Born in Verona in 1965, Alberto Minotti, since childhood, has been breathing the air of the family business, minotticucine, created by his father Adriano fifteen years earlier. At a young age Alberto enters fully into the family business alongside his parents in the production of modern kitchens, characterized by great technical quality and a contemporary taste. Starting in 1994, he begins to design autonomously, inserting into the product line those personal interpretations that will bring minotticucine to be what it is today: that is, a production characterized by the concept of “visual silence”.
An interesting meeting at the end of the 90s with Palmalisa Zantedeschi, who shows him a book on minimalism, opens Alberto’s eyes to the world of stone and that will push him to look for collaboration in 2003, with the architect and friend Claudio Silvestrin, designer for minotticucine of Terra; one of the most popular models of the range and presented for the first time in porphyry and labranite in 2005/2006, in Piazza Diaz in Milan. At the same time as these important style changes, the company distribution system goes from multibrand to monobrand. Thus they open single-brand stores in London, Moscow, Chicago, Tokyo, Milan, Paris, Cologne and Verona; they will amount to thirty only a few years later.
In 2008 Alberto Minotti receives the “Marco Polo” award, while in 2013 he meets Giovanni Venturini, thus starting his collaboration as designer and artistic director for Asso group, that today is the owner of minotticucine.
The philosophy of visual silence. A real philosophical path translated into the company, in the signs that distinguish every single product: design for Alberto Minotti is continuous research and an existential journey before anything else. His idea, ambitious but concrete, is to design behavior to propose a real way of life free from excesses and superfluity: silence for the eyes. The elementary forms of minotti kitchens therefore become ever more pure, almost primitive, proof of the integrity and spiritual strength of the brand. Everything is reduced to a minimum almost as if to deny the intervention of man on the project; therefore the handles, the bases, the taps and all those ostentatious details typical of traditional design disappear, while the use of colours and materials becomes rigorous and intransigent. The result is monolithic, monochromatic and monomaterial volumes that, while appearing sculptural, do not renounce their function of daily use. The choice of natural materials, from stone to wood and metals, makes the products eternal, freezing time and marking a fashion beyond fashions.