{"id":118060,"date":"2026-04-10T14:17:03","date_gmt":"2026-04-10T12:17:03","guid":{"rendered":"https:\/\/www.mohd.it\/?p=118060"},"modified":"2026-04-24T12:55:42","modified_gmt":"2026-04-24T10:55:42","slug":"ciuingam-a-pop-icon-returns-to-the-scene","status":"publish","type":"post","link":"https:\/\/www.mohd.it\/en\/magazine\/ciuingam-a-pop-icon-returns-to-the-scene\/","title":{"rendered":"Ciuingam: a pop icon returns to the scene"},"content":{"rendered":"\n

There are objects that do not age. They move through time, shifting contexts and audiences, yet remain relevant because they already contain a vision capable of anticipating ways of living. Ciuingam belongs to this category. Designed in 1966 by De Pas, D\u2019Urbino and Lomazzi<\/a><\/strong>, it emerged in a moment when design was no longer limited to shaping forms, but began to question and redefine behaviours.<\/p>\n\n\n\n

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Interview conducted in Italian \u2013 English translation and editorial adaptation.<\/em><\/p>\n\n\n\n

\"De<\/figure>\n\n\n\n

More than an armchair, Ciuingam<\/strong> operates as a device that acts upon the body and space. \u201cAn approach to design capable of influencing ways of living, behaviours and social relationships is always relevant,\u201d notes Paolo Lomazzi. In this sense, the project extends beyond its formal dimension, becoming a cultural tool that reshapes postures, rituals and everyday interactions.<\/p>\n\n\n\n

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Its nature is deeply aligned with the social transformations of the 1960s.
It is not an ironic response to traditional furniture, but rather a gesture that intercepts change as it happens. \u201cIt was born alongside changes in society and custom, a popular gesture,\u201d Lomazzi explains. Its strength lies in this immediacy: a direct, accessible form that translates a new way of inhabiting domestic space into matter.<\/p>\n\n\n

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At the core of this shift is the role of technology. The introduction of new materials, such as polyurethane foams, made previously unthinkable forms possible, freeing design from established typologies. \u201cNew materials and technologies revolutionised production processes and formal language. It could be done.\u201d Ciuingam\u2019s form emerges precisely from this condition, not as a stylistic exercise, but as the concrete outcome of a newly available possibility.<\/p>\n\n\n

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This leads to a different relationship with the object. The seat does not impose a posture; it suggests one, leaving space for a more spontaneous use. \u201cA free and informal lifestyle,\u201d Lomazzi summarises. The body settles, shifts, experiments. Domestic space loses rigidity and opens up to a more fluid dimension, where furniture no longer dictates behaviour, but accompanies it.<\/p>\n\n\n\n

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Reissuing a project like Ciuingam today means engaging with a profoundly changed design culture, as well as with a renewed sensitivity towards authenticity. In this process, fidelity is not limited to form alone. \u201cThey should not be judged as objects, but as lived environments.\u201d What must be preserved is the object\u2019s ability to generate experience, to build relationships and atmospheres, maintaining its original intent intact.<\/p>\n\n\n\n

\"De<\/figure>\n\n\n
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\n Mohdern<\/span> Ciuingam<\/span>\n <\/div>\n
\n Buy<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

The re-edition by Mohdern<\/a><\/strong> follows this direction, highlighting material culture and Italian craftsmanship, with a rigorous focus on proportions, finishes, and overall execution quality.
The armchair will be presented in preview during Milan Design Week 2026<\/strong>, starting from April 21, at the Mohd showroom on Via Filippo Turati 3<\/strong>.<\/p>\n\n\n\n

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Today, Ciuingam lends itself to multiple interpretations. It is not bound to a specific context, but retains an open vocation. \u201cThe goal is always a responsible and inclusive attention to people.\u201d Whether placed in a domestic interior, a public setting or a more experimental environment, what matters is the quality of the relationship it is able to generate.<\/p>\n\n\n\n

In this sense, its relevance does not lie in nostalgia, but in its capacity to continue posing a fundamental question: not what a seat should be, but how we want to live.<\/p>\n","protected":false},"excerpt":{"rendered":"

Mohd in conversation with Paolo Lomazzi. A dialogue on design as gesture, on freedom in living, and on the contemporary meaning of re-edition.<\/p>\n","protected":false},"author":18,"featured_media":118021,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28,29,30,31,24,25],"tags":[],"class_list":{"0":"post-118060","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","6":"hentry","7":"category-design-icons","9":"category-designer-star","11":"category-news"},"yoast_head":"\nCiuingam: a pop icon returns to the scene - Mohd<\/title>\n<meta name=\"description\" content=\"The Mohdern re-edition of Ciuingam, a 1966 pop design icon by De Pas, D\u2019Urbino and Lomazzi, presented at Mohd Turati during Milan Design Week 2026.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mohd.it\/en\/magazine\/ciuingam-a-pop-icon-returns-to-the-scene\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ciuingam: a pop icon returns to the scene - 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