Puzzle inventory, in chronological order, with dates and number of pieces:
1. 16 (Sedici) Animali, 16 pieces, oak wood, 34 x 24 x 3 cm
Bird, Camel, Crocodile, Duck, Elephant, Fox, Giraffe, Hippopotamus, Kangaroo, Pig, Rhinoceros, Snake, Hedgehog, three unidentified.
2. 16 Fish (Pesci) 16 pieces, oak wood, 34 x 24 x 3 cm
Octopus, Whale, Seal, thirteen fish.
16 Animali - Resin
Enzo Mari (27 April 1932–19 October 2020), a famed Italian designer, can be said to be a major figure in cluster puzzle history, albeit his role per se is overstated. He produced two themed (animals and sea) puzzles for the Italian design and plastic products manufacturer Danese Milano, in 1957 and 1963, with ‘16 Animali’, and ‘16 Pesci’ (Fish), the number reflecting the number of motifs/pieces. The puzzles are of a somewhat simplified, stylised nature, of relatively few pieces, with some introduced articulations and are without interior detail, save for an eye. A variety of orientations are shown. The pieces serve as both a puzzle and plaything in their own right (and are pictured as such).
Mari has acquired a degree of fame in design circles, and his work is widely discussed on the web and in books. Therefore, unlike most other entries in the genre, there is a relative abundance of detail on him to tell his story, but this is qualified by a lack of exactness; much of the writing is poorly, if at all, sourced, and also the puzzles have been through many editions, sizes and materials, which causes difficulties in unravelling. Therefore, documenting all this is not a straightforward task as may otherwise be thought. Therefore, the commentary below should be borne with this in mind. However, I have tried to be my normal, exact self as much as possible in the circumstances.
The puzzles were designed soon after he graduated from the Academia di Brera in Milan in 1956, when he opened a studio in Milan. Mari himself is a somewhat controversial figure, prone to outbursts. The story of their inspiration is told of a “crazy idea” had by Mari, who one day, in the late 1950s, had a (literal?) dream in which an elephant, a rhinoceros, a hippopotamus, a snake, a giraffe, and a bear appear. However, another account also gives credit to Bruno Munari, albeit in what role is unclear. So far as I can tell, it is essentially Mari-driven, and so I will give him the credit.
It would be interesting to hear what Mari himself has to say on these. Although he has written many books and been freely interviewed, so far as I can tell, the puzzles are not particularly prominent, if mentioned at all. Where these do appear, the animals are in the context of a balancing game, rather than a puzzle (there appears to have been a dual purpose). Although I would indeed like to examine all his published books, there are too many for me to pursue this line of inquiry, for reasons of expense, convenience, and time; judged uneconomic in all aspects. In interviews, unlike the specifics of his other design works, where he freely discusses the intricacies, on the puzzle, I can find little; when he does mention these, this is only in passing. Of course, it would be good to hear Mari’s thoughts on this as a dedicated piece.
I say his role is overstated in the genre because of two factors: he only shows two puzzles, and they are nothing special in terms of inherent quality; they are neither good nor bad, but mid-range, in simple terms.
Although the tessellation principle is generally followed, there is, in general, a ‘rounding off’ in places, and some animals can be seen to have forced definitions, such as the snake and the pig, and so lack the rigour of the stricter tessellation standards. However, this is relatively minor, albeit still noticeable to the discerning viewer. The animals are generally simplified, as well as on occasion stylised, for instance, the hippopotamus and giraffe. However, most are proportioned. The puzzles have been lauded in the design world and are in the collections of the Stedelijk Museum (Netherlands) and the Art Institute of Chicago.
Of interest would be knowing if he was influenced by M. C. Escher, either directly or indirectly, with knowledge of his Plane Filling I and II, and his tessellation work in general. No mention is made of this aspect in any discussion. Of note is that Plane Filling I is of 1951, and so possibly he was inspired by this upon seeing this work (Plane Filling II is of 1957). However, this is pure speculation. Of that time, Escher was still relatively unknown and essentially unpublished, and so I consider it unlikely that Mari knew of this previous work, and indeed, of the genre itself.
Of interest is the Italian patent, 79057 (or 79657, the stamp is a little unclear), obtained for 16 Animals. However, investigations are difficult; there is only a single page of the patent in the public domain. It would be interesting to see the whole document; is it available? I have looked, or tried to, for Italian patents, but without success. On the drawing itself, Mari is not mentioned, but rather the Danese people instead, namely Jacqueline Vodoz.
Patent
Danese Milano
In short, Danese and Mari are intertwined with the puzzles. Bruno Danese founded the company, along with Jaqueline Vodoz, in 1957. Vodoz’s name appears on the patent picture. As alluded to above, with the different editions, sizes and materials, there are difficulties in documenting. Be that as it may, the puzzles began in oak wood, 34 x 24 x 3 cm, and then in resin. The reason for this was one of economics; resin being cheaper, although the prices remain relatively high, whatever the medium! Their prices reflect the exclusivity and designer’s fame, with typical prices today of € 200–300. A limited number, 200, is still produced each year. The puzzles are featured in their catalogues (see links below), although the details are rather sparse. It is made clear that this is for children, from the ages of 2 to 10 years. It is stated elsewhere that Mari studied children’s games. However, more detail, in general, is not forthcoming from Danese as I would otherwise have thought.
Mari recently (2020) donated his papers to the city of Milan. In a piece by Cristina Moro, reference is made to 30 concept sketches, presumably in the archive. Does anyone know of these? Are these accessible? It is related that the archives are not to be opened up until 40 years after his passing. However, at least some of the sketches appear to be in the public domain. It would be most informative and interesting to see these.
Open questions abound
Are the 30 concept sketches ‘available’?
Was he influenced by or was he aware of Escher at all?
In which books are the two puzzles discussed?
Can anyone document the different editions, sizes, and materials?
Timeline
1932. Born in Novara, Italy.
1952. Enrolled at the Academia di Brera in Milan to study classics and literature. During this period, he also works as a visual artist and researcher.
1956. Opens a design studio in Milan where he will execute projects for clients including Danese, Driade and Zanotta.
1957. Designed the first of his wooden puzzles for Danese, of 16 Animals.
1963. Paper edition: pull-out cellular paper, 34 x 24 x 0.5 cm (not seen) (16 Animals).
1969. First resin edition?
1972. Resin edition: expandable resin, 34 x 24 x 3 cm (16 Animals).
1974. Publishes Autoprogettazione (Self-Designs), a book of blueprints for DIY furniture that can be made with nothing more than blocks of timber, nails and a hammer.
1997. Alessi (another Italian company) also produced the 16 Animals, in anti-shock polystyrene.
2001. Publishes Progetto e passione (Project and passion).
2003. Since 2003, Danese has made a limited number each year of the original version: oak, in the original dimensions.
2014. Closes Milan Studio.
Acknowledgements
Sara Riva, of the Danese company, for picture permissions.
References (according to medium, namely the web and print, with books and articles)
Web
Italian Ways (art, craft and design site)
http://www.italianways.com/enzo-maris-puzzling-animals/ DEAD LINK
Lots of pictures, including the patent.
Wikipedia
https://en.wikipedia.org/wiki/Enzo_Mari
No mention is of the two puzzles.
Danese Milano (basic information)
https://www.danesemilano.com/it/history_1957_1969
https://www.danesemilano.com/contents/media/2018_Danese_Book.pdf (see pp. 326-336)
https://www.danesemilano.com/en/designerDetails?idDesigner=14
https://www.danesemilano.com/en/productDetails?idProduct=60
https://www.danesemilano.com/en/productDetails?idProduct=61
Domus (design site)
https://www.domusweb.it/en/design/gallery/2019/12/13/16-animali-16-autori.html
Mari’s 16 Animali puzzle reinterpreted by 16 authors.
https://www.domusweb.it/en/news/2020/02/27/enzo-mari-donates-his-archive-to-the-city-of-milan.html
Donation of his archive, February 2020.
https://www.domusweb.it/en/speciali/guest-editor/david-chipperfield/gallery/2020/01/13/notes-on-design-enzo-mari-by-jasper-morrison.html
On Mari in general, no mention of the puzzles.
Sbandiu (design site)
https://sbandiu.com/2017/06/27/16-animali-di-enzo-mari-per-danese/ DEAD LINK
Gives some interesting background details not stated elsewhere.
Nova (design site)
https://www.nova68.com/EnzoMari_Pesci.html
Daddy Types (design site)
https://daddytypes.com/2008/02/25/which_enzo_mari_16_animals_puzzle_you_talking_about.php
Daddy Types is published by Greg Allen.
Facebook fan page
https://www.facebook.com/enzomari1932/
Klatmagazine (design site)
https://www.klatmagazine.com/en/design-en/enzo-mari-sono-comunista-interview/33120
Interview with journalist Francesca Esposito, of 7 February 2014, concentrating on his communist beliefs, philosophies, and design, with just a single mention of 16 Animals.
https://www.unirc.it/documentazione/materiale_didattico/597_2012_322_15374.pdf DEAD LINK
An interesting document, in Italian. Gives two concept sketches, p. 15.
Newspapers
Colman, David. ‘The Wood Menagerie’. The New York Times, July 23, 2006
On industrial designer Yves Behar, with a discussion on Mari’s 16 Animal puzzle, in his collection.
Rawsthorn, Alice. ‘Enzo Mari: A rebel with an obsession for form’. The New York Times, October 2, 2008
No mention is made of the two puzzles.
Books
Annicchiarico, Silvana (Editor). 100 Objects of Italian Design. Gangemi Editore; 2007. Limited view on Google Books.
The text is incorrect in at least one place, giving a first production date of 1965, which is clearly wrong. Therefore, I am a little wary of other aspects here, specifically of a date for the resin puzzle.
Page History.
30 September 2025. Upgraded from Classic Sites. No major changes of note had to be made. Updated the discussion on Mari in places, as he has passed since the text was originally written. Checked text in Grammarly, pending a more extensive review at a later date.
Created 7 May 2020