Museo: MUMAC – Museo della Macchina per Caffè Cimbali Group

Welcome

Welcome to MUMAC for this special visit! Today you can visit the Cimbali Group Coffee Machine Museum on the occasion of the FAI Autumn Days, which, thanks to the Italian Environmental Fund, allow access to places of Italian culture, art, and beauty. This is a beloved and anticipated event that FAI has dedicated for thirteen years to our country's cultural and landscape heritage. You have probably heard or will hear a brief introduction to the museum by Barbara Foglia, MUMAC Director, and Enrico Maltoni, the world's most important collector of professional espresso machines and co-creator of MUMAC, who is present for the occasion. For this reason, using this APP with the visit dedicated to the FAI Days will allow you to directly enter the world and history of professional espresso machines, enabling you, from the moment you cross the threshold of the first room of the museum, to immerse yourself directly in a journey through time: enjoy your visit! The museum was born in 2012 and was created on the occasion of the centenary of the company's foundation, which occurred in 1912 by Giuseppe Cimbali in Milan. It is the largest permanent exhibition dedicated to the history, world, and culture of professional espresso machines: an unexpected, exciting, and unique place.

Welcome to MUMAC for this special visit! Today you can visit the Cimbali Group Coffee Machine Museum on the occasion of the FAI Autumn Days, which, thanks to the Italian Environmental Fund, allow access to places of Italian culture, art, and beauty. This is a beloved and anticipated event that FAI has dedicated for thirteen years to our country's cultural and landscape heritage. You have probably heard or will hear a brief introduction to the museum by Barbara Foglia, MUMAC Director, and Enrico Maltoni, the world's most important collector of professional espresso machines and co-creator of MUMAC, who is present for the occasion. For this reason, using this APP with the visit dedicated to the FAI Days will allow you to directly enter the world and history of professional espresso machines, enabling you, from the moment you cross the threshold of the first room of the museum, to immerse yourself directly in a journey through time: enjoy your visit! The museum was born in 2012 and was created on the occasion of the centenary of the company's foundation, which occurred in 1912 by Giuseppe Cimbali in Milan. It is the largest permanent exhibition dedicated to the history, world, and culture of professional espresso machines: an unexpected, exciting, and unique place.

Room 1

Welcome to the first room. We are in Italy between the late 1800s and the first two decades of the 1900s. The photos on the walls, the large counter, the machines, and the advertising images tell us that we are in a time of great ferment and innovation. The industrial revolution, the steam engine, and the train are shortening distances towards novelty and the future. It is during this period of inventions and ferment that espresso coffee is born. But where does it originate? Many think it was born in Naples, but if we start from the assumption that espresso coffee originates from the machines that first produced it, it finds its origin between Turin and Milan. In fact, in Turin, what we could define as the ancestor of the espresso coffee machine was created. It is a machine for "instant" coffee, of which we have a reproduction here, made in the Maltoni Workshops based on the original patent. It's the machine you find on the left as you enter, a faithful reproduction of the one patented and made in Turin by Angelo Moriondo, which the "Gazzetta Piemontese" wrote about in eighteen eighty-four, announcing the birth of a "beautiful machine for making coffee." The invention of the Turin native, while still far from the elaboration of the first espresso machines, has the merit, for the first time, of producing the beverage thanks to the use of steam and offering a quality drink to the increasingly numerous enthusiasts. Extraction through steam allows obtaining a beverage no longer by percolation or infusion, as had happened until then, but through the pressure of water brought to boiling. However, this coffee cannot yet be defined as "espresso," that is, made at the moment and on the express request of the customer, since it is produced in large quantities and not in single doses. As you can see, those large side containers allow the machine to produce a lot of coffee simultaneously and keep it hot for dispensing to the numerous customers who frequented the Gran Caffè Ligure of the Moriondo family, located near the Porta Nuova station. When travelers got off the train arriving at the station, they went to the Café and took turns in large numbers to enjoy an excellent hot drink that was waiting for them ready for consumption! At the Moriondo family's Gran Caffè Ligure, two of these machines, patented but never commercialized, were proudly displayed for the public service of "instant coffee," as defined by Moriondo himself: in fact, the coffee produced and extracted in quantity is not yet prepared "cup by cup," a concept that underlies the term "espresso." To understand the concept of "espresso" as coffee produced at the moment, fresh and quickly for the customer, we have to wait for another machine, the one on your right, the Ideale machine from the Desiderio Pavoni company, the first true espresso coffee machine. Its birth is actually connected to the invention, in nineteen hundred and one by the Milanese Luigi Bezzera, of the single dispensing group present on the machine. Look at the filter holder with one or two spouts and the attachment system to the central body of the machine: they were already very similar to those of today, don't you think? The dispensing group that produces coffee "cup by cup," in fact, denotes the birth of espresso coffee, understood as coffee made specifically, that is, at the moment and quickly, on the express request of the customer. But this coffee, although "espresso," was very different from the one we are used to today: it was also, like Moriondo's, produced with steam, so rather burnt, boiling hot and black, without cream, a characteristic that would arrive more than four decades later. The invention of the dispensing group, applied to the machines produced by the Milanese Desiderio Pavoni, is proposed to the public for the first time at the Milan International Exhibition of nineteen hundred and six in Luigi Bezzera's stand and, from that moment, the sector takes off. Now, turn around. Look at the large photo on the brown dividing panel: it portrays the workers of a workshop where the figure from which the history of Cimbali Group starts is present. A young Giuseppe Cimbali, portrayed standing on the left with his arms folded and a direct and proud gaze towards us, was already a pioneer among pioneers in those years. In fact, this photo is a historical document with a caption that tells us a story: in nineteen hundred and five, Giuseppe Cimbali was already active in the sector, precisely in the realization of those machines that, for the first time, would soon be presented to the world. His story begins here: from an apprenticeship in a small workshop, to work in a sector that will see him become a proud protagonist in the following years. In fact, in nineteen twelve, he founded his first shop and workshop in via Caminadella, in the center of Milan, for the production of boilers for coffee machines produced by others and, subsequently, in the nineteen thirties, for his own production of machines. Now, look at the room in front of you and move to the left of the dividing wall: on the wall, you can see some photos and documents. In the central part, you can see the photograph of the Bezzera stand at the Milan Exhibition of nineteen hundred and six that we talked about earlier and discover, in detail, Mr. Luigi himself in the foreground, leaning on the counter, next to a sign that establishes his collaboration with Pavoni. The full-wall photos show us instead an image of the International Exhibition with hot air balloons ready to fly, the Galleria Vittorio Emanuele with its historic venues, and one of the first cars that began to travel in the city, giving us back an era of great ferment and elegance. A few words now on how the machines were managed. We said that these are real steam machines that could be powered by gas, electricity, but also wood or coal. To ensure their safe use, they had to be operated by machinists with a license to keep steam and pressure under control and prevent them from exploding. As for the style, we remember that all machines are children of their time and link, from now on, indissolubly, style and industrial design in a harmonious language. In this period, dispensers of a dark, boiling hot coffee without cream, very far from the commonly known espresso today, are column-shaped and recall the Liberty or Art Nouveau style: curved and sinuous lines, enamels, exotic decorations with a vegetable theme, inspired by the little-known coffee plant, characterize the machines of the beginnings until the rationalist period. From here on and for decades, the machines are undisputed protagonists on the luxurious counters of cafés. Here you can see an original one from nineteen twenty-nine, and of the American bars of the time. The machines reflect the style of the era, as a product of Italian ingenuity that soon crosses national borders, once again in particular thanks to a Turin native, Pier Teresio Arduino who, in the nineteen twenties, with his machines starts the export of the "made in Italy" of the sector. Now you can move on to the second room.

Welcome to the first room. We are in Italy between the late 1800s and the first two decades of the 1900s. The photos on the walls, the large counter, the machines, and the advertising images tell us that we are in a time of great ferment and innovation. The industrial revolution, the steam engine, and the train are shortening distances towards novelty and the future. It is during this period of inventions and ferment that espresso coffee is born. But where does it originate? Many think it was born in Naples, but if we start from the assumption that espresso coffee originates from the machines that first produced it, it finds its origin between Turin and Milan. In fact, in Turin, what we could define as the ancestor of the espresso coffee machine was created. It is a machine for "instant" coffee, of which we have a reproduction here, made in the Maltoni Workshops based on the original patent. It's the machine you find on the left as you enter, a faithful reproduction of the one patented and made in Turin by Angelo Moriondo, which the "Gazzetta Piemontese" wrote about in eighteen eighty-four, announcing the birth of a "beautiful machine for making coffee." The invention of the Turin native, while still far from the elaboration of the first espresso machines, has the merit, for the first time, of producing the beverage thanks to the use of steam and offering a quality drink to the increasingly numerous enthusiasts. Extraction through steam allows obtaining a beverage no longer by percolation or infusion, as had happened until then, but through the pressure of water brought to boiling. However, this coffee cannot yet be defined as "espresso," that is, made at the moment and on the express request of the customer, since it is produced in large quantities and not in single doses. As you can see, those large side containers allow the machine to produce a lot of coffee simultaneously and keep it hot for dispensing to the numerous customers who frequented the Gran Caffè Ligure of the Moriondo family, located near the Porta Nuova station. When travelers got off the train arriving at the station, they went to the Café and took turns in large numbers to enjoy an excellent hot drink that was waiting for them ready for consumption! At the Moriondo family's Gran Caffè Ligure, two of these machines, patented but never commercialized, were proudly displayed for the public service of "instant coffee," as defined by Moriondo himself: in fact, the coffee produced and extracted in quantity is not yet prepared "cup by cup," a concept that underlies the term "espresso." To understand the concept of "espresso" as coffee produced at the moment, fresh and quickly for the customer, we have to wait for another machine, the one on your right, the Ideale machine from the Desiderio Pavoni company, the first true espresso coffee machine. Its birth is actually connected to the invention, in nineteen hundred and one by the Milanese Luigi Bezzera, of the single dispensing group present on the machine. Look at the filter holder with one or two spouts and the attachment system to the central body of the machine: they were already very similar to those of today, don't you think? The dispensing group that produces coffee "cup by cup," in fact, denotes the birth of espresso coffee, understood as coffee made specifically, that is, at the moment and quickly, on the express request of the customer. But this coffee, although "espresso," was very different from the one we are used to today: it was also, like Moriondo's, produced with steam, so rather burnt, boiling hot and black, without cream, a characteristic that would arrive more than four decades later. The invention of the dispensing group, applied to the machines produced by the Milanese Desiderio Pavoni, is proposed to the public for the first time at the Milan International Exhibition of nineteen hundred and six in Luigi Bezzera's stand and, from that moment, the sector takes off. Now, turn around. Look at the large photo on the brown dividing panel: it portrays the workers of a workshop where the figure from which the history of Cimbali Group starts is present. A young Giuseppe Cimbali, portrayed standing on the left with his arms folded and a direct and proud gaze towards us, was already a pioneer among pioneers in those years. In fact, this photo is a historical document with a caption that tells us a story: in nineteen hundred and five, Giuseppe Cimbali was already active in the sector, precisely in the realization of those machines that, for the first time, would soon be presented to the world. His story begins here: from an apprenticeship in a small workshop, to work in a sector that will see him become a proud protagonist in the following years. In fact, in nineteen twelve, he founded his first shop and workshop in via Caminadella, in the center of Milan, for the production of boilers for coffee machines produced by others and, subsequently, in the nineteen thirties, for his own production of machines. Now, look at the room in front of you and move to the left of the dividing wall: on the wall, you can see some photos and documents. In the central part, you can see the photograph of the Bezzera stand at the Milan Exhibition of nineteen hundred and six that we talked about earlier and discover, in detail, Mr. Luigi himself in the foreground, leaning on the counter, next to a sign that establishes his collaboration with Pavoni. The full-wall photos show us instead an image of the International Exhibition with hot air balloons ready to fly, the Galleria Vittorio Emanuele with its historic venues, and one of the first cars that began to travel in the city, giving us back an era of great ferment and elegance. A few words now on how the machines were managed. We said that these are real steam machines that could be powered by gas, electricity, but also wood or coal. To ensure their safe use, they had to be operated by machinists with a license to keep steam and pressure under control and prevent them from exploding. As for the style, we remember that all machines are children of their time and link, from now on, indissolubly, style and industrial design in a harmonious language. In this period, dispensers of a dark, boiling hot coffee without cream, very far from the commonly known espresso today, are column-shaped and recall the Liberty or Art Nouveau style: curved and sinuous lines, enamels, exotic decorations with a vegetable theme, inspired by the little-known coffee plant, characterize the machines of the beginnings until the rationalist period. From here on and for decades, the machines are undisputed protagonists on the luxurious counters of cafés. Here you can see an original one from nineteen twenty-nine, and of the American bars of the time. The machines reflect the style of the era, as a product of Italian ingenuity that soon crosses national borders, once again in particular thanks to a Turin native, Pier Teresio Arduino who, in the nineteen twenties, with his machines starts the export of the "made in Italy" of the sector. Now you can move on to the second room.

Room 2

The post-World War I room is distinctly different from the previous one due to the style of the machines, which reflects the rationalist movement of the era. After World War I and the Wall Street crash of 1929, Western countries experienced severe problems in every aspect of economic, productive, and social life, with serious consequences. With the American financial crisis, all economic indicators measuring the state of well-being and progress of national economies drastically reduced on a global scale. Each country independently tried to stem the crisis with economic protectionism. To safeguard domestic production, the first autarchic productions were launched, made exclusively with local raw materials. It was a difficult, complex period of forced immobility that led Italy to sink into a regime that included state intervention plans, colonial wars, and autarchy. In this context, the entire Italian industry, except for the war industry, suffered a setback. But the world of coffee machines, in its niche consisting of the few consumers who could aspire to this luxury, continued its journey under the impulses of an interesting paradox. While consumption decreased at the national level, in correspondence with large urban realities, there were real peaks in consumption, dictated by the concentration of wealthy patrons who did not want to give up a real espresso. Thus, public places grew and became meeting places and centers of culture. The coffee machine sector experienced a technological setback (they still operated on steam), but people continued to gather around the ritual of the espresso cup prepared at the counter and served at the table. Let's now focus on some details of the room and some machines. The first machine to consider is also the first produced by La Cìmbali. During this period, Giuseppe Cìmbali introduced his first coffee machine to the market, La Rapida with vertical development: production began thanks to the acquisition of a small client company in crisis, S.I.T.I., which allowed Mr. Giuseppe to start his own production with a new logo: a triangle containing the letters OCG (Officina Cìmbali Giuseppe). The machine is located at the beginning of the room next to an advertising poster of the model variants produced, including a coal-powered one. On the right wall, there are three display cases through which it is possible to see the historical excursus of a fundamental part of coffee machines: the portafilter. A set of portafilters displayed in chronological order allows us to appreciate the changes that have occurred over time and necessarily linked to the technological development of the machines. At the beginning of the twentieth century, the portafilter for the dispensing of a single coffee appears much larger than a modern one (the raw material needed for a steam-extracted espresso was about twice as much as needed today). Moreover, it had wider holes because the coffee grind was coarser than today, with a granulometry that allowed the low pressure of the steam to easily pass through the coffee panel. The various portafilters show us how, today, the one for two cups is smaller in size and how, at the same time, the holes have become denser and smaller because the extraction at the pressure allowed by current technologies can extract the best from the raw material, providing a more compact barrier for the high pressure to pass through. In the early forties, although the technology remained unchanged, something began to change in the forms: the machines went from vertical to horizontal, and performance improved: with the dispensing groups all positioned on the same side, a single operator could manage, while "comfortably" staying in the same position, the dispensing of multiple coffees, thus becoming faster and more efficient. Another accessory that was previously impossible to have in vertical machines, often equipped with domes, also appears: the cup warmer, which attests to the growing care for all phases of espresso preparation. The space, usually obtained above or beside the horizontally placed boiler, finds its functionality by exploiting its heat: from then on, espresso could no longer do without a well-heated cup. In this room, in the center, you can see some machines positioned one behind the other on a long row of white marble parallelepipeds: if you look at them carefully, they seem to constitute a real locomotive, where the first machine in front, La Cìmbali Ala, in its dispensing groups, very much resembles the position... of a Milan tram driver! While, if you observe the last one in the row, an imposing San Marco 900, you will discover a small stove where pieces of coal were placed to power the machine, just like the boilers of steam trains! This is a hybrid machine from the autarchic period, which can also operate on gas and electricity, created to cope with the difficulty of access to energy sources and the rationing of raw materials. It is the period when the wealthier classes could afford the consumption of "real" coffee (an increasingly rare commodity) in public places, while the more popular classes had to make do with substitutes or surrogates of the much more precious raw material, with "espressos" made from chicory, barley, rye, acorns, figs. Those who could afford it paid a higher price not to give up a pleasure that was increasingly becoming a true daily ritual. With the start of World War II, many industries converted to production for war activities, and much of the Italian inventiveness inevitably stopped, setting aside new technological solutions that had to wait for better times. One of these would revolutionarily affect the coffee machine, but it would take almost a decade before it was realized. But we'll talk about that in the next room. First, however, in this room, take a moment to look at the last machine in the room: the D.P. 47 designed by Gio Ponti for Pavoni. Only two examples of this machine exist in the world: one is owned by a private collector, while this one displayed at Mumac is the only one always visible to the public. It is one of the first horizontally developed models. It is known as "la Cornuta" (the Horned One) due to the particular shape of the dispensers placed above the central cylindrical body. It is a true masterpiece of design: a perfect combination of sculptural forms and technological innovation, it is one of the most precious pieces for collectors in the sector, still considered today the most beautiful coffee machine in the world. It was found by chance in an abandoned hotel on the Roman coast and after a long restoration carried out by Officine Maltoni, it is now one of the most requested machines for national and international loans (it has been at the Museé des Art Decoratifs of the Louvre in Paris, at the Triennale in Milan, at the Deutsches Museum in Munich). Despite its unparalleled beauty, the Cornuta was born with steam technology at a time of transition towards a new extraction method that would soon supplant all others: the lever. To discover the new technology, you can move on to the third room

The post-World War I room is distinctly different from the previous one due to the style of the machines, which reflects the rationalist movement of the era. After World War I and the Wall Street crash of 1929, Western countries experienced severe problems in every aspect of economic, productive, and social life, with serious consequences. With the American financial crisis, all economic indicators measuring the state of well-being and progress of national economies drastically reduced on a global scale. Each country independently tried to stem the crisis with economic protectionism. To safeguard domestic production, the first autarchic productions were launched, made exclusively with local raw materials. It was a difficult, complex period of forced immobility that led Italy to sink into a regime that included state intervention plans, colonial wars, and autarchy. In this context, the entire Italian industry, except for the war industry, suffered a setback. But the world of coffee machines, in its niche consisting of the few consumers who could aspire to this luxury, continued its journey under the impulses of an interesting paradox. While consumption decreased at the national level, in correspondence with large urban realities, there were real peaks in consumption, dictated by the concentration of wealthy patrons who did not want to give up a real espresso. Thus, public places grew and became meeting places and centers of culture. The coffee machine sector experienced a technological setback (they still operated on steam), but people continued to gather around the ritual of the espresso cup prepared at the counter and served at the table. Let's now focus on some details of the room and some machines. The first machine to consider is also the first produced by La Cìmbali. During this period, Giuseppe Cìmbali introduced his first coffee machine to the market, La Rapida with vertical development: production began thanks to the acquisition of a small client company in crisis, S.I.T.I., which allowed Mr. Giuseppe to start his own production with a new logo: a triangle containing the letters OCG (Officina Cìmbali Giuseppe). The machine is located at the beginning of the room next to an advertising poster of the model variants produced, including a coal-powered one. On the right wall, there are three display cases through which it is possible to see the historical excursus of a fundamental part of coffee machines: the portafilter. A set of portafilters displayed in chronological order allows us to appreciate the changes that have occurred over time and necessarily linked to the technological development of the machines. At the beginning of the twentieth century, the portafilter for the dispensing of a single coffee appears much larger than a modern one (the raw material needed for a steam-extracted espresso was about twice as much as needed today). Moreover, it had wider holes because the coffee grind was coarser than today, with a granulometry that allowed the low pressure of the steam to easily pass through the coffee panel. The various portafilters show us how, today, the one for two cups is smaller in size and how, at the same time, the holes have become denser and smaller because the extraction at the pressure allowed by current technologies can extract the best from the raw material, providing a more compact barrier for the high pressure to pass through. In the early forties, although the technology remained unchanged, something began to change in the forms: the machines went from vertical to horizontal, and performance improved: with the dispensing groups all positioned on the same side, a single operator could manage, while "comfortably" staying in the same position, the dispensing of multiple coffees, thus becoming faster and more efficient. Another accessory that was previously impossible to have in vertical machines, often equipped with domes, also appears: the cup warmer, which attests to the growing care for all phases of espresso preparation. The space, usually obtained above or beside the horizontally placed boiler, finds its functionality by exploiting its heat: from then on, espresso could no longer do without a well-heated cup. In this room, in the center, you can see some machines positioned one behind the other on a long row of white marble parallelepipeds: if you look at them carefully, they seem to constitute a real locomotive, where the first machine in front, La Cìmbali Ala, in its dispensing groups, very much resembles the position... of a Milan tram driver! While, if you observe the last one in the row, an imposing San Marco 900, you will discover a small stove where pieces of coal were placed to power the machine, just like the boilers of steam trains! This is a hybrid machine from the autarchic period, which can also operate on gas and electricity, created to cope with the difficulty of access to energy sources and the rationing of raw materials. It is the period when the wealthier classes could afford the consumption of "real" coffee (an increasingly rare commodity) in public places, while the more popular classes had to make do with substitutes or surrogates of the much more precious raw material, with "espressos" made from chicory, barley, rye, acorns, figs. Those who could afford it paid a higher price not to give up a pleasure that was increasingly becoming a true daily ritual. With the start of World War II, many industries converted to production for war activities, and much of the Italian inventiveness inevitably stopped, setting aside new technological solutions that had to wait for better times. One of these would revolutionarily affect the coffee machine, but it would take almost a decade before it was realized. But we'll talk about that in the next room. First, however, in this room, take a moment to look at the last machine in the room: the D.P. 47 designed by Gio Ponti for Pavoni. Only two examples of this machine exist in the world: one is owned by a private collector, while this one displayed at Mumac is the only one always visible to the public. It is one of the first horizontally developed models. It is known as "la Cornuta" (the Horned One) due to the particular shape of the dispensers placed above the central cylindrical body. It is a true masterpiece of design: a perfect combination of sculptural forms and technological innovation, it is one of the most precious pieces for collectors in the sector, still considered today the most beautiful coffee machine in the world. It was found by chance in an abandoned hotel on the Roman coast and after a long restoration carried out by Officine Maltoni, it is now one of the most requested machines for national and international loans (it has been at the Museé des Art Decoratifs of the Louvre in Paris, at the Triennale in Milan, at the Deutsches Museum in Munich). Despite its unparalleled beauty, the Cornuta was born with steam technology at a time of transition towards a new extraction method that would soon supplant all others: the lever. To discover the new technology, you can move on to the third room

Room 3

Immediately upon entering you can see a sectioned piston on the display on the left, positioned near a horizontal coffee machine with two boilers. This is the new technological revolution with which we finally arrive at espresso coffee as we know it today: with "crema". It is the Gàggia Classica machine equipped with the "lever" mechanism, for which already in 1936, Rosetta Scorza, widow of Cremonese, had filed a patent entitled «Plunger tap for espresso coffee machine». Achille Gàggia, a little-known Milanese barista, acquired the invention, experimenting with it in his Bar Achille, and later developed his own patent, exhibiting it for the first time at the Milan Trade Fair in 1939. This was the coffee cream dispensing unit (advertised as the «Lampo, the only coffee compressor that works without steam» system). However, due to the war everything was interrupted. At the end of the conflict, we witnessed a unique moment in Italy's history of economic and social recovery aimed at innovation. The bar becomes a place of aggregation and sharing, no longer intended for an elite but an ideal meeting place for everyone, consecrating coffee at the bar as a social ritual that transcends class distinctions. On the wave of well-being and carefreeness that swept through Italy after the dark years of the war, bars became increasingly crowded and lived-in places. We also meet to watch television, a tool for aggregation and social change, still rare in Italian homes. Or the coffee moment is used to leaf through the newspaper, to discuss sports and politics, to spend time in company, to give concreteness to that concept of "free time" which only a few years earlier was completely unknown to most people. part of the population. The real revolution in espresso coffee machines, in fact, is the invention of the lever. In 1948, the Classica model was finally put into production by Achille Gàggia. For the production of the machine, Gàggia turned to the FAEMA workshops of Carlo Ernesto Valente, who had opened his Electro-Mechanical and Similar Equipment Factory a few years earlier. The machine, equipped with two boilers, allows, thanks to the lever, to have high pressure and water at a temperature below one hundred degrees, without generating steam. The result is extraordinary: the drink is now dispensed in just over thirty seconds, all the burning sensations caused by the use of steam have disappeared and for the first time the coffee cream is produced, from now on inseparable from the concept of espresso consumed at the bar. If, for today's coffee consumer, cream and espresso are a unique concept, at the time this was a novelty of considerable importance, so much so that the words "Natural coffee cream works without steam" were displayed on the machines to invite customers to taste it . The rush of all the companies in the sector to create new machines suitable for the extraction of an espresso cream coffee leads first FAEMA, with its Saturno, and then La Cìmbali, with the Gioiello, to extract, using a lever and without steam, the essential coffee oils which, with their aromas, give fullness to the flavor of the drink and, with their emulsion, create the typical espresso cream. The new technology elevates espresso to cult status and transforms the figure of the "machinist", the person who previously operated the coffee machine thanks to his stoker's license, into a "counter operator", that is, an expert user of the lever machine, then positioned on the counter , in front of the customer. Espresso takes on new names, depending on the company that produces the machines. The writing on the front panels of the machines differs by brand, as you can clearly see in this room. On the Gàggia, you can find the writing Crema caffè naturale. On the imposing machine displayed next to it, it is indicated “Idrocompresso Coffee Infusion”. This is the Faema Saturno, the first lever machine produced by Valente after the separation from Gàggia and a unique piece in the world. But above all, in recent years, a new term has imposed itself which will soon identify Italian espresso throughout the world: Cìmbalìno. The term was coined with the launch of Cìmbali's first lever machine, the Gioiello, presented inside a casket just like a jewel at the 1950 Milan Fair. The Cìmbali Gioiello is also exhibited here, a little further on on the white counter: near the machine you will also find the typical advertisement of the time for the Cìmbalìno and, behind it, a very accurate miniature reproduction of the machine. If you continue to follow the long white display, you can find one of the most impressive machines produced, the 1956 La Cìmbali Granluce, but also many other interesting and noteworthy models: the San Marco Lollobrigida, the La Pavoni Concorso designed by Bruno Munari and Enzo Mari and renamed Diamante for its characteristic shape, La Cambi Olìmpia dedicated to the 1956 Cortina Winter Olympics and many others. In the center of the room, there is also a vintage Faema-branded counter where it is possible to relive the atmosphere of a 1950s bar. Now, turn the corner and enter the next room.

Immediately upon entering you can see a sectioned piston on the display on the left, positioned near a horizontal coffee machine with two boilers. This is the new technological revolution with which we finally arrive at espresso coffee as we know it today: with "crema". It is the Gàggia Classica machine equipped with the "lever" mechanism, for which already in 1936, Rosetta Scorza, widow of Cremonese, had filed a patent entitled «Plunger tap for espresso coffee machine». Achille Gàggia, a little-known Milanese barista, acquired the invention, experimenting with it in his Bar Achille, and later developed his own patent, exhibiting it for the first time at the Milan Trade Fair in 1939. This was the coffee cream dispensing unit (advertised as the «Lampo, the only coffee compressor that works without steam» system). However, due to the war everything was interrupted. At the end of the conflict, we witnessed a unique moment in Italy's history of economic and social recovery aimed at innovation. The bar becomes a place of aggregation and sharing, no longer intended for an elite but an ideal meeting place for everyone, consecrating coffee at the bar as a social ritual that transcends class distinctions. On the wave of well-being and carefreeness that swept through Italy after the dark years of the war, bars became increasingly crowded and lived-in places. We also meet to watch television, a tool for aggregation and social change, still rare in Italian homes. Or the coffee moment is used to leaf through the newspaper, to discuss sports and politics, to spend time in company, to give concreteness to that concept of "free time" which only a few years earlier was completely unknown to most people. part of the population. The real revolution in espresso coffee machines, in fact, is the invention of the lever. In 1948, the Classica model was finally put into production by Achille Gàggia. For the production of the machine, Gàggia turned to the FAEMA workshops of Carlo Ernesto Valente, who had opened his Electro-Mechanical and Similar Equipment Factory a few years earlier. The machine, equipped with two boilers, allows, thanks to the lever, to have high pressure and water at a temperature below one hundred degrees, without generating steam. The result is extraordinary: the drink is now dispensed in just over thirty seconds, all the burning sensations caused by the use of steam have disappeared and for the first time the coffee cream is produced, from now on inseparable from the concept of espresso consumed at the bar. If, for today's coffee consumer, cream and espresso are a unique concept, at the time this was a novelty of considerable importance, so much so that the words "Natural coffee cream works without steam" were displayed on the machines to invite customers to taste it . The rush of all the companies in the sector to create new machines suitable for the extraction of an espresso cream coffee leads first FAEMA, with its Saturno, and then La Cìmbali, with the Gioiello, to extract, using a lever and without steam, the essential coffee oils which, with their aromas, give fullness to the flavor of the drink and, with their emulsion, create the typical espresso cream. The new technology elevates espresso to cult status and transforms the figure of the "machinist", the person who previously operated the coffee machine thanks to his stoker's license, into a "counter operator", that is, an expert user of the lever machine, then positioned on the counter , in front of the customer. Espresso takes on new names, depending on the company that produces the machines. The writing on the front panels of the machines differs by brand, as you can clearly see in this room. On the Gàggia, you can find the writing Crema caffè naturale. On the imposing machine displayed next to it, it is indicated “Idrocompresso Coffee Infusion”. This is the Faema Saturno, the first lever machine produced by Valente after the separation from Gàggia and a unique piece in the world. But above all, in recent years, a new term has imposed itself which will soon identify Italian espresso throughout the world: Cìmbalìno. The term was coined with the launch of Cìmbali's first lever machine, the Gioiello, presented inside a casket just like a jewel at the 1950 Milan Fair. The Cìmbali Gioiello is also exhibited here, a little further on on the white counter: near the machine you will also find the typical advertisement of the time for the Cìmbalìno and, behind it, a very accurate miniature reproduction of the machine. If you continue to follow the long white display, you can find one of the most impressive machines produced, the 1956 La Cìmbali Granluce, but also many other interesting and noteworthy models: the San Marco Lollobrigida, the La Pavoni Concorso designed by Bruno Munari and Enzo Mari and renamed Diamante for its characteristic shape, La Cambi Olìmpia dedicated to the 1956 Cortina Winter Olympics and many others. In the center of the room, there is also a vintage Faema-branded counter where it is possible to relive the atmosphere of a 1950s bar. Now, turn the corner and enter the next room.

Room 4

We are at the turn of the sixties and seventies. From two wheels to sports cars, from poverty to wealth, from mended clothes to fashionable attire, these are the years of the economic boom and widespread prosperity. Years in which, from the triumphs of Coppi and Bartali of the previous decades, heroes of a poor and rural country and a nation yet to be invented, we move on to Merckx, the first modern cyclist. The champion (and the FAEMA jersey he wore) is discussed in bars, where people gather to talk about news reported by the "Gazzetta" and the radio, then by TV. Coffee and cycling, an inseparable combination that endures even today. In this room, you can find some memorabilia from the most glorious period of the Faema team's cycling history, a team that won everything there was to win during its golden era. In these years, the true industrialization of the coffee machine sector begins, with machines becoming standardized and easily assembled on production lines. Production shifts from artisanal to industrial. The decade opens with an innovation introduced by FAEMA: the launch of a truly innovative coffee machine, which you can find entering the room on the left. It's the Tartaruga (TRR) model, the so-called "continuous brewing machine" of nineteen sixty, which, the following year, evolves into the E61 model (named after the solar eclipse that occurred that year in Italy). The machine, which you can see in two versions with two and four groups with its recognizable and distinctive front panel, has become an icon in the world of bars for its aesthetics and quality of brewed coffee. It is still in demand and produced today, also because the invention of the volumetric electric pump, in addition to positively affecting the extraction of the beverage with crema, allows the operator a considerable saving of effort. All the heavy and dangerous work required until then for maneuvering piston and lever is replaced by the simple use of a small lever that lightens and simplifies the work of the barista. Opposite the E61, you can instead see another noteworthy machine; The Cimbali Pitagora, designed in nineteen sixty-two by the brothers Achille and Pier Giacomo Castiglioni, architects and designers, who are awarded the Compasso d'Oro for this project: for the first and only time in history, a professional espresso coffee machine wins this prestigious recognition. In the display case at the beginning of the corridor, you have the opportunity to see the Award and some documents related to the award ceremony, including the jury's motivation. For the production of Pitagora and to meet the needs of a larger space suitable for mass production, La Cimbali moves in those years from Milan to Binasco. But the following years are difficult, known in history as the Years of Lead. The grayness of the decade is paradoxically compensated by new shapes, materials, and colors that also impose themselves in coffee machines. In the field of design, pop culture imposes itself, introducing in all sectors garish colors aimed at expressing a disruptive affirmation of self. The last, great revolution that affects the coffee machine sector is the least sought after, if you will, but certainly of greater impact on consumers: a new point of view, a change in relationship. Work and society impose increasingly frenetic rhythms, coffee is consumed on the go, and greater productivity of the counter is favored, with more space to serve customers. The machines are confined to the back-counter space, forcing the barista to turn their back to the customer during preparation. The relationship loses thickness, facilitating in previous decades a slow and "social" consumption, a guarantee of a quality of exchange between barista and customer far more significant than simple service. It's just a shift of a few meters, but it imprints an epochal turn: the aesthetics change totally, research focuses on brewing groups, volumes are resized and tend towards compactness. Displayed here, almost at the end of the room, a red machine catches the eye: The Cimbali M15, designed by Rodolfo Bonetto, anticipates this trend. It's the first model that assumes a "C" shape on the sides to allow compacting volumes while guaranteeing more lateral maneuvering space for the barista. The characteristic lateral "C" thus becomes an iconic symbol of the LaCimbali brand since the seventies, a design element that embodies tradition and innovation, making the brand immediately recognizable. You can now access the next room.

We are at the turn of the sixties and seventies. From two wheels to sports cars, from poverty to wealth, from mended clothes to fashionable attire, these are the years of the economic boom and widespread prosperity. Years in which, from the triumphs of Coppi and Bartali of the previous decades, heroes of a poor and rural country and a nation yet to be invented, we move on to Merckx, the first modern cyclist. The champion (and the FAEMA jersey he wore) is discussed in bars, where people gather to talk about news reported by the "Gazzetta" and the radio, then by TV. Coffee and cycling, an inseparable combination that endures even today. In this room, you can find some memorabilia from the most glorious period of the Faema team's cycling history, a team that won everything there was to win during its golden era. In these years, the true industrialization of the coffee machine sector begins, with machines becoming standardized and easily assembled on production lines. Production shifts from artisanal to industrial. The decade opens with an innovation introduced by FAEMA: the launch of a truly innovative coffee machine, which you can find entering the room on the left. It's the Tartaruga (TRR) model, the so-called "continuous brewing machine" of nineteen sixty, which, the following year, evolves into the E61 model (named after the solar eclipse that occurred that year in Italy). The machine, which you can see in two versions with two and four groups with its recognizable and distinctive front panel, has become an icon in the world of bars for its aesthetics and quality of brewed coffee. It is still in demand and produced today, also because the invention of the volumetric electric pump, in addition to positively affecting the extraction of the beverage with crema, allows the operator a considerable saving of effort. All the heavy and dangerous work required until then for maneuvering piston and lever is replaced by the simple use of a small lever that lightens and simplifies the work of the barista. Opposite the E61, you can instead see another noteworthy machine; The Cimbali Pitagora, designed in nineteen sixty-two by the brothers Achille and Pier Giacomo Castiglioni, architects and designers, who are awarded the Compasso d'Oro for this project: for the first and only time in history, a professional espresso coffee machine wins this prestigious recognition. In the display case at the beginning of the corridor, you have the opportunity to see the Award and some documents related to the award ceremony, including the jury's motivation. For the production of Pitagora and to meet the needs of a larger space suitable for mass production, La Cimbali moves in those years from Milan to Binasco. But the following years are difficult, known in history as the Years of Lead. The grayness of the decade is paradoxically compensated by new shapes, materials, and colors that also impose themselves in coffee machines. In the field of design, pop culture imposes itself, introducing in all sectors garish colors aimed at expressing a disruptive affirmation of self. The last, great revolution that affects the coffee machine sector is the least sought after, if you will, but certainly of greater impact on consumers: a new point of view, a change in relationship. Work and society impose increasingly frenetic rhythms, coffee is consumed on the go, and greater productivity of the counter is favored, with more space to serve customers. The machines are confined to the back-counter space, forcing the barista to turn their back to the customer during preparation. The relationship loses thickness, facilitating in previous decades a slow and "social" consumption, a guarantee of a quality of exchange between barista and customer far more significant than simple service. It's just a shift of a few meters, but it imprints an epochal turn: the aesthetics change totally, research focuses on brewing groups, volumes are resized and tend towards compactness. Displayed here, almost at the end of the room, a red machine catches the eye: The Cimbali M15, designed by Rodolfo Bonetto, anticipates this trend. It's the first model that assumes a "C" shape on the sides to allow compacting volumes while guaranteeing more lateral maneuvering space for the barista. The characteristic lateral "C" thus becomes an iconic symbol of the LaCimbali brand since the seventies, a design element that embodies tradition and innovation, making the brand immediately recognizable. You can now access the next room.

Room 5

In the nineteen eighties, Italy experienced a phase of economic and social recovery after the difficulties of the nineteen seventies. Various factors, such as the reduction in oil prices, the decline of the dollar, the decrease in labor costs, public support for businesses, and technological innovations, contributed to this growth. Public enterprises also improved their situation. In nineteen eighty-six, Italy surpassed Great Britain in terms of GDP and per capita income. Italian society, driven by young people, adopted a more colorful and international style, inspired by English and Americans, but with its own identity. Fashion and design drove the economy, and Made in Italy established itself in an increasingly globalized world. Coffee machine manufacturers also entered international markets, achieving almost immediate success. This was the period when the Italian electronics industry, along with that of early computers, conquered markets. The same happened in the professional coffee machine sector, with unique elegance, personality, and style, thanks to the creations of major international designers. Italy became increasingly representative as an expression of style and good living, where the ritual of bar coffee and cappuccino gained popularity abroad as well. Coffee machines seized the opportunity to establish themselves as symbols of espresso culture and perfect embodiments of celebrated Italian design, appearing in venues worldwide: electronics led to a simplification of use combined with previously unattainable care and excellence. With FAEMA Tronic, designed in nineteen eighty-three by Ettore Sottsass and Aldo Cibic, the first electronic machine was born, which, with its control panel, allowed for dosing the amount of coffee dispensed. The opening towards markets where staff specialization is not comparable to that of Italy and automation is more widespread accelerated the development of "super-automatic" machines with full automation, capable of dispensing an entire menu of coffee and fresh milk-based beverages simply by pressing a button: the direct user can guarantee a product of consistent quality, and thus, in every corner of the world, one can enjoy espresso "as it's made in Italy". In this room, electronics, games, colors, accessories, images, and machines that represented an era spanning from the nineteen eighties to the nineteen nineties are mixed. In nineteen ninety-one, FAEMA's technical office, in collaboration with Giugiaro Design for the aesthetic part, developed an advanced product in the traditional machine sector: the E91. You can admire its design inspired by the harmonious lines of the historic E61 model, thus identifying an element of continuity with the company's tradition. Cimbali launched the super-automatic M50 Dolcevita on the market in the early nineteen nineties, displayed here, which can be accompanied by a refrigeration module for proper milk storage, also equipping the cup warmer with a UV lamp sterilizer to guarantee optimal hygiene. The advent of electronics, therefore, is increasingly crucial in the development of espresso coffee machines, as it allows for monitoring numerous parameters, improving performance, and opening up to various evolutionary possibilities in subsequent decades, which we can begin to appreciate in the next room.

In the nineteen eighties, Italy experienced a phase of economic and social recovery after the difficulties of the nineteen seventies. Various factors, such as the reduction in oil prices, the decline of the dollar, the decrease in labor costs, public support for businesses, and technological innovations, contributed to this growth. Public enterprises also improved their situation. In nineteen eighty-six, Italy surpassed Great Britain in terms of GDP and per capita income. Italian society, driven by young people, adopted a more colorful and international style, inspired by English and Americans, but with its own identity. Fashion and design drove the economy, and Made in Italy established itself in an increasingly globalized world. Coffee machine manufacturers also entered international markets, achieving almost immediate success. This was the period when the Italian electronics industry, along with that of early computers, conquered markets. The same happened in the professional coffee machine sector, with unique elegance, personality, and style, thanks to the creations of major international designers. Italy became increasingly representative as an expression of style and good living, where the ritual of bar coffee and cappuccino gained popularity abroad as well. Coffee machines seized the opportunity to establish themselves as symbols of espresso culture and perfect embodiments of celebrated Italian design, appearing in venues worldwide: electronics led to a simplification of use combined with previously unattainable care and excellence. With FAEMA Tronic, designed in nineteen eighty-three by Ettore Sottsass and Aldo Cibic, the first electronic machine was born, which, with its control panel, allowed for dosing the amount of coffee dispensed. The opening towards markets where staff specialization is not comparable to that of Italy and automation is more widespread accelerated the development of "super-automatic" machines with full automation, capable of dispensing an entire menu of coffee and fresh milk-based beverages simply by pressing a button: the direct user can guarantee a product of consistent quality, and thus, in every corner of the world, one can enjoy espresso "as it's made in Italy". In this room, electronics, games, colors, accessories, images, and machines that represented an era spanning from the nineteen eighties to the nineteen nineties are mixed. In nineteen ninety-one, FAEMA's technical office, in collaboration with Giugiaro Design for the aesthetic part, developed an advanced product in the traditional machine sector: the E91. You can admire its design inspired by the harmonious lines of the historic E61 model, thus identifying an element of continuity with the company's tradition. Cimbali launched the super-automatic M50 Dolcevita on the market in the early nineteen nineties, displayed here, which can be accompanied by a refrigeration module for proper milk storage, also equipping the cup warmer with a UV lamp sterilizer to guarantee optimal hygiene. The advent of electronics, therefore, is increasingly crucial in the development of espresso coffee machines, as it allows for monitoring numerous parameters, improving performance, and opening up to various evolutionary possibilities in subsequent decades, which we can begin to appreciate in the next room.

Room 6

As we enter the sixth room, we step into our current millennium, where flexibility and responsibility become the key concepts. The large photographs on the walls take us through the last two decades of contemporary history, from the birth of the euro to the awareness of sustainability needs, and major technological innovations like the James Webb Space Telescope. The global spread of coffee consumption and changes in social dynamics have influenced how people consume this quintessential social beverage. The arrival of the new millennium, colored by great expectations and concerns, has drastically changed the world's vision and structure: from the Twin Towers to economic crises, to the climate change emergency and the pandemic, the progression has been as swift as it has been significant. Technology, advancing at an exponential rate, has partially eroded culture and interpersonal relationships, but certainly not the pleasure of a cup of coffee. Bars are no longer the sole and undisputed gathering place: a good coffee or cappuccino can be enjoyed in a train station or airport waiting room, in a bookstore or a boutique, anywhere in the world. The early years of the new millennium saw a return to minimalism in architecture and common spaces. This minimalism is also reflected in the world of coffee machines: clean, elegant, and essential lines, along with almost satin-like, impactful materials characterize the design of the first decade of the 2000s, catering to an increasingly fast-paced and demanding society. Professional machines are becoming more flexible and technologically advanced, with extremely simple user interfaces, including touch screens, that combine energy savings with high performance, attesting to a growing awareness of the environment as a place not only to live in but also to protect. To promote knowledge and culture of coffee and the machines that dispense it, in 2012 Cimbali Group inaugurated MUMAC, combining the archives of the Cimbali family and the world's largest private collector, Enrico Maltoni, gathering objects that have distinguished our daily lives for over a century and documents that help reconstruct the history of an entire sector of Made in Italy. Cimbali Group has brought to market machines whose design is a game of references, as in the case of the Cimbali M100, placed near the video in the room, a synthesis of industrial design conception, designed by Valerio Cometti of V12 Design, the machine asserts itself in the new millennium, with sober lines of elegance and functionality that conceal high-level technologies. A tribute to the ability to dare in forms must be recognized in the Faema Emblema machine, designed by Giugiaro. Today's machines are highly technological both in their traditional expression (such as M100 Attiva and FAEMA E71E, recognized worthy of entering the ADI Index 2019 and winner of the Red Dot Design award 2019), and in their super-automatic version (such as La Cimbali S30, awarded for design with the Red Dot Design Award in 2016, or the S15, smart in use and technology) which you will see in the next room.

As we enter the sixth room, we step into our current millennium, where flexibility and responsibility become the key concepts. The large photographs on the walls take us through the last two decades of contemporary history, from the birth of the euro to the awareness of sustainability needs, and major technological innovations like the James Webb Space Telescope. The global spread of coffee consumption and changes in social dynamics have influenced how people consume this quintessential social beverage. The arrival of the new millennium, colored by great expectations and concerns, has drastically changed the world's vision and structure: from the Twin Towers to economic crises, to the climate change emergency and the pandemic, the progression has been as swift as it has been significant. Technology, advancing at an exponential rate, has partially eroded culture and interpersonal relationships, but certainly not the pleasure of a cup of coffee. Bars are no longer the sole and undisputed gathering place: a good coffee or cappuccino can be enjoyed in a train station or airport waiting room, in a bookstore or a boutique, anywhere in the world. The early years of the new millennium saw a return to minimalism in architecture and common spaces. This minimalism is also reflected in the world of coffee machines: clean, elegant, and essential lines, along with almost satin-like, impactful materials characterize the design of the first decade of the 2000s, catering to an increasingly fast-paced and demanding society. Professional machines are becoming more flexible and technologically advanced, with extremely simple user interfaces, including touch screens, that combine energy savings with high performance, attesting to a growing awareness of the environment as a place not only to live in but also to protect. To promote knowledge and culture of coffee and the machines that dispense it, in 2012 Cimbali Group inaugurated MUMAC, combining the archives of the Cimbali family and the world's largest private collector, Enrico Maltoni, gathering objects that have distinguished our daily lives for over a century and documents that help reconstruct the history of an entire sector of Made in Italy. Cimbali Group has brought to market machines whose design is a game of references, as in the case of the Cimbali M100, placed near the video in the room, a synthesis of industrial design conception, designed by Valerio Cometti of V12 Design, the machine asserts itself in the new millennium, with sober lines of elegance and functionality that conceal high-level technologies. A tribute to the ability to dare in forms must be recognized in the Faema Emblema machine, designed by Giugiaro. Today's machines are highly technological both in their traditional expression (such as M100 Attiva and FAEMA E71E, recognized worthy of entering the ADI Index 2019 and winner of the Red Dot Design award 2019), and in their super-automatic version (such as La Cimbali S30, awarded for design with the Red Dot Design Award in 2016, or the S15, smart in use and technology) which you will see in the next room.

Room 7

In the museum's final room, the Lab, memory and future blend in the icons of time. Among new and simultaneously ancient galaxies of knowledge to explore, the future lies hidden in the past. Here, you are welcomed by thematic islands, transporting you to past, present, and future dimensions that intertwine to illustrate the challenges faced by the company over time, including technological insights, innovations, corporate social and cultural responsibility, and achieved milestones. The representation of the union between present, past, and future is characterized by the photographs on the walls, sourced from the Hubble and Webb telescopes, which take us directly into a past so remote as to be unimaginable, yet obtained through technology so innovative it borders on the future. A new space dedicated to the infinite connection between past, present, and future through six thematic islands that illustrate some of the most important themes for our history and company mission. The first island is dedicated to Faema E sixty-one: the history and the legend. Since nineteen sixty-one, it has been the most widespread and long-lived machine, displayed here in two versions created for its sixtieth anniversary in twenty twenty-one, and in the version dedicated to the Giro d'Italia, which Faema has resumed sponsoring since twenty twenty-two. The second island narrates the difference between traditional and super-automatic machines. This difference has existed for over fifty years. The Pitàgora, which for sixty years has held the unbeaten record as the coffee machine winner of the Compasso d'Oro, is a "traditional" machine, where the operator is required to perform all operations to extract coffee, from grinding to serving; the Superbar, born a few years later and based on the same design, was among the very first super-automatic machines in nineteen sixty-nine, where beverage requests are made by simply pressing a button that initiates all preparation operations. In the third island, some past company editorial productions are displayed. As communication and dissemination tools, they were created to spread company information internally or externally, becoming a cross-section of reality. In the next one, near the Cìmbali S fifteen, the "electronic nose" is displayed, an object that transforms innovation into a useful tool through electronics, ingenuity, and chemistry. The innovative software created by Cìmbali Group in collaboration with a spin-off from the University of Brescia won the Smau Innovation Award in twenty twenty-one. To discover how it works and what it's used for, simply scan the QR code found on the caption. Before the next island, you'll find a sort of black cube. This "magic" cube encapsulates present, past, and future: by pressing various buttons, some videos show the company's past (in one video you meet the founder Giuseppe Cìmbali, in another, the construction of the production site in Binasco, and in yet another, the digitized historical archive), its present (with the design of M two hundred) and attention to the future with a focus on sustainability. The magic, however, happens as you approach the screen: looking beyond the videos and through the screen, you can glimpse objects of reference for the company: do you see them? In short, here digital and analog unite in a single object. Now move on to the island dedicated to grinders and doser grinders. Four doser grinders for two brands: La Cìmbali, from the Model four/A of nineteen sixty-two to today's Elective; Faema, from the FP of nineteen fifty-five to today's Groundbreaker. From craftsmanship to mass production with increasingly precise grinding technology. Up to integrated grinding in machines, as in the super-automatic S thirty displayed here, winner of the Red Dot Award (designed by Valerio Cometti). The next one talks about customization: the flexibility and ability to customize the panels of the new Faema President, as well as those of other machines, make the machines increasingly insertable in original and personalized ways in any environment. In the penultimate display case, the section dedicated to home use: yesterday with Baby Faema, today with Faemina equipped with a professional group, the Faema brand brings a high-level product to the domestic market for an espresso just like at the bar. In the last island, the brand's excellence is expressed through the rebranding of the M two hundred machine, currently on loan for the Italia Geniale exhibition during the Amerigo Vespucci's world tour, until twenty twenty-five. The M two hundred, created in twenty twenty-one, is La Cìmbali's flagship machine, representing the brand's new positioning and a new story of innovation and design. With pride, Cìmbali Group and MUMAC have been selected to be protagonists of the Italia Geniale exhibition. Design Enables - Beauty, originality, creativity of universally appreciated industrial design, set up on the occasion of the world tour of the historic sailing ship, a symbol and emblem of Italianness in the world. And now, push aside those thousand red threads you see descending from the central red wall: here beats the heart of the museum where Heritage and future meet in a work, an installation suspended between technology, art, and design. In front, you'll find the exploded view of La Cìmbali M one hundred, the Centenary machine. Here you can truly understand the complexity hidden behind what is, only apparently, a simple cup of coffee. Technological soul, innovation, design reveal all the hands and minds of a long and complex supply chain made of raw materials, patents, creativity, and entrepreneurship. It is said that for coffee to reach your cup, the raw material passes through two thousand hands: the machine has the responsibility of honoring and valuing the work of a long supply chain that allows us to enjoy our beloved espresso every day. We thank you for listening to this story of passion and Italian excellence and invite you to stay in touch with us by subscribing to our newsletter and discovering our events on the mumac.it website and our social media. We look forward to seeing you!

In the museum's final room, the Lab, memory and future blend in the icons of time. Among new and simultaneously ancient galaxies of knowledge to explore, the future lies hidden in the past. Here, you are welcomed by thematic islands, transporting you to past, present, and future dimensions that intertwine to illustrate the challenges faced by the company over time, including technological insights, innovations, corporate social and cultural responsibility, and achieved milestones. The representation of the union between present, past, and future is characterized by the photographs on the walls, sourced from the Hubble and Webb telescopes, which take us directly into a past so remote as to be unimaginable, yet obtained through technology so innovative it borders on the future. A new space dedicated to the infinite connection between past, present, and future through six thematic islands that illustrate some of the most important themes for our history and company mission. The first island is dedicated to Faema E sixty-one: the history and the legend. Since nineteen sixty-one, it has been the most widespread and long-lived machine, displayed here in two versions created for its sixtieth anniversary in twenty twenty-one, and in the version dedicated to the Giro d'Italia, which Faema has resumed sponsoring since twenty twenty-two. The second island narrates the difference between traditional and super-automatic machines. This difference has existed for over fifty years. The Pitàgora, which for sixty years has held the unbeaten record as the coffee machine winner of the Compasso d'Oro, is a "traditional" machine, where the operator is required to perform all operations to extract coffee, from grinding to serving; the Superbar, born a few years later and based on the same design, was among the very first super-automatic machines in nineteen sixty-nine, where beverage requests are made by simply pressing a button that initiates all preparation operations. In the third island, some past company editorial productions are displayed. As communication and dissemination tools, they were created to spread company information internally or externally, becoming a cross-section of reality. In the next one, near the Cìmbali S fifteen, the "electronic nose" is displayed, an object that transforms innovation into a useful tool through electronics, ingenuity, and chemistry. The innovative software created by Cìmbali Group in collaboration with a spin-off from the University of Brescia won the Smau Innovation Award in twenty twenty-one. To discover how it works and what it's used for, simply scan the QR code found on the caption. Before the next island, you'll find a sort of black cube. This "magic" cube encapsulates present, past, and future: by pressing various buttons, some videos show the company's past (in one video you meet the founder Giuseppe Cìmbali, in another, the construction of the production site in Binasco, and in yet another, the digitized historical archive), its present (with the design of M two hundred) and attention to the future with a focus on sustainability. The magic, however, happens as you approach the screen: looking beyond the videos and through the screen, you can glimpse objects of reference for the company: do you see them? In short, here digital and analog unite in a single object. Now move on to the island dedicated to grinders and doser grinders. Four doser grinders for two brands: La Cìmbali, from the Model four/A of nineteen sixty-two to today's Elective; Faema, from the FP of nineteen fifty-five to today's Groundbreaker. From craftsmanship to mass production with increasingly precise grinding technology. Up to integrated grinding in machines, as in the super-automatic S thirty displayed here, winner of the Red Dot Award (designed by Valerio Cometti). The next one talks about customization: the flexibility and ability to customize the panels of the new Faema President, as well as those of other machines, make the machines increasingly insertable in original and personalized ways in any environment. In the penultimate display case, the section dedicated to home use: yesterday with Baby Faema, today with Faemina equipped with a professional group, the Faema brand brings a high-level product to the domestic market for an espresso just like at the bar. In the last island, the brand's excellence is expressed through the rebranding of the M two hundred machine, currently on loan for the Italia Geniale exhibition during the Amerigo Vespucci's world tour, until twenty twenty-five. The M two hundred, created in twenty twenty-one, is La Cìmbali's flagship machine, representing the brand's new positioning and a new story of innovation and design. With pride, Cìmbali Group and MUMAC have been selected to be protagonists of the Italia Geniale exhibition. Design Enables - Beauty, originality, creativity of universally appreciated industrial design, set up on the occasion of the world tour of the historic sailing ship, a symbol and emblem of Italianness in the world. And now, push aside those thousand red threads you see descending from the central red wall: here beats the heart of the museum where Heritage and future meet in a work, an installation suspended between technology, art, and design. In front, you'll find the exploded view of La Cìmbali M one hundred, the Centenary machine. Here you can truly understand the complexity hidden behind what is, only apparently, a simple cup of coffee. Technological soul, innovation, design reveal all the hands and minds of a long and complex supply chain made of raw materials, patents, creativity, and entrepreneurship. It is said that for coffee to reach your cup, the raw material passes through two thousand hands: the machine has the responsibility of honoring and valuing the work of a long supply chain that allows us to enjoy our beloved espresso every day. We thank you for listening to this story of passion and Italian excellence and invite you to stay in touch with us by subscribing to our newsletter and discovering our events on the mumac.it website and our social media. We look forward to seeing you!