DOCSLIB.ORG

Massimo and Lella Vignelli a Biography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Massimo and Lella Vignelli a Biography Massimo and Lella Vignelli By Farahlynn Pazienza Massimo Quick View lorem ipsum Born Jan 10,1931 in Milan, Italy dolor sit amet. Education 1948-1950 Milan Academia di Belle Arti di Brera 1950-1953 Milan Politecnico di Milano 1953-1977 Venice The school of Architecture, University page of Venice 3 • Married to Lella Vignelli • Started Unimark Corporation • Favors the typeface Helvetica • Massimo and Lella started Vignelli Associates • Designed Knoll Graphics 1 • Author of “The Vignelli Cannon” and “Vignelli: From A to Z” Massimo was known to say, “If “If you can design one A Biography: you can design one thing, you thing, you can design can design everything”. everything.” Massimo Vignelli, a native of Milan, Italy was (Pimentel) He lived this quote. ~Massimo Vignelli born on January 10, 1931. (Massimo) Vignelli You can see him living this quote had a passion for architecture and pursued it through his life’s work. From as a career. (Ibid) Growing up in Italy was a graphic design and corporate great inspiration to him. He used Milan as his identity to furniture and glass and muse. He studied architecture in Milan at the publication and architectural Academia de Belle Arti di Brera (1948-50), the designs. (The Grove) Massimo Politecnico in Milan (1950-53) and The School has an extensive resume and of Architecture at the University of Venice. even in his 80’s he still designs. (1953-57). (The Grove) more on 2 123 Massimo Vignelli The life of a designer is a life of fight against the ugliness. ~ Massimo Vignelli FYI: This entire article is Written in Helvetica. was everyday household and office Starting up: 1957, he met a fell in love with Elena items furniture and interior design. Valle at an architects’ convention (Ibid) (Lella) and married her. (The Grove; While still in school in the 1950’s he Massimo and Lella) When Massimo and Lella came designed, what we now know as the back from the USA, he and Lella “Fungo” table lamp, displayed at the Lella studied at the School of started the Office of Design and Cooper-Hewitt Museum in New York. Architecture, Massachusetts Institute Architecture in Milan. They designed (The Grove) of Technology in Cambridge for Pirelli, Rank Xerox and Olivetti. Massachusetts (1955-1958), she also In 1957 to 1960, Massimo came to (Massimo and Lella) (1960-64) worked as a junior designer for one United States, on a fellowship from (Massimo) Together they, designed year in 1959, for Skidmore, Owings, & Towie Silversmiths in Massachusetts. office accessories, furniture and Merrill. (The Grove) She graduated And the Institute of Design in Illinois. graphics. (The Grove) They missed from the University of Venice, majoring (Massimo) During his time in the US, in the United States and its possibilities. in Architecture. (Ibid) Lella’s specialty Massimo Vignelli, in 1965 returned to Massimo developed a design system the states with Lella and co-founded for furniture for Knoll Graphics that the Unimark International Corporation, would later be a template for furniture with Ralph Eckerstorm and James K. years later. (Massimo) Massimo’s Fugleman in Chicago. (Massimo) The main priority was to give the Unimark Corporation specialized in customer what they wanted, corporate graphics, especially Knoll functionality and diversity within their Graphics. (The Grove) design. (Ibid) Pazienza 2 12 Massimo Vignelli 3 + A Collaboration: A marriage made from love & design In 1971, Lella and Massimo established the cubes, spheres, cylinders and cones and Offices of Vignelli Associates, for two- would try to create balance, design and dimensional design, and Vignelli Designs, functionality. (The Grove) They believed a for furniture, objects, interiors and designer should be able to create anything exhibition, in 1978. (Massimo and Lella) from “a spoon to a city”. (Ibid) Their work can be seen in many European The designs you expect to see from this and American companies. His wide use of power couple are nothing less than the typeface Helvetica was spread like dynamic. When the Vignelli's, displayed wildfire in the USA. (The Grove) their work at an exhibition at Parsons in This amazing creative couple designed 1980, Paul Goldberger, a critic of the The furniture together, graphics and corporate New York Times, stated they are “total identity, exhibitions, consumer product designers”, based on their work. (Massimo design. (Massimo) They would work with (continued) Pazienza 3 35 Massimo Vignelli 4 added to the New York Art Directors Club Hall of Fame in 1982 while his wife Lella received and Honorary Doctorates from the Parsons School of Design, in New York; a year before Massimo and Lella received the AIGA Gold Medal. (Ibid) In 1985, he LELLA received the first Presidential Design Award for the National Park Service publications Program presented by President Ronald VIGNELLI Reagan. (Ibid) He has received the Brooklyn Museum Design Award for Lifetime She was born in Udine, Italy Achievement, as well as the Honorary Royal sometime in 1934. (Lella) Elena Designer for Industry Award from the Royal also had received fellowships Society of Arts in London. (Massimo) special student at the School of Massimo Vignelli has many more other Architecture, Massachusetts prestigious awards he has earned as well as Institute of Technology. (Lella) In Honorary Doctorates in Fine Arts from 1966, she became the head of the Parsons School of Design in New York, interiors department for Unimark Pratt Institute in Brooklyn, New International Corporation in Milan and in New York City. (Ibid) She York, the Corcoran School of Art in was the first Executive Vice Washington D.C. The Art Center College of President for Vignelli Associates Design in Pasadena, California, Rochester and is now the CEO and the Institute of Technology in Rochester, New President of Vignelli Designs. (Ibid) York and in my hometown RISD (Rhode Island School of Design, in Providence, RI. (Massimo) It is amazing to see what he has accomplished creating the world renowned American Airlines, Ford Motor Companies, and upscale department stores such as Barney’s Bloomingdales and Sax Fifth Avenue logo. (Massimo) They designed the New York City Subway Diagram in 1972 and has since updated it to look like the 2008 subway system. (Ibid) Lella has also many awards in the design (continued) field, from the Corcoran School of Art, Pazienza 4 4 Massimo Vignelli 5 Washington, D.C. in 1994 (Massimo). 6 Together their work has been featured in various publications an has been featured n two feature-length television show. (Massimo) Heller Designs Inc. was stackable dinnerware designed with melted melamine in a wide range of bright and brilliant colors. (The Collection) As far as the Knoll Company, he designed the infamous “handkerchief chair” stable chair with reinforced plastic and metal legs, this award-winning furniture was exhibited internationally and at the Parsons School of Design. (Ibid) The Vignelli’s have been a dynamic duo and have paved the way and have become influential for new designers, Together their work has been seen all over the world, in places such as: St. Petersburg, Moscow, Helsinki, London, Budapest, Barcelona, Copenhagen, Munich, Prague and Paris, their art toured around Europe between 1989 to 1993.(Massimo) Researching and writing this paper has been enlightening. I randomly picked an Italian Designer from the list. When I first looked up this designer, all I noticed was his glass blowing designs. I was happy to realize I have admired their work and have been an inspired by their designs without realizing who designed, what I once encountered. Pazienza 5 Massimo Vignelli D E S I G N x2 I started out only anticipating, to learn about one artist, Massimo Vignelli, however I had the privilege of learning about Lella Vignelli, his wife, as well. Two extremely passionate people they believed in their work and didn’t limit themselves. They literally took on the world together and conquered it in their designs. + Farahlynn Pazienza Digital Imaging Photoshop Week 7 G.Dufner .
Load more

Recommended publications
  • Oral History Interview with Massimo Vignelli, 2011 June 6-7
    Oral history interview with Massimo Vignelli, 2011 June 6-7 Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Massimo Vignelli on 2011 June 6-7. The interview took place at Vignelli's home and office in New York, NY, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Mija Riedel has reviewed the transcript and have made corrections and emendations. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Massimo Vignelli in his New York City office on June 6, 2011, for the Smithsonian Archives of American Art. This is card number one. Good morning. Let's start with some of the early biographical information. We'll take care of that and move along. MASSIMO VIGNELLI: Okay. MIJA RIEDEL: You were born in Milan, in Italy, in 1931? MASSIMO VIGNELLI: Nineteen thirty-one, a long time ago. MIJA RIEDEL: Okay. What was the date? MASSIMO VIGNELLI: Actually, 80 years ago, January 10th. I'm a Capricorn. MIJA RIEDEL: January 10th.
    [Show full text]
  • Designersresearch – Copy
    GraphicGraphic DesignersDesigners ResearchResearch MASSIMO VIGNELLI Massimo received his ar- chitecture degree from the Politecnico di Milano. Married Lella Vignelli and together they created a small design studio: the Lella Unimark International was launched and Massimo Vignelli Office of Design in New York as Massimo Vignelli ex- and Architecture, Milan. panded his buisness. -US National Park Service -Saint Peter’s Church NY inte- rior (1977 ) Subway Map MTA NY City Transit Authority 1953 1960 1966 (1970) 1957 1965 (1967) 1971 American Airlines In this period, Vignelli attended the Moving to Chicago,US and School of Architecture and Universi- founding Unimark Interna- ty of Venice. tional. Vignelli resigned from UI and established his new corporation: Vignelli Asso- ciates. W I M C R O U W E L Crowel is a graphic design- er and typographer born in the Netherlands. In 1963 he founded the studio To- tal Design, now called To- tal Identity. His most well known work has been for the Stedelijk Museum. His typography is extremely well planned and based on very strict systems of grids. He has also designed ex- positions, album covers and identity systems. He has published two type- faces Fodor and Gridnik, digitized versions of both are available from The Foundry. S A B A U L S S Saul Bass was an American graph- He hand draws ic designer. He was most of his de- best known for his signs. He also design of motion Saul is best known makes anima- picture title se- for simple, geomet- tions. He uses quences, film, film ric shapes and their visual meta- posters, and clas- symbolism.
    [Show full text]
  • Massimo Vignelli
    6.0 | GERARCHIE FUNZIONALI | SCUOLA / DIPARTIMENTO / AMMINISTRAZIONE SCUOLA DI INGEGNERIA CIVILE, SCUOLA DI INGEGNERIA CIVILE, AMBIENTALE E TERRITORIALE AMBIENTALE E TERRITORIALE SCUOLA DI INGEGNERIA INDUSTRIALE SCUOLA DI INGEGNERIA INDUSTRIALE E DELL’INFORMAZIONE E DELL’INFORMAZIONE SCUOLA DI INGEGNERIA SCUOLA DI INGEGNERIA EDILE /ARCHITETTURA EDILE /ARCHITETTURA SCUOLA DI ARCHITETTURA SCUOLA DI ARCHITETTURA E SOCIETÀ E SOCIETÀ SCUOLA DI ARCHITETTURA CIVILE SCUOLA DI ARCHITETTURA CIVILE SCUOLA DI DESIGN SCUOLA DI DESIGN DesignVerso è una collana dedicata ai designer della comunicazione, immaginata come allegato alla rivista Multiverso, Università degli Studi di Udine. Comitato editoriale: Prof.ssa Daniela Calabi Prof.ssa Cristina Boeri Prof.ssa Raffaella Bruno Collaboratori e consulenti: Dott.ssa Monica Fumagalli Dott. Lorenzo Rabaioli Dott. Marco Valli Direttori editoriali: Fiorani Sara Gori Alessandro Magnelli Giulia Restifo Pilato Simone www.mvdesignverso.tk Design della Comunicazione C2, A.A. 2018/2019. Laboratorio di Fondamenti del Progetto EDITORIALE Attraverso questa monografia sono state esaminate l’ideologia e le influenze celate dietro al lavoro di Vignelli, rivelandone un’identità che rimarrà un riferimento nel corso degli anni, Per la sua increbile chiarezza e coerenza. Massimo Vignelli è molto di più delle sue opere, che nonostante siano di grandissima rilevanza, sono un punto di partenza per riassumere il suo pensiero e la sua identità: i suoi insegnamenti hanno tracciato una linea guida nel campo del design, alla quale designer emergenti e non possono ispirarsi per imparare i fondamentali della disciplina. Da questo deriva il taglio editoriale che si è deciso di adottare. Si è proposto Vignelli sotto una luce inusuale, diversa, insolita: vengono ripresi gli aspetti salienti della sua vita, dal fondamentale ruolo della moglie con la quale era in grande sintonia, al suo rigore, alla sua ben nota disciPlina, analizzando gli aspetti del movimento moderno del quale lui si erge come colonna portante.
    [Show full text]
  • Poltrona-Frau-Icons.Pdf
    Icone Poltrona Frau Icons Icona 5 ICONA ICON [i-cò-na] sostantivo femminile [i-con] noun 1) Effi gie sacra dipinta su tavola, propria 1) (Christianity / Eastern Church -Greek Icon dell’arte bizantina e poi russa e balcanica & Russian Orthodox) a representation of Christ, the Virgin 2) In semiologia, tipo di segno Mary, or a saint, esp one painted che riproduce una o più caratteristiche in oil on a wooden panel, depicted della realtà che denota in a traditional Byzantine style and venerated in the Eastern Church. 3) In informatica, immagine che rappresenta simbolicamente 2) A symbol resembling or analogous un programma, un comando o un fi le to the thing it represents. di dati: “trascinare l’icona” 3) (Electronic & Computer Science/ dal Sabatini Coletti, Computer Science) a pictorial Dizionario della Lingua Italiana representation of a facility available on a computer system, that enables the facility to be activated by means of a screen cursor rather than by a textual instruction: “drag the icon” from the Collins English Dictionary Complete and Unabridged L’icona è un’immagine sacra diff usa in tutto An icon is a sacred image spread throughout il mondo russo e balcanico fi n dalla più remota the world of Russia and the Balkans since ancient antichità. Tuttavia nel linguaggio contemporaneo times. However, in contemporary language, il termine “icona”, e soprattutto i suoi derivati the term ‘icon’, and above all the adjective deriving aggettivali “iconico” e “iconica”, sono entrati from it (‘iconic’), is now commonly used prepotentemente nell’uso corrente ad indicare to refer to some form of semantic absoluteness.
    [Show full text]
  • Designed By: Lella Vignelli
    Designed by: Lella Vignelli Designed by: Lella Vignelli Acknowledgements This book is dedicated My most sincere appreciation to: to Lella Vignelli, Jan Conradi, with many thanks for an inspiration to all her patience and advice in reading and correcting my English. women designers who Mauro Sarri, who endured my forcefully stand on the continuous changes of the layouts and type to achieve this book design. power of their merits. New York, NY 2013 Massimo Vignelli Introduction For decades, the collaborative role of inspiration and incentive for young women in life and in the profession, should be based women as architects or designers working who are shaping their careers. Times are on mutual respect and appreciation for each with their husbands or partners has been changing… partner’s talent, sensibility, and culture. under appreciated. Fifty years ago, it was No partnership can exist, or last, without this standard practice that the head of the office The supporting role of the woman architect fundamental basis. was the man and the woman partner had has often been created by macho attitudes a subordinate role. At best, the woman’s of the male partner. Most of the glory went Lella and I have been partners, lovers, a creative input and professional influence to the men (not accidentally) while the married professional couple for more than was only vaguely accepted; often her women, as partner architects, found that half a century. From the beginning, our contributions were dismissed and sometimes their role was dismissed or totally ignored. relationship has been bonded by our mutual even forgotten.
    [Show full text]
  • Addio a Massimo Vignelli, Pezzo Di Storia Del Design Italiano
    Addio a Massimo Vignelli, pezzo di storia del design italiano È scomparso a New York, all’età di 83 anni, Massimo Vignelli, una tra le personalità di maggior rilievo del design italiano. Passato alla storia per il celebre slogan “Design is one”, con cui identificava che il design è “unico” e che se si è in grado di progettare una cosa, si può progettare tutto, Vignelli ha realizzato opere e lavori che sono rimasti impressi nella memoria collettiva, dai loghi di moltissime aziende mondiali fino a segnaletiche il cui potere iconico è ancora oggi immutato (come ad esempio quelle per le ferrovie italiane). Nato a Milano nel 1931, studia architettura al Politecnico e poi allo Iuav di Venezia. Il suo primo contatto con il product design avviene già da studente, collaborando alla realizzazione di alcune lampade in vetro soffiato per Venini. Fondamentale è l’incontro Elena Valle, al secolo Lella, con la quale avvia un legame professionale e personale, sposandola nel 1957. Nello stesso anno, grazie a un incarico temporaneo, si trasferisce con Lella negli Stati Uniti, facendo la spola con l’Italia per qualche anno. A Milano nel 1960 la coppia fonda il primo studio di design, operativo fino al trasferimento definitivo negli Usa, nel 1964. Qui partecipa all’avvio di “Unimark International”, studio di design internazionale e interdisciplinare, di cui è co- fondatore insieme a Ralph Eckerstrom, Bob Noorda, Jay Doblin, James Fogelman, Wally Gutches e Larry Klein. Vignelli lascia Unimark nel 1971 per fondare la Vignelli Associates, lo studio che ha attraversato la sua carriera fino ai giorni nostri.
    [Show full text]
  • The Vignelli Legacy Published on Iitaly.Org (
    Design is One: The Vignelli Legacy Published on iItaly.org (http://www.iitaly.org) Design is One: The Vignelli Legacy Emily Hayes (March 28, 2018) The Vignelli legacy is one that lives within the structure of New York City, and consists of simple, elegant designs that laid the basis for modernism in the United States. Massimo Vignelli and his partner Elena Valle (Lella) Vignelli conceived an iconic world of items, logos, and spaces for their international clients. Important pieces from their archive were open to the public at the Embassy of Italy in Washington, D.C. on March 16, for a lecture and exhibit opening entitled L’eredita’ dei Vignelli. The event was hosted by the Italian Cultural Institute, the Embassy of Italy, and the Rochester Institute of Technology. Photographs, sketches, book covers, maps, and brochures lined the walls of the exhibit, demonstrating the range of media and scope their work covered. New York City and Washington, D.C.’s iconic subway maps, Bloomingdale’s department store graphics, and the interior of St. Peter’s Church in Manhattan were just a few of the well-known designs the Vignelli’s created. Furniture, plate ware, clothes, jewelry, books on animal anatomy and brochures for the U.S. National Parks, all seemingly unconnected items, came together in the exhibit on Massimo [2] and Lella Vignelli [3]. Even the chairs and coffee table on the stage were Vignelli-designed. R. Roger Remington, Professor of Graphic Design from the Vignelli Center for Design at the Rochester Institute of Technology, spoke as a long-time friend during his lecture.
    [Show full text]
  • The Vignelli Legacy on Show in D.C. Published on Iitaly.Org (
    The Vignelli Legacy on Show in D.C. Published on iItaly.org (http://www.iitaly.org) The Vignelli Legacy on Show in D.C. Tommaso Cartia (March 15, 2018) There’s an Italian hand behind the iconic designs of the New York and Washington subway maps and lettering, or the logos of companies like American Airlines and Bloomingdales: it is the hand of designers Massimo and Lella Vignelli. The Embassy of Italy in Washington, the Italian Cultural Institute and the Rochester Institute of Technology, celebrate the genius of the Vignellis in an exhibition opening on March 16 that will be on view until April 29, 2018. The opening event will include a lecture, among the others, by R. Roger Remington, Professor of Graphic Design at the Rochester Institute of Technology and a video-interview with Massimo Vignelli by the Editor in Chief of i-Italy, Letizia Airos introduced by Renato Miracco, Cultural Attaché of the Italian Embassy in Washington. We had the chance to talk with Emanuele Amendola, Director of the Italian Cultural Institute in DC, who shared with us his enthusiasm about the exhibition and the influence of the Vignellis on modern design. “The idea was born a long time ago from a series of conversations that took place at Rochester Page 1 of 4 The Vignelli Legacy on Show in D.C. Published on iItaly.org (http://www.iitaly.org) Institute of Technology, [2] an important university where the Vignelli Center for Design Studies [3] is.” Told us Emanuele Amendola [4], Director of the Italian Cultural Institute in Washington, when we asked him how the idea of the homage to Massimo and Lella Vignelli [5]came about.
    [Show full text]
  • View PDF Version
    MOVIES The New Mexican's Weekly Magazine of Arts, Entertainment & Culture Tuesday, August 4, 2015 HOME ART BOOKS CALENDAR COLUMNS MOVIES MUSIC OPERA PERFORMANCE RESTAURANTS ABOUT CONTACT SUBSCRIBE "Design Is One": Designers Massimo and Lella Vignelli Posted: Friday, November 8, 2013 5:00 am Paul Weideman | 0 comments Massimo and Lella Vignelli may not be household names, but everyone knows their work; it includes the logos of J.C. Penney, American Airlines, Knoll, and Bloomingdale’s, the design of Ford’s blue oval, and the brochures for the national parks. The couple “brought the freshness of Italian design” to the United States in the 1960s, according to the 2012 film Design Is One, which opens Friday, Nov. 8, at the Center for Contemporary Arts. Besides their iconic graphics, the Vignellis have designed teapots, jewelry, lamps, glassware, books, decanters, clothing, cutlery, and architectural spaces The Knoll Handkerchief Chair (1982) including the Bauhaus-reminiscent Vignelli Center for Design Studies at the Rochester Institute of Technology. Lella is an architect, born in Udine, Italy, to a family of architects. She is the “grounding” force in their collaboration, the one who brings her husband’s creative flights down to the realm of possibility. “I try to be really very rational and explain why the thing doesn’t work or is not right. The trust came out with the years. We were much more competitive when we were young,” she says in the film. “It is important to bring the objectivity to Massimo, because he is very subjective.” The two often bicker and shout at each other; it’s part of their process.
    [Show full text]
  • Viewsfall/Winter 2014 Museum of Arts and Design
    FALL/WINTER 2014 MUSEUM OF ARTS AND DESIGN views Board of Trustees Lewis Kruger letter from the director 2 Chairman Jerome A. Chazen Chairman Emeritus current and upcoming exhibitions 4 Barbara Tober Chairman Emerita Edwin B. Hathaway Co-Treasurer new acquisitions 6 Fred Kleisner Co-Treasurer Michele Cohen Dear Friends, Secretary nyc makers: 10 Glenn Adamson THE MAD BIENNIAL What a year it has been at MAD. We have inaugurated a new biennial, celebrated and Nanette L. Laitman Director augmented our permanent collection and installed a new public artwork. Several new key staff Diego Arria an interview with benjamin fredrickson 12 members have joined our ranks. And through it all, we have welcomed a growing audience— Dror Benshetrit Marian C. Burke children and families, artists and collectors, tourists and New Yorkers—to 2 Columbus Circle. Cecily M. Carson Simona Chazen artslife 14 It seems a good time to reflect on the position of this Museum in the larger cultural landscape Charles S. Cohen of New York City, and beyond. The first edition of our biennial,NYC Makers, has been an Mike De Paola Eric Dobkin opportunity for us to host creative practitioners from across the five boroughs. Featuring 100 new territories: 16 Marcia Docter LABORATORIES FOR DESIGN, CRAFT AND ART IN LATIN AMERICA makers working in every conceivable trade and discipline, the show is an adventure for the C. Virginia Fields Carolee Friedlander Museum and for visitors alike. I hope that you have had a chance to visit the biennial already— Seth Glickenhaus and if not, that you will have a chance to see it before it closes on October 12, 2014.
    [Show full text]
  • Design: Bodoni Massimo Vignelli Su Giambattista Bodoni Videointervista a Massimo Vignelli Di Maurizio Molinari, Presentata Al Convegno Bodoni
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archivio istituzionale della ricerca - Politecnico di Milano CRISOPOLI BOLLETTINO DEL MUSEO BODONIANO DI PARMA 15 - 2012/2013 [NUOVA SERIE III] In morte di Gianfranco Fiaccadori 7 di Bruno Zanardi Bodoniana Bodoni e gli Amoretti concorrenti anche a Milano. La competizione per le forniture di torchi e caratteri alla Stamperia governativa 13 di Andrea De Pasquale & Andrea Amoretti Palatina Michele Colombo. Viaggio in Toscana 47 di Nicoletta Agazzi Ad libros La didattica del libro antico 173 di Alessio Mazzini, Silvia Mirri, Adriana Paolini, Sabina Magrini & Caterina Silva Design: Bodoni. Massimo Vignelli su Giambattista Bodoni Videointervista a Massimo Vignelli di Maurizio Molinari, presentata al convegno Bodoni. Il segno italiano. Moderno per tradizione (Parma, 29 novembre 2013) 191 Our Vignelli Tradizione, avanguardia e architettura nella composizione tipografica di Massimo Vignelli di Luca Monica 199 Bicentenario della morte di Giambattsta Bodoni Celebrazioni Bodoniane 2013 213 di Caterina Silva Attività del Museo Bodoniano Cronaca 2012 233 Design: Bodoni Massimo Vignelli su Giambattista Bodoni Videointervista a Massimo Vignelli di Maurizio Molinari, presentata al convegno Bodoni. Il segno italiano. Moderno per tradizione (Parma, 29 novembre 2013) Maurizio Molinari: Il tema è Giambattista Bodoni. Cosa distingue la sua arte e che cosa lo rende unico? Massimo Vignelli: Bodoni è un personaggio che nasce in un’epoca meravigliosa, una delle più grandi della storia. Dopo il Rinascimento la grande epoca più importante è l’Illuminismo, dove troviamo da Bach a Mozart, per finire con Beethoven. Poi ci sono l’architettura e il design che in quel periodo stavano crescendo.
    [Show full text]
  • NEWSLETTER 32 Antikvariat Morris · Badhusgatan 16 · 151 73 Södertälje · Sweden
    NEWSLETTER 32 antikvariat morris · badhusgatan 16 · 151 73 södertälje · sweden massimo vignelli 10 · 1 · 31 – 27 · 5 · 14 ”An Italian, Massimo was born in Milan in international corporations including American 1931. It was there that he first studied art and Airlines (which is the only airline to have not architecture, until he came to America in 1957. changed their identity in the past 50 years), Bloo- In 1960, together with his wife Lella Vignelli, he mingdales and Knoll. He favors a clarity in design established the Vignelli Office of Design and Ar- and is a huge fan of using Helvetica, which can be chitecture in Milan. in 1971 they formed Vignelli seen in much of his work. Associates, and in 1978, Vignelli Designs. His work covers nearly every field of design including He has had work published all over the world and advertising, identity, packaging, product, indu- has several items in the permanent collections strial, interior and architectural design. An avid of various museums including the Museum of fan of modernism, his work is always very clear Modern Art, the Metropolitan Museum of Art and concise with no clutter or unnecessary mate- and the Cooper-Hewitt Museum. Together with rial. his wife he has established a legacy of design that lives on through their work and their continued His first major foray into the field of identity and practice at their office in New York.” Design is branding was through Unimark International, History which quickly became one of the largest design studios in the world. He has designed identities for vignelli, massimo & lella: Design is One Images Publishing Group, Mulgrave, Victoria, 2004.
    [Show full text]