966, Fangio performed in a second series of Caroselli commercials for the Pirelli Cinturato, again directed by Gavioli for Gammafilm. He made 5 videos in which he recalled the most important moments of his career: the German Grand Prix in 1957, Monza in 1953 and 1956, and Monte Carlo in 1950, as well as two historical sections on tests on the Monza race track in the Alfa 159, which won the F1 World Championship in 1951. Part of that two-year advertising campaign, with Fangio as the actor playing himself, was included in a Cinema7 film on “the man who dominated cars”. So now, enjoy the show!

A Life of Speed: The Juan Manuel Fangio Story, a feature film made by the Argentine production house Cinema 7 Films, is being distributed on the Netflix platform. The film tells the long, passionate life story of the man who is still considered as the greatest car driver of all time. With the wholehearted backing of the family of the driver from Balcarce, the documentary comes vividly to life with an abundance of testimonies from great racing champions of yesterday and today. It has a wealth of vintage footage, based on the stories of those who had the good fortune to know him and to work with him.

The Pirelli Foundation was one of the first to be contacted by Cinema7: as the headquarters of the Group’s Historical Archive, the Foundation holds much of the historical memory of this driver who, possibly more than any other, linked his career to the “Long P” brand. Because, in the case of Fangio, it was not just a “technical” partnership between a racing champion and the manufacturer of the tyres fitted on the many cars in which he raced and won: Fangio and Pirelli formed a bond that went way beyond their professional relationship.
The racing results naturally came first, and Fangio’s long career with Pirelli, from 1949 to 1957, in Formula 1 and in the Mille Miglia, is fully documented in our Historical Archive. Countless photos have been preserved, some of them personally autographed by the Argentine driver. And both Pirelli magazine, and the Páginas house organ of Pirelli Argentina repeatedly wrote about Fangio and his sporting successes.

But then, as we were saying, there was also “another Fangio” for Pirelli. By 1950 the driver was already starring in some scenes of the film Last Meeting. In a photo reportage now in the Historical Archive on the backstage of the film, Fangio plays himself at the start of the Italian Grand Prix: the scene is set in the Alfa Romeo-Pirelli pits at the Monza race track.
Again in 1965, Fangio shot a series of commercials for the Pirelli Cinturato, which appeared on the Carosello programme of the Italian RAI television station. In the commercial, which was directed by Roberto Gavioli for Gammafilm, the driver is seen racing on the Monza track in an Alfa Romeo Giulia GT. Recalling that he had previously raced with the Stelvio, Fangio acknowledged that the Cinturato was “extraordinario”. Our Foundation also has the original photo shoot created by Ugo Mulas on the backstage of that commercial. Also in 1965, the designer Pino Tovaglia created the “Extraordinario” campaign of printed advertisements.

In the following year, 1966, Fangio performed in a second series of Caroselli commercials for the Pirelli Cinturato, again directed by Gavioli for Gammafilm. He made 5 videos in which he recalled the most important moments of his career: the German Grand Prix in 1957, Monza in 1953 and 1956, and Monte Carlo in 1950, as well as two historical sections on tests on the Monza race track in the Alfa 159, which won the F1 World Championship in 1951. Part of that two-year advertising campaign, with Fangio as the actor playing himself, was included in a Cinema7 film on “the man who dominated cars”. So now, enjoy the show!

Multimedia

Images

The Sound of Industry is Now Online:
Listen Again to “Il Canto della Fabbrica”

“Here at the factory, man loses none of his talent, none of his genius. The measure of his skill can be seen in the object, in the product, the commodity. The submissive machine assists him”. Wise words from Leonardo Sinisgalli – an engineer and poet, originally from Lucania but Milanese by vocation in life and work – in an article he wrote for Pirelli magazine in 1949. The mystery of the relationship between man and machine is a theme that spanned the entire twentieth century and that still poses new questions today. Because factories change and machines go digital: computers, robots, online relationships, big data, and so on. High-quality manufacturing remains, but now with a hi-tech soul. People’s work and skills also change, of course, as does the universal language of machines. What does contemporary industry sound like today?

Il Canto della Fabbrica – “the song of the factory” – was came to life among the people and machines at the Pirelli Industrial Centre in Settimo Torinese. Championed by the Pirelli Foundation, the project emerged from a meeting between the composer Francesco Fiore and the Orchestra da Camera Italiana, conducted by Maestro Salvatore Accardo. This song of the factory was performed by the Orchestra da Camera Italiana inside the “factory in the cherry orchard” in Settimo Torinese before thousands of spectators, and its story has been told in a book. On the ilcantodellafabbrica.org website you can listen to the whole concert and hear the voices of its protagonists: for Maestro Fiore “the factory as a place where people intervene in the natural environment to create their own workplace, and where shared knowledge and work find their synthesis in a final product: in music, no less.” “We’ve shared the importance of ‘making by hand’, touching the material – in this case, musical and instrumental – shaping it in line with the characteristics of the individual players, giving new life to ancient wisdom,” said Maestro Accardo.

A publishing project that you can browse through online, starting from pictures of the concert and of the Pirelli Industrial Centre in Settimo Torinese, yesterday and today.

So come with us and listen to “the song of the factory”: a world of sounds, of robots and violins, notes and algorithms, metal arms and speakers made of precious wood. In other words, come and listen to the music of machines.

“Here at the factory, man loses none of his talent, none of his genius. The measure of his skill can be seen in the object, in the product, the commodity. The submissive machine assists him”. Wise words from Leonardo Sinisgalli – an engineer and poet, originally from Lucania but Milanese by vocation in life and work – in an article he wrote for Pirelli magazine in 1949. The mystery of the relationship between man and machine is a theme that spanned the entire twentieth century and that still poses new questions today. Because factories change and machines go digital: computers, robots, online relationships, big data, and so on. High-quality manufacturing remains, but now with a hi-tech soul. People’s work and skills also change, of course, as does the universal language of machines. What does contemporary industry sound like today?

Il Canto della Fabbrica – “the song of the factory” – was came to life among the people and machines at the Pirelli Industrial Centre in Settimo Torinese. Championed by the Pirelli Foundation, the project emerged from a meeting between the composer Francesco Fiore and the Orchestra da Camera Italiana, conducted by Maestro Salvatore Accardo. This song of the factory was performed by the Orchestra da Camera Italiana inside the “factory in the cherry orchard” in Settimo Torinese before thousands of spectators, and its story has been told in a book. On the ilcantodellafabbrica.org website you can listen to the whole concert and hear the voices of its protagonists: for Maestro Fiore “the factory as a place where people intervene in the natural environment to create their own workplace, and where shared knowledge and work find their synthesis in a final product: in music, no less.” “We’ve shared the importance of ‘making by hand’, touching the material – in this case, musical and instrumental – shaping it in line with the characteristics of the individual players, giving new life to ancient wisdom,” said Maestro Accardo.

A publishing project that you can browse through online, starting from pictures of the concert and of the Pirelli Industrial Centre in Settimo Torinese, yesterday and today.

So come with us and listen to “the song of the factory”: a world of sounds, of robots and violins, notes and algorithms, metal arms and speakers made of precious wood. In other words, come and listen to the music of machines.

Learning… What an Enterprise, even at a Distance!
#FondazionePirelliEducational

We may be at home, but that won’t stop us.

The Pirelli Foundation Educational programme is evolving and becoming even more digital, in order to assist teachers who are continuing with their distance education using technological instruments and experimenting with new teaching methods.

Pirelli Foundation Educational is offering students and teachers training programmes for the various different types and grades of schools, addressing issues related to Pirelli’s corporate culture. All are extremely topical and closely related to school subjects and curricula. Our staff will be accompanying the children and young people remotely, on subjects such as automation, innovation, and sustainability.

The three courses – one for primary school, one for lower secondary school and one for upper secondary – consist of classroom teaching, including presentations with audio guides, videos, podcasts, commented images, reading discussions, music tracks, and practical creative activities.

The teachers can convey the different types of content to the students over shared platforms and other digital channels. Each course consists of several elements and the individual teacher will be able to decide whether to deal with it in its entirety or to share only some parts of it with the students. The educational programme includes readings inspired by the Piccole storie di gomma – “little stories of rubber” – teaching programme for primary schools; activities that focus on robotics and innovation linked to the Codici per conservare, codici per programmare – “codes for preserving, codes for programming” – workshop for lower secondary schools, and content on the subject of sustainability for upper secondary schools. All the courses will start out from the rich historical and contemporary corporate heritage now preserved by the Pirelli Foundation and will end with a visit – even if virtual – around the premises of the Pirelli Foundation through the Pirelli Foundation Experience.

All teachers on the Pirelli Foundation mailing list will soon be receiving an email with further information. If you would like to receive this information or if you have any further requirements, please write to scuole@fondazionepirelli.org

We may be at home, but that won’t stop us.

The Pirelli Foundation Educational programme is evolving and becoming even more digital, in order to assist teachers who are continuing with their distance education using technological instruments and experimenting with new teaching methods.

Pirelli Foundation Educational is offering students and teachers training programmes for the various different types and grades of schools, addressing issues related to Pirelli’s corporate culture. All are extremely topical and closely related to school subjects and curricula. Our staff will be accompanying the children and young people remotely, on subjects such as automation, innovation, and sustainability.

The three courses – one for primary school, one for lower secondary school and one for upper secondary – consist of classroom teaching, including presentations with audio guides, videos, podcasts, commented images, reading discussions, music tracks, and practical creative activities.

The teachers can convey the different types of content to the students over shared platforms and other digital channels. Each course consists of several elements and the individual teacher will be able to decide whether to deal with it in its entirety or to share only some parts of it with the students. The educational programme includes readings inspired by the Piccole storie di gomma – “little stories of rubber” – teaching programme for primary schools; activities that focus on robotics and innovation linked to the Codici per conservare, codici per programmare – “codes for preserving, codes for programming” – workshop for lower secondary schools, and content on the subject of sustainability for upper secondary schools. All the courses will start out from the rich historical and contemporary corporate heritage now preserved by the Pirelli Foundation and will end with a visit – even if virtual – around the premises of the Pirelli Foundation through the Pirelli Foundation Experience.

All teachers on the Pirelli Foundation mailing list will soon be receiving an email with further information. If you would like to receive this information or if you have any further requirements, please write to scuole@fondazionepirelli.org

Educating about business, always

The combination of social innovation and the need for entrepreneurial spirit examined in theory and in practice

 Person, company, work, via the experiences of every individual and those of social systems as a whole, as well as manufacturing systems. The relationships between the growth of a person in relation to his or her peers and to the working environment form a complex knot of themes and issues, and the complexity only increases when an individual’s entrepreneurial spirit is combined with his or her status as a migrant. However, it is precisely from this situation that opportunities for business can arise,

as Silvia Lassi explains in her thesis, discussed at the School of Humanities and Education of the University of Florence. “Imprenditività e migranti: un percorso possibile di innovazione sociale”, (Entrepreneurship and migrants: a possible route towards social innovation) begins with the idea that innovation in general and social innovation in particular play a central role in the quest for more “effective, efficient, sustainable and inclusive solutions than those that already exist” to the issues affecting many communities.

Innovation, then, is the watchword here, and Lassi applies it to the problem posed by the social inclusion of migrants who need to find work and, perhaps, set up businesses. This is the concrete goal, but the research project begins by taking it back to a theoretical paradigm derived from the work of two great thinkers (Martha Nussbaum and Amartya Sen) and founded upon a skills-based approach, or in other words, “on the centrality of the person, on what he or she is capable of being and doing, and on freedom of choice as the basis for the realisation of any life project”. Lassi sets her sights on the end goal and on the theoretical foundations that lie beneath the path that leads to this, building her investigation as she goes.

The project then develops the theoretical context upon which she will base her conclusions, before moving on to analyse the skills-based approach in detail, in relation to the themes of entrepreneurial spirit and enterprise, before identifying a concrete application for these concepts: namely, the Loud Project, founded upon a number of initiatives put in place by the University of Florence, dedicated to supporting entrepreneurial spirit among young people with regard to migrants.

Silvia Lassi’s work has great merit, in that it provides a concise outline of a complex journey – from theory to practice – of human and entrepreneurial growth, which can be used as an example for other businesses and organisations.

Martha Nussbaum’s quotation at the beginning of the text (which, among other things, serves to summarise every business dream) is very apt: “Chasing a dream calls for dreamers: minds that have been trained to think critically about alternatives and to imagine ambitious goals”.

 

 

Imprenditività e migranti: un percorso possibile di innovazione sociale (Entrepreneurship and migrants: a possible route towards social innovation)

Silvia Lassi

Thesis, University of Florence, School of Humanities and Education, Degree Course in Adult Education, Continuing Education and Pedagogical Sciences, 2019

The combination of social innovation and the need for entrepreneurial spirit examined in theory and in practice

 Person, company, work, via the experiences of every individual and those of social systems as a whole, as well as manufacturing systems. The relationships between the growth of a person in relation to his or her peers and to the working environment form a complex knot of themes and issues, and the complexity only increases when an individual’s entrepreneurial spirit is combined with his or her status as a migrant. However, it is precisely from this situation that opportunities for business can arise,

as Silvia Lassi explains in her thesis, discussed at the School of Humanities and Education of the University of Florence. “Imprenditività e migranti: un percorso possibile di innovazione sociale”, (Entrepreneurship and migrants: a possible route towards social innovation) begins with the idea that innovation in general and social innovation in particular play a central role in the quest for more “effective, efficient, sustainable and inclusive solutions than those that already exist” to the issues affecting many communities.

Innovation, then, is the watchword here, and Lassi applies it to the problem posed by the social inclusion of migrants who need to find work and, perhaps, set up businesses. This is the concrete goal, but the research project begins by taking it back to a theoretical paradigm derived from the work of two great thinkers (Martha Nussbaum and Amartya Sen) and founded upon a skills-based approach, or in other words, “on the centrality of the person, on what he or she is capable of being and doing, and on freedom of choice as the basis for the realisation of any life project”. Lassi sets her sights on the end goal and on the theoretical foundations that lie beneath the path that leads to this, building her investigation as she goes.

The project then develops the theoretical context upon which she will base her conclusions, before moving on to analyse the skills-based approach in detail, in relation to the themes of entrepreneurial spirit and enterprise, before identifying a concrete application for these concepts: namely, the Loud Project, founded upon a number of initiatives put in place by the University of Florence, dedicated to supporting entrepreneurial spirit among young people with regard to migrants.

Silvia Lassi’s work has great merit, in that it provides a concise outline of a complex journey – from theory to practice – of human and entrepreneurial growth, which can be used as an example for other businesses and organisations.

Martha Nussbaum’s quotation at the beginning of the text (which, among other things, serves to summarise every business dream) is very apt: “Chasing a dream calls for dreamers: minds that have been trained to think critically about alternatives and to imagine ambitious goals”.

 

 

Imprenditività e migranti: un percorso possibile di innovazione sociale (Entrepreneurship and migrants: a possible route towards social innovation)

Silvia Lassi

Thesis, University of Florence, School of Humanities and Education, Degree Course in Adult Education, Continuing Education and Pedagogical Sciences, 2019

The moral testimony of Pope Francis and Draghi’s drive for an EU recovery plan

Three images effectively symbolise this extraordinary time of sickness, fear, uncertainty and fragility. The nurse at a hospital in Lombardy resting her head on a table, snatching a moment of sleep, a brief escape from the exhaustion of caring for the sick and dying day after day. The long procession of military trucks in the province of Bergamo, waiting to transport the coffins of the latest victims to a solitary burial. And the Pope, in the deserted expanse of St. Peter’s Square, taking the pain of the wounded world onto his shoulders, and praying that no one be left alone.

These are powerful images that “prick” our sensitivity and the depths of our conscience, as Roland Barthes might say. And they bear testament to a few of the core aspects of the storm that has invaded our lives, our health and the economic and social fabric as a whole: our survival endangered by the spread of the virus, the loneliness that accompanies death and, in spite of everything, our shared commitment to tackling the emergency together, as we already begin to discuss how we can fight our way out of the health crisis and the deep economic recession that affects us all.

The words of a great poet spring to mind: “Whereof what’s past is prologue; what to come, in yours and my discharge”. William Shakespeare, no less, from an exchange in his play “The Tempest”. In yours and my discharge, or in other words, in our hands.

It is therefore clear that we have a duty to think of solutions, and ensure that these are implemented promptly, in order to claw our way out of these terrible, painful days. And we must do so urgently. In the depths of bewilderment and fear, we cannot abandon our hopes of recovery.

Beyond the uncertainty, and despite a number of controversial judgement calls, the Conte government is behaving with a sense of responsibility. The Italian people are doing well. Those most exposed, those on the front line – doctors and nurses first and foremost – are labelled exemplary by international observers and public opinion makers.

Those in the business world in particular, who are engaged in civil society, know they must place their resources, knowledge and skills at stake in order to build businesses that are more balanced and fairer, for a better future.

Businesses represent key social players, a driving force for work, income, culture, positive relations, innovation and solidarity. Businesses are active members of the community, and now in particular, they are called upon to undergo challenging processes of production reconversion, switching from traditional activities to the manufacture of health care products (respirators, masks, emergency equipment, medicines, etc.). Driving forces to relaunch the economy as soon as conditions allow. The “social capital” of businesses – the women and men of which they are composed – has always been at the heart of change and progress.

They are the very foundations of the concept of “do, and do good”. Businesses bear witness to a series of positive values (something we have discussed numerous times in this very blog). Businesses, then, must be valued, saved, and supported in order to grow.

And indeed, in the world of business, the appreciation for the exhortation by the President of the Republic Sergio Mattarella is clear, as he calls upon the EU to discard old political and economic strategies and rebuild the networks which unite us with generosity and foresight, salvaging and renewing the values that inspired the founding fathers of Europe, liberal democracy and open society.

A similar political and ideals-based inspiration drives one of the great “fathers of Europe”, Jacques Delors: “The climate that currently appears to reign among the Heads of State and Government, and the lack of European solidarity, are placing the European Union in mortal danger”.

Today, an extraordinary joint investment programme is essential; a programme that uses all of the monetary and financial incentives – both traditional and innovative – at its disposal, in order to tackle the emergency with which we are faced, safeguarding businesses and work, but also beginning right now to reinforce the European networks of common infrastructures, both material and digital, which lie behind scientific research, health services, training, welfare and energy. “Without a joint plan” for Europe, “no country, not even the richest, will be able to get out of this terrible crisis”, states the EU Commissioner for Economic Affairs, Paolo Gentiloni – and with good reason.

Despite the odd lack of clarity and certainty in their communications, the ECB has been heading in this direction, ensuring ample liquidity for European banks, which will then be made available to families and businesses. Meanwhile, amid contradictions and internal tensions, the European Commission has declared the Stability and Growth Pact to be “suspended”, to enable the member states affected by the impact of the “great contagion” to cope with the crisis.

It is now a question of finding suitable financial and economic instruments, or whatever the joint common bonds that may be rolled out are called. And, looking ahead, a number of decisions will need to be made with regard to new industrial, fiscal and social policies, and these must be appropriate to the times. The revival of Europe. In spite of everything. In spite of short-sightedness, national self-interest, and the increasingly closed-minded public opinion, scared and seduced by the demagogues of new nationalism. In spite of a narrow ideology of rigour which, behind the smokescreen of a justified focus on achieving a balance of the public accounts, is unable to take these new, significant social needs or the political – and indeed, moral – challenges posed today by the health emergency, into account. Indeed, this emergency is serving to further exacerbate the existing social imbalances and rifts that have long been highlighted not only by Pope Francis and leading voices in economic literature, but also by leading conferences in the world of business, such as the World Economic Forum in Davos.

Buoyed up by his international experience as a civil servant and his expertise as a sensitive economist, in his article in the Financial Times, Mario Draghi doesn’t talk about Italy, but rather, Europe as a whole. And indeed, he has indicated to the EU which route they must take in order to save the European institutions, and to meet the expectations concerning the development and the well-being of its citizens: “We are engaged in a war against the coronavirus and must mobilise accordingly… Much higher levels of national debt will become a permanent feature of our economies, and will be accompanied by the cancellation of private debt… The alternative would be the permanent destruction of production capacity and fiscal foundations”, he wrote in recent days. This debt is not designed to support welfare, but rather to bolster businesses and safeguard jobs as key drivers for recovery. Draghi calls upon the EU to intervene with “strength and speed”. “Speed” above all, because “the cost of hesitation may prove irreversible” – serious damage to the whole of the EU.

Draghi therefore appeals to all European decision-makers, the ruling classes, to “change their mindset”: the bureaucracy of ideas and beliefs (and special interests) of the past cannot help us to weather the current storm.

We must conceive of “an economy of affection and not only of rules”, to recall the thoughts of one of Italy’s greatest economists, Federico Caffè (who taught Draghi, among others). An economy that keeps people in the foreground, and combines competitiveness with solidarity and support, taking an approach based on intelligence and humanity.

We return to Keynes’ lesson (indeed, Caffè was an early commentator on this). And to the ideas of George C. Marshall, eloquently expressed in a speech given at Harvard in June 1947 (referred to a few days ago by Mattia Feltri in La Stampa): if the world does not return to normal economic conditions, the result will be political instability and war, when instead we should be fostering a free and flourishing world.

Indeed, this was the political basis of the Marshall Plan, which is once again the focus of public discourse: providing aid to war-torn nations (including a defeated Germany) to rebuild economies and societies. In other words, a tangible, operational, far-sighted translation of Keynes’ words in “The Economic Consequences of the Peace”, where he criticised the punitive policies against Germany under the Treaty of Versailles, which served to end the First World War in 1919 in an unbalanced, inauspicious manner. A new European Development Plan? A new Delors Plan? Why not? Draghi himself, with his institutional and international competence and authority, could act as a point of reference and guidance.

For the world of Italian companies – open, internationalised and rooted in the markets of the world – the attention (coupled with a strong sense of responsibility and engagement) is focused on a policy of collaboration in which Europe plays a leading role, in dialogue with the US and China. And indeed, beyond the pain and exhaustion, the horizon is clear: we must work together to establish proposals for sustainable, environmental and social development. Businesses have long played their part. With the sensitivity of Italians and of Europeans, citizens of a world that we hope is set to improve.

Three images effectively symbolise this extraordinary time of sickness, fear, uncertainty and fragility. The nurse at a hospital in Lombardy resting her head on a table, snatching a moment of sleep, a brief escape from the exhaustion of caring for the sick and dying day after day. The long procession of military trucks in the province of Bergamo, waiting to transport the coffins of the latest victims to a solitary burial. And the Pope, in the deserted expanse of St. Peter’s Square, taking the pain of the wounded world onto his shoulders, and praying that no one be left alone.

These are powerful images that “prick” our sensitivity and the depths of our conscience, as Roland Barthes might say. And they bear testament to a few of the core aspects of the storm that has invaded our lives, our health and the economic and social fabric as a whole: our survival endangered by the spread of the virus, the loneliness that accompanies death and, in spite of everything, our shared commitment to tackling the emergency together, as we already begin to discuss how we can fight our way out of the health crisis and the deep economic recession that affects us all.

The words of a great poet spring to mind: “Whereof what’s past is prologue; what to come, in yours and my discharge”. William Shakespeare, no less, from an exchange in his play “The Tempest”. In yours and my discharge, or in other words, in our hands.

It is therefore clear that we have a duty to think of solutions, and ensure that these are implemented promptly, in order to claw our way out of these terrible, painful days. And we must do so urgently. In the depths of bewilderment and fear, we cannot abandon our hopes of recovery.

Beyond the uncertainty, and despite a number of controversial judgement calls, the Conte government is behaving with a sense of responsibility. The Italian people are doing well. Those most exposed, those on the front line – doctors and nurses first and foremost – are labelled exemplary by international observers and public opinion makers.

Those in the business world in particular, who are engaged in civil society, know they must place their resources, knowledge and skills at stake in order to build businesses that are more balanced and fairer, for a better future.

Businesses represent key social players, a driving force for work, income, culture, positive relations, innovation and solidarity. Businesses are active members of the community, and now in particular, they are called upon to undergo challenging processes of production reconversion, switching from traditional activities to the manufacture of health care products (respirators, masks, emergency equipment, medicines, etc.). Driving forces to relaunch the economy as soon as conditions allow. The “social capital” of businesses – the women and men of which they are composed – has always been at the heart of change and progress.

They are the very foundations of the concept of “do, and do good”. Businesses bear witness to a series of positive values (something we have discussed numerous times in this very blog). Businesses, then, must be valued, saved, and supported in order to grow.

And indeed, in the world of business, the appreciation for the exhortation by the President of the Republic Sergio Mattarella is clear, as he calls upon the EU to discard old political and economic strategies and rebuild the networks which unite us with generosity and foresight, salvaging and renewing the values that inspired the founding fathers of Europe, liberal democracy and open society.

A similar political and ideals-based inspiration drives one of the great “fathers of Europe”, Jacques Delors: “The climate that currently appears to reign among the Heads of State and Government, and the lack of European solidarity, are placing the European Union in mortal danger”.

Today, an extraordinary joint investment programme is essential; a programme that uses all of the monetary and financial incentives – both traditional and innovative – at its disposal, in order to tackle the emergency with which we are faced, safeguarding businesses and work, but also beginning right now to reinforce the European networks of common infrastructures, both material and digital, which lie behind scientific research, health services, training, welfare and energy. “Without a joint plan” for Europe, “no country, not even the richest, will be able to get out of this terrible crisis”, states the EU Commissioner for Economic Affairs, Paolo Gentiloni – and with good reason.

Despite the odd lack of clarity and certainty in their communications, the ECB has been heading in this direction, ensuring ample liquidity for European banks, which will then be made available to families and businesses. Meanwhile, amid contradictions and internal tensions, the European Commission has declared the Stability and Growth Pact to be “suspended”, to enable the member states affected by the impact of the “great contagion” to cope with the crisis.

It is now a question of finding suitable financial and economic instruments, or whatever the joint common bonds that may be rolled out are called. And, looking ahead, a number of decisions will need to be made with regard to new industrial, fiscal and social policies, and these must be appropriate to the times. The revival of Europe. In spite of everything. In spite of short-sightedness, national self-interest, and the increasingly closed-minded public opinion, scared and seduced by the demagogues of new nationalism. In spite of a narrow ideology of rigour which, behind the smokescreen of a justified focus on achieving a balance of the public accounts, is unable to take these new, significant social needs or the political – and indeed, moral – challenges posed today by the health emergency, into account. Indeed, this emergency is serving to further exacerbate the existing social imbalances and rifts that have long been highlighted not only by Pope Francis and leading voices in economic literature, but also by leading conferences in the world of business, such as the World Economic Forum in Davos.

Buoyed up by his international experience as a civil servant and his expertise as a sensitive economist, in his article in the Financial Times, Mario Draghi doesn’t talk about Italy, but rather, Europe as a whole. And indeed, he has indicated to the EU which route they must take in order to save the European institutions, and to meet the expectations concerning the development and the well-being of its citizens: “We are engaged in a war against the coronavirus and must mobilise accordingly… Much higher levels of national debt will become a permanent feature of our economies, and will be accompanied by the cancellation of private debt… The alternative would be the permanent destruction of production capacity and fiscal foundations”, he wrote in recent days. This debt is not designed to support welfare, but rather to bolster businesses and safeguard jobs as key drivers for recovery. Draghi calls upon the EU to intervene with “strength and speed”. “Speed” above all, because “the cost of hesitation may prove irreversible” – serious damage to the whole of the EU.

Draghi therefore appeals to all European decision-makers, the ruling classes, to “change their mindset”: the bureaucracy of ideas and beliefs (and special interests) of the past cannot help us to weather the current storm.

We must conceive of “an economy of affection and not only of rules”, to recall the thoughts of one of Italy’s greatest economists, Federico Caffè (who taught Draghi, among others). An economy that keeps people in the foreground, and combines competitiveness with solidarity and support, taking an approach based on intelligence and humanity.

We return to Keynes’ lesson (indeed, Caffè was an early commentator on this). And to the ideas of George C. Marshall, eloquently expressed in a speech given at Harvard in June 1947 (referred to a few days ago by Mattia Feltri in La Stampa): if the world does not return to normal economic conditions, the result will be political instability and war, when instead we should be fostering a free and flourishing world.

Indeed, this was the political basis of the Marshall Plan, which is once again the focus of public discourse: providing aid to war-torn nations (including a defeated Germany) to rebuild economies and societies. In other words, a tangible, operational, far-sighted translation of Keynes’ words in “The Economic Consequences of the Peace”, where he criticised the punitive policies against Germany under the Treaty of Versailles, which served to end the First World War in 1919 in an unbalanced, inauspicious manner. A new European Development Plan? A new Delors Plan? Why not? Draghi himself, with his institutional and international competence and authority, could act as a point of reference and guidance.

For the world of Italian companies – open, internationalised and rooted in the markets of the world – the attention (coupled with a strong sense of responsibility and engagement) is focused on a policy of collaboration in which Europe plays a leading role, in dialogue with the US and China. And indeed, beyond the pain and exhaustion, the horizon is clear: we must work together to establish proposals for sustainable, environmental and social development. Businesses have long played their part. With the sensitivity of Italians and of Europeans, citizens of a world that we hope is set to improve.

The Long P: Telling Kids
the 100-year History of the Pirelli Logo

More than 100 years have gone by since the famous Pirelli logo was introduced, with the loop of the P stretched out over the other letters of the name, as though it were made of rubber. New York, 1908: “Would this be okay for you?”, asked the visitor straight off the boat from Italy, as he traced out a very unusual-looking P on a piece of paper. “Yeah, it should be”, said the other one, taking a look, “Come to think of it, that would be perfect.” He looked, and looked again with satisfaction, thinking about that capital P sending out boldly on a poster or against the sky. The story was told by Vittorio Sereni, then working at the company’s Press Office, in the pages of Pirelli magazine in 1958, in an article devoted to the success of the logo in advertising. The story, which may have been somewhat embroidered upon, intertwines with other stories that trace the idea of the Pirelli logo back to the signature of the company founder, Giovanni Battista Pirelli, which did indeed have a distinctive elongated P. The oldest example of the famous logo is undoubtedly a bookmark, dating back to 1907, now in the Historical Archive of the Pirelli Foundation: a ribbon bearing the words Pneumatici Pirelli trionfatori della Pechino-Parigi – “Pirelli tyres, winners of the Peking-Paris” – in which all the Ps already have the elongated form, attached to the official Guide to the Corsa di Brescia in September 1907.

The same year also saw the  Peking to Paris Motor Race, in which Pirelli took part, equipping the winning car of the race with its tyres. For the company, this was an important worldwide achievement, and the first of an endless string of victories in all international motorcar races. Pirelli, which in those years was beginning to make the manufacture of tyres its core business, needed a unique, powerful, and recognisable symbol, to assert itself and also to stand out from its competitors. As we clearly see as we scroll through the advertising images now preserved in our Archive, the Pirelli brand has evolved over the years, changing its colour, style, body, and character. The concept of the “Long P” also extended to the products, gradually involving other letters in addition to the “P” of “Pirelli” and “Pneus”.

The institutional logotype has been anything but stable, coexisting for a long time with others without the elongated P and with a series of variations. It was only after the Second World War that it first came to be defined: first, the rules for the base-height ratio were set, together with those for the consistency of the thicknesses and the design of the letters. A second set of rules came in 1961, and there have been more recent changes made by Studio Unimark International and Studio Cerri & Associati. The last restyling was in 1982, by the designer Salvatore Gregorietti and, during the same period, a manual for correct use of the logo was drafted. In 1997, the architect and graphic designer Pierluigi Cerri created a bilingual manual, indicating the correct colour schemes to be used. Over the years, world-class graphic designers and artists helped establish its global renown, creating effective advertising campaigns for Pirelli, in some cases using the logo itself as a graphic element, giving it pride of place in the advertisement. From Stanley Charles Roowy, who already in 1913 transformed it into a powerful racing car, through to Bob Noorda, who curved it into the round shape of a tyre, and André Franꞔois, who in 1961 turned the P into the windscreen of a car with wipers and a moustachioed driver. Combinations of duplications and projections were used in the 1960s and 1970s by Christiane Beylier and Christa Tschopp, and a huge P was formed using real cars for the advertising campaign “Tyres with a Capital P” of 1978 . And so, in the words of Sereni, that “Disney-like intuition, way ahead of its time” that “appears again as a character in a story and in turn generates more characters” is now one of the world’s best-known logos.

More than 100 years have gone by since the famous Pirelli logo was introduced, with the loop of the P stretched out over the other letters of the name, as though it were made of rubber. New York, 1908: “Would this be okay for you?”, asked the visitor straight off the boat from Italy, as he traced out a very unusual-looking P on a piece of paper. “Yeah, it should be”, said the other one, taking a look, “Come to think of it, that would be perfect.” He looked, and looked again with satisfaction, thinking about that capital P sending out boldly on a poster or against the sky. The story was told by Vittorio Sereni, then working at the company’s Press Office, in the pages of Pirelli magazine in 1958, in an article devoted to the success of the logo in advertising. The story, which may have been somewhat embroidered upon, intertwines with other stories that trace the idea of the Pirelli logo back to the signature of the company founder, Giovanni Battista Pirelli, which did indeed have a distinctive elongated P. The oldest example of the famous logo is undoubtedly a bookmark, dating back to 1907, now in the Historical Archive of the Pirelli Foundation: a ribbon bearing the words Pneumatici Pirelli trionfatori della Pechino-Parigi – “Pirelli tyres, winners of the Peking-Paris” – in which all the Ps already have the elongated form, attached to the official Guide to the Corsa di Brescia in September 1907.

The same year also saw the  Peking to Paris Motor Race, in which Pirelli took part, equipping the winning car of the race with its tyres. For the company, this was an important worldwide achievement, and the first of an endless string of victories in all international motorcar races. Pirelli, which in those years was beginning to make the manufacture of tyres its core business, needed a unique, powerful, and recognisable symbol, to assert itself and also to stand out from its competitors. As we clearly see as we scroll through the advertising images now preserved in our Archive, the Pirelli brand has evolved over the years, changing its colour, style, body, and character. The concept of the “Long P” also extended to the products, gradually involving other letters in addition to the “P” of “Pirelli” and “Pneus”.

The institutional logotype has been anything but stable, coexisting for a long time with others without the elongated P and with a series of variations. It was only after the Second World War that it first came to be defined: first, the rules for the base-height ratio were set, together with those for the consistency of the thicknesses and the design of the letters. A second set of rules came in 1961, and there have been more recent changes made by Studio Unimark International and Studio Cerri & Associati. The last restyling was in 1982, by the designer Salvatore Gregorietti and, during the same period, a manual for correct use of the logo was drafted. In 1997, the architect and graphic designer Pierluigi Cerri created a bilingual manual, indicating the correct colour schemes to be used. Over the years, world-class graphic designers and artists helped establish its global renown, creating effective advertising campaigns for Pirelli, in some cases using the logo itself as a graphic element, giving it pride of place in the advertisement. From Stanley Charles Roowy, who already in 1913 transformed it into a powerful racing car, through to Bob Noorda, who curved it into the round shape of a tyre, and André Franꞔois, who in 1961 turned the P into the windscreen of a car with wipers and a moustachioed driver. Combinations of duplications and projections were used in the 1960s and 1970s by Christiane Beylier and Christa Tschopp, and a huge P was formed using real cars for the advertising campaign “Tyres with a Capital P” of 1978 . And so, in the words of Sereni, that “Disney-like intuition, way ahead of its time” that “appears again as a character in a story and in turn generates more characters” is now one of the world’s best-known logos.

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Images

Industry on Show:
The Museo Storico delle Industrie Pirelli

In 1922 Pirelli celebrated its first fifty years of operation. It had already become a major multinational group, with three plants in Italy and a foreign group of several associated companies that managed the plants in Europe – Spain and Britain – as well as in Latin America. And it already had countless commercial operations and two rubber-tree plantations in Indonesia. Among the numerous events put on to celebrate the anniversary, one in particular is worthy of note for its originality and importance: the creation of the Museo Storico delle Industrie Pirelli – the historical museum of Pirelli industries. According to Mario Luzzatto, who was the sales director of the Pirelli tyres sector at the time, the anniversary needed to be given something truly fitting, something “new” – something that would have “vast repercussions”: an exhibition that would illustrate the raw materials, the production processes, and the products and their applications, but also the many sports events in which Pirelli was taking part, and its advertising campaigns, as well as its programmes for welfare assistance, social security, and culture. Luzzato stated that the exhibition was to be “an affirmation of the strength of our company in a way that I believe is unprecedented and that is unlikely to find imitators”. It was also certain to be a “remarkable attraction for all the people of Milan and for many of those who come to our city”.

The most suitable venue was initially deemed to be the Palazzo della Permanente in Via Principe Umberto (now Via Turati), built in 1886 to a design by Luca Beltrami, to host art exhibitions. Pietro Allodi and the architect Giacomo Loria, formerly a designer at Borgo Pirelli, transformed Luzzatto’s idea into a draft project, with a section devoted to the production process and to Pirelli products, and rooms for “crowd-pulling artistic events” with a “historical display of all the company’s posters and catalogues”. There would also be “statistics”, with “figure diagrams to illustrate the development of the company in all the various sectors”. Luzzatto’s proposal was ultimately turned into an exhibition in the main hall of the fifteenth-century Bicocca degli Arcimboldi, which became part of the Pirelli legacy in 1917, when more land was purchased for the new factory. This led to the creation of the Museo Storico delle Industrie Pirelli, on the initiative and with the support of company staff. The committee that organised all the operations for the celebrations included representatives of the managers, employees, and workers, and all the staff came together to fund the project by donating part of their salary. Products, documents, photographs, drawings, and even some rubber trees were all put on display in the museum.

The Pirelli Technical Department created large drawings with views of the factories and graphs with production statistics. Taking advantage of these as a “particularly distinctive and effective form of promotion”, the company decided to make the museum permanent, with the constant addition of new materials. The Museo Storico delle Industrie Pirelli remained as it was until the Second World War. When it closed down, many of the exhibits on show entered the collection that Luzzatto himself created in the 1940s. This constituted the original core collection of what became the Historical Archive, now housed at the Pirelli Foundation. Indeed, many documents now in our archive bear the stamp of the Museo Storico, testifying to the ambitious celebration project put on by a company that, in 1922, already had a great story to tell.

In 1922 Pirelli celebrated its first fifty years of operation. It had already become a major multinational group, with three plants in Italy and a foreign group of several associated companies that managed the plants in Europe – Spain and Britain – as well as in Latin America. And it already had countless commercial operations and two rubber-tree plantations in Indonesia. Among the numerous events put on to celebrate the anniversary, one in particular is worthy of note for its originality and importance: the creation of the Museo Storico delle Industrie Pirelli – the historical museum of Pirelli industries. According to Mario Luzzatto, who was the sales director of the Pirelli tyres sector at the time, the anniversary needed to be given something truly fitting, something “new” – something that would have “vast repercussions”: an exhibition that would illustrate the raw materials, the production processes, and the products and their applications, but also the many sports events in which Pirelli was taking part, and its advertising campaigns, as well as its programmes for welfare assistance, social security, and culture. Luzzato stated that the exhibition was to be “an affirmation of the strength of our company in a way that I believe is unprecedented and that is unlikely to find imitators”. It was also certain to be a “remarkable attraction for all the people of Milan and for many of those who come to our city”.

The most suitable venue was initially deemed to be the Palazzo della Permanente in Via Principe Umberto (now Via Turati), built in 1886 to a design by Luca Beltrami, to host art exhibitions. Pietro Allodi and the architect Giacomo Loria, formerly a designer at Borgo Pirelli, transformed Luzzatto’s idea into a draft project, with a section devoted to the production process and to Pirelli products, and rooms for “crowd-pulling artistic events” with a “historical display of all the company’s posters and catalogues”. There would also be “statistics”, with “figure diagrams to illustrate the development of the company in all the various sectors”. Luzzatto’s proposal was ultimately turned into an exhibition in the main hall of the fifteenth-century Bicocca degli Arcimboldi, which became part of the Pirelli legacy in 1917, when more land was purchased for the new factory. This led to the creation of the Museo Storico delle Industrie Pirelli, on the initiative and with the support of company staff. The committee that organised all the operations for the celebrations included representatives of the managers, employees, and workers, and all the staff came together to fund the project by donating part of their salary. Products, documents, photographs, drawings, and even some rubber trees were all put on display in the museum.

The Pirelli Technical Department created large drawings with views of the factories and graphs with production statistics. Taking advantage of these as a “particularly distinctive and effective form of promotion”, the company decided to make the museum permanent, with the constant addition of new materials. The Museo Storico delle Industrie Pirelli remained as it was until the Second World War. When it closed down, many of the exhibits on show entered the collection that Luzzatto himself created in the 1940s. This constituted the original core collection of what became the Historical Archive, now housed at the Pirelli Foundation. Indeed, many documents now in our archive bear the stamp of the Museo Storico, testifying to the ambitious celebration project put on by a company that, in 1922, already had a great story to tell.

Multimedia

Images

Happy Birthday, Sandro Munari!

Sandro Munari was born on 27 March 1940 in Cavarzere, in the province of Venice. Possibly the greatest rally driver of all time, today he celebrates his eightieth birthday. Racing under the Pirelli banner made it possible to outshine others also in this automotive sport. Sure, “greatest” is a big word and, of course, there have been other great champions in the history of rallying, such as Markku Alén, Carlos Sainz, Colin McRae, and Sébastien Loeb. But Munari was the one who “invented” modern rallying, earning himself a place of honour in the world of motor racing. With Munari in the early 1970s, Pirelli definitively launched the Cinturato tyre in sports competitions: mounted on Mario Mannucci and Sandro Munari’s Lancia Fulvia HF, the Pirelli CN36 and the winter MS35 flew over the finish line to win the 1972 Monte Carlo Rally. A triumph that paved the way for the development of the Cinturato CN54 road tyre and that opened a new chapter in the history of the Italian radial.

Once again, it was Sandro Munari who launched the Lancia Stratos HF in 1974. At the time, the Pirelli racing department was headed by the engineer Mario Mezzanotte, who invented a tyre in which the height of the sidewall was half the width of the tread. This new Series 50 racing Cinturato, which the engineer called the “P7” took Munari to victory three times in a row in the Monte Carlo Rally in his Stratos: with Mannucci in 1975 and then with Silvio Maiga in 1976 and 1977 and the conquest of the FIA Drivers’ Cup. Pirelli advertising campaigns rightfully claimed “We Broke the Bank at Monte Carlo”, but it was undoubtedly Munari who was the champion who made it possible. So it could hardly have been anyone but the champion from Cavarzere behind the wheel of the Stratos in 1978, its last year of service, when the car showed up at races in the black, white, and red livery of the Lancia-Pirelli team. Then came a new challenge – the idea was to take the Fiat 131, a car apparently unsuitable for rallying, to victory. But it was one that, when it emerged from the Abarth racing department, was destined to write a piece of history.

Even after he retired from rallying, Sandro Munari and Pirelli still carried on meeting up: one example was when they met for the Lamborghini LM002 super-SUV project to be used for the Paris-Dakar: something else to experiment with, and on this occasion with Pirelli Scorpion tyres for driving on sand.
Munari, a wonder at the wheel. A life-long career inextricably intertwined with the history of Pirelli. All we can do now is wish him a truly Happy Birthday!

Sandro Munari was born on 27 March 1940 in Cavarzere, in the province of Venice. Possibly the greatest rally driver of all time, today he celebrates his eightieth birthday. Racing under the Pirelli banner made it possible to outshine others also in this automotive sport. Sure, “greatest” is a big word and, of course, there have been other great champions in the history of rallying, such as Markku Alén, Carlos Sainz, Colin McRae, and Sébastien Loeb. But Munari was the one who “invented” modern rallying, earning himself a place of honour in the world of motor racing. With Munari in the early 1970s, Pirelli definitively launched the Cinturato tyre in sports competitions: mounted on Mario Mannucci and Sandro Munari’s Lancia Fulvia HF, the Pirelli CN36 and the winter MS35 flew over the finish line to win the 1972 Monte Carlo Rally. A triumph that paved the way for the development of the Cinturato CN54 road tyre and that opened a new chapter in the history of the Italian radial.

Once again, it was Sandro Munari who launched the Lancia Stratos HF in 1974. At the time, the Pirelli racing department was headed by the engineer Mario Mezzanotte, who invented a tyre in which the height of the sidewall was half the width of the tread. This new Series 50 racing Cinturato, which the engineer called the “P7” took Munari to victory three times in a row in the Monte Carlo Rally in his Stratos: with Mannucci in 1975 and then with Silvio Maiga in 1976 and 1977 and the conquest of the FIA Drivers’ Cup. Pirelli advertising campaigns rightfully claimed “We Broke the Bank at Monte Carlo”, but it was undoubtedly Munari who was the champion who made it possible. So it could hardly have been anyone but the champion from Cavarzere behind the wheel of the Stratos in 1978, its last year of service, when the car showed up at races in the black, white, and red livery of the Lancia-Pirelli team. Then came a new challenge – the idea was to take the Fiat 131, a car apparently unsuitable for rallying, to victory. But it was one that, when it emerged from the Abarth racing department, was destined to write a piece of history.

Even after he retired from rallying, Sandro Munari and Pirelli still carried on meeting up: one example was when they met for the Lamborghini LM002 super-SUV project to be used for the Paris-Dakar: something else to experiment with, and on this occasion with Pirelli Scorpion tyres for driving on sand.
Munari, a wonder at the wheel. A life-long career inextricably intertwined with the history of Pirelli. All we can do now is wish him a truly Happy Birthday!

Multimedia

Images

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