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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. Infine, si vanno ad esaminare alcune dichiarazioni di suoi collaboratori e studenti che testimoniano che il suo passaggio ha veramente significato un enorme cambiamento di mentalità e di approccio alla materia. “The Mindset Behind the Appearence” è tutto questo, è guardare oltre a quello che si presenta a noi di bello e appetibile, per scoprire un nuovo mondo di disciplina e regole, dove nulla è lasciato al caso e tutto ha un suo significato preciso e ben definito. 4 5 INDICE Editoriale 03 IF YOU DO IT RIGHT, IT WILL LAST FOREVER a cura di Alessandro Gori The Rise of an Icon 08 With Love, Massimo 14 1 Until the end 22 THE ETHOS OF A MODERNIST a cura di Simone Restifo Pilato Design is One 28 Long Live Modernism 32 2 L’essenza di una nuova estetica 36 GOOD DESIGN IS A MATTER OF DISCIPLINE a cura di Sara Fiorani The Master’s Values 48 About Measure 54 Hello Helvetica 58 3 AN ENDLESS LEGACY a cura di Giulia Magnelli He Was Like Zeus 66 Un nome, una storia, un’eredità 70 Il posto di Vignelli nell’universo 76 4 Bibliografa 83 The Washington Post Emily Langer May 27, 2014, New York THE RISE OF AN ICON Massimo Vignelli was an Italian-born designer the gilded covers of Fodor’s travel books. of urban underground transportation. In the late Washington Post design critic Linda Hales wrote whose elegantly simple subway signs, business Perhaps most notably, he helped lead the design 1960s, he proposed the towering pylons that after studying sPecimens at Reagan National logos, shoPPing bags, books, furniture and of a short-lived schematic map of the New York became the principal signage medium for the Airport. Its proportions, she said, “are gracious dishware became reference Points of daily City subway system. Introduced in 1972, the Washington area’s mass-transit system. enough to accommodate all sizes, the life and touchstones in modern design. subway maP unknotted and colourcoded the He initially encountered resistance to his design material just springy enough, the curves in all Vignelli, trained largely in Milan, went to the US mess of tracks and simPlified their routes in of the pylons, which were to be planted outside the right Places to make waiting as bearable in the 1960s with his wife, Lella, and together straight lines and clean angles. It was replaced station entrances and along platforms and to as Possible.” Vignelli argued the centrality of they formed one of the most celebrated design in 1979, however, after comPlaints that it identify stops in vertical text. “Are you worried function – rather than fashion – in design. partnerships of the postwar era. David Lasker, distorted the city’s above-ground geography. about stiff necks?” one official asked him at the He once created a line of highrimmed dishes that a design authority, once observed that Although controversial as a piece of cartography time. But Vignelli’s ideasultimately prevailed. could be attractively stacked to conceal leftovers “practically everyone in the Western world, at (Vignelli opted not to depict parks in green and Vignelli’s works were high on style and low as diners moved from one course to the next. some time of the day, interacts with Vignelli’s water in blue), the map was enshrined in the on clutter. The Vignelli-designed Handkerchief “We desPise the culture of obsolescence, handiwork.” That handiwork, renowned for collection of the city’s Museum of Modern Art chair – so named for the seat’s resemblance to the culture of waste, the cult of the ephemeral” its combination of beauty and utility, included and continues to be admired as an object of a billowing hankie – became ubiquitous in Public reads a design manifesto titled “The Vignelli the red, white and blue logo of American modernist design.The New York subway map areas. The chair is “stackable, cleanable, virtually Canon”. “We detest the demand of temporary Airlines, Bloomingdale’s Big Brown Bag and was not Vignelli’s only venture into the bowels indestructible and gorgeous in a minimalist way,” solutions, the waste of energies and capital for 10 11 Bloomingdale’s Heller Ford Industrial Design Ferrovie dello Stato Pirelli One lifeline, Ducati Knoll A+U BK Italia few guidelines, Cinzano United Colors of Benneton Lancia an infinite legacy. Idony Triennale di Milano St. Peter’s Church Metropolitan Museum of Fine Arts Poltrona Frau American Airlines New York City New York Subway Biennale d’Arte venice IBM the sake of novelty. We are for a Design that to lure, he said, was the Vatican. Vignelli once Venini lasts, that responds to people’s needs and to quipped that he would have told the pope: “Your people’s wants.” Massimo Vignelli was born on holiness. The logo is okay, but everything else 10 January 1931, in Milan, where as a young has to go.” Vignelli lectured widely on design man he worked as a draftsman and studied and at times expressed his impatience with architecture. He studied at the Brera academy what he regarded as ramPant mediocrity in the of fine arts and the Polytechnic University in field. “There are too many PeoPle with no Milan, as well as at the University of Venice, education in graPhic design. And because before settling in the US. He worked in the they have access to comPuters, there’s early years of his career with the noted design no end to what they create – signage, company Unimark International, before opening newsletters and so forth” he once told the a firm with Lella Valle, whom he married in 1957 St. Louis Post-DisPatch. “It’s Pollution! and whom he credited as his chief collaborator. They have no idea whatsoever about the Vignelli did design work over the years for dignity of tyPe. If they were Pharmaceuticals Gillette personal-care products, Ford Motor, comPanies, we’d all be Poisoned. Xerox and IBM. One client he was not able But we are Poisoned anyhow, visually.” Massimo 12 TIMELINE MASSIMO VIGNELLI San Lorenzo NY Design Industrial subway Signpost Austrian United NYC Architec- Colors of Tumblers Knoll Subway ture Benetton Industrial Branding Branding Poster Style 08 57 66 70 80 95 Unfin- Guggen- The Pirelli Blooming ished heim Vignelli Pneumatics dales modern Museum Canon Industrial Branding Inspiration Branding Book American 63 Airlines 72 84 98 10 Branding 67 Domus 980 Massimo Vignelli May 30, 2014, New York WITH LOVE, MASSIMO For decades, the collaborative role of women Anna Castelli Ferrieri, Cini Boeri – have earned as architects or designers working with their recognition on their own merits, but the list is husbands or Partners has been under quite short. Too short. In June 2013, Architectural appreciated. Fifty years ago, it was standard Record, an American magazine, noted that practice that the head of the office was the man even now, when 40 per cent of the architecture and the woman partner had a subordinate role. students in the United States are women, At best, the woman’s creative input and only 17 per cent of partners and principals Professional influence was only vaguely of architectural firms are women. New York’s accepted; often her contributions were Museum of Modern Art opened an exhibition, dismissed and sometimes even forgotten. “Designing Modern Women 1890-1990”, in Even some of the most famous partnerships – October 2013. It showcases a diverse range Mies van der Rohe and Lilly Reich,Le Corbusier of works created by women, including some of and Charlotte Perriand, Alvar and Aino Aalto, Lella’s work, and acknowledges that “modern Charles and Ray Eames, and many others – design of the 20th century was Profoundly were murmured about but not oPenly recognised shaPed and enhanced by the creativity of as such. Female architects have often been women”. This book is a demonstration of the relegated – by assumptions, by the media, by work of Lella Vignelli, a strong and successful ignorance or arrogance – to supporting roles, Professional woman, and I hoPe it Provides even when they shared the Position of Partners.
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