(1927-2012) Gae Aulenti & Livio Castiglioni Floor Lamp from Trepiu

Total Page:16

File Type:pdf, Size:1020Kb

(1927-2012) Gae Aulenti & Livio Castiglioni Floor Lamp from Trepiu 80 Enric Granados 08008 Barcelona + 34 931 621 575 +34 653 238 311 [email protected] www.side-gallery.com GAE AULENTI (1927-2012) Gae Aulenti & Livio Castiglioni Floor lamp From Trepiu System collection Manufactured by Stilnovo Italy, 1972 Chromed metal, aluminium, cast iron base Measurements 50 cm x 30 cm x 183h cm 19,69 in x 11,81 in x 72h in Literature Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 420 Margherita Petranzan, Gae Aulenti, Milan, 1996, pp. 50, 201 Ernesto Gismondi, “I wanted to Design Missiles, But Then I Fell in Love with Ma- king Lamps,” Domus, no. 993, July 2015, p. 112 Bio She graduated from Milan Polytechnic in 1953 and since 1956 has worked in the city designing for architecture, interiors and industry and theatre scenery.In the early eighties she was the artistic director at Fontana Arte, creating timeless lamps and furnishing elements for the company as well as many other designs for manufactures such as Stilnovo, Martinelli or Vistosi. Her architectonic projects are many and prestigious and include: refurbishment and a new layout for the Musée d‘Orsay (1980-86) and the Musée National d’Art Moderne at the Centre Pompidou (1982-85); refurbishment of Palazzo Grassi in Venice (1985-86); the new entrance for Santa Maria Novella station in Florence (1990); Palazzo Italia at EXPO ‘92 in Seville; restoration of the Scuderie Papali at the Quirinale in Rome (1999); renovation of Piazzale Cadorna in Milan (2000); the “Museo” and “Dante” stations on underground line 1 and redesign of Piazza Cavour and Piazza Dante in Naples (1999-2002); the new Asian Art Museum in San Francisco (1996-2003); the Catalan Museum of Art in Barcelona (1985- 2004); restoration of the Palavela in Turin for the Winter Olympic Games in 2006; the institute of culture in Tokyo (2006); restoration of Palazzo Branciforte in Pa- lermo and transformation into a museum (2011)..
Recommended publications
  • 'I Giovanni Delle Colonne.' Tradition and Continuity Ante Litteram
    CPA 5 CPA In the School of Architecture of the Milan Polytechnic per l’Architettura. 11 'I giovanni delle in the mid-ifties, a group of students started to use in To present their protest to the MSA meant increasing their academic ex tempora sessions a series of very the visibility of the initiative of the group and entering colonne.' Tradition personal stylistic references, which were linked to a the debate about Italian modern architecture and its certain historic and traditional grounding, giving rise to teaching; above all if we take into consideration the and continuity ante a protest that intended to report the limitations of the stated interest of the members of the MSA towards razionalismo di maniera that the university education of giving architecture a formative role in the changes that 12 litteram. the time offered. were taking place in the Italian society . The provocative use of columns, arches and pinnacles in Francesca Fiorelli their formal studies earned the young Michele Achilli, In his dissertation, referring to the work of the present Daniele Brigidini, Maurizio Calzavara, Guido Canella, members of the MSA , Canella afirmed: Being precisely Fredi Drugman, Laura Lazzari, Giusa Marcialis, Aldo the concept of tradition, its interpretation, and, if I may, Rossi, Giacomo Scarpini, Silvano Tintori y Virgilio its feeling, what separates us from your line of thought, Vercelloni the nickname of giovani delle colonne, we honestly think it is one of the original reasons of this 14 according to Giancarlo De Carlo’s deinition in Casabella- debate . 2 3 Contiuità magazine . According to Aldo Castellano , it Expanding his relection to the widest scope of is very likely that only some of them used these formal architecture, he continued: it is necessary for all the references in their academic projects.
    [Show full text]
  • Mauro Marzo Lotus. the First Thirty Years of an Architectural Magazine
    DOI: 10.1283/fam/issn2039-0491/n43-2018/142 Mauro Marzo Lotus. The first thirty years of an architectural magazine Abstract Imagined more as an annual dedicated to the best works of architectu- re, urban and industrial design, during the first seven issues, the maga- zine «Lotus» shifts the axis of its purpose from that of information and professional updating to one of a critical examination of the key issues intrinsic to the architectural project. This article identifies some themes, which pervaded the first thirty years of «Lotus» life, from 1964 to 1994, re- emerging, with variations, in many successive issues. If the monographic approach set a characteristic of the editorial line that endures over time, helping to strengthen the magazine’s identity, the change in the themes dealt with over the course of the decades is considered as a litmus test of the continuous evolution of the theoretical-design issues at the core of the architectural debate. Keywords Lotus International — Architectural annual — Little Magazine — Pier- luigi Nicolin — Bruno Alfieri The year 1963 was a memorable one for the British racing driver Jim Clark. At the helm of his Lotus 25 custom-made for him by Colin Chapman, he had won seven of the ten races scheduled for that year. The fastest lap at the Italian Grand Prix held at Monza on 8 September 1963 had allowed him and his team to win the drivers’ title and the Constructors’ Cup,1 with three races to go before the end of the championship. That same day, Chap- man did “the lap of honour astride the hood of his Lotus 25”.2 This car, and its success story, inspired the name chosen for what was initially imagined more as an annual dedicated to the best works of archi- tecture, urban and industrial design, rather than a traditional magazine.
    [Show full text]
  • BREAKING BARRIERS Giancarlo De Carlo from CIAM to ILAUD Lorenzo
    BREAKING BARRIERS Giancarlo De Carlo from CIAM to ILAUD Lorenzo Grieco Università degli Studi di Roma Tor Vergata / University of Rome Tor Vergata, Rome, Italy Abstract After World War II, the inflexibility characterizing the first CIAM congresses soon become unsustainable, provoking the criticism of Team 10, active from 1953 for a reform of the congress. The participated discourse of the group, “considering the characteristics of society and individuals”, would be inherited, years later, by the International Laboratory of Architecture and Urban Design (ILAUD), founded by Giancarlo De Carlo in 1976. The laboratory, together with the magazine Spazio e Società (1978-2001), called back to De Carlo’s operative militancy in Team 10, expressing a brand-new approach to urban studies. As De Carlo himself affirmed: “Some messages of Team 10 have been gathered in ILAUD […] but ILAUD and Team 10 are different things”. Indeed, the laboratory strongly pushed on the dimension of the project and on the students’ collective contribution. The project was no more an end point but became the tool through which every possible solution to the problem could be tested. Courses at ILAUD were given by international professionals like Aldo Van Eyck, Peter Smithson, Renzo Piano, Sverre Fehn and Balkrishna Vithaldas Doshi, some already in Team 10. The laboratory formed many young students, and several would have become internationally-recognized professionals -e.g. Eric Miralles, Carme Pinos, Santiago Calatrava, Mario Cucinella-. The paper wants to consider the contribution of ILAUD to urban studies and didactics through the examination of the rich material (annual publications, posters, projects, photos, etc.) collected in the archive of the Biblioteca Poletti in Modena.
    [Show full text]
  • International Archive of Women in Architecture
    IAWA NEWSLETTER International Archive of Women in Architecture Virginia Polytechnic Institute and State University Fall 2006 No. 18 it has done for cultures of the past, landscape architecture can create places where we, and future generations, will come to feel at home on the earth. As a modern landscape architect, I am inspired by these goals and by the landowners, corporate groups and architects whose needs I serve. When I see how Nature welcomes the gardens and landscapes I have begun, and how they enhance people’s lives, I rejoice in following a distinguished tradition of artists who unite human and natural forces in harmony. In January of 2004, Pattison presented at the symposium, Engaging Louis I. Kahn: A Legacy for the Future, held at the Yale Center for British Art. What follows is a description of some of her collaborations with Kahn and some of her personal memories of him. Korman House and Garden, photo by An-chi Tai Harriet Pattison, ASLA I had the privilege to work on several Kahn projects, mostly Kay F. Edge unbuilt. Though my training was incomplete in 1967, Lou invited me to participate much before, because I intuitively The IAWA is fortunate to have received some information understood his ideas, had a background in the arts and was about landscape architect Harriet Pattison’s work. Pattison young, bold and ignorant enough to crit his work. Eventually worked with Louis Kahn on a number of projects including I was sufficiently skilled to be effective, though like anyone the Kimbell Museum in Fort Worth, Texas and the Korman who came within his sphere, I was a minor player.
    [Show full text]
  • Gae Aulenti: a Creative Universe 29 February 2020 – 18 April 2021, Vitra Schaudepot
    Press release Gae Aulenti: A Creative Universe 29 February 2020 – 18 April 2021, Vitra Schaudepot Gae Aulenti is one of the most influential architects and designers of the post-war period. As early as the 1960s, her iconic creations – such as her »Locus Solus« series (1964), the »Pipistrello« (1965) and »King Sun« (1967) lamps – played a vital role in Italy’s global dominance within the field of product design. The Italian designer gained international renown for her transformation of a Parisian train station into the Musée d’Orsay (1980–1986). But although Aulenti realized over 700 projects, she is relatively unknown outside her native Italy. The Vitra Design Museum seeks to counteract this undeserved neglect with »Gae Aulenti: A Creative Universe«. The exhibition explores Aulenti’s multifaceted body of work, one that encompasses not only architectural projects and design objects, but also interiors, set and costume design, as well as exhibitions. The Vitra Schaudepot will present roughly 35 items from across her career, complemented by photographs, sketches, and drawings, as well as a slideshow, documentary films, and interviews. The exhibition opens with Aulenti’s early designs for the company Poltronova. These include her first item of furniture, »Sgarsul« (1962), which is characterized by a highly distinctive and modern use of forms, as well as her garden furniture series, »Locus Solus« (1964). The »Stringa« sofa (1963) and many other items Aulenti designed, she also used to furnish her own home. Additionally, she developed products for Zanotta, including a tubular steel version of »Locus Solus« (1964) and an extremely lightweight, easy-to-store folding chair, the »Aprilina« (1964).
    [Show full text]
  • Madrid, Bilbao, the Rioja & Barcelona November 11
    Madrid, Bilbao, The Rioja & Barcelona November 11 – November 19, 2015 LIST OF PARTICIPANTS: 1. Ann Barrett 2. Olin Barrett 3. Barbara de Leon 4. Marcus de Leon 5. Edgar Hirst 6. Robin Hirst 7. Bert Lewitt 8. Raquel Lewitt, International/National Tours Chair 9. Jo Westervelt 10. Scott Westervelt 11. John Miller 12. Kim Miller 13. Jeffrey Rapp 14. Neil Silverman 15. Sherie Schneider 16. Alan Schneider 17. Todd Johnson 18. Deborah Johnson 19. Cathy Partridge 20. Susan Krane 21. Laurie Staude 22. Connie McCreight, Curators Lab Chair 23. Sharon Darnov, Curators Award Exhibition Chair 24. June Sattler 25. Anne Brilliant, Co-Chair 2 FULL TRIP LECTURERS LISA HAHN, Art Horizons International, President Lisa Hahn is President and Founder of Art Horizons International Inc., a special interest art and cultural tour company she formed in 1985 that promotes the arts by creating unique educational travel programs and study tours that focus on art, architecture, and the performing arts in selected cities around the world. Aside from her role in managing Art Horizons Int’l, Lisa personally conducts many of the art and cultural tours around the world… in Europe and in cities all around the U.S. SOFÍA BARROSO, Around Art, President BA in Art History, Universidad Complutense, Madrid. Sofia has run two Art galleries “Arte in Europe” and “Arte-Express” (1983-85/ 1986-89); lectured and directed summer programs for Syracuse University Centre in Spain (1992-2004); was head curator at the March Foundation Contemporary Art Museum in Palma de Mallorca (1995-1997); has directed the ARCO Collectors Program for over eight years and was member of the Board of Friends of ARCO from 2000 to 2006.
    [Show full text]
  • Gae Aulenti Karen Lo
    Gae Aulenti Karen Lo Being one of the most controversial and eminent Milanese architects today, Gae Aulenti has successfully established herself as being one of the few females architects who have a place in the top list of Italian design maestri. Her activity covers many domains: architecture, design, industrial design, lighting and interior design, installations and show rooms, urban planning, as well as theory. As a native Italian designer rooted to the craft, the tradition of Italian design is inherently seen throughout her work and design process. Born 1927 in the town Palazzolo dello Stella near Trieste in northern Italy, her parents had wanted her to just be a normal nice stay-at-home girl. Being rebellious at the time, she enrolled herself in Milan Polytechnic and graduated at the age of twenty-four from a class of twenty students with one other female colleague. As with other Italian designers who emerged around that time, her training at the school of architecture in Milan became a basis and foundation for her future endeavors. After graduation, she became the art director of Ernesto Roger’s architecture magazine Casabella (1955), and remained with them for ten years (Vogel, 1987). The magazine at the time was run by a group of avant-garde architects whose purpose for the magazine was for architects to discuss and have theoretical and critical discourses about their work. They used it as a place for their continual discourse “about the future of architecture”, says Aulenti (Vogel, 1987). It was important for architects to communicate with their peers — to bring criticality to their own work.
    [Show full text]
  • Francesca Bonfante and Cristina Pallini
    THE ITALIAN DEBATE AFTER THE ‘RETREAT’ Francesca Bonfante, Cristina Pallini Politecnico di Milano, Department of Architecture, Built Environment and Construction Engineering DABC, Milan, Italy Abstract The ‘Italian retreat from modern architecture’ sanctioned by R. Banham (1959), led into the different lines of inquiry undertaken by Italian architects in the Sixties and Seventies, opening the way to mutual exchange between urban studies, planning and design. This articulated debate remains largely overlooked, perhaps because many statements circulated in Italian through handouts, pamphlets and transcripts. Nevertheless, the mutual influence between varied theoretical positions deserves due consideration, partly because this was a period of transition from the major problems of post-war reconstruction to the new demands brought about by the metropolitan dimension acquired by North- Italian cities, facing a new wave of industrialisation and related migratory movements. This paper discusses key factors, and figures, which fed the Italian architectural debate at this crucial stage, with a focus on the contribution made by the School of Architecture of Milano. Keywords: Italian architectural debate, post-war Italian architecture, typology, morphology, structurality Italy after 1945 In a widespread-devastated Italy, the aftermath of World War II stirred a general demand for a collective and individual catharsis, and for a radical process of institutional and political renewal. The cultural environment changed profoundly. Before the war, only a few Italian architects had openly shown their opposition to Fascism; even those who had joined the Resistance movement became truly anti- Fascist only much later. Among the supporters of the Resistance, however, were also architects and town planners who, after 1945, yearned for a moral renewal, Francesca Bonfante, Cristina Pallini, The Italian Debate After the ‘Retreat’ questioning the real political and social nature of Fascism (along with writers, artists and film directors).
    [Show full text]
  • Edition Axel Menges Gmbh Esslinger Straße 24 D-70736 Stuttgart-Fellbach Tel
    Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-0711-574759 fax +49-0711-574784 John McKean Giancarlo De Carlo: Layered Places 208 pp. with 230 ill., 242 x 297,5 mm, hard-cover, English ISBN 3-932565-12-6 Euro 78.00, sfr 118.00, £ 49.00, US $ 78.00, $A 139.00 Giancarlo De Carlo (born 1919) has been at the centre of the Euro- pean architectural scene for half a century. His career epitomises the engaged intellectual. His rigorously achieved socio-political position grew from action as a young anti-fascist partisan in the 1940s who then in the 1950s became an uncompromising critic of the International Style and a central member of Team 10 which finally broke with the CIAM establishment in 1959. His philosophy has found expression in half a century of coherent architectural work: writings, teaching, design projects, publishing and – cen- trally – built and inhabited places layered into an existing world. History is central to his design process. There is a deep physical »reading« of place which allows the layering of new engavings on its surfaces, transformations which can unlock behaviours and re- articulate perceptions of place. Such work also depends on a deep social »reading«, an engagement through active participation with the actual social condition and the rights of users to express them- Distributors selves, and to question the traditional processes of architectural formation. Brockhaus Commission De Carlo gained an international reputation with his first student Kreidlerstraße 9 housing at Urbino. Since the publication of his planning study of D-70806 Kornwestheim Urbino, his name as become almost synonymous with that Renais- Germany sance city, which he continues to transform with newly inserted tel.
    [Show full text]
  • Rep021112.Pdf
    la Repubblica venerdì 2 novembre 2012 pagina 38 la Repubblica CULTURA PARIGI È scomparsa ieri a 84 anni Tra i progetti più importanti una delle grandi protagoniste di Gae Aulenti, negli anni’80 della cultura italiana c’è stata la riconversione Aveva realizzato oggetti di Le opere in un Museo del XIX secolo della design, collaborato con Gare d’Orsay di Parigi costruita nel Olivetti, fatto scenografie 1900. E’ la più grande collezione teatrali. Tra i suoi interventi di Impressionisti con opere di quello alla Gare d’Orsay Manet, Renoir Era nota in tutto il mondo Gae Cézanne, Degas AULENTIra popolare, un volto affabile, Gae Aulenti, Estense di Ferrara. E l’Asian Art Museum di San Franci- morta ieri a Milano a quasi 85 anni, ma non sco. L’ultimo intervento di questo genere è a Palermo, era un’archistar. Geniale e libera nel tratto Arte e impegno in Palazzo Branciforte, nel centro storico della città. architettonico, non condivideva niente del- Il lavoro in una città antica stimola la sua intelligen- le ideologie pubblicitarie e autoreferenziali za. A Napoli si cimenta con due stazioni della metro- dE e i s u o i c o l l e g h i i n q u i l i n i d e l l o s t a r s y s t e m . H a u n a p a r- politana, le cosiddette stazioni dell’arte, al Museo Na- te importante nella storia dell’architettura italiana ed addio alla signora zionale Archeologico e a piazza Dante. È un intervento europea, si è confrontata con le mode, ma non si è fat- complesso.
    [Show full text]
  • Arch 5124 ARCHITECTURAL HISTORY 2 Part 2C
    arch 5124 ARCHITECTURAL HISTORY 2 Part 2C 23 September 2013 13.7 Mb, 7,526 words Lecture 25: Late 20th Century (only) Wells Coates (1895-1958). Canada, London, Modernism, engineer, product designer. Sunspan Houses (1934-36). Only one with intended construction system built, at Mardley Hill, 1935. Lawn Road flats, Lawn Road, London (1934). Embassy Court Flats, King’s Parade, Brighton, East Sussex (1935), Shipwrights, Leigh-on-Sea, Benfleet Road, 1937. Palace Gate Flats, 10 Palace Gate, 1939. House, West Wittering, West Sussex, 1957-58. Lawn Road flats. 1 Iannis Xenakis (1922-2001). Greek architect-engineer, worked with Le Corbusier, and one of the most important post-war avant- garde composers. Under Le Corbusier, he collaborated on the design of Sainte Marie de La Tourette, Éveux, Rhône-Alpesnear Lyon (1956-60 and 1981), and alone designed the Philips Pavilion at Expo 58. In 1953-54, composed his first major work after studying with Olivier Messiaen, derived from an Einsteinian view of time and his own memory of the sounds of warfare, and was structured on mathematical ideas by Le Corbusier. His most important works include Metastaseis (1953–4) for orchestra, with independent parts for every musician of the orchestra, and percussion works eg: Psappha (1975) and Pléïades (1979). He wrote numerous theoretical works including Formalized Music: Thought and Mathematics in Composition (1971).1 Sverre Fehn (1924-2009), Oslo, Modernism, architect and teacher, Oslo School of Architecture & Design and Cranbrook Academy of Art Michigan. Pritzker Prize 1997, leading Norwegian architect of his generation. travels in Morocco, he discovered vernacular architecture, which was to influence his work.
    [Show full text]
  • Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
    https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Venice: Behind the Mask An Architectural Study » By Hannah Ellen Kenny The University of Glasgow. History of Art Department. M.Phil Thesis. December 2006. ProQuest Number: 10391103 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10391103 Published by ProQuest LLO (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q.
    [Show full text]