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Master Class: Sustainable Aesthetics. Goodbye Lifestyle, hello Living Models

Clino Trini Castelli | Designer | April 11, 2022

Clino Trini Castelli | Designer | April 11, 2022 | 5:30 pm


[…] The nature of an object can have a fundamental aesthetic connotation that is either immanent or transcendent, in differing degrees of each. It is immanent when its identity is based on signs and values that are intrinsically connected to the nature of the object. It is transcendent when its identity is projected onto the scale of the subjective notions of the person who created it or the person who will use it. Industrial design instead is always been characterized by formal and functional solutions of an intrinsically immanent nature [model], while [the transcendence] tends to represent and respond to [lifestyle] of the creators or users of the product itself. […]


from: Clino T. Castelli, Sustainable Aestethics for the Hitachi Eco-Identity Valuative Report

Clino Trini Castelli


Born in 1944, Clino Trini Castelli is a designer, artist and design theorist lives and works in Milan. Internationally known for CMF design (Color, Material and Finishes) of which he was the initiator, Castelli introduced the “No-form” renewal of plastic languages applied to industrial products through the tools of Design Primario.

As opposed to traditional compositional methods, Clino Trini Castelli has focused on the design of the more intangible aspects of figuration, like color and material, light and sound, emphasizing the virtues of a sensorial approach to art and design.

Since the early 1970s this has made him a pioneer in research on the emotional identity of products in the industrial sector. His work has received important European, American and Japanese prizes, including two ADI Compasso d’Oro awards.

The Master Classes Project “Design Massive Changes: the evolution of Design practices – the Masters’ standpoint”


Discover more about the Master Classes Project managed by that sees the participation of exceptional guests who will offer a reflection on the contribution that the Design Culture can provide to face the macro changes, fast and often unpredictable and transversal, that we will all have to go through.



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