Two of a Kind

For over 40 years now, Magis, the Italian family-run business, has embraced the philosophy of forever trying out new pioneering designs and production methods. Stefano Zagni, who works as interior designer for long-standing Italian company La Marzocco, was also taken by the diversity of the collections it has realized in collaboration with renowned designers down through the years. “When you enter the academy, you have the sense that everything is in its place – creating a unity between architecture, interior and exhibited product. This was our goal and explains how the two brands jelled,” says Zagni and adds, “We both have a very long history based on iconic objects and that is something well worth preserving, narrating, and nurturing. A company’s history is without a doubt the greatest asset it has and the foundation for its daily inspiration.” The Accademia is designed to offer visitors a comprehensive coffee experience from the tree through to the hot beverage. A museum, a historical archive, a greenhouse complete with coffee plantation, a training lab, a workshop, various event areas and naturally a bar are all devoted entirely to espresso, that tiny cup of coffee so inextricably linked to Italy.

Naturally, the right equipment is needed to properly appreciate this delightful beverage. That begins with a high-quality espresso machine, continues with the perfect cup, and ends with cozy furniture. To do justice to this, the Accademia is almost completely furnished with Magis products drawn from various collections – from the “Officina” and “Déjà-vu” bar stools at the counter via the sofas, armchairs and “Officina”, “Brut”, “Mariolina” and “Troy” chairs in the lounge areas, through to the furnishing of the training room with “Bureaurama” and the children’s furniture from the “Me Too” line for the library. Zagni was quick to discern the parallels between the manufacturer of high-end coffee machines and the design brand from Veneto, as he explains: “The type of materials research, free experimentation, and the aspiration to innovate are all important mainstays of both corporate philosophies.” Similarly, manufacturing technology or the processing methods such as die-cast aluminum, or the excellent handcrafting of the materials, are all things that La Marzocco products share with the furniture by Magis.

“The idea for the interior concept came about during the first visit to the old La Marzocco coffee machine production plant, which was in operation until 2009. It is an industrial building based on a rationalist-inspired design that runs through each part of the building. Very balanced proportions and a central production hall twice the normal height which is characterized by a glazed frame and a barrel vault. The light that thus infuses the hall created a special magic and we wanted to preserve that feel at all costs. We used the difference in height between the rooms to create a contrast between the rooms to either side and the main room,” says Zagni, outlining to sum up his design concept. The architect and brand manager of the Accademia found a like-minded ally in furniture manufacturer Magis, which shares La Marzocco’s the fundamental values. On the mezzanine floor in particular the spirit of Accademia becomes tangible through a large, central greenhouse and the combination of architecture, interior design, and design. Previously this was the location of the old company bar – a room that was home to countless encounters, stories, and relationships.

Zagni, who outside of the work sphere also has a fondness for the products created by the Bouroullec brothers and especially their “Officina” line designed in 2014 for Magis, combined his concept with different Magis products that each correspond to the philosophy of La Marzocco. For the “Officina” series, Ronan and Erwan Bouroullec interpreted the ancient technique of forging anew to come up with a highly expressive and intelligent system of different frames. In the Accademia del Caffè Espresso, there are sofas, lounge chairs, chairs, bar stools but also tables and coat stands from the collection. The items’ industrial feel coupled with a subtle elegance make them a perfectly choice for the setting of this former factory. The “Bureaurama” collection by contrast, which lends itself to a variety of environments, is integrated superbly into work areas and communal rooms. The stools and tables in different heights designed by Jerszy Seymour stand out for their streamlined look and are made from 100-percent recyclable aluminum. Zagni’s first choice for the training room and an open counter configuration.

The “Brut” series by Konstantin Grcic likewise doffs its cap to old processing techniques: Made from heavy cast iron, the frames of the tables and seating of the collection cite the typical industrial uses of cast iron. In the Accademia, the sleek silhouette of the sofas and tables seems to echo the structure of the architecture. Moreover, the “360°” drawer unit on wheels also by Konstantin Grcic, the legendary “Mariolina” chairs by Enzo Mari, bright yellow upholstered versions of the “Milá” chair by Jaime Hayon, not to mention the classic “Déjà-vu” bar stool by Naoto Fukasawa made of polished aluminum are all to be found in La Marzocco’s Accademia and add a new chapter to the history of the long-standing Italian company.