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He trained as a painter before graduating in Architecture from Politecnico di Milano in 1959, specializing in industrial design. Agnoli worked as assistant to renowned figures like Gio Ponti and Carlo de Carli. Active mainly between the 1950s and 1970s, he designed iconic furniture for brands such as Molteni, Montina and Pierantonio Bonacina. He also created lighting for Oluce. Agnoli was a teacher and won various awards, including a gold medal at Neocon.",[],[99,107,115,132,140,148,156],{"_key":100,"_type":8,"children":101,"markDefs":106,"style":25},"28afa8e6a7a6",[102],{"_key":103,"_type":12,"marks":104,"text":105},"45400b32a262",[],"Tito Agnoli was born in Lima (Peru) on January 16, 1931, into a family of Italian origins, which returned to Italy in the immediate post-war period. His training began as a painter, studying with Maestro Mario Sironi.",[],{"_key":108,"_type":8,"children":109,"markDefs":114,"style":25},"be0c5272b5a5",[110],{"_key":111,"_type":12,"marks":112,"text":113},"ac42fac3dcd6",[],"He graduated in Architecture from the Politecnico di Milano in 1959, with a specialization in industrial design. During this period, he worked as an assistant to masters like Gio Ponti and Carlo de Carli, experiences that deeply influenced his professional path.",[],{"_key":116,"_type":8,"children":117,"markDefs":131,"style":25},"c54f833c253e",[118,122,127],{"_key":119,"_type":12,"marks":120,"text":121},"48425c432248",[],"Active mainly between the 1950s and 1970s, Agnoli collaborated with some of the most important Italian design brands, contributing his insights to the creation of iconic furniture pieces. He also designed for Molteni and worked with Montina for over twenty years, creating wicker furniture and seating. For Pierantonio Bonacina, he created several series of seating, including the famous ",{"_key":123,"_type":12,"marks":124,"text":126},"3f4fcf6653a8",[125],"em","Punto e Virgola",{"_key":128,"_type":12,"marks":129,"text":130},"d62299fadc0c",[]," chaise longue (1963). Throughout his career, he also collaborated with Poltrona Frau, Schiffini, and Ycami.",[],{"_key":133,"_type":8,"children":134,"markDefs":139,"style":25},"3b12e460f72a",[135],{"_key":136,"_type":12,"marks":137,"text":138},"57216b05a410",[],"In the field of lighting, Agnoli designed numerous projects for Oluce, including the 387 floor lamp with a travertine base, also known as the \"Agnoli lamp\", equipped with the innovative Cornalux bulb, which provides highly precise directed light.",[],{"_key":141,"_type":8,"children":142,"markDefs":147,"style":25},"bb3ec05c3aaf",[143],{"_key":144,"_type":12,"marks":145,"text":146},"73aa6d10d577",[],"In addition to his work as a designer, Agnoli gained various teaching experiences, lecturing in design at the Cesare Correnti Institute in Milan and the Art Institute of Lissone.",[],{"_key":149,"_type":8,"children":150,"markDefs":155,"style":25},"5bbca3c9dfbe",[151],{"_key":152,"_type":12,"marks":153,"text":154},"9cde3cc1a97d",[],"Throughout his career, he received two nominations for the prestigious international design award, the Compasso d’Oro, established by Gio Ponti in 1954. In 1986, he was awarded the gold medal at Neocon in Chicago. His works are held in major collections, including the MoMA in New York.",[],{"_key":157,"_type":8,"children":158,"markDefs":163,"style":25},"b2a71764615f",[159],{"_key":160,"_type":12,"marks":161,"text":162},"306747e9eda3",[],"Tito Agnoli passed away on February 23, 2012, in Milan.",[],[165],{"_key":166,"_type":8,"children":167,"markDefs":172,"style":25},"5d2014a15e72",[168],{"_key":169,"_type":12,"marks":170,"text":171},"2d2272266519",[],"Tito Agnoli (Lima, 1931 - Milan, 2012)",[],{"alt":46,"asset":174},{"_id":175,"height":176,"orientation":177,"ratio":178,"url":179,"width":176},"image-6931df9979e7fe54c442e22438e99cb57f3c4dbd-600x600-webp",600,"square",1,"https://cdn.sanity.io/images/w19bax1v/production/6931df9979e7fe54c442e22438e99cb57f3c4dbd-600x600.webp",{"_type":51,"current":181},"tito-agnoli","agnoli","Tito Agnoli",{"_id":185,"_type":88,"bioExtended":186,"bioFull":195,"bioShort":326,"profileImage":335,"seo":46,"slug":342,"sortValue":344,"title":345},"023c14de-638e-4075-86c1-8d16e3471d2c",[187],{"_key":188,"_type":8,"children":189,"markDefs":194,"style":25},"c87a197d4872",[190],{"_key":191,"_type":12,"marks":192,"text":193},"53a54dd62e99",[],"Franco Albini (Robbiate, 1905 - Milan, 1977), an Italian architect, graduated from the Polytechnic in Milan in 1929. He worked with Ponti and Lancia before opening his practice in 1931, focusing on council housing projects. Albini designed iconic exhibition spaces, including the Room for a Man (1936) at the V Triennale. In 1945, he co-directed Costruzioni Casabella and collaborated with Franca Helg from 1952. Their projects included the INA office building in Parma and the La Rinascente shopping center in Rome. Albini also designed iconic furniture pieces, such as the Veliero bookshelf, the Luisa chair and the Fiorenza armchair. He was a university professor for nearly 30 years.",[],[196,204,236,252,260,268,300,308,318],{"_key":197,"_type":8,"children":198,"markDefs":203,"style":25},"49d84df078b4",[199],{"_key":200,"_type":12,"marks":201,"text":202},"0dbb93f9e34e",[],"Franco Albini was born in 1905 in Robbiate (Lecco). In 1916, he moved to Milan, where he earned his degree in Architecture from the Politecnico (1929) and began working at the Ponti and Lancia firm. In 1931, he opened his own private practice with Camus and Palanti, focusing on council housing projects such as the neighborhoods “Fabio Filzi” (1936-38), “Gabriele D’Annunzio” (1938-1940), and “Ettore Ponti” (1939).",[],{"_key":205,"_type":8,"children":206,"markDefs":235,"style":25},"9be29009bc3a",[207,211,215,219,223,227,231],{"_key":208,"_type":12,"marks":209,"text":210},"6e88abbde307",[],"Before and during World War II, he continued his research on urban projects and housing solutions, from “Milano Verde” to Villa Pestarini (1938). Albini started working on exhibition designs for the V Triennale in 1933, collaborating with Pagano and others on the ",{"_key":212,"_type":12,"marks":213,"text":214},"070ef0712d53",[125],"House with a Steel Frame",{"_key":216,"_type":12,"marks":217,"text":218},"36ef4b42e6c7",[],". At the following Triennale in 1936, he designed the ",{"_key":220,"_type":12,"marks":221,"text":222},"cb3e2b80dc4a",[125],"Room for a Man",{"_key":224,"_type":12,"marks":225,"text":226},"1e63ca24959d",[]," and, together with Romano, the ",{"_key":228,"_type":12,"marks":229,"text":230},"ccaf904ceb62",[125],"Exhibition of Antique Italian Jewelry",{"_key":232,"_type":12,"marks":233,"text":234},"0e2e463b275a",[],", which became an archetype for new exhibition solutions.",[],{"_key":237,"_type":8,"children":238,"markDefs":251,"style":25},"fa4c24de0c6f",[239,243,247],{"_key":240,"_type":12,"marks":241,"text":242},"803f25a4ef1a",[],"In 1945, he became president of the Movement of Studies for Architecture and co-directed ",{"_key":244,"_type":12,"marks":245,"text":246},"6af02663db77",[125],"Costruzioni Casabella",{"_key":248,"_type":12,"marks":249,"text":250},"b44fc679acf3",[]," with Palanti. He began collaborating with Franca Helg in 1952. During these years, the studio developed significant projects, including the INA office building in Parma (1950-54) and the La Rinascente shopping center in Rome (1957-61).",[],{"_key":253,"_type":8,"children":254,"markDefs":259,"style":25},"136caefd7766",[255],{"_key":256,"_type":12,"marks":257,"text":258},"c2dd7ecfddfa",[],"In Genoa, they worked on urban planning, buildings, and museums, from municipal offices to the renovation of the Municipal Galleries of the Museo del Tesoro di San Lorenzo (1952-56). In the 1960s, alongside graphic designer Noorda, they designed the Metropolitana Milanese (subway stations).",[],{"_key":261,"_type":8,"children":262,"markDefs":267,"style":25},"666d3d0987a5",[263],{"_key":264,"_type":12,"marks":265,"text":266},"3fe350f8685b",[],"The Albini-Helg studio later collaborated with Antonio Piva and subsequently with Marco Albini. For nearly thirty years, Franco Albini was also a university professor in Venice, Turin, and Milan.",[],{"_key":269,"_type":8,"children":270,"markDefs":299,"style":25},"7a3d20af4ed1",[271,275,279,283,287,291,295],{"_key":272,"_type":12,"marks":273,"text":274},"556d766b0c6c",[],"He designed several iconic pieces of Italian design, including the ",{"_key":276,"_type":12,"marks":277,"text":278},"9455e2a64f6d",[125],"Veliero",{"_key":280,"_type":12,"marks":281,"text":282},"18b7b2bd807d",[]," bookshelf, the ",{"_key":284,"_type":12,"marks":285,"text":286},"0dd69d22f33d",[125],"Luisa",{"_key":288,"_type":12,"marks":289,"text":290},"0e86997e57d4",[]," chair, and the ",{"_key":292,"_type":12,"marks":293,"text":294},"ac3f595ae700",[125],"Fiorenza",{"_key":296,"_type":12,"marks":297,"text":298},"3c7f8fb025b1",[]," armchair. His approach to objects, projects, methods of execution, and tools was never purely speculative or abstract. Instead, it was the approach of a craftsman deeply engaged with the everyday challenges his work presented.",[],{"_key":301,"_type":8,"children":302,"markDefs":307,"style":25},"83aace37bcab",[303],{"_key":304,"_type":12,"marks":305,"text":306},"2721af8ca48f",[],"Franco Albini passed away in 1977 in Milan.",[],{"_key":309,"_type":8,"children":310,"markDefs":317,"style":25},"c04506777d9a",[311],{"_key":312,"_type":12,"marks":313,"text":316},"cdf20df954ef",[314,315],"smallCaps","highlight","",[],{"_key":319,"_type":8,"children":320,"markDefs":325,"style":25},"701d4cf02f42",[321],{"_key":322,"_type":12,"marks":323,"text":324},"7c2e3d8a6986",[314,315],"© Fondazione Franco Albini",[],[327],{"_key":328,"_type":8,"children":329,"markDefs":334,"style":25},"5ba81a86f988",[330],{"_key":331,"_type":12,"marks":332,"text":333},"8db9c96840c4",[],"Franco Albini (Robbiate, 1905 - Milan, 1977)",[],{"alt":46,"asset":336},{"_id":337,"height":338,"orientation":339,"ratio":340,"url":341,"width":176},"image-08d3415a196e4692d535b2769d2ac8876cc00280-600x900-jpg",900,"portrait",0.6666666666666666,"https://cdn.sanity.io/images/w19bax1v/production/08d3415a196e4692d535b2769d2ac8876cc00280-600x900.jpg",{"_type":51,"current":343},"franco-albini","albini","Franco Albini",{"_id":347,"_type":88,"bioExtended":348,"bioFull":357,"bioShort":390,"profileImage":399,"seo":46,"slug":406,"sortValue":408,"title":409},"ac62effa-2fa4-4989-888c-b5393469be6b",[349],{"_key":350,"_type":8,"children":351,"markDefs":356,"style":25},"f13927d214e1",[352],{"_key":353,"_type":12,"marks":354,"text":355},"f2a9552fd3a3",[],"Anton Alvarez (Stockholm, 1980), a 2012 graduate of the Royal College of Art, combines cabinetmaking, interior architecture, and furniture design. His work blends furniture and sculpture, often involving the invention of machines. One machine uses thread, pigment, and glue to bind materials like wood and cords, creating visible, wrapped designs. Alvarez’s second machine, the Extruder, shapes clay using pressure. Continuously experimenting, Alvarez creates functional and decorative pieces by building his own tools. His work has been showcased internationally in solo and group exhibitions at venues like the V&A, London, and Design Museum, London. His current work explores architectural and design cross-contamination.",[],[358,366,374,382],{"_key":359,"_type":8,"children":360,"markDefs":365,"style":25},"83125e0f9541",[361],{"_key":362,"_type":12,"marks":363,"text":364},"2b3924b50324",[],"Currently Stockholm based Swedish-Chilean Anton Alvarez is a 2012 graduate from the Royal College of Art in London. Alvarez originally studied cabinetmaking before completing an Interior Architecture and Furniture Design course at Konstfack. Alvarez’s work focuses on the design of systems and the creation of tools and processes for designing products, objects and architecture.",[],{"_key":367,"_type":8,"children":368,"markDefs":373,"style":25},"d284f3a082ee",[369],{"_key":370,"_type":12,"marks":371,"text":372},"16de29a5cd3f",[],"Anton Alvarez’s approach combines many different disciplines and his work is seemingly a hybrid between furniture and sculpture. He has invented several machines, one of which uses thread, pigment and glue to bind together materials such as scraps of wood and electrical cords to create piece of furniture. This process allows to incrementally add components to shape objects while making the wrapping process visible through the coloured threads. He created a second machine, which is called the Extruder, and consists of a large metal cylinder supported by a metal base that contorts clay into shapes by applying pressure to the wet material, squeezing it out into shapes. Continuously experimenting and building his own tools and machines, Alvarez aim is to achieve unexpected and unprecedented forms, producing both decorative and functional pieces.",[],{"_key":375,"_type":8,"children":376,"markDefs":381,"style":25},"4635493576b4",[377],{"_key":378,"_type":12,"marks":379,"text":380},"6b62fce891d4",[],"Alvarez work has been presented internationally in numerous solo and group shows including Clay Keramikmuseum Denmark, Middelfart ; Espace Muraille, Geneva; , Gallery Christian Larsen, Stockholm; Christie’s, London; Uppsala Konstmuseum, Uppsala; Xue Xue institute, Taipei; Salon 94, New York, USA ; the National Centre for Craft & Design, Lincolnshire; Design Museum, London; V&A, London.",[],{"_key":383,"_type":8,"children":384,"markDefs":389,"style":25},"be70c2b638e6",[385],{"_key":386,"_type":12,"marks":387,"text":388},"619b374f2341",[],"Anton Alvarez’s work here presented is part of a collection he is designing exclusively for the gallery within a field of research that focuses on the theme of interdisciplinary cross-contamination between architecture and design, and on the deployment of the instruments, methods and materials of traditional workmanship.",[],[391],{"_key":392,"_type":8,"children":393,"markDefs":398,"style":25},"d52f725ed38d",[394],{"_key":395,"_type":12,"marks":396,"text":397},"d5d59c63ae10",[],"Anton Alvarez (Stockholm, 1980)",[],{"alt":46,"asset":400},{"_id":401,"height":402,"orientation":339,"ratio":403,"url":404,"width":405},"image-7f0417cdcf532de830816e70754cc93390210213-678x1006-png",1006,0.6739562624254473,"https://cdn.sanity.io/images/w19bax1v/production/7f0417cdcf532de830816e70754cc93390210213-678x1006.png",678,{"_type":51,"current":407},"anton-alvarez","alvarez","Anton Alvarez",{"_id":411,"_type":88,"bioExtended":412,"bioFull":421,"bioShort":446,"profileImage":455,"seo":46,"slug":462,"sortValue":464,"title":465},"dfbd885d-482d-46a7-8f07-c92daf9b35b1",[413],{"_key":414,"_type":8,"children":415,"markDefs":420,"style":25},"73c16e78ae88",[416],{"_key":417,"_type":12,"marks":418,"text":419},"be462c770bee",[],"Andrea Anastasio (Rome, 1961) is a multidisciplinary artist with a background in street performance, art history, and philosophy. In the ’80s and ’90s, he traveled extensively in India, working with UNESCO and studying Indian art and philosophy. Anastasio has collaborated with architectural firms and designed for companies like Artemide and Memphis-Milan. His work blends industrial processes with traditional craftsmanship, focusing on domestic objects and materials. Through simple gestures like assemblage and weaving, he challenges perceptions of reality, exploring themes of temporality and human fragility. His creations emphasize the contradictions of human existence, often evoked in domestic spaces.",[],[422,430,438],{"_key":423,"_type":8,"children":424,"markDefs":429,"style":25},"fae46e4f3bec",[425],{"_key":426,"_type":12,"marks":427,"text":428},"17b4f330ff3e",[],"In the ’70s Andrea Anastasio (Rome, 1961) is a member of MTM and is trained in street performance at the school of circus with Roy Bosier and Jango Edwards. He studies art history and oriental studies in Rome and at I.S.M.E.O.. Later he obtains his M.A.in philosophy in Venice. Throughout the ’80s and ’90s he travels extensively in India, studying Indian art history and philosophy. He works at the cataloguing of Islamic architecture in India for UNESCO and at the publication of the teaching of J. Krishnamurti at the K.F.I. Foundation in Madras. In the same years he collaborates with UDRI in Bombay and with the architectural firm Rahul Mehrotra & Associates-Bombay. He works at identifying and cataloguing craft and building techniques in the rural areas of India.",[],{"_key":431,"_type":8,"children":432,"markDefs":437,"style":25},"6fd89cd2a95f",[433],{"_key":434,"_type":12,"marks":435,"text":436},"3df9b8ec5bca",[],"He designs for Italian companies such as Artemide, Memphis-Milan and Danese, connoting his projects of hybridizations of the industrial production processes with craft procedures and by the use of hand made materials that are then industrially finished. Since 2002 his work focuses on manipulating objects and materials of domestic usage and consumer-goods. By reiterating simple gestures or craft techniques like assemblage, weaving, collage, etc. or just by juxtaposing objects, underlining gestures and aspects of daily life that normally go unnoticed, Anastasio’s work generates linguistic short-circuits that challenge the common perception and definition of reality. By the making of objects, pictures, drawings, books and videos, his research focuses on temporality, fragility of human condition, on the definition of reality. He approaches domestic space as the privileged stage where the contradictions of human existence can be evoked and re-enacted.",[],{"_key":439,"_type":8,"children":440,"markDefs":445,"style":25},"5caf2f95c905",[441],{"_key":442,"_type":12,"marks":443,"text":444},"eb5fa5d8a0ad",[],"Andrea Anastasio’s works here presented have been conceived exclusively for the gallery within its territorial survey aimed at identifying Roman authors operating in contemporary design with an international attitude combined with a deeply rooted cultural vocation to the genius loci and whose direction of research leads them to exploit techniques and materials of the Roman and Italian artistic and artisanal tradition.",[],[447],{"_key":448,"_type":8,"children":449,"markDefs":454,"style":25},"ab8b42839a7a",[450],{"_key":451,"_type":12,"marks":452,"text":453},"70964bac30ec",[],"Andrea Anastasio (Rome, 1961)",[],{"alt":46,"asset":456},{"_id":457,"height":458,"orientation":339,"ratio":459,"url":460,"width":461},"image-3a076863bed01a0de511ae5999b0a2ae635e5384-640x962-png",962,0.6652806652806653,"https://cdn.sanity.io/images/w19bax1v/production/3a076863bed01a0de511ae5999b0a2ae635e5384-640x962.png",640,{"_type":51,"current":463},"andrea-anastasio","anastasio ","Andrea Anastasio ",{"_id":467,"_type":88,"bioExtended":468,"bioFull":484,"bioShort":517,"profileImage":526,"seo":46,"slug":530,"sortValue":532,"title":533},"a645b187-aca0-40f3-a539-cc192d3faf24",[469,477],{"_key":470,"_type":8,"children":471,"markDefs":476,"style":25},"5b2176c916a0",[472],{"_key":473,"_type":12,"marks":474,"text":475},"8859023251b7",[],"Annarita Aversa (Salerno, 1983), an architect trained at La Sapienza University of Rome and ETSAB University of Barcelona, has worked with leading European architectural firms. Focused on her Amalfi Coast roots, she founded Architetti Artigiani Anonimi in 2013. The studio engages in various architectural scales, promoting the identity of each place while considering its temporal, architectural, and cultural context. Aversa's current research includes the Molino Nuovo project in Salerno, private architectural designs, and preservation methods for the Amalfi Coast’s architectural and landscape heritage, in collaboration with the Center of Culture and History of Amalfi.",[],{"_key":478,"_type":8,"children":479,"markDefs":483,"style":25},"5e7b2323357a",[480],{"_key":481,"_type":12,"marks":482,"text":316},"003259c880f9",[],[],[485,493,501,509],{"_key":486,"_type":8,"children":487,"markDefs":492,"style":25},"50a3b496c55a",[488],{"_key":489,"_type":12,"marks":490,"text":491},"28df97a788af",[],"Annarita Aversa, architect, was trained at the “La Sapienza” University of Rome and at the ETSAB University of Barcelona; after having collaborated with some of the most interesting architectural firms in the European panorama – in Holland, in Spain and in Milan – she decides to deal with her territory of origin, the Amalfi coast, through participatory planning initiatives such as “Due Punti Architettura” listed by the MAXXI Museum in the “Independent Project” and through other independent cultural initiatives in Italy.",[],{"_key":494,"_type":8,"children":495,"markDefs":500,"style":25},"64425233d791",[496],{"_key":497,"_type":12,"marks":498,"text":499},"29273e745167",[],"In 2013, she founded her studio Architetti Artigiani Anonimi, based in Milan.",[],{"_key":502,"_type":8,"children":503,"markDefs":508,"style":25},"0437ce62411c",[504],{"_key":505,"_type":12,"marks":506,"text":507},"362bb0c93c48",[],"The studio works on the different scales of architecture, elaborating and synthesizing in each project the complexity of the temporal, architectural and cultural context, and promoting the identity of each place.",[],{"_key":510,"_type":8,"children":511,"markDefs":516,"style":25},"9924f2680788",[512],{"_key":513,"_type":12,"marks":514,"text":515},"52a534cb30d3",[],"Annarita Aversa is currently carrying out a research project based on the recovery of empathy between man and living space for the “Molino Nuovo” project in Salerno, taking care of the architectural design, various architectural projects for private clients and a project for the elaboration of methods for preservation of the architectural and landscape heritage of the Amalfi coast, in collaboration with the Center of Culture and History of Amalfi.",[],[518],{"_key":519,"_type":8,"children":520,"markDefs":525,"style":25},"6ca617c50bdf",[521],{"_key":522,"_type":12,"marks":523,"text":524},"fafbb576cd2d",[],"Annarita Aversa (Salerno, 1983)",[],{"alt":46,"asset":527},{"_id":528,"height":338,"orientation":339,"ratio":340,"url":529,"width":176},"image-75110d0a387e7f0e0b5f69be51627894e42645ed-600x900-jpg","https://cdn.sanity.io/images/w19bax1v/production/75110d0a387e7f0e0b5f69be51627894e42645ed-600x900.jpg",{"_type":51,"current":531},"annarita-aversa","aversa","Annarita Aversa",{"_id":535,"_type":88,"bioExtended":536,"bioFull":553,"bioShort":664,"profileImage":673,"seo":46,"slug":681,"sortValue":683,"title":684},"7da2c775-37a2-4bb1-9b8f-b660ad0ae00b",[537],{"_key":538,"_type":8,"children":539,"markDefs":552,"style":25},"866a52fa1863",[540,544,548],{"_key":541,"_type":12,"marks":542,"text":543},"05518fb52a6a",[],"Ercole Barovier (Murano, 1889 - Venice 1974) came from a historic glassmaking family but initially pursued classical studies. He joined the ",{"_key":545,"_type":12,"marks":546,"text":547},"5c95dcebf85c",[125],"Vetreria Artistica Barovier & C.",{"_key":549,"_type":12,"marks":550,"text":551},"fd6e4dda2f95",[]," in his thirties, becoming artistic director in 1926. In 1936, he co-founded Barovier & Toso, leading its artistic output until shortly before his death in 1974. Not a traditional glassmaker or designer, Barovier was a passionate experimenter, blending tradition with innovation. His work ranged from polychrome pieces and Deco sculptures to iconic creations like the Primavera series and vetri rostrati. He revolutionized Murano glass, introducing techniques and styles that remain influential. His son Angelo succeeded him.",[],[554,562,593,601,609,625,633,656],{"_key":555,"_type":8,"children":556,"markDefs":561,"style":25},"6bfea3993522",[557],{"_key":558,"_type":12,"marks":559,"text":560},"b87af2c84b15",[],"Ercole Barovier was born in Murano (Venice) on June 16, 1889, into a family engaged in glassmaking for generations. Despite these roots, he initially pursued a classical education, completely removed from the world of artistic glass.",[],{"_key":563,"_type":8,"children":564,"markDefs":592,"style":25},"e5f39a4b11e1",[565,569,572,576,580,584,588],{"_key":566,"_type":12,"marks":567,"text":568},"0346f5cdf23b",[],"Only in his thirties did he join the ",{"_key":570,"_type":12,"marks":571,"text":547},"b915a4a84b67",[125],{"_key":573,"_type":12,"marks":574,"text":575},"de7f52a61990",[],", working alongside his father Benvenuto and his uncle Giuseppe. In 1926, he took over the artistic direction of the company. Ten years later, in 1936, he joined the ",{"_key":577,"_type":12,"marks":578,"text":579},"a52e1901cc62",[125],"Ferro Toso",{"_key":581,"_type":12,"marks":582,"text":583},"265c9d443d8f",[]," furnace as managing partner and artistic director, which from then on would take the name ",{"_key":585,"_type":12,"marks":586,"text":587},"d5bab906c829",[125],"Barovier & Toso",{"_key":589,"_type":12,"marks":590,"text":591},"b588914a82b5",[],". He remained at the helm of artistic production until just a few years before his death, which occurred in Venice on May 19, 1974.",[],{"_key":594,"_type":8,"children":595,"markDefs":600,"style":25},"a946a65fd7e2",[596],{"_key":597,"_type":12,"marks":598,"text":599},"01be35bc11ab",[],"He had an unusual profile: neither a master glassmaker nor a designer in the modern sense of the term, Barovier stood out as a tireless experimenter of glass’s expressive potential. He researched, reinterpreted, and applied traditional techniques in the furnace, establishing himself as a key figure in the innovation of Murano glass in the twentieth century.",[],{"_key":602,"_type":8,"children":603,"markDefs":608,"style":25},"41db67448122",[604],{"_key":605,"_type":12,"marks":606,"text":607},"176ea45bdd7e",[],"His early works were marked by vibrant polychromes inspired by the Secessionist style, though inevitably featuring simple, essential forms. In the early 1920s, he created glass sculptures depicting stylised human figures and animals in a Deco taste, succulents - in dialogue with the models proposed by Napoleone Martinuzzi for Venini - and colourful murrine vases with floral motifs.",[],{"_key":610,"_type":8,"children":611,"markDefs":624,"style":25},"a401721d5a44",[612,616,620],{"_key":613,"_type":12,"marks":614,"text":615},"6462f2cfd104",[],"The well-known ",{"_key":617,"_type":12,"marks":618,"text":619},"c47d2c19c8ad",[125],"Primavera",{"_key":621,"_type":12,"marks":622,"text":623},"e2502996622a",[]," series dates back to 1929: glass with a whitish colouration, streaks, and craquelure, contrasted with black filaments, resulting from a mixture that the furnace was never able to replicate again.",[],{"_key":626,"_type":8,"children":627,"markDefs":632,"style":25},"28e4ca7ebfa2",[628],{"_key":629,"_type":12,"marks":630,"text":631},"52677bbcf3a8",[],"In the 1930s, he continued to experiment with new techniques, including the addition of non-fusible substances to the crucible to achieve hot colouration without melting. He also introduced, at a time when blown glass dominated, the use of thick glass, helping to renew the Murano repertoire.",[],{"_key":634,"_type":8,"children":635,"markDefs":655,"style":25},"fa5adcdcb7bb",[636,640,644,648,651],{"_key":637,"_type":12,"marks":638,"text":639},"8b0e14ce93ed",[],"One of his most recognisable innovations is the so-called ",{"_key":641,"_type":12,"marks":642,"text":643},"2ce758f56c80",[125],"vetri rostrati",{"_key":645,"_type":12,"marks":646,"text":647},"452fbb290bed",[],", characterised by a spiked and irregular surface, still produced by the furnace today. Another notable innovation bearing his signature is the ",{"_key":649,"_type":12,"marks":650,"text":643},"e13190effe15",[125],{"_key":652,"_type":12,"marks":653,"text":654},"f4b405941ce6",[],", with their distinctive spiked surface, which remain in production.",[],{"_key":657,"_type":8,"children":658,"markDefs":663,"style":25},"9447126c08e1",[659],{"_key":660,"_type":12,"marks":661,"text":662},"76087178984c",[],"Ercole Barovier died in Venice on May 19, 1974. He was succeeded in the company’s leadership by his only son, Angelo, who had already been working alongside him for some time.",[],[665],{"_key":666,"_type":8,"children":667,"markDefs":672,"style":25},"c10b98552b94",[668],{"_key":669,"_type":12,"marks":670,"text":671},"7db4c2a6ddb7",[],"Ercole Barovier (Murano, 1889 - Venice 1974)",[],{"alt":674,"asset":675},"Portrait of Ercole Barovier holding a vase",{"_id":676,"height":677,"orientation":339,"ratio":678,"url":679,"width":680},"image-814d66f782d38c761d0f19767dfd7d296beed0d9-1345x1883-png",1883,0.7142857142857143,"https://cdn.sanity.io/images/w19bax1v/production/814d66f782d38c761d0f19767dfd7d296beed0d9-1345x1883.png",1345,{"_type":51,"current":682},"ercole-barovier","barovier","Ercole Barovier",{"_id":686,"_type":88,"bioExtended":687,"bioFull":696,"bioShort":806,"profileImage":815,"seo":46,"slug":823,"sortValue":825,"title":826},"a21376c9-24a6-4add-97a5-8aa7e17af2ab",[688],{"_key":689,"_type":8,"children":690,"markDefs":695,"style":25},"2835cf5800d7",[691],{"_key":692,"_type":12,"marks":693,"text":694},"0832eff9ac8c",[],"Fulvio Bianconi (Ponte di Brenta, 1915 - Milan, 1996) was a Venetian artist and designer known for his vibrant, expressive glass creations. After early studies in Venice and work as a decorator in Murano, he moved to Milan in the 1930s, becoming a successful illustrator. In 1946, he began collaborating with Venini, producing imaginative glass works like The Four Seasons and the Commedia dell’Arte series. His style combined vivid colors, irregular forms, and figurative subjects, pushing Murano tradition into modernity. He also designed for major brands such as Fiat and Pirelli. Bianconi’s career spanned over sixty years, leaving a lasting impact on Italian visual culture.",[],[697,705,713,720,736,743,783,791,798],{"_key":698,"_type":8,"children":699,"markDefs":704,"style":25},"12dad25a4e2d",[700],{"_key":701,"_type":12,"marks":702,"text":703},"1285d370e586",[],"Fulvio Bianconi was born on August 27, 1915, in Ponte di Brenta, in the province of Padua, and soon moved with his family to Venice. In Venice, he earned his diploma from the Liceo Artistico of the Convento dei Carmini and attended, albeit irregularly, some courses at the Accademia di Belle Arti. From a very young age, he was drawn to the world of glass, working as an apprentice decorator in several Murano furnaces. During these formative years, his talent for drawing - particularly portraits and caricatures - became evident, along with his interest in illustration and graphic design.\n",[],{"_key":706,"_type":8,"children":707,"markDefs":712,"style":25},"fbff76ba88e8",[708],{"_key":709,"_type":12,"marks":710,"text":711},"0c20c9637408",[],"In the early 1930s, he moved to Milan, where his career as a graphic artist and illustrator began. There, he came into contact with key figures in the visual culture of the time, such as Cesare Zavattini, Bruno Munari, and Dino Villani, and began important collaborations with publishers such as Mondadori and Garzanti.",[],{"_key":714,"_type":8,"children":715,"markDefs":719,"style":25},"565c858ebc6e",[716],{"_key":717,"_type":12,"marks":718,"text":316},"b24da63f328f",[],[],{"_key":721,"_type":8,"children":722,"markDefs":735,"style":25},"05505ad273dd",[723,727,731],{"_key":724,"_type":12,"marks":725,"text":726},"1dd775bc49ed",[],"Between 1946 and 1947, he designed ",{"_key":728,"_type":12,"marks":729,"text":730},"24ed17bbd23e",[125],"The Four Seasons",{"_key":732,"_type":12,"marks":733,"text":734},"dc594c8ac1a8",[]," for the perfume brand Gi.vi.emme - a series of anthropomorphic, feminine-shaped glass bottles inspired by the four seasons, to be produced at the Venini furnace. This project marked the beginning of his relationship with the company and its founder, Paolo Venini, with whom he developed an intense - though not continuous - collaboration that lasted from the late 1940s to the early 1990s. After an extraordinarily prolific initial period from 1947 to 1957, he resumed designing for Venini in the 1960s, under the direction of Ludovico Diaz De Santillana, continuing even after the company changed ownership.",[],{"_key":737,"_type":8,"children":738,"markDefs":742,"style":25},"1e29a0d06348",[739],{"_key":740,"_type":12,"marks":741,"text":316},"15f5d3333a50",[],[],{"_key":744,"_type":8,"children":745,"markDefs":782,"style":25},"554fa3e5b634",[746,750,754,758,762,766,770,774,778],{"_key":747,"_type":12,"marks":748,"text":749},"b041071b1695",[],"Bianconi's style in glass is distinguished by its formal freedom, often irregular lines, vivid colours, in line with the spirit of the 1950s, and rich, original decorations. Particularly innovative within the Murano tradition is his figurative production: mermaids, ",{"_key":751,"_type":12,"marks":752,"text":753},"b15eaf5b754e",[125],"mori",{"_key":755,"_type":12,"marks":756,"text":757},"aa08cecf8bf5",[]," inspired by 18th-century ",{"_key":759,"_type":12,"marks":760,"text":761},"361a180ae7a7",[125],"moretti veneziani",{"_key":763,"_type":12,"marks":764,"text":765},"ac64e47c46e0",[],", musicians, characters in regional or 1930s fashion, symbolic figures linked to the months of the year, African women, and his famous ",{"_key":767,"_type":12,"marks":768,"text":769},"62294e0ff2a6",[125],"grotteschi",{"_key":771,"_type":12,"marks":772,"text":773},"69dcb8a1ec0a",[],", inspired by the bizarre 18th-century sculptures of Villa Palagonia in Bagheria (Palermo). The pinnacle of his collaboration with Venini is the collection dedicated to the ",{"_key":775,"_type":12,"marks":776,"text":777},"cd613060f108",[125],"Commedia dell’Arte ",{"_key":779,"_type":12,"marks":780,"text":781},"ec139f53addd",[],"(1947–48), in which iconic masks from Italian popular theatre are transformed into acrobatic and caricatured glass sculptures.\n",[],{"_key":784,"_type":8,"children":785,"markDefs":790,"style":25},"6a6e4a708f44",[786],{"_key":787,"_type":12,"marks":788,"text":789},"d3d920ae43cf",[],"Over the course of more than sixty years of his career, Bianconi also curated the visual identity of numerous Italian and international companies, including Fiat, Marzotto, HMW, Pathé, Columbia, and Pirelli.",[],{"_key":792,"_type":8,"children":793,"markDefs":797,"style":25},"7f9d9b009b41",[794],{"_key":795,"_type":12,"marks":796,"text":316},"fd8aaab7b840",[],[],{"_key":799,"_type":8,"children":800,"markDefs":805,"style":25},"fa3a7c43e185",[801],{"_key":802,"_type":12,"marks":803,"text":804},"4b0de3f78ec6",[],"He died in Milan on May 14, 1996.",[],[807],{"_key":808,"_type":8,"children":809,"markDefs":814,"style":25},"1c16a2fbf0bf",[810],{"_key":811,"_type":12,"marks":812,"text":813},"65fe0a9a40e9",[],"Fulvio Bianconi (Ponte di Brenta, 1915 - Milan, 1996)",[],{"alt":46,"asset":816},{"_id":817,"height":818,"orientation":819,"ratio":820,"url":821,"width":822},"image-92c606f9370a2fe6fa0c03e5b99060fbc2abc265-1104x828-webp",828,"landscape",1.3333333333333333,"https://cdn.sanity.io/images/w19bax1v/production/92c606f9370a2fe6fa0c03e5b99060fbc2abc265-1104x828.webp",1104,{"_type":51,"current":824},"fulvio-bianconi","bianconi","Fulvio Bianconi",{"_id":828,"_type":88,"bioExtended":829,"bioFull":838,"bioShort":895,"profileImage":904,"seo":46,"slug":911,"sortValue":913,"title":914},"fe6675ff-a702-4770-a1b1-10204dc8915b",[830],{"_key":831,"_type":8,"children":832,"markDefs":837,"style":25},"cfbf8839e479",[833],{"_key":834,"_type":12,"marks":835,"text":836},"a2d69bfbc48a",[],"Andrea Busiri Vici (Rome, 1903 – Rome, 1989), an architect with a family legacy dating back to the 1700s, earned his degree from the Polytechnic of Milan in 1929. Known for his neoclassical approach, he blended ancient and modern styles, rejecting industrial production in favor of custom-made elements. His interiors balanced functionality and elegance, with a focus on personalized craftsmanship. Busiri Vici’s high-profile projects include buildings in Rome, such as the Metro-Goldwyn-Mayer headquarters, Villa Biffo, and the Italian Pavilion at the 1939 New York World’s Fair. His work spanned Italy and abroad, leaving a lasting mark on architecture and design.",[],[839,847,855,863,871,879,887],{"_key":840,"_type":8,"children":841,"markDefs":846,"style":25},"d6444f2fd68a",[842],{"_key":843,"_type":12,"marks":844,"text":845},"4fb6bdb046fa",[],"Andrea Busiri Vici (Rome, 1903–1989) practiced his profession for over forty years. His family, whose history dates back to the 1700s, boasted illustrious academic architects from the San Luca Academy (he himself received this appointment in 1972).",[],{"_key":848,"_type":8,"children":849,"markDefs":854,"style":25},"95c4e3778d02",[850],{"_key":851,"_type":12,"marks":852,"text":853},"4139262d0d0d",[],"After earning his professional degree at the Politecnico di Milano in 1929, he had already been working for some time with his older brothers, Clemente and Michele, both of whom were architect-engineers. Andrea Busiri Vici's personal career path often intertwined with that of his brothers.",[],{"_key":856,"_type":8,"children":857,"markDefs":862,"style":25},"5dbada5a8444",[858],{"_key":859,"_type":12,"marks":860,"text":861},"88934aff7d6c",[],"Although they had very different personalities, the three brothers were united by a professional education that had been passed down from father to son for several generations. Their cultural background naturally led them toward similar concepts and aesthetic choices, with the past serving as their model.",[],{"_key":864,"_type":8,"children":865,"markDefs":870,"style":25},"824a4e662bc8",[866],{"_key":867,"_type":12,"marks":868,"text":869},"c7ec984fc369",[],"Andrea Busiri Vici’s interiors embodied an image of rigorous sumptuousness—a balance between functionality and refinement. By categorically rejecting industrial production, he ensured that every element, both architectural and decorative, was custom-made by specialized craftsmen he personally trained. Paying close attention to every detail, he skillfully blended ancient and modern styles. This ability to harmonize the old with the new would become the unmistakable hallmark of all his future designs.",[],{"_key":872,"_type":8,"children":873,"markDefs":878,"style":25},"4dc6b6bd3dea",[874],{"_key":875,"_type":12,"marks":876,"text":877},"00960878c520",[],"The number of his high-profile clients grew rapidly, as they saw in Busiri Vici the reassuring figure of an architect who was both cultured and stylish—an innovator and a traditionalist at the same time.",[],{"_key":880,"_type":8,"children":881,"markDefs":886,"style":25},"aeb00de575bc",[882],{"_key":883,"_type":12,"marks":884,"text":885},"14e128dd0d46",[],"The art that interested Andrea Busiri Vici was not that of his time, but that of the past. It almost seemed as if he designed his interiors to match period paintings, which he personally sourced for his clients, as he was a passionate and avid collector of antique art. References to Greek and Roman classicism were integral to his neoclassical approach, which was widely practiced in architecture and the visual and applied arts across Europe. However, Busiri Vici's neoclassicism was not merely a product of fashion—it was a sincere expression of his culture and, as such, had a lasting character.",[],{"_key":888,"_type":8,"children":889,"markDefs":894,"style":25},"c6b917610a2c",[890],{"_key":891,"_type":12,"marks":892,"text":893},"18d81c3997cb",[],"Among the most emblematic projects completed by Andrea Busiri Vici, often in collaboration with his brothers, both in Italy and abroad, are: the building at Via Bruxelles 47 in Rome (1931–34), a project included in the V Triennale of 1933; the interior decoration of the Roman headquarters of Metro-Goldwyn-Mayer (1932–33); the Bises building and the interior decoration of the apartments of Carlo and Sergio Bises on Via San Valentino, as well as that of Marquis Giovanni Cassis in Piazza Santa Sabina (1935–37), all in Rome; Villa Biffo in Merate (1937–38); Villa La Busiriana in Fregene, Rome (1939); the headquarters of the Istituto Nazionale Luce in Rome (1937–40); the Italian Pavilion at the New York World’s Fair (1939); the residence of Count Rudy Crespi in Palazzo Colonna (1946); the Roman headquarters of Lux Film (1947–48); the Standard shop (1948); the Circolo del Cancello Aperto and Cinema Fiammetta (1949–50), all in Rome; Villa Paolozzi Spaulding in Rome (1949–52); Villa Matarazzo in São Paulo, Brazil (1950–51); his personal residence on Via Ludovisi 45, Rome (1950–52); the villas Zavaglia, Balella, Fre, and La Margherita in Ansedonia, Tuscany (1951–60); Villino Lia in La Spezia (1960–61); Wald House in Frankfurt (1964); and Casa Zeri in Mentana, Rome (1964–67).",[],[896],{"_key":897,"_type":8,"children":898,"markDefs":903,"style":25},"f00bdca8606f",[899],{"_key":900,"_type":12,"marks":901,"text":902},"47480bb752f3",[],"Andrea Busiri Vici (Rome, 1903 – Rome, 1989) ",[],{"alt":46,"asset":905},{"_id":906,"height":907,"orientation":339,"ratio":908,"url":909,"width":910},"image-7f495cf484cf9dba9e6d10c237e56f287472536b-1907x2861-jpg",2861,0.6665501572876616,"https://cdn.sanity.io/images/w19bax1v/production/7f495cf484cf9dba9e6d10c237e56f287472536b-1907x2861.jpg",1907,{"_type":51,"current":912},"andrea-busiri-vici","busiri vici ","Andrea Busiri Vici ",{"_id":916,"_type":88,"bioExtended":917,"bioFull":950,"bioShort":999,"profileImage":1008,"seo":1014,"slug":1017,"sortValue":1019,"title":1020},"11b9cea6-1469-4993-9821-3fdf829fcfc5",[918,926,934,942],{"_key":919,"_type":8,"children":920,"markDefs":925,"style":25},"eb716d57bb6b",[921],{"_key":922,"_type":12,"marks":923,"text":924},"122aeb9d127b",[],"Tomaso Buzzi (1900–1981) was an Italian architect and designer trained at the Politecnico di Milano. Early on, he developed a strong interest in art and architectural history, which deeply influenced his work and set him apart from contemporary movements.",[],{"_key":927,"_type":8,"children":928,"markDefs":933,"style":25},"37a35adb2338",[929],{"_key":930,"_type":12,"marks":931,"text":932},"b0e166635d08",[],"In the 1930s, he became known for a highly personal style that blended Classicism, Art Deco, and imaginative elements, standing in contrast to rationalist design. Working across architecture, interiors, and design, he created cohesive environments where furnishings and spaces formed a unified aesthetic vision.",[],{"_key":935,"_type":8,"children":936,"markDefs":941,"style":25},"726399ad8f6e",[937],{"_key":938,"_type":12,"marks":939,"text":940},"456d117893c2",[],"In collaboration with Venini in Murano, Buzzi designed glass objects and chandeliers marked by refined proportions, lightness, and innovative use of transparency, helping redefine glass as both decorative and architectural.",[],{"_key":943,"_type":8,"children":944,"markDefs":949,"style":25},"d8d1e33e4107",[945],{"_key":946,"_type":12,"marks":947,"text":948},"f83d9ee8cdb1",[],"After World War II, he withdrew from Milan and dedicated himself to Scarzuola in Umbria, a visionary project combining architecture, symbolism, and personal mythology.",[],[951,959,967,975,983],{"_key":952,"_type":8,"children":953,"markDefs":958,"style":25},"5414851d39a4",[954],{"_key":955,"_type":12,"marks":956,"text":957},"038d9a3172b7",[],"Tomaso Buzzi (Sondrio, 1900 – Rapallo, 1981) was educated at the Politecnico of Milan, an institution at the time deeply connected to ideas of traditional academia. From his early years, he began to display an interest in the history of art and architecture, elements that would later become central to his artistic language and reverberate within his works. Settled in Milan, he soon became part of the city's leading artistic and cultural circle, launching a career distinguished by a cultural approach that remained independent from contemporaneous styles and movements.",[],{"_key":960,"_type":8,"children":961,"markDefs":966,"style":25},"edf237b854d8",[962],{"_key":963,"_type":12,"marks":964,"text":965},"afa75401459a",[],"In the 1930's, he established himself as an eccentric figure in the Italian architectural scene, developing a personal aesthetic balanced between Classicism, Art Deco, and fantastical tension, clearly distancing himself from the predominant rationalist approach. Architect, decorator, and designer, Buzzi conceived his creations as unified wholes, in which architecture, furniture, and applied arts combined to create sophisticated and scenographic environments.",[],{"_key":968,"_type":8,"children":969,"markDefs":974,"style":25},"f0c0652c066d",[970],{"_key":971,"_type":12,"marks":972,"text":973},"d9c0d377b319",[],"Central to this period was his collaboration with Venini in Murano, for which he designed chandeliers and glass objects that combined artisanal tradition and formal innovation. His creations are distinguished by elegant proportions, compositional lightness, and a refined use of light and transparency, helping to define a new concept of glass as both a decorative and architectural element.",[],{"_key":976,"_type":8,"children":977,"markDefs":982,"style":25},"e7ffb1f02fbc",[978],{"_key":979,"_type":12,"marks":980,"text":981},"e3d6f6603638",[],"At the same time, Buzzi established himself as a master of interior design, creating spaces characterized by exquisite materials—rare woods, velvets, wrought metals—and meticulous attention to detail. His interiors reveal a subtle balance between historical memory and invention, with references to classicism and the Renaissance reinterpreted with a personal and modern twist.",[],{"_key":984,"_type":8,"children":985,"markDefs":998,"style":25},"9803717b2b1b",[986,990,994],{"_key":987,"_type":12,"marks":988,"text":989},"e061149d169a",[],"After World War II, he gradually withdrew from the Milanese scene to dedicate himself to ",{"_key":991,"_type":12,"marks":992,"text":993},"706d30e1a722",[125],"Scarzuola ",{"_key":995,"_type":12,"marks":996,"text":997},"efab036629fb",[],"in Umbria, a visionary and autobiographical project in which architecture, symbolism, and narrative merge into what he envisioned as the ideal city. Suspended between rigor and fantasy, erudition and whimsy, Tomaso Buzzi's work continues to be rediscovered today for its ability to combine tradition and expressive freedom.",[],[1000],{"_key":1001,"_type":8,"children":1002,"markDefs":1007,"style":25},"66d7ea59dd19",[1003],{"_key":1004,"_type":12,"marks":1005,"text":1006},"513f09ee10d2",[],"Tomaso Buzzi (Sondrio, 1900 – Rapallo, 1981)",[],{"alt":1009,"asset":1010},"Portrait of the designer, architect and artist Tomaso Buzzi",{"_id":1011,"height":1012,"orientation":177,"ratio":178,"url":1013,"width":1012},"image-b8ecf1f10bd30424ddbd60bf735e21eba3f3bbd3-800x800-jpg",800,"https://cdn.sanity.io/images/w19bax1v/production/b8ecf1f10bd30424ddbd60bf735e21eba3f3bbd3-800x800.jpg",{"metaDescription":1015,"metaTitle":1016,"shareImage":46},"A portrait of Tomaso Buzzi, with a biography describing the artists life and style","A page dedicated to the designer & architect Buzzi",{"_type":51,"current":1018},"tomaso-buzzi","buzzi","Tomaso Buzzi",{"_id":1022,"_type":88,"bioExtended":1023,"bioFull":1046,"bioShort":1082,"profileImage":1091,"seo":46,"slug":1098,"sortValue":1100,"title":1101},"3b3905ce-8724-4ea8-920f-ae4d24bfb48d",[1024,1032,1039],{"_key":1025,"_type":8,"children":1026,"markDefs":1031,"style":25},"4f7ac2c154e8",[1027],{"_key":1028,"_type":12,"marks":1029,"text":1030},"8a157d43690a",[],"Luigi Caccia Dominioni (Milan, 1913 - Milan, 2016) was a key figure in postwar Milanese architecture and design. After graduating in 1936, he became known for his reserved, aristocratic demeanor and his ability to blend Milanese identity with modern design. Caccia Dominioni’s work, praised by Gio Ponti, focused on designing functional, elegant spaces and furniture that addressed the needs of everyday life, including iconic pieces like the Catilina chair and Chinotto armchair. His designs, marked by a balance of comfort and aesthetic value, contributed to the Italian design revolution, emphasizing practicality and dignity for the middle class.",[],{"_key":1033,"_type":8,"children":1034,"markDefs":1038,"style":25},"e8376e65db2e",[1035],{"_key":1036,"_type":12,"marks":1037,"text":316},"770dee2f9f50",[],[],{"_key":1040,"_type":8,"children":1041,"markDefs":1045,"style":25},"f1ca05be8619",[1042],{"_key":1043,"_type":12,"marks":1044,"text":316},"4314fd97fee3",[],[],[1047,1055,1062],{"_key":1048,"_type":8,"children":1049,"markDefs":1054,"style":25},"a311a4cadf59",[1050],{"_key":1051,"_type":12,"marks":1052,"text":1053},"676a7ad6ee77",[],"Luigi Caccia Dominioni was born in Milan on the 7th December 1913 in the family home in front of the Basilica di S. Ambrogio. This house was destroyed during the war and its rebuilding stated his career as an architect in the postwar period in Milan. With his reserved aristocratic temperament, he was an epitome of the most authentic Milanese personality: quiet and hard-working, the type of person who considered work to be civil service, to be carried out every day without the need for recognition between the solitude of his drafting table and the organised confusion of the building site. He felt at home among the masons, artisans and construction foremen whom he considered to be companions on the same journey. He was a nobleman with a simple heart and natural elegance, and was very able in transforming the Milanese dialect into an international language, understandable by anyone thanks to his visual and spatial language that appears universal, as well as for the elegance of his solutions. Caccia Dominioni received his degree from the Milan Polytechnic University in 1936, as the city was developing and aspiring to be modern and measure itself against the rest of Europe, though without losing the stubborn, proud faith in an ideal “Milanese identity”. This was actually a claim to a position: to belong to a specific place and a culture that naturally combined pragmatic action with elegance, large and small scale projects that communicated, without interruption, from the inside towards the exterior of the architecture.\nIf Milan began to emerge as the capital of design at that time, it was because of architects like Luigi Caccia Dominioni and Gio Ponti, who realised that the truest intimate essence of what was going to become industrial art was nothing else than the result of careful planning and unbiased design of objects that were used every day. It was no accident that Ponti was among the first to recognise Caccia Dominioni as a trend-setter for style in the future: his unique style is called “Caccia style” for this very reason. Ponti wrote, Caccia Dominioni does not furnish homes, instead he “interprets and expresses the personality of the client”, giving “a value (of environment or space) to the sequence of rooms”. When design was still a hypothesis not based on an authentic industrial reality, Caccia understood its simultaneous polyhedral and unitary nature, and did not reduce his work to simply designing objects and furniture. Instead, he highlighted potential inspirations of behaviours. Chairs and armchairs like Catilina, for example, or Chinotto, with their structure and proportions, make it possible to combine relaxing comfort with a poised position of the body, a demonstration of the almost didactic value of a piece of furniture in teaching virtuous behaviour. After all, the starting point was never the abstract formulation of useful design, but rather the personal need to provide answers to demands for quality in the home, also intended to confer dignity to middle-class life in a city that was on its way to becoming the epicentre of the Italian miracle. As Pier Carlo Santini wrote in a pointed comment, “civil” architecture enjoyed “acceptance in the measure in which the public is able to think of the ideal home in terms of attainable aspirations”.\nOn the occasion of the Salone del Mobile 2018, Luigi Caccia Dominioni (1913- 2016) returned to the spotlight in his beloved city, Milan, with an exhibition at the Umanitaria promoted by B&B Italia to display his cultural heritage. The company has recently signed a license agreement for the exclusive production and distribution of a selection of his iconic pieces, including some of the most emblematic products in the history of Italian design: the Catilina chair (in the low, small and stool versions); the armchairs ABCD (with its sofa extension), Toro (also with the sofa and its ottoman version), Nonaro (also with the sofa and chair with or without armrests) and Chinotto; the Cilindro ottoman; the tables and small tables – the Cavalletto, Fasce Cromate and Fascia Specchiata; and the lamps Lampada Poltrona, Base Ghisa, Monachella, and Imbuto.",[],{"_key":1056,"_type":8,"children":1057,"markDefs":1061,"style":25},"74f1cfbe4848",[1058],{"_key":1059,"_type":12,"marks":1060,"text":316},"477e233ed9c9",[],[],{"_key":1063,"_type":8,"children":1064,"markDefs":1081,"style":25},"03af942d2ecd",[1065,1069,1073,1077],{"_key":1066,"_type":12,"marks":1067,"text":1068},"24fcb6ade397",[125,314,315],"Tutti i diritti riservati ",{"_key":1070,"_type":12,"marks":1071,"text":1072},"96cef915f392",[314,315],"© Archivio LCD",{"_key":1074,"_type":12,"marks":1075,"text":1076},"e354d73a8e2b",[]," | ",{"_key":1078,"_type":12,"marks":1079,"text":1080},"16ef6d6329b7",[125,314,315],"Courtesy B&B Italia – www.azucena.it",[],[1083],{"_key":1084,"_type":8,"children":1085,"markDefs":1090,"style":25},"f7fdf4b59b21",[1086],{"_key":1087,"_type":12,"marks":1088,"text":1089},"633a605fc88a",[],"Luigi Caccia Dominioni (Milan, 1913 - Milan, 2016)",[],{"alt":46,"asset":1092},{"_id":1093,"height":1094,"orientation":339,"ratio":1095,"url":1096,"width":1097},"image-61b027e01882b88253a17966b1c80451b589ee64-960x1280-jpg",1280,0.75,"https://cdn.sanity.io/images/w19bax1v/production/61b027e01882b88253a17966b1c80451b589ee64-960x1280.jpg",960,{"_type":51,"current":1099},"luigi-caccia-dominioni","caccia dominioni","Luigi Caccia Dominioni",{"_id":1103,"_type":88,"bioExtended":1104,"bioFull":1113,"bioShort":1122,"profileImage":1139,"seo":46,"slug":1145,"sortValue":1147,"title":1129},"ac811699-516a-4558-a8ad-c5576b8eda79",[1105],{"_key":1106,"_type":8,"children":1107,"markDefs":1112,"style":25},"ffc68ef88726",[1108],{"_key":1109,"_type":12,"marks":1110,"text":1111},"9aa9e74afb26",[],"Since 1983, brothers Fernando (1961-2022) and Humberto (1953) Campana have been pioneers of disruptive design, creating a unique language deeply rooted in Brazilian culture. Their work, which integrates transformation, reinvention, and everyday materials, highlights universal values like freedom and human dignity. Estudio Campana, based in Sao Paulo, explores diverse fields including furniture, architecture, and fashion. Their pieces are in collections of renowned institutions like MoMA, Centre Pompidou, and the Vitra Design Museum. Recognized globally, they’ve won numerous awards, including Designer of the Year at Design/Miami (2008) and the Colbert Committee Award (2012).",[],[1114],{"_key":1115,"_type":8,"children":1116,"markDefs":1121,"style":25},"98a641622147",[1117],{"_key":1118,"_type":12,"marks":1119,"text":1120},"eb31e70df712",[],"Since 1983, brothers Fernando (1961-2022) and Humberto (1953) Campana, co-founders of Estudio Campana, have been solidly building their career, achieving both national and international recognition. In 2019, the studio celebrated its 35th anniversary acknowledged as pioneers of disruptive design, which led them to create a groundbreaking language in their field. Strongly rooted in Brazilian culture and traditions, their work carries yet universal values in its core, such as freedom and human dignity, by encouraging self-identity searching through life experiences. Incorporating the idea of transformation and reinvention, their creative process raises everyday materials to nobility, bringing not only creativity into design, but also Brazilian characteristics – the colors, the mixtures, the creative chaos – the triumph of simple solutions, in an artistic and poetic way.\nBased in Sao Paulo, Estudio Campana is constantly investigating new possibilities within design: from furniture making to architecture, landscaping, fashion, scenography and more. Working in partnership with different brands and industries, and liaising with communities and artists around the world keeps the Estudio Campana repertoire fresh. Their pieces are part of permanent collections of renowned cultural institutions such as Centre Pompidou and the Musée Des Arts Décoratifs, Paris, MoMa, New York, Museum of Modern Art of Sao Paulo and also Vitra Design Museum, Weil am Rhein.\nThe Campana brothers are currently listed as one of the world’s top iconic architects at Interni (2018). In 2015 and 2014 Wallpaper ranked them, respectively, among the 100 most important and 200 greatest design professionals. In 2013, they were listed by Forbes magazine among the 100 most influential Brazilian personalities. In 2012, Fernando and Humberto Campana were selected for the Colbert Committee Award in Paris; honored by Design Week in Beijing; received the Order of Cultural Merit in Brasilia, and were awarded the Order of Arts and Letters by the French Ministry of Culture, and elected Designers of the Year by Maison & Objet de Paris. In 2008, they received the Design/Miami Designer of the Year award. In March 2020 the major exhibition ever dedicated to the Campana Brothers, “35 Revolutions” has been inaugurated at the MAM – Museum of Modern Art of Rio de Janeiro. The exhibition celebrates the 35 years of the Campana Brothers’ career and gather together some of their most memorable and iconic works, including pieces from the Brazilian Baroque Collection.",[],[1123,1131],{"_key":1124,"_type":8,"children":1125,"markDefs":1130,"style":25},"1f3be11cfaaa",[1126],{"_key":1127,"_type":12,"marks":1128,"text":1129},"2e4516cd56f3",[],"Campana Brothers",[],{"_key":1132,"_type":8,"children":1133,"markDefs":1138,"style":25},"79dc9e13715f",[1134],{"_key":1135,"_type":12,"marks":1136,"text":1137},"66739e0f2801",[],"Fernando (Brotas, 1961 - 2022) and Humberto (1953) Campana",[],{"alt":46,"asset":1140},{"_id":1141,"height":1142,"orientation":339,"ratio":340,"url":1143,"width":1144},"image-89053c82db5849d4ec778b5925b198296bb6d83f-3672x5508-jpg",5508,"https://cdn.sanity.io/images/w19bax1v/production/89053c82db5849d4ec778b5925b198296bb6d83f-3672x5508.jpg",3672,{"_type":51,"current":1146},"campana-brothers","campana",{"_id":1149,"_type":88,"bioExtended":1150,"bioFull":1159,"bioShort":1200,"profileImage":1209,"seo":46,"slug":1216,"sortValue":1218,"title":1219},"51543264-ac03-4cd4-a1ae-9a2cb0cd0e77",[1151],{"_key":1152,"_type":8,"children":1153,"markDefs":1158,"style":25},"c7cca550ddd0",[1154],{"_key":1155,"_type":12,"marks":1156,"text":1157},"412e82ece2c1",[],"Paolo Canevari (Rome, 1963)’s work bridges past and present, exploring historical memory and daily life. Through a language that blends elegance and anti-heroism, he challenges concepts like the icon and historical truth. His interest in the purity of images and symbolic elements, along with a passion for early 20th-century design, has led him to produce refined, functional objects. Canevari has participated in numerous international exhibitions, with works in prestigious collections such as MoMA, the Fondation Louis Vuitton, and the Museum of Contemporary Art in Rome.",[],[1160,1168,1176,1184,1192],{"_key":1161,"_type":8,"children":1162,"markDefs":1167,"style":25},"f9912f4dba57",[1163],{"_key":1164,"_type":12,"marks":1165,"text":1166},"ad3ca9ea07bc",[],"Paolo Canevari’s work in art is centred upon an analysis which aims to enable a dialogue between past and present, historical memory and that of daily life. Through a language that is both courtly and, at the same time, anti-heroic, his work aims to subvert hierarchies and to question the supremacy of universal concepts such as the icon and historical truth.",[],{"_key":1169,"_type":8,"children":1170,"markDefs":1175,"style":25},"46cb690a3b08",[1171],{"_key":1172,"_type":12,"marks":1173,"text":1174},"a18d04ed436d",[],"Attraction towards the formal and linguistic purity of images and symbolic elements (from the monument to the symbol), the constant search for proportion and a vocation for design, combined with a passionate interest in the culture of objects, have, over time, led Canevari to develop a close relationship with the applied arts of the early 20th century.",[],{"_key":1177,"_type":8,"children":1178,"markDefs":1183,"style":25},"6ef8e1fa76a9",[1179],{"_key":1180,"_type":12,"marks":1181,"text":1182},"9c84e72eb832",[],"Having, throughout the years acquired both a culture of, and in-depth expertise in, design, Canevari began to successfully engage in the production of refined, functional objects.",[],{"_key":1185,"_type":8,"children":1186,"markDefs":1191,"style":25},"d7b3d43d82aa",[1187],{"_key":1188,"_type":12,"marks":1189,"text":1190},"4f41863a55ce",[],"Since early 90s Canevari participated in numerous group shows in Italy and abroad. His works feature in numerous private and public collections including: Center for Contemporary Art Luigi Pecci, Prato; Museum of Modern Art, MoMA, New York; Fondation Louis Vuitton pour la Creation, Paris; Cisneros Fontanals Art Foundation, Miami; Macro, Museum of Contemporary Art in Rome; MART Museum of Contemporary Art of Trento and Rovereto; Johannesburg Art Gallery, Johannesburg; National Institute for Graphics- Calcografia, Rome; GNAM National Gallery of Modern Art, Rome; Perna Foundation, Capri; Olnick Spanu Art Program, Garrison NY.",[],{"_key":1193,"_type":8,"children":1194,"markDefs":1199,"style":25},"f6453e6c6725",[1195],{"_key":1196,"_type":12,"marks":1197,"text":1198},"fde71b9253c2",[],"Paolo Canevaris’ works here presented have been conceived exclusively for the gallery within its territorial survey aimed at identifying Roman authors with an international attitude combined with a deeply rooted cultural vocation to the genius loci and whose direction of research leads them to exploit techniques and materials of the Roman and Italian artistic and artisanal tradition.",[],[1201],{"_key":1202,"_type":8,"children":1203,"markDefs":1208,"style":25},"630b34cf4930",[1204],{"_key":1205,"_type":12,"marks":1206,"text":1207},"5e94845dbd40",[],"Paolo Canevari (Rome, 1963)",[],{"alt":46,"asset":1210},{"_id":1211,"height":1212,"orientation":339,"ratio":1213,"url":1214,"width":1215},"image-29c991b726800169b09e7e74ab68f11b65f93888-1911x2863-jpg",2863,0.6674816625916871,"https://cdn.sanity.io/images/w19bax1v/production/29c991b726800169b09e7e74ab68f11b65f93888-1911x2863.jpg",1911,{"_type":51,"current":1217},"paolo-canevari","canevari","Paolo Canevari",{"_id":1221,"_type":88,"bioExtended":1222,"bioFull":1231,"bioShort":1280,"profileImage":1289,"seo":46,"slug":1296,"sortValue":1298,"title":1299},"7eda6a35-2d91-4f23-a38e-9cae11822e98",[1223],{"_key":1224,"_type":8,"children":1225,"markDefs":1230,"style":25},"00b49123f8f5",[1226],{"_key":1227,"_type":12,"marks":1228,"text":1229},"73619fe6f376",[],"Pietro Chiesa (Milan, 1892 - Paris, 1948) was a Milanese artist and designer renowned for his work in glass and wood. Initially studying law, he later apprenticed in cabinetmaking and glasswork, founding the Bottega di Pietro Chiesa in 1921, which evolved into Fontana Arte. Chiesa introduced innovative lighting designs, including the iconic Luminator floor lamp, and created remarkable glass furniture. He also contributed to public and private commissions, such as Italian embassies and the Palace of Justice in Milan. As Artistic Director at Fontana Arte, he revolutionized lighting and design.",[],[1232,1240,1248,1256,1264,1272],{"_key":1233,"_type":8,"children":1234,"markDefs":1239,"style":25},"16d4480283cb",[1235],{"_key":1236,"_type":12,"marks":1237,"text":1238},"0f2cb4640e49",[],"Pietro Chiesa was born in Milan in 1892 to a wealthy family of Swiss-Ticino origin that had long resided in Italy. After completing his higher education, he initially devoted himself to the study of law, attending courses first at the University of Grenoble and later at the University of Turin.",[],{"_key":1241,"_type":8,"children":1242,"markDefs":1247,"style":25},"8490cee1bcf8",[1243],{"_key":1244,"_type":12,"marks":1245,"text":1246},"c856c925fad7",[],"After the war, he decided to follow what was his true vocation. Although self-taught in artistic disciplines, in 1919 he began an apprenticeship in the workshops of Giovan Battista Gianotti, specializing in cabinetmaking and artistic glasswork. There, he developed a profound passion for glass and wood. In 1921, he founded the Bottega di Pietro Chiesa in Milan, on Via della Signoria, with a group of highly skilled artisans, who would later form the backbone of Fontana Arte. The Bottega remained active for over a decade, bringing significant innovation to the field of artistic glasswork, both aesthetically and technically. Chiesa was awarded a dedicated exhibition room three times at the Venice Art Biennale and was an admired exhibitor at the first Triennale in Monza in 1923. He also participated in the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris. Other important commissions followed, thanks to his collaboration with architect Gustavo Pulitzer, leading to the creation of stained-glass windows that adorned the interiors of the ocean liners Vulcania, Conte di Savoia, Victoria, and Oceania.",[],{"_key":1249,"_type":8,"children":1250,"markDefs":1255,"style":25},"b05944cdfa62",[1251],{"_key":1252,"_type":12,"marks":1253,"text":1254},"dd4a8afd8af6",[],"In 1927, Chiesa took part in the foundation of Il Labirinto, a collective of young architects and interior designers, including Gio Ponti, Lancia, Buzzi, Michele Marelli, and Paolo Venini. With the latter, he developed a particularly strong friendship and professional collaboration, which led to Venini supplying Fontana Arte with thick blown-glass vases, later decorated with engravings by Erwin Burger. From the second half of the 1920s, Chiesa began working in the lighting sector, developing innovative solutions to enhance light diffusion, such as the use of opaque plates. He later experimented with the diffraction properties of large engraved crystal plates, illuminated by bulbs placed at the base, achieving extraordinary results, as seen in the large luminous panels he presented at the Venice Art Biennale in 1932. At this stage, at Ponti's request, Chiesa collaborated with Luigi Fontana, who, in 1933, incorporated the Bottega di Pietro Chiesa. In 1934, Chiesa was appointed Artistic Director of the newly established Fontana Arte, a position he shared with Gio Ponti.",[],{"_key":1257,"_type":8,"children":1258,"markDefs":1263,"style":25},"37800cc362f4",[1259],{"_key":1260,"_type":12,"marks":1261,"text":1262},"cd579c02fda4",[],"Within a short period, he introduced exceptional new products and innovative manufacturing techniques spanning from glasswork to furniture design. Among his most remarkable creations were a limited series of furniture pieces with wooden and metal structures, covered with large curved mirrored slabs in light, delicate colors. Another milestone was the iconic Model No. 0736 table, crafted by double-curving a single thick glass plate, a true technical challenge at the time. However, it was in the field of lighting that he achieved his greatest success, producing timeless classics, including a series of circular chandeliers featuring large satin crystal reflectors or cut crystal discs. One of his most celebrated designs was the Luminator floor lamp, which Ponti described as \"the most beautiful and essential lamp ever designed.\"",[],{"_key":1265,"_type":8,"children":1266,"markDefs":1271,"style":25},"3d379765f0f0",[1267],{"_key":1268,"_type":12,"marks":1269,"text":1270},"f966178f4696",[],"Alongside his role as Artistic Director at Fontana Arte, Chiesa also worked on interior decoration projects for major public and private commissions, including the furnishing of Italian embassies in Berlin, Lisbon, and Stockholm, as well as the Palace of Justice in Milan and the University City of Rome. His contributions also extended to public spaces, as he played a key role in the public lighting project for Via Roma in Turin. Additionally, he curated and organized important exhibitions in the decorative arts sector, including events in Paris (1935), Berlin (1937), and again in Paris (1937). He also played a significant role in many Venetian Biennales, particularly those dedicated to glass art at the Venezia Pavilion. In 1938, he was appointed Commissioner of the Italian Government’s major exhibition of decorative arts in Buenos Aires.",[],{"_key":1273,"_type":8,"children":1274,"markDefs":1279,"style":25},"aa7b5a6c25f6",[1275],{"_key":1276,"_type":12,"marks":1277,"text":1278},"6f8923fcc106",[],"Pietro Chiesa passed away in Paris on May 26, 1948, during one of his regular visits to antique bookshops, where he indulged in his passion for collecting rare books.",[],[1281],{"_key":1282,"_type":8,"children":1283,"markDefs":1288,"style":25},"861f5c1395ed",[1284],{"_key":1285,"_type":12,"marks":1286,"text":1287},"ed8d0c745bff",[],"Pietro Chiesa (Milan, 1892 - Paris, 1948)",[],{"alt":46,"asset":1290},{"_id":1291,"height":1292,"orientation":339,"ratio":1293,"url":1294,"width":1295},"image-3754f74fe3341c2d4e8c294e55eb00474b0141fa-1334x2000-jpg",2000,0.667,"https://cdn.sanity.io/images/w19bax1v/production/3754f74fe3341c2d4e8c294e55eb00474b0141fa-1334x2000.jpg",1334,{"_type":51,"current":1297},"pietro-chiesa","chiesa","Pietro Chiesa",{"_id":1301,"_type":88,"bioExtended":1302,"bioFull":1311,"bioShort":1344,"profileImage":1353,"seo":46,"slug":1359,"sortValue":1361,"title":1362},"b4048d56-d534-4590-8625-d3bea4f8d178",[1303],{"_key":1304,"_type":8,"children":1305,"markDefs":1310,"style":25},"97c66dba39e6",[1306],{"_key":1307,"_type":12,"marks":1308,"text":1309},"1e6d7edeac79",[],"Luca Cipelletti (Milan, 1973), an architect graduated from the Polytechnic of Milan, founded Studio AR.CH.IT in 2000, focusing on the intersection of art, architecture, design, and museums. He has worked on several high-profile projects, including the masterplan for Milan’s Museum of Science and Technology and the Bitossi Museum-Archive. From 2003 to 2012, he served as artistic director for the UN's Millennium Campaign. Cipelletti has collaborated with renowned artists like Anne and Patrick Poirier and David Tremlett. His work explores interdisciplinary connections, utilizing traditional materials and techniques, often showcased in exclusive gallery exhibitions.",[],[1312,1320,1328,1336],{"_key":1313,"_type":8,"children":1314,"markDefs":1319,"style":25},"0bf88e343c0f",[1315],{"_key":1316,"_type":12,"marks":1317,"text":1318},"fd38c74c71e1",[],"Graduated in Architecture at the Polytechnic of Milan, during his university studies he works with Albini Helg Piva on national and international architecture and restoration competitions. In the same years, he works with the Lombardy Region on a research project on museums, which is followed by monitoring activities of exhibition spaces, design, publications and teaching on the themes of museography and exhibition. In 2000 he founds Studio AR.CH.IT in Milan, focusing its practice and research activities on the interactions between art, architecture, design and museums.",[],{"_key":1321,"_type":8,"children":1322,"markDefs":1327,"style":25},"1feeb7d638ba",[1323],{"_key":1324,"_type":12,"marks":1325,"text":1326},"9654ed53d3d0",[],"From 2003 to 2012 he works as artistic director of the Millennium Campaign of the United Nations.\nAmong his most recent projects: the masterplan for the Museum of Science and Technology “Leonardo da Vinci” of Milan, for which he also recovered the spaces of the former Cavallerizze; the Bitossi Museum-Archive of Montelupo Fiorentino; the forthcoming Museum of Contemporary Art of the Municipality of Rimini; the master plan for the centre for art and contemporary culture of the Municipality of Bari; the Shit Museum, with which he won the Milan Design Award during the Fuorisalone 2016; the itinerant sound installation Ulisse’s Syndrome by Soundwalk Collective, set up on the occasion of the Manifesta 12 biennial in Palermo, and later at the Bardo National Museum in Tunis and at the Beit Beirut.",[],{"_key":1329,"_type":8,"children":1330,"markDefs":1335,"style":25},"c8521dfca854",[1331],{"_key":1332,"_type":12,"marks":1333,"text":1334},"41c51633b88b",[],"Over the years, he has worked with national and international institutions and has collaborated on architectural projects with artists such as Anne and Patrick Poirier and David Tremlett.",[],{"_key":1337,"_type":8,"children":1338,"markDefs":1343,"style":25},"b6e4973ccd45",[1339],{"_key":1340,"_type":12,"marks":1341,"text":1342},"dea87f7e9529",[],"Luca Cipelletti’s works here presented have been conceived exclusively for the gallery within a field of research that focuses on the theme of interdisciplinary cross-contamination between architecture and design, and on the deployment of the instruments, methods and materials of traditional workmanship.",[],[1345],{"_key":1346,"_type":8,"children":1347,"markDefs":1352,"style":25},"8316dfa7e179",[1348],{"_key":1349,"_type":12,"marks":1350,"text":1351},"b0140d50f520",[],"Luca Cipelletti (Milan, 1973)",[],{"alt":46,"asset":1354},{"_id":1355,"height":1356,"orientation":339,"ratio":1357,"url":1358,"width":461},"image-dd1911c23a99fe0d7744255a7b54d72cf31f3e1c-640x968-png",968,0.6611570247933884,"https://cdn.sanity.io/images/w19bax1v/production/dd1911c23a99fe0d7744255a7b54d72cf31f3e1c-640x968.png",{"_type":51,"current":1360},"luca-cipelletti","cipelletti","Luca Cipelletti",{"_id":1364,"_type":88,"bioExtended":1365,"bioFull":1374,"bioShort":1423,"profileImage":1432,"seo":46,"slug":1438,"sortValue":1440,"title":1441},"59c14861-3765-4b64-a0f5-7c9c84d7856d",[1366],{"_key":1367,"_type":8,"children":1368,"markDefs":1373,"style":25},"455448ff1659",[1369],{"_key":1370,"_type":12,"marks":1371,"text":1372},"e69090a2243b",[],"Enzo Cucchi (Morro D’Alba, 1949) is a key figure in the Transavanguardia movement. Renowned for his expressive, visionary painting, Cucchi combines various materials and techniques, including ceramics, to create emotional and symbolic works. His use of ceramic represents his belief in the permanence of memory. Collaborating with architects like Mario Botta and Ettore Sottsass, Cucchi has contributed to major projects, such as the mosaic for Tel Aviv's Museum of Art and fountains in various locations. Honored as Commander of Merit of the Italian Republic, Cucchi's works are in prominent collections globally, including the Guggenheim and Tate.",[],[1375,1383,1391,1407,1415],{"_key":1376,"_type":8,"children":1377,"markDefs":1382,"style":25},"3dd9ad52de52",[1378],{"_key":1379,"_type":12,"marks":1380,"text":1381},"31db3aabaef8",[],"Enzo Cucchi was born in Morro D’Alba (Ancona) in 1949.",[],{"_key":1384,"_type":8,"children":1385,"markDefs":1390,"style":25},"637e97425bd7",[1386],{"_key":1387,"_type":12,"marks":1388,"text":1389},"efaa3cf39ac6",[],"Considered the most visionary artist among exponents of the neoespressionistic painting current “Transavanguardia”, in the 1980s Enzo Cucchi became internationally renowned. Cucchi sees painting as a means of bringing together a number of forms, concepts, and materials, using the invasive expression of gesture, through which the canvas becomes a receptacle of images and thoughts, the vehicles of a discourse frayed into a thousand suspensions. The presence of disparate symbols, of a classical or dreamlike matrix, torn from the present or memory, overlap and interrelate in the chromatic fabric from which they appear to emerge. The loss of spatial-temporal coordinates and the continuous incursion into a cultural territory and that of the emotions coincides with an unruly use of colours thickened and then streaked, violent and then sketchy and with a wide range of artistic materials and techniques, such as painting, drawing, engraving, mosaic, bronze and ceramics. Cucchi’s long term relation with ceramic – first used as an extra-pictorical material and then as a self-sufficient means of expression – comes from his trust in everlasting things, in memory. Ceramic – one of the most ancient materials – has always inspired the artist for its being a steady point, that has been through history, resisted many things and which he considers one of the most sincere disciplines.",[],{"_key":1392,"_type":8,"children":1393,"markDefs":1406,"style":25},"0e42baf97c2f",[1394,1398,1402],{"_key":1395,"_type":12,"marks":1396,"text":1397},"60738044602c",[],"Cucchi’s interest in the interaction between different arts and disciplines has led him to work in diverse fields (from the visual arts to architecture, design and fashion), and to grasp the importance and fertility of the encounter with other Italian masters. Intuitions such as these gave rise to emblematic collaborations, for instance, with architect Mario Botta, in 1994, for the developing the iconic system of the Santa Maria degli Angeli church, on the Tamaro Mount, in Lugano and, in 2001, with Ettore Sottsass in the conception of publishing projects (",{"_key":1399,"_type":12,"marks":1400,"text":1401},"b968c615ab03",[125],"I Disuguali",{"_key":1403,"_type":12,"marks":1404,"text":1405},"877012418d14",[],", a periodical issue of ceramic panels, 2001), in the production of four-handed works, and shared exhibitions, and in 2005-2007, in the creation of the four ceramic fountains for the architectural quadrilateral of the Chiostro della Pace (Peace Cloister) designed by Sottsass for the University Campus in Fisciano (Salerno). Enzo Cucchi has specifically conceived permanent artworks for different cities: the floor mosaic for the Museum of Art in Tel Aviv; the monumental ceramic panel for the Ala Mazzoniana of Termini Station in Rome; the ceramic works for the Stazione Salvator Rosa designed by Mendini in the Naples subway; the mosaic for the audience chamber of the new Palazzo di Giustizia in Pescara; the Votive Arch at the entrance of the Sanctuary of the Madonna della Grotta, donated by the artist to the city of Praia a Mare (Cosenza). His “Ideal Fountains”, commissioned by public Italian and international institutions, are placed worldwide: at the York University in Toronto (“Fontana d’Italia”), in the Louisiana Museum of Modern Art in Humlebaek, Copenhagen, one in front of the Palazzo della Provincia (“Religione”) in Catanzaro and one in the old harbour in Ancona (“Fontana dei due soli”).",[],{"_key":1408,"_type":8,"children":1409,"markDefs":1414,"style":25},"29bbefe6ab3f",[1410],{"_key":1411,"_type":12,"marks":1412,"text":1413},"0a8ed47ec07f",[],"On the proposal of the Presidency of the Council of Ministers, on May 2, 2012 the President Giorgio Napolitano honors Enzo Cucchi with the title of Commander of Merit of the Italian Republic. He has been a member of the National Academy of San Luca since 1999.",[],{"_key":1416,"_type":8,"children":1417,"markDefs":1422,"style":25},"86c75d12d92c",[1418],{"_key":1419,"_type":12,"marks":1420,"text":1421},"c386b0533d10",[],"Enzo Cucchi has presented numerous solo exhibitions and taken part in collective shows in the most important Italian and foreign museums, such as MAXXI Rome; the Kunsthalle in Basel; the Solomon R. Guggenheim Museum, New York; the Tate Gallery, London; the Centre Georges Pompidou, Paris; Castello di Rivoli, Rivoli (To); Palazzo Reale, Milan; the Sezon Museum of Art, Tokyo; the Academy of France in Rome–Villa Medici, Rome and the Musée d’Art Aoderne, Saint-Étienne Métropole. He has also participated in the most important contemporary art exhibitions internationally, including the Venice Art Biennial, Documenta in Kassel, and the Quadriennale d’Arte in Rome. In 2007 Museum Correr in Venice celebrated Enzo Cucchi’s work through a major monographic exhibition, opening in correspondance with the 52° Venice Art Biennial. His works are in the world’s major museum collections and the most prestigious private collections.",[],[1424],{"_key":1425,"_type":8,"children":1426,"markDefs":1431,"style":25},"ea50e7f80daa",[1427],{"_key":1428,"_type":12,"marks":1429,"text":1430},"986344579ff4",[],"Enzo Cucchi (Morro D’Alba, 1949)",[],{"alt":46,"asset":1433},{"_id":1434,"height":1435,"orientation":339,"ratio":340,"url":1436,"width":1437},"image-05f6008cae322f4b8ec2d153d1e15042ad268b36-2122x3183-jpg",3183,"https://cdn.sanity.io/images/w19bax1v/production/05f6008cae322f4b8ec2d153d1e15042ad268b36-2122x3183.jpg",2122,{"_type":51,"current":1439},"enzo-cucchi","cucchi","Enzo Cucchi",{"_id":1443,"_type":88,"bioExtended":1444,"bioFull":1453,"bioShort":1526,"profileImage":1535,"seo":46,"slug":1542,"sortValue":1544,"title":1545},"ce90a7cb-f8c9-4058-a431-8cb58cdb2165",[1445],{"_key":1446,"_type":8,"children":1447,"markDefs":1452,"style":25},"7fa9c19fb0fb",[1448],{"_key":1449,"_type":12,"marks":1450,"text":1451},"4fd06ebae766",[],"Carlo De Carli (Milan, 1910 - Milan, 1999) was a visionary architect whose influence spanned education, design, and industry. He contributed to the Triennale di Milano and led initiatives to innovate furniture production. As a professor, he taught Interior Design and Architecture until 1986. De Carli’s work focused on the unity of architecture, nature, and industrial design. His designs, like the Cassina chairs, embodied fluid, dynamic forms. He rejected rigid rationalist approaches, creating spaces with shifting planes and inclined surfaces. De Carli’s philosophy emphasized continuity in design, integrating architecture with its environment and viewing space, objects, and their relationships as interconnected.",[],[1454,1478,1486,1494,1502,1510,1518],{"_key":1455,"_type":8,"children":1456,"markDefs":1477,"style":25},"24c14e119806",[1457,1461,1465,1469,1473],{"_key":1458,"_type":12,"marks":1459,"text":1460},"c1689bd25612",[],"Carlo De Carli was a “global” architect, like all those whose influence extends beyond the confines of their professional practice. His work encompassed university-level education, allowing him to engage with theoretical, methodological, historical, and critical aspects of architecture, promoting it down to its very construction and usability. De Carli pursued this primarily through cultural channels, both professional and academic, as well as through interactions with industry and users. His involvement ranged from the Triennale di Milano, with which he collaborated from 1940 to 1973—heading ",{"_key":1462,"_type":12,"marks":1463,"text":1464},"2a4e26a1c817",[125],"Il Mobile Italiano",{"_key":1466,"_type":12,"marks":1467,"text":1468},"98e6f04120be",[]," (Italian Furniture) from 1957 to 1960 and serving as director of ",{"_key":1470,"_type":12,"marks":1471,"text":1472},"5544844b5c0e",[125],"Interni",{"_key":1474,"_type":12,"marks":1475,"text":1476},"69545682c9bf",[]," between 1967 and 1971—to numerous initiatives aimed at innovating the field of furniture production. A professor of Interior Design, Furniture Design, and Decoration, he directed its institute from 1965 to 1968 and later served as Dean of the School of Architecture, where he taught until 1986.",[],{"_key":1479,"_type":8,"children":1480,"markDefs":1485,"style":25},"6256d5f72bf4",[1481],{"_key":1482,"_type":12,"marks":1483,"text":1484},"64644315e585",[],"De Carli’s career was guided by a series of recurring theoretical principles, including the continuity between architecture and nature, the unity of architectural space, and the concept of primary space.",[],{"_key":1487,"_type":8,"children":1488,"markDefs":1493,"style":25},"d9f5b865c3e1",[1489],{"_key":1490,"_type":12,"marks":1491,"text":1492},"d9fde829a64f",[],"From his earliest writings, De Carli’s thoughts on design consistently sought to integrate architecture and industrial production into a unified creative vision. His work reflected inspiration from the artificial forms of speed and fast-moving animals, whose lean, taut bodies barely touch the ground—a poetic depth embodied in his furniture designs. Notable examples include the two chairs produced by Cassina, the mod. 683 (winner of the Compasso d’Oro) in 1954 and the mod. 693 in 1959.",[],{"_key":1495,"_type":8,"children":1496,"markDefs":1501,"style":25},"27e32bd6e669",[1497],{"_key":1498,"_type":12,"marks":1499,"text":1500},"1d25f057a7fe",[],"In his architecture, De Carli rejected the rationalist, \"drawer-like\" approach to volumetric composition, where elements are simply slotted into an orthogonal grid. Instead, he developed a fluid relationship with the ground, manipulating spaces through shifting planes and inclined surfaces, creating continuity not only in function but also in visual perception. As he stated in 1944, “houses are not simply objects placed on the ground; rather, everything around them is a continuation.” This idea formed the basis of two buildings constructed around 1950: Casa Galli in Cirimido (Como) and the Guest Mines Monteponi in Cagliari.",[],{"_key":1503,"_type":8,"children":1504,"markDefs":1509,"style":25},"8517aa9455ad",[1505],{"_key":1506,"_type":12,"marks":1507,"text":1508},"db334634b510",[],"The principle of continuity in pure and essential forms, where every element is clearly defined, rhythmically structured, and harmoniously integrated, extends beyond nature to historical forms—without resorting to historicist revivalism. This is evident in his sensitivity to the environment, as seen in the large sycamore tree embraced by the polygonal outline of the house on Via dei Giardini 16 (1953) and in the “furrows in the land” of his proposed extension to the Cemetery of Chiari (1973).",[],{"_key":1511,"_type":8,"children":1512,"markDefs":1517,"style":25},"f732d41f6059",[1513],{"_key":1514,"_type":12,"marks":1515,"text":1516},"8194ec060341",[],"The vital core that generates living space naturally leads to the concept of a “singular unit” of architecture, conceived as “a tree in a physical forest”, complete in itself yet capable of integration with other units. This principle was evident in his houses in the \"La Caletta\" holiday village (Nuoro, 1951), each with its own small garden. His modular approach extended beyond living spaces and structural components to include furniture, designed as adaptable, self-standing structures that varied in size and function within a given space.",[],{"_key":1519,"_type":8,"children":1520,"markDefs":1525,"style":25},"48a468c4990d",[1521],{"_key":1522,"_type":12,"marks":1523,"text":1524},"6fa300a9ee15",[],"In his writings, De Carli challenged the conventional separation between interior and exterior, large and small. His focus was not on space and objects as isolated elements but on the “process of formation”—the dynamic interplay between space, objects, and their relationships. He viewed design as a synthesis of conflicting forces, requiring solutions that not only resolve contradictions but also transcend them.",[],[1527],{"_key":1528,"_type":8,"children":1529,"markDefs":1534,"style":25},"f417eb5aee6e",[1530],{"_key":1531,"_type":12,"marks":1532,"text":1533},"9e7f66907c47",[],"Carlo De Carli (Milan, 1910 - Milan, 1999)",[],{"alt":46,"asset":1536},{"_id":1537,"height":1538,"orientation":819,"ratio":1539,"url":1540,"width":1541},"image-f487357f2c06cb898334266c6d3dd484e637bba3-1731x1431-jpg",1431,1.209643605870021,"https://cdn.sanity.io/images/w19bax1v/production/f487357f2c06cb898334266c6d3dd484e637bba3-1731x1431.jpg",1731,{"_type":51,"current":1543},"carlo-de-carli","de carli","Carlo De Carli",{"_id":1547,"_type":88,"bioExtended":1548,"bioFull":1557,"bioShort":1629,"profileImage":1638,"seo":1644,"slug":1647,"sortValue":1649,"title":1650},"deb62742-895a-48c2-baae-eb85661d1b25",[1549],{"_key":1550,"_type":8,"children":1551,"markDefs":1556,"style":25},"2fc02c44f0ad",[1552],{"_key":1553,"_type":12,"marks":1554,"text":1555},"c0dcb8966c17",[],"Marie-Anne Derville (Paris, 1986) is a Paris-based interior decorator, exhibition designer, and design advisor. Her eclectic approach blends various styles, inspired by artists and designers like Jean-Michel Frank, Donald Judd, and Pierre Yovanovitch. With a passion for art and design history, she creates timeless, elegant interiors that harmonize contrasts. Marie-Anne worked closely with Pierre Yovanovitch for seven years, refining her skills in residential projects. She oversees projects in cities like London, Los Angeles, and New York and designs a furniture collection for the Gallery. In 2022, she curated the exhibition Edvard Munch / Anna-Eva Bergman at Galerie Poggi, Paris.",[],[1558,1566,1574,1582,1590,1597,1605,1613,1621],{"_key":1559,"_type":8,"children":1560,"markDefs":1565,"style":25},"718d25b56cd3",[1561],{"_key":1562,"_type":12,"marks":1563,"text":1564},"1f9b909949d9",[],"Marie-Anne Derville is an interior decorator, exhibition designer and design advisor based in Paris.",[],{"_key":1567,"_type":8,"children":1568,"markDefs":1573,"style":25},"3b2f1037d7bb",[1569],{"_key":1570,"_type":12,"marks":1571,"text":1572},"7b28cda68ca7",[],"Led by her eye, guided by her passion for art, and informed by her knowledge in collectible design and the history of decorative arts, Marie-Anne’s work promotes a timeless and elegant taste.",[],{"_key":1575,"_type":8,"children":1576,"markDefs":1581,"style":25},"521a595bc30b",[1577],{"_key":1578,"_type":12,"marks":1579,"text":1580},"76dee58fd369",[],"Her interiors are curated with an eclectic approach blending versatile styles, in the tradition of the great French decorators like Jacques Grange and Pierre Yovanovitch.",[],{"_key":1583,"_type":8,"children":1584,"markDefs":1589,"style":25},"55880ab3e413",[1585],{"_key":1586,"_type":12,"marks":1587,"text":1588},"6e46bf70be38",[],"From Jean-Michel Frank to Donald Judd, the Renaissance to the Swedish Grace, the Art Deco to the 80s and 90s, she embraces a wide range of influences, citing Piero Portaluppi, Josef Hoffmann, Jean-Charles Moreux, Josef Buys, Michelangelo Antonioni, Cy Twombly, Pina Bausch, Pier Paolo Pasolini, Andrée Putman or Martin Szekely as some of her most main inspirations.",[],{"_key":1591,"_type":8,"children":1592,"markDefs":1596,"style":25},"8b3b1f40f590",[1593],{"_key":1594,"_type":12,"marks":1595,"text":1580},"bbf1a1cc3dbf",[],[],{"_key":1598,"_type":8,"children":1599,"markDefs":1604,"style":25},"ab7edec7c23d",[1600],{"_key":1601,"_type":12,"marks":1602,"text":1603},"d3c672df9713",[],"In her quest for beauty, Marie-Anne seeks to inject a soul in her clients’ interiors, building harmony with contrasts.",[],{"_key":1606,"_type":8,"children":1607,"markDefs":1612,"style":25},"016dc253c0d9",[1608],{"_key":1609,"_type":12,"marks":1610,"text":1611},"c117023a34e6",[],"Her meeting with Pierre Yovanovitch in 2014 was a fundamental milestone, followed by seven years of close collaboration on ambitious residential projects on both sides of the Atlantic. Building her skills and refining her aesthetic through this significant experience, she learned to devise tailor-made proposals and coordinate their executions with the most suited, discerning, and talented architects, craftsmen, and gallerists.",[],{"_key":1614,"_type":8,"children":1615,"markDefs":1620,"style":25},"9580647bbfb9",[1616],{"_key":1617,"_type":12,"marks":1618,"text":1619},"1d6ecb586f33",[],"Marie-Anne currently oversees projects in London, Los Angeles, New York, Paris and Rome. She designs a collection of furniture for the italian gallery Giustini/Stagetti, based in Rome. The full collection will be shown during Paris+ Art fair in October 2023.",[],{"_key":1622,"_type":8,"children":1623,"markDefs":1628,"style":25},"646d196c4ce7",[1624],{"_key":1625,"_type":12,"marks":1626,"text":1627},"5c919929d451",[],"In September 2022, she designed the exhibition “Edvard Munch / Anna-Eva Bergman: a Cosmology of Art” at Galerie Poggi in Paris, an immersive curation creating a dialogue between the artworks, time, and space.",[],[1630],{"_key":1631,"_type":8,"children":1632,"markDefs":1637,"style":25},"42ed77f1d383",[1633],{"_key":1634,"_type":12,"marks":1635,"text":1636},"efe9a83bc810",[],"Marie-Anne Derville (Paris, 1986)",[],{"alt":46,"asset":1639},{"_id":1640,"height":1292,"orientation":339,"ratio":1641,"url":1642,"width":1643},"image-a4e0129770f31a4ec26d4620fd619cb008a8bb9a-1333x2000-jpg",0.6665,"https://cdn.sanity.io/images/w19bax1v/production/a4e0129770f31a4ec26d4620fd619cb008a8bb9a-1333x2000.jpg",1333,{"metaDescription":1645,"metaTitle":1646,"shareImage":46},"Details on the French designer Marie-Anne Derville. She designed the M.A.D. collection for Guistini / Stagetti.","Biography of Marie-Anne Derville",{"_type":51,"current":1648},"marie-anne-derville","derville","Marie-Anne Derville",{"_id":1652,"_type":88,"bioExtended":1653,"bioFull":1662,"bioShort":1671,"profileImage":1680,"seo":46,"slug":1687,"sortValue":1689,"title":1690},"203a0b66-339e-440c-aff5-2e0a6fecb43e",[1654],{"_key":1655,"_type":8,"children":1656,"markDefs":1661,"style":25},"25fb5d6cf97f",[1657],{"_key":1658,"_type":12,"marks":1659,"text":1660},"718b2c1fce43",[],"Sophie Dries (France, 1986), an architect trained at Paris Malaquais and Aalto University, runs her architecture studio in Paris and Milan since 2014. She has collaborated with luxury design firms like Jean Nouvel, Pierre Yovanovitch, and Christian Liaigre, working on private residences, stores, and offices across Paris, Istanbul, and the Alps. In 2015, she participated in the Danish architecture residency at Villa Can Lis. Known for blending traditional materials with contemporary design, she launched a numbered edition furniture line at the 2016 Salone del Mobile and presented a rug collection in 2018. Her work reflects a fusion of international and Italian artisanal traditions.",[],[1663],{"_key":1664,"_type":8,"children":1665,"markDefs":1670,"style":25},"273bdb97fd02",[1666],{"_key":1667,"_type":12,"marks":1668,"text":1669},"4fd43b49ee3c",[],"Sophie Dries has studied in the Master Department of Furniture and Interior Design at the Aalto University of Helsinki, Finland. After graduating as an architect from Paris Malaquais Architecture School located in the Beaux Arts, she started to design exhibitions for Musee d’Orsay.\nSophie Dries runs her architecture studio, based in Paris and Milan, since 2014.\nShe has been collaborating for several years with multiple luxury interior design & architecture offices in Paris such as Ateliers Jean Nouvel, Pierre Yovanovitch and Christian Liaigre.\nShe has designed stores, offices and several private residencies in Paris, Istanbul, Alps.\nShe was part of the Danish architecture residency of “Jorn Utzon Foundation” in the Villa Can Lis in 2015 and worked on furniture design pieces. On the edge of high luxury and new design approach of shapes and materials, she plays on the paradox of traditional materials and technics with sharp and radical lines, in contemporary design.\nSophie Dries has realised a numbered edition furniture line, launched in Milan at the 2016 Salone del Mobile and shown at PAD London, Collective Fair in New York with Gallery L’Eclaireur (Paris and Los Angeles), and presented in collective shows in Brussels, Beirut and Rome. Her first rug collection has been presented during the Salone del Mobile 2018.\nSophie Dries’ works here presented have been conceived exclusively for the gallery within its territorial survey aimed at identifying authors operating in contemporary design with an international attitude combined with a deeply rooted cultural vocation to the city genius loci and whose direction of research leads them to exploit techniques and materials of the Roman and Italian artistic and artisanal tradition.",[],[1672],{"_key":1673,"_type":8,"children":1674,"markDefs":1679,"style":25},"33476c1a0b18",[1675],{"_key":1676,"_type":12,"marks":1677,"text":1678},"2b7a7ab775f5",[],"Sophie Dries (France, 1986)",[],{"alt":46,"asset":1681},{"_id":1682,"height":1683,"orientation":339,"ratio":1684,"url":1685,"width":1686},"image-4b98ca6ce853c6cdb57ed95a85d0fc6888254d30-1024x1534-jpg",1534,0.6675358539765319,"https://cdn.sanity.io/images/w19bax1v/production/4b98ca6ce853c6cdb57ed95a85d0fc6888254d30-1024x1534.jpg",1024,{"_type":51,"current":1688},"sophie-dries","dries","Sophie Dries",{"_id":1692,"_type":88,"bioExtended":1693,"bioFull":1709,"bioShort":1718,"profileImage":1727,"seo":46,"slug":1733,"sortValue":1735,"title":1736},"49173551-f0ad-4392-8aa3-1262bd800548",[1694,1702],{"_key":1695,"_type":8,"children":1696,"markDefs":1701,"style":25},"5ec08df3bc89",[1697],{"_key":1698,"_type":12,"marks":1699,"text":1700},"9780111c1cc1",[],"Francesco Faccin (Milan, 1977) explores design across industrial, independent, community, and gallery work, believing in design without boundaries. After working with Enzo Mari and learning cabinet-making with Francesco Rivolta, he opened his own studio in 2007. Faccin has won awards such as the Design Report Award (2010) and an honorable mention at the Compasso D’Oro (2015). He directed Fonderia Artistica Battaglia (2014–2016) and presented Honey Factory at Expo2015. Faccin is also a professor at various universities. In 2018 he begins his collaboration with the Gallery with Anonimo Contemporaneo, a project that starts from the popular anonymous chair, the Romanella, to reflect on the idea of the archetype.",[],{"_key":1703,"_type":8,"children":1704,"markDefs":1708,"style":25},"6234f91e6156",[1705],{"_key":1706,"_type":12,"marks":1707,"text":316},"a14b99450a71",[],[],[1710],{"_key":1711,"_type":8,"children":1712,"markDefs":1717,"style":25},"b63bd769885d",[1713],{"_key":1714,"_type":12,"marks":1715,"text":1716},"0f8c489dc382",[],"Constantly shifting the area of application between industrial production, indipendent production, community design and gallery work, Francesco Faccin (Milan in 1977) belives in design without bounderies or limits:\nIn 2004, after almost two years of collaboration with Enzo Mari, he starts working with the lute-maker Francesco Rivolta, learning hight cabinet making techniques. In 2007 started his own studio in Milan. From 2009 to 2015 he is consultant for Michele De Lucchi.\nIn 2013 he is selected as “Italian Fellow” at the American Academy in Rome. In 2010 he wins the Design Report Award and in 2015, with the “Traverso” project he receives an honorable mention at the Compasso D’Oro.\nFrom 2014 to 2016 he is artistic director of the historic Fonderia Artistica Battaglia in Milan. In 2015, on the occasion of Expo2015 he presents “Honey Factory”, a micro architecture for urban beekeeping that on 2018 the UN selects as guiding project in reference to the 17 Global Goals.\nIn addition to working for Italian and international, public and private clients and NGOs,\nFrancesco Faccin is a professor at the “Libera Università” in Bolzano, at the “Made Program” in Syracuse, and at the “Universidad de Navarra” in Pamplona; also, as a visiting professor, collaborates with other universities in Italy and abroad.\nHis work has been published in the most important international specialized magazines.\nIn 2019 Icon Design marks it among the 100 most influential personalities selected in various creative fields.\nIn 2018 Francesco Faccin he begins his collaboration with the gallery with “Anonimo Contemporaneo”, a project that starts from the popular anonymous chair, the “Romanella”, to reflect on the idea of the archetype.",[],[1719],{"_key":1720,"_type":8,"children":1721,"markDefs":1726,"style":25},"3cbc7074c9db",[1722],{"_key":1723,"_type":12,"marks":1724,"text":1725},"5d95f80e2c9b",[],"Francesco Faccin (Milan, 1977)",[],{"alt":46,"asset":1728},{"_id":1729,"height":1730,"orientation":339,"ratio":340,"url":1731,"width":1732},"image-96a0587e3c49ebd5400163c866995087de25e330-2822x4233-jpg",4233,"https://cdn.sanity.io/images/w19bax1v/production/96a0587e3c49ebd5400163c866995087de25e330-2822x4233.jpg",2822,{"_type":51,"current":1734},"francesco-faccin","faccin","Francesco Faccin",{"_id":1738,"_type":88,"bioExtended":1739,"bioFull":1748,"bioShort":1773,"profileImage":1782,"seo":46,"slug":1789,"sortValue":1791,"title":1792},"c014f076-3e91-4568-9ed8-339c28b7fad2",[1740],{"_key":1741,"_type":8,"children":1742,"markDefs":1747,"style":25},"6c843f80ed68",[1743],{"_key":1744,"_type":12,"marks":1745,"text":1746},"579cd6d6be71",[],"Salvatore Fancello (Dorgali 1916 - Bregu Rapit 1941), second last of twelve children, showed artistic talent early. After graduating in 1929, he worked in a ceramics workshop in Dorgali and enrolled at the ISIA in Monza, attending courses with Giovanni Pintori and Costantino Nivola. In 1936, he exhibited at the VI Triennale in Milan, where he won the Gran Premio. During the war he worked with futurists like Martini, Sassu, and Fontana. He died in Bregu Rapit (Albania), on the war front, in 1941. In 1942, a tribute exhibition was held at the Pinacoteca di Brera, and in 1947, he was awarded the medaglia d'oro al valore.",[],[1749,1757,1765],{"_key":1750,"_type":8,"children":1751,"markDefs":1756,"style":25},"0e2419006b04",[1752],{"_key":1753,"_type":12,"marks":1754,"text":1755},"f767751dfb9e",[],"Salvatore Fancello (Dorgali 1916 - Bregu Rapit 1941), second last of twelve children, revealed his artistic talents at a very young age. In 1929, after graduating, he began working in a ceramics workshop in Dorgali and, thanks to a scholarship, the following year he enrolled at the ISIA in Monza, attending courses with Giovanni Pintori and Costantino Nivola. He immediately stood out for his undisputed abilities. His first terracotta works date back to 1933 and the following year, after obtaining a diploma in ceramics, he followed the two-year specialization course, obtaining the title of Maestro d’Arte. In 1936 he exhibited at the VI Triennale of Milan where he was awarded the Gran Premio and where he moved and followed the rationalist cultural circles. In 1937 he worked on a bas-relief for the Textile Exhibition in Rome for Olivetti, and was called to arms in December of the same year. During the war he worked in contact with the futurists Martini, Sassu and Fontana, with whom he had worked a few years earlier. In 1940, on leave, he managed to work for the VII Triennale of Milan where he obtained an honorary diploma. In the same period he was engaged in the decoration of a room at the Bocconi University, a cycle of ceramic mosaics that however remained incomplete. In fact, the following year, he was called up for military service and died in Bregu Rapit, in Albania, in 1941. In 1942, homage was paid to the Artist's death at the Pinacoteca di Brera where his sculptures, drawings and ceramics were collected together. In 1947 he was awarded the medaglia d’oro al valore for valor and in 1962 his remains were repatriated and buried in the cemetery of Dorgali.",[],{"_key":1758,"_type":8,"children":1759,"markDefs":1764,"style":25},"25bf26fa2704",[1760],{"_key":1761,"_type":12,"marks":1762,"text":1763},"fd642ff05cce",[],"\n",[],{"_key":1766,"_type":8,"children":1767,"markDefs":1772,"style":25},"665ca41b6807",[1768],{"_key":1769,"_type":12,"marks":1770,"text":1771},"2ec4899fbede",[],"Courtesy Ilisso Edizioni",[],[1774],{"_key":1775,"_type":8,"children":1776,"markDefs":1781,"style":25},"18c149c40bba",[1777],{"_key":1778,"_type":12,"marks":1779,"text":1780},"29b57fd78cec",[],"Salvatore Fancello (Dorgali, 1916 - Bregu Rapit, 1941)",[],{"alt":46,"asset":1783},{"_id":1784,"height":1785,"orientation":339,"ratio":1786,"url":1787,"width":1788},"image-c6f6aa2ae2516ddffcd777fc29c781f08f54a246-1920x2259-jpg",2259,0.849933598937583,"https://cdn.sanity.io/images/w19bax1v/production/c6f6aa2ae2516ddffcd777fc29c781f08f54a246-1920x2259.jpg",1920,{"_type":51,"current":1790},"salvatore-fancello","fancello","Salvatore Fancello",{"_id":1794,"_type":88,"bioExtended":1795,"bioFull":1852,"bioShort":2171,"profileImage":2180,"seo":46,"slug":2187,"sortValue":2189,"title":2190},"d79d4353-4a5c-44d6-a515-6aab1aa51bb2",[1796],{"_key":1797,"_type":8,"children":1798,"markDefs":1851,"style":25},"b623abaab995",[1799,1803,1807,1811,1815,1819,1823,1827,1831,1835,1839,1843,1847],{"_key":1800,"_type":12,"marks":1801,"text":1802},"0c1543dcb27c",[],"Arrigo Finzi (La Spezia, 1890 - Milan, 1973) began as a traveling salesman before founding his first silverware workshop in Milan in 1909. Influenced by Futurist architect Antonio Sant’Elia, he co-founded ",{"_key":1804,"_type":12,"marks":1805,"text":1806},"918a5ca93167",[125],"Arrigo Finzi & C.",{"_key":1808,"_type":12,"marks":1809,"text":1810},"7fd74ae8b338",[]," in 1919, restructured as ",{"_key":1812,"_type":12,"marks":1813,"text":1814},"96075458b79a",[125],"Società Anonima Arrigo Finzi & C.",{"_key":1816,"_type":12,"marks":1817,"text":1818},"c16700b8a7e2",[]," He later launched ",{"_key":1820,"_type":12,"marks":1821,"text":1822},"51057e177d75",[125],"Metargent",{"_key":1824,"_type":12,"marks":1825,"text":1826},"cf23e457269d",[]," (1932), ",{"_key":1828,"_type":12,"marks":1829,"text":1830},"7afa49d45d2f",[125],"Nuova Argenteria",{"_key":1832,"_type":12,"marks":1833,"text":1834},"37402c788b16",[]," (1934), and, after racial laws in 1938, founded ",{"_key":1836,"_type":12,"marks":1837,"text":1838},"4e0b8cbf17a8",[125],"Le Argenterie d’Italia",{"_key":1840,"_type":12,"marks":1841,"text":1842},"0ec63f613a38",[],". Postwar, he established ",{"_key":1844,"_type":12,"marks":1845,"text":1846},"2164d32b81b3",[125],"Finzi Arte",{"_key":1848,"_type":12,"marks":1849,"text":1850},"94121dce09d9",[]," (1954), joined by his daughter Olga. His innovative work in silver and design earned international acclaim and shaped Italian decorative arts.",[],[1853,1861,1869,1885,1915,1955,1963,1979,2009,2032,2055,2063,2086,2109,2133,2148,2156,2163],{"_key":1854,"_type":8,"children":1855,"markDefs":1860,"style":25},"6a3d283d3812",[1856],{"_key":1857,"_type":12,"marks":1858,"text":1859},"18ba40c739ff",[],"Arrigo Finzi was born in La Spezia on June 25, 1890 - seemingly by chance, as his family was Venetian and resided in Venice. His father worked at the Arsenale, and Arrigo attended the Ravà International Boarding School, owned by his paternal grandmother.",[],{"_key":1862,"_type":8,"children":1863,"markDefs":1868,"style":25},"d9e763a9c20e",[1864],{"_key":1865,"_type":12,"marks":1866,"text":1867},"825be2b18868",[],"In 1904, the Finzi family relocated to Milan, where Arrigo completed his studies in accounting and began his professional career as a traveling salesman for a firm specializing in religious furnishings. This experience introduced him to the field that would later define his life’s work.",[],{"_key":1870,"_type":8,"children":1871,"markDefs":1884,"style":25},"de48f74d9307",[1872,1876,1880],{"_key":1873,"_type":12,"marks":1874,"text":1875},"74b774f59621",[],"Despite having no formal background in design or family tradition in the craft, Finzi established his first workshop in 1909 at Via Carmagnola 14 in Milan. It was during this period that he met Antonio Sant’Elia (1888–1916), a leading figure of the Futurist movement, then employed as a draftsman at the Milan city technical office. Their friendship grew over the following years, and Finzi, inspired by Sant’Elia’s ideas, began producing “modern” silverware with clean, essential lines - a radical departure from the prevailing ",{"_key":1877,"_type":12,"marks":1878,"text":1879},"5e9c61786e46",[125],"Art Nouveau",{"_key":1881,"_type":12,"marks":1882,"text":1883},"cf9cfd619ce1",[]," aesthetic of the time.",[],{"_key":1886,"_type":8,"children":1887,"markDefs":1914,"style":25},"b935fbd7a835",[1888,1892,1895,1899,1902,1906,1910],{"_key":1889,"_type":12,"marks":1890,"text":1891},"10a79d7c7737",[],"Following Sant’Elia’s untimely death in 1916 during World War I, Finzi co-founded ",{"_key":1893,"_type":12,"marks":1894,"text":1806},"56abb2406f2b",[125],{"_key":1896,"_type":12,"marks":1897,"text":1898},"008400b35e85",[]," on May 1, 1919, with Edoardo Princi. Based in Via Caminadella 14, Milan, the firm specialized in silver, silver-plated metal, and high-end decorative objects. The initial collections - strongly influenced by Sant’Elia’s avant-garde designs - met with limited commercial success, prompting a reorganization later that year into ",{"_key":1900,"_type":12,"marks":1901,"text":1814},"58e1d11caa6a",[125],{"_key":1903,"_type":12,"marks":1904,"text":1905},"0cb2a3f335a7",[]," The company soon gained recognition both in Italy and internationally for a more traditionally styled production, ranging from Empire-inspired objects to refined ",{"_key":1907,"_type":12,"marks":1908,"text":1909},"8e0b59143919",[125],"Liberty",{"_key":1911,"_type":12,"marks":1912,"text":1913},"41df2cc7c579",[]," designs.",[],{"_key":1916,"_type":8,"children":1917,"markDefs":1954,"style":25},"309755dbe130",[1918,1922,1926,1930,1934,1938,1942,1946,1950],{"_key":1919,"_type":12,"marks":1920,"text":1921},"90dc8b4e25e5",[],"The firm also developed a line of liturgical furnishings - chalices, monstrances, and ciboria - under the registered trademark ",{"_key":1923,"_type":12,"marks":1924,"text":1925},"44a1280b7de3",[125],"Angelo",{"_key":1927,"_type":12,"marks":1928,"text":1929},"07be256a48dd",[],". In 1924, Finzi’s company participated in the South American cruise of the ",{"_key":1931,"_type":12,"marks":1932,"text":1933},"ae96ffc54a8c",[125],"Italia",{"_key":1935,"_type":12,"marks":1936,"text":1937},"0b93718772bd",[],", a floating trade fair conceived to promote Italian art and craftsmanship abroad. The initiative, supported by the government and inspired by Gabriele D’Annunzio, was artistically directed by Giulio Aristide Sartorio. That same year, Finzi exhibited at the ",{"_key":1939,"_type":12,"marks":1940,"text":1941},"664620cbade2",[125],"Fiera Campionaria di Milano",{"_key":1943,"_type":12,"marks":1944,"text":1945},"dbb5f9b93046",[]," in the ",{"_key":1947,"_type":12,"marks":1948,"text":1949},"9975a9520621",[125],"Palazzina degli Orafi",{"_key":1951,"_type":12,"marks":1952,"text":1953},"2bee591b4afc",[],", designed by architect Paolo Vietti Violi.",[],{"_key":1956,"_type":8,"children":1957,"markDefs":1962,"style":25},"f316ba060a3c",[1958],{"_key":1959,"_type":12,"marks":1960,"text":1961},"0ee1b1614d77",[],"In 1925, Finzi inaugurated a new manufacturing plant at Via Termopili 8, and in 1926 the company released its first full product catalogue. From Sant’Elia’s death onward, Finzi oversaw the company’s creative direction himself, working closely with skilled collaborators such as Aldo Sossai and, later, Venetian-trained designer and chaser Giorgio Ceccherini.",[],{"_key":1964,"_type":8,"children":1965,"markDefs":1978,"style":25},"aa16ebf7f85a",[1966,1970,1974],{"_key":1967,"_type":12,"marks":1968,"text":1969},"622230becb55",[],"In response to the 1929 financial crisis, Finzi diversified his production, combining silver with other materials like copper, Bohemian crystal, Rosenthal porcelain, and Murano glass. This innovative work was enthusiastically received at the 1931 ",{"_key":1971,"_type":12,"marks":1972,"text":1973},"a8618b78594d",[125],"Fiera Campionaria",{"_key":1975,"_type":12,"marks":1976,"text":1977},"e89235effb68",[],", and in October that year, the company opened a new wholesale showroom on Via Cantù 4.",[],{"_key":1980,"_type":8,"children":1981,"markDefs":2008,"style":25},"d473a03e2665",[1982,1986,1989,1993,1996,2000,2004],{"_key":1983,"_type":12,"marks":1984,"text":1985},"aeab189efaa6",[],"In the early 1930s, Finzi launched a new line of sporting trophies and decorative objects under the brand ",{"_key":1987,"_type":12,"marks":1988,"text":1822},"93ed916c4ed2",[125],{"_key":1990,"_type":12,"marks":1991,"text":1992},"2bc44061b539",[],", officially catalogued in 1932. Though trophies had appeared in earlier catalogues, ",{"_key":1994,"_type":12,"marks":1995,"text":1822},"2f19d80d2e84",[125],{"_key":1997,"_type":12,"marks":1998,"text":1999},"7914a560b97f",[]," embraced a sharper, more modern aesthetic, blending Futurist influence with Fascist-era visual language. On October 16, 1933, Finzi registered the trademark ",{"_key":2001,"_type":12,"marks":2002,"text":2003},"35952c0f38c4",[125],"Sant’Elia",{"_key":2005,"_type":12,"marks":2006,"text":2007},"3a45366115d9",[],", reaffirming his connection to the architect’s legacy.",[],{"_key":2010,"_type":8,"children":2011,"markDefs":2031,"style":25},"e56c47ac2466",[2012,2016,2019,2023,2027],{"_key":2013,"_type":12,"marks":2014,"text":2015},"37c2775980f3",[],"Nevertheless, the ",{"_key":2017,"_type":12,"marks":2018,"text":2003},"958030ae4065",[125],{"_key":2020,"_type":12,"marks":2021,"text":2022},"ee7ec61c8366",[]," collection aligned more closely with ",{"_key":2024,"_type":12,"marks":2025,"text":2026},"814923106207",[125],"Art Déco",{"_key":2028,"_type":12,"marks":2029,"text":2030},"2a1553d67def",[]," trends in contemporary Milanese design, as well as certain Austrian-German styles - especially the work of Viennese designer Karl Hagenauer.",[],{"_key":2033,"_type":8,"children":2034,"markDefs":2054,"style":25},"d6f05204cd4b",[2035,2039,2042,2046,2050],{"_key":2036,"_type":12,"marks":2037,"text":2038},"fddbad54aa84",[],"In February 1934, Finzi opened a new retail space at Corso Vittorio Emanuele 4, where he introduced a line of modern silverware called ",{"_key":2040,"_type":12,"marks":2041,"text":1830},"de6cd21350c0",[125],{"_key":2043,"_type":12,"marks":2044,"text":2045},"ef47597d0580",[],". In 1935, the company was awarded the ",{"_key":2047,"_type":12,"marks":2048,"text":2049},"e2b07b481163",[125],"Grand Prix",{"_key":2051,"_type":12,"marks":2052,"text":2053},"856ac303d0bf",[]," at the Brussels Universal Exposition, and by December had opened a new store in Rome at Via del Tritone 204.",[],{"_key":2056,"_type":8,"children":2057,"markDefs":2062,"style":25},"02d55149f94a",[2058],{"_key":2059,"_type":12,"marks":2060,"text":2061},"8192b7536e05",[],"Between 1936 and 1937, architect Gino Maggioni was commissioned to modernize the Via Termopili facility, adding amenities such as a cafeteria, infirmary, and recreational spaces for workers.",[],{"_key":2064,"_type":8,"children":2065,"markDefs":2085,"style":25},"63952c7188d7",[2066,2070,2074,2078,2081],{"_key":2067,"_type":12,"marks":2068,"text":2069},"b192b036f980",[],"The passage of racial laws in 1938 forced Finzi to dissolve the ",{"_key":2071,"_type":12,"marks":2072,"text":2073},"9cdbedc2b8d6",[125],"Società Anonima Finzi & C.",{"_key":2075,"_type":12,"marks":2076,"text":2077},"d62250a8423e",[]," and establish a new entity, ",{"_key":2079,"_type":12,"marks":2080,"text":1838},"9f03cbda52d7",[125],{"_key":2082,"_type":12,"marks":2083,"text":2084},"81e48d0ee6f5",[],". In 1940, a new store opened in Via Roma 325 in Turin, although planned locations in Genoa and Naples never materialized. In December 1943, increasing persecution forced Finzi into hiding until the end of the war.",[],{"_key":2087,"_type":8,"children":2088,"markDefs":2108,"style":25},"761efc3d51ce",[2089,2093,2096,2100,2104],{"_key":2090,"_type":12,"marks":2091,"text":2092},"983cf1f8c957",[],"After the war, ",{"_key":2094,"_type":12,"marks":2095,"text":1838},"0728989704ca",[125],{"_key":2097,"_type":12,"marks":2098,"text":2099},"97856ef820e3",[]," participated in the 8th Milan Triennale in 1947, winning a silver medal in the ",{"_key":2101,"_type":12,"marks":2102,"text":2103},"737c10f5ffea",[125],"Objects for the Home",{"_key":2105,"_type":12,"marks":2106,"text":2107},"987d7bbca0a9",[]," section. On April 1, 1948, Finzi closed the company and opened a new atelier at Via Asole 4 in Milan, maintaining retail operations in Turin and Rome - where a second store opened on Via Sistina in 1949.",[],{"_key":2110,"_type":8,"children":2111,"markDefs":2132,"style":25},"d038c6e9a6cf",[2112,2116,2120,2124,2128],{"_key":2113,"_type":12,"marks":2114,"text":2115},"9fee2f681fcf",[],"From 1950 to 1952, Finzi was the only Italian silversmith selected to participate in ",{"_key":2117,"_type":12,"marks":2118,"text":2119},"0d8a30d22e8f",[125],"Italy at Work: Her Renaissance in Design Today",{"_key":2121,"_type":12,"marks":2122,"text":2123},"e12257de07e6",[],", a landmark exhibition organized by the ",{"_key":2125,"_type":12,"marks":2126,"text":2127},"126abb922862",[125],"Compagnia Nazionale Artigiana",{"_key":2129,"_type":12,"marks":2130,"text":2131},"09fa144185a6",[]," and hosted by twelve major American museums, showcasing the finest examples of Italian decorative arts in the postwar period.",[],{"_key":2134,"_type":8,"children":2135,"markDefs":2147,"style":25},"b0fad17092c9",[2136,2140,2143],{"_key":2137,"_type":12,"marks":2138,"text":2139},"788d1e5c7377",[],"By the early 1950s, his production had expanded to include gilded porcelain. In 1952, he opened a prestigious two-floor showroom on Via Manzoni 17 in Milan. In 1954, he established ",{"_key":2141,"_type":12,"marks":2142,"text":1846},"66e29af42e50",[125],{"_key":2144,"_type":12,"marks":2145,"text":2146},"f66213b14d76",[],", with his daughter Olga joining the business in the field of jewelry.",[],{"_key":2149,"_type":8,"children":2150,"markDefs":2155,"style":25},"8ed76640cb09",[2151],{"_key":2152,"_type":12,"marks":2153,"text":2154},"ff7103a37b9d",[],"Arrigo Finzi passed away in Milan on January 6, 1973. His legacy endures in the history of 20th-century Italian design and craftsmanship.",[],{"_key":2157,"_type":8,"children":2158,"markDefs":2162,"style":25},"2cbeeff5bfb6",[2159],{"_key":2160,"_type":12,"marks":2161,"text":316},"287c75949086",[],[],{"_key":2164,"_type":8,"children":2165,"markDefs":2170,"style":25},"134071804d9f",[2166],{"_key":2167,"_type":12,"marks":2168,"text":2169},"6658576ecc43",[125,314,315],"Courtesy of Antiqua Nuova Serie",[],[2172],{"_key":2173,"_type":8,"children":2174,"markDefs":2179,"style":25},"6fa21d3e7a2d",[2175],{"_key":2176,"_type":12,"marks":2177,"text":2178},"bb572aa910d7",[],"Arrigo Finzi (La Spezia, 1890 - Milan, 1973)",[],{"alt":46,"asset":2181},{"_id":2182,"height":2183,"orientation":339,"ratio":2184,"url":2185,"width":2186},"image-65627bb9999b38b9f78a9755bec444fcf1f40cd5-1200x1627-png",1627,0.7375537799631223,"https://cdn.sanity.io/images/w19bax1v/production/65627bb9999b38b9f78a9755bec444fcf1f40cd5-1200x1627.png",1200,{"_type":51,"current":2188},"arrigo-finzi","finzi, sant'elia","Arrigo Finzi",{"_id":2192,"_type":88,"bioExtended":2193,"bioFull":2202,"bioShort":2251,"profileImage":2268,"seo":46,"slug":2272,"sortValue":2273,"title":2258},"44a3b707-4325-44ca-91db-9ab9ad834637",[2194],{"_key":2195,"_type":8,"children":2196,"markDefs":2201,"style":25},"c4feda3f25b4",[2197],{"_key":2198,"_type":12,"marks":2199,"text":2200},"47cac84e164a",[],"Andrea Trimarchi (1983) and Simone Farresin (1980) are Formafantasma, an Italian design duo based in Milan. They graduated from Design Academy Eindhoven in 2009, and their work focuses on experimental material research and the transformation of natural resources into commodities. They collaborate with brands like Fendi, Hermès, and Flos, blending craft and industry. Their designs are in prestigious museums such as MoMA, V&A, and the Centre Georges Pompidou. Formafantasma lectures internationally and leads workshops, including a new Masters program in “GEODESIGN” at Design Academy Eindhoven. They were named Wallpaper* Designer of the Year in 2021.",[],[2203,2211,2219,2227,2235,2243],{"_key":2204,"_type":8,"children":2205,"markDefs":2210,"style":25},"66e13ac17b07",[2206],{"_key":2207,"_type":12,"marks":2208,"text":2209},"e81a75d76aa2",[],"Andrea Trimarchi (1983) and Simone Farresin (1980) are Formafantasma, an Italian design duo based in Milano. Their interest in product design developed on the IM master course at Design Academy Eindovhen, where they graduated in July 2009.",[],{"_key":2212,"_type":8,"children":2213,"markDefs":2218,"style":25},"01537ad2e9eb",[2214],{"_key":2215,"_type":12,"marks":2216,"text":2217},"679bb471f0be",[],"Since then, Formafantasma’s practice has been characterised by experimental material investigations and detailed explorations of the history, context and implications of the transformation of natural resources into commodities. In perceiving their role as a bridge between craft, industry, object and user, they are interested in forging links between their research-based practice and a wider design industry. As a result, works by Formafantasma have been commisioned by a variety of partners including Fendi, Max Mara – Sportmax, Hermès, Droog, Nudus rug, J&L Lobmeyr, Gallery Libby Sellers, Established and Sons, Lexus, Krizia International and Flos., Gallery Giustini / Stagetti Roma.",[],{"_key":2220,"_type":8,"children":2221,"markDefs":2226,"style":25},"cc0ff53e39bd",[2222],{"_key":2223,"_type":12,"marks":2224,"text":2225},"3763aea84e34",[],"Wheter designing for a client or investigating alternative applications of materials, Formafantasma apply the same rigouros attention to context, process and detail to every project the undertake. The added nuance for the duo is that they do so with an eye to the historical, political and social forces that have shaped their environments.",[],{"_key":2228,"_type":8,"children":2229,"markDefs":2234,"style":25},"15e233d752f5",[2230],{"_key":2231,"_type":12,"marks":2232,"text":2233},"d36c25e161c4",[],"Their work has been presented and published internationally and museums such as New York’s MoMA, London’s Victoria and Albert, New York’s Metropolitan Museum, the Chicago Art Institute, Paris’s Centre Georges Pompidou, the TextielMuseum in Tilburg, the Stedelijk’s-Hertogenbosch, the Stedelijk Museum Amsterdam, Mudac Lausanne, the Mint Museum of Craft and Design in North Carolina and the MAK Museum in Vienna have all acquired Formafantasma’s designs for their permanent collections.",[],{"_key":2236,"_type":8,"children":2237,"markDefs":2242,"style":25},"7486803768d5",[2238],{"_key":2239,"_type":12,"marks":2240,"text":2241},"2f29b09c6960",[],"In March 2011 Paola Antonelli of the Museum of Modern Art in New York and esteemed design critic Alice Rawsthorn listed their studio amongst a handful of practices that would shape the future of design. Andrea and Simone are lecturing and heading workshops in various Universities and Institutions. Currently they are teaching at the “Well Being” and “Contextual Design” Departments of the Design Academy Eindhoven. This exhibition will become the foundation of the new Masters programme that Formafantasma are leading from autumn 2020 at the design Academy Eindhoven, titled “GEODESIGN”. Since October 2016, they have been at the head of the Design bachelor at MADE Program in Siracusa, Italy.",[],{"_key":2244,"_type":8,"children":2245,"markDefs":2250,"style":25},"af1f9684422b",[2246],{"_key":2247,"_type":12,"marks":2248,"text":2249},"5d01da72a08f",[],"Formafantasma has been awarded Wallpaper* Designer of the Year 2021.",[],[2252,2260],{"_key":2253,"_type":8,"children":2254,"markDefs":2259,"style":25},"d23635d39c06",[2255],{"_key":2256,"_type":12,"marks":2257,"text":2258},"e086f264d4c9",[],"Formafantasma",[],{"_key":2261,"_type":8,"children":2262,"markDefs":2267,"style":25},"b64f02da9df2",[2263],{"_key":2264,"_type":12,"marks":2265,"text":2266},"2529a373ea27",[],"Andrea Trimarchi (Bolzano, 1983) and Simone Farresin (Malo, 1980)",[],{"alt":46,"asset":2269},{"_id":2270,"height":338,"orientation":339,"ratio":340,"url":2271,"width":176},"image-f26493e8e9a7b9fa77ca39292ec8825456574d02-600x900-jpg","https://cdn.sanity.io/images/w19bax1v/production/f26493e8e9a7b9fa77ca39292ec8825456574d02-600x900.jpg",{"_type":51,"current":2273},"formafantasma",{"_id":2275,"_type":88,"bioExtended":2276,"bioFull":2285,"bioShort":2350,"profileImage":2359,"seo":46,"slug":2366,"sortValue":2368,"title":2369},"808ba6dc-1487-46cb-a6a8-7d3623f4f0f7",[2277],{"_key":2278,"_type":8,"children":2279,"markDefs":2284,"style":25},"398d4121d013",[2280],{"_key":2281,"_type":12,"marks":2282,"text":2283},"2c777c2c7caf",[],"Guido Gambone (Montella, 1909 - Florence, 1969) was a renowned Italian ceramic artist. After training as an apprentice in Vietri sul Mare, he worked with various factories, including Industria Ceramica Salernitana and Cantagalli. After World War II, he opened his own workshop, Ceramiche Gambone, in Florence. Known for his innovative stoneware, he participated in numerous exhibitions and won several awards, including the Faenza Prize and Gold Medal. He showcased his work internationally in cities like New York, Paris, and Zurich. ",[],[2286,2294,2302,2310,2318,2326,2334,2342],{"_key":2287,"_type":8,"children":2288,"markDefs":2293,"style":25},"e9d06c8d2f3e",[2289],{"_key":2290,"_type":12,"marks":2291,"text":2292},"e4d4ffa3857d",[],"Guido Gambone was born in Montella Irpinia (Avellino) on June 27, 1909. His father, Gaetano, together with his wife, Teresa Volpe, and their children, moved to Vietri sul Mare. At the age of fifteen, he dropped out of high school and became an apprentice at Francesco (“Don Ciccio”) Avallone’s ceramics factory. At the time, Vietri’s ceramic production industry was experiencing what is known as the “German era,” named for the new life that Northern European artists—such as Richard Dölker, Irene Kowaliska, and Günter Stüdeman—had breathed into the local ceramic-making tradition. The young Gambone was influenced by this innovative spirit.",[],{"_key":2295,"_type":8,"children":2296,"markDefs":2301,"style":25},"e3a411665417",[2297],{"_key":2298,"_type":12,"marks":2299,"text":2300},"d039942f7b65",[],"Despite suffering a serious car accident in 1933 that led to the amputation of one of his legs, Guido Gambone continued working in the field of ceramics, collaborating with the Industria Ceramica Salernitana (ICS) factory, owned by Max Melamerson. In the mid-1930s, Melamerson became the artistic director at ICS, stepping into the role previously filled by Richard Dölker.",[],{"_key":2303,"_type":8,"children":2304,"markDefs":2309,"style":25},"5daf37835d43",[2305],{"_key":2306,"_type":12,"marks":2307,"text":2308},"13af8a6f17fa",[],"In 1936, Gambone was sent to Florence with Vincenzo and Salvatore Procida, as well as Vincenzo Solimene, to work at the Cantagalli factory, which was run by Max Melamerson at the time. He returned to Vietri in 1939 and continued his collaboration with the German entrepreneur, whose factory had since changed its name to Manifattura Artistica Ceramica Salernitana (MACS).",[],{"_key":2311,"_type":8,"children":2312,"markDefs":2317,"style":25},"acd9e829017f",[2313],{"_key":2314,"_type":12,"marks":2315,"text":2316},"cb2a6c3d8f25",[],"After the war, he opened a factory with his brother Remigio, Andrea D’Arienzo, and Ugo De Feo, called La Faenzerella. Here, beyond his continued production of pieces influenced by local tradition and the “German era,” Gambone found success with his own experimental works.",[],{"_key":2319,"_type":8,"children":2320,"markDefs":2325,"style":25},"e72f0d4087ff",[2321],{"_key":2322,"_type":12,"marks":2323,"text":2324},"63d11cd369fb",[],"In 1950, he permanently moved to Florence with Andrea D'Arienzo and Salvatore Procida and founded the workshop Ceramiche Gambone, first located on Via Palazzo dei Diavoli and later on Via Benedetto Marcello.",[],{"_key":2327,"_type":8,"children":2328,"markDefs":2333,"style":25},"abdfa60b61ea",[2329],{"_key":2330,"_type":12,"marks":2331,"text":2332},"b40ae963e879",[],"In the mid-1950s, he began to show an interest in stoneware, creating high-quality pieces. This period also marked an important time in his career, as he actively participated in exhibitions and competitions. Notably, he was a regular presence at the Mostra Mercato dell'Artigianato in Florence from the 1940s to the 1960s.",[],{"_key":2335,"_type":8,"children":2336,"markDefs":2341,"style":25},"49515784e08b",[2337],{"_key":2338,"_type":12,"marks":2339,"text":2340},"b1bea09795d5",[],"Here is a list of the main events in which he participated and the prizes he won:\n1950, XXV International Art Exhibition of Venice’s Biennale; 1951, Personal Exhibition at Il Milione Gallery; 1948, Concorso della Ceramica di Faenza (Faenza Prize); 1949 (Faenza Prize ex aequo); 1954 (Ballardini Prize); 1959 (Faenza Prize); 1960 (Faenza Prize and Gold Medal); 1961 (Prize from the Ente Autonomo Mostra Mercato Nazionale dell'Artigianato in Florence); 1962 1966, 1967 (Prize from the Ente Provinciale per il Turismo in Ravenna).He participated in various of the Milan Triennale: 1951 (Honor Diploma); 1954 (Honor Diploma); 1957, Personal Exhibition (Collaboration Diploma); 1969 Gubbio, Bienniale della Ceramica (Gold Medal); 1962 Gualdo Tadino, Concorso della Ceramica (First Prize ex aequo); 1963 Cervia, Concorso Ceramica d'Arte Moderna (Cervia City Prize; 1964 Honor Diploma and ex aequo prize from the Azienda di Soggiorno); 1967 (Honor Plaque and Prize).\nAmong the numerous exhibitions abroad are: 1951, New York, Italy at Work: Mostra dell'Artigianato\nItaliano; 1952 and 1956, Paris, Art Décoratif Italien, Galerie de l'Orfèvrerie Christofle; 1954, Zurich, Forme Nuove in Italia; 1955, London, Italian Contemporary Handicrafts; 1961, Copenhagen, Oslo, and Stockholm, Mostra d'arte contemporanea italiana; 1967, Amsterdam, Nieuwe Italiaanse Vormgeving.",[],{"_key":2343,"_type":8,"children":2344,"markDefs":2349,"style":25},"a21daa641349",[2345],{"_key":2346,"_type":12,"marks":2347,"text":2348},"ec912e0cd1d7",[],"Guido Gambone died in Florence on September 20, 1969.",[],[2351],{"_key":2352,"_type":8,"children":2353,"markDefs":2358,"style":25},"1f416a96fea4",[2354],{"_key":2355,"_type":12,"marks":2356,"text":2357},"a7008f4d5ea9",[],"Guido Gambone (Montella, 1909 - Florence, 1969)",[],{"alt":46,"asset":2360},{"_id":2361,"height":2362,"orientation":339,"ratio":2363,"url":2364,"width":2365},"image-be5092ebe0696b8c96447d20a0a0817e3a3f0060-1041x1238-jpg",1238,0.8408723747980614,"https://cdn.sanity.io/images/w19bax1v/production/be5092ebe0696b8c96447d20a0a0817e3a3f0060-1041x1238.jpg",1041,{"_type":51,"current":2367},"guido-gambone","gambone","Guido Gambone",{"_id":2371,"_type":88,"bioExtended":2372,"bioFull":2381,"bioShort":2549,"profileImage":2558,"seo":46,"slug":2565,"sortValue":2567,"title":2568},"d7ea2d4a-3c44-4446-8c8a-a2adb97fd8cd",[2373],{"_key":2374,"_type":8,"children":2375,"markDefs":2380,"style":25},"719d5033b20c",[2376],{"_key":2377,"_type":12,"marks":2378,"text":2379},"8b823a8e7b76",[],"Ignazio Gardella (Milan, 1905 - Milan, 1999), a master of 20th-century Italian modern architecture, graduated in Civil Engineering from the Politecnico di Milano and earned his architecture degree from IUAV in Venice, where he later taught. He designed significant public buildings and private residences, becoming a key figure in post-war Italian architecture. In 1947, he co-founded Azucena, Italy’s first mass-produced furniture company. Gardella’s work was widely published, and he received numerous awards, including the Golden Lion for Lifetime Achievement at the Venice Biennale in 1996. His legacy lives on through exhibitions, publications, and the continued value of his design objects.",[],[2382,2390,2398,2406,2414,2430,2446,2502,2510,2518,2526,2534,2541],{"_key":2383,"_type":8,"children":2384,"markDefs":2389,"style":25},"80c813437d99",[2385],{"_key":2386,"_type":12,"marks":2387,"text":2388},"ecc4d1a87390",[],"Ignazio Gardella is widely recognized as one of the masters of 20th-century Italian modern architecture.",[],{"_key":2391,"_type":8,"children":2392,"markDefs":2397,"style":25},"8606cbdca3e2",[2393],{"_key":2394,"_type":12,"marks":2395,"text":2396},"ea6939538bfd",[],"After graduating in Civil Engineering from the Politecnico di Milano, he earned a degree in Architecture from IUAV in Venice, where he later taught for several years as a full professor of Architecture.",[],{"_key":2399,"_type":8,"children":2400,"markDefs":2405,"style":25},"b9d2ee7f83bb",[2401],{"_key":2402,"_type":12,"marks":2403,"text":2404},"48ba35bc5c72",[],"Throughout his extensive career, he designed significant public buildings as well as prestigious private residences, primarily for upper-class clients in Northern Italy. He became one of the most prominent post-war figures in modern Italian architectural culture.",[],{"_key":2407,"_type":8,"children":2408,"markDefs":2413,"style":25},"6ac78ebc478f",[2409],{"_key":2410,"_type":12,"marks":2411,"text":2412},"43845d42f534",[],"Gardella was a key participant in the cultural debate surrounding post-war reconstruction, alongside a Milan-based group of architects who shared a common vision for Modern architecture. At the time, he emerged as one of the most influential interpreters of a new architectural approach that contrasted with the prevailing Italian and European trends shaped by the International Style.",[],{"_key":2415,"_type":8,"children":2416,"markDefs":2429,"style":25},"015211657bdc",[2417,2421,2425],{"_key":2418,"_type":12,"marks":2419,"text":2420},"3ab1a7062398",[],"In 1947, together with Luigi Caccia Dominioni and Corrado Corradi dell'Acqua, he founded Azucena, the first Italian manufacturer of mass-produced furniture and design objects. The company played a crucial role in shaping the taste of the Lombard ",{"_key":2422,"_type":12,"marks":2423,"text":2424},"92d3bacd2b94",[125],"haute bourgeoisie.",{"_key":2426,"_type":12,"marks":2427,"text":2428},"21edfda9881e",[]," Some of Azucena’s pieces were later reproduced by MisuraEmme, Gavina, Santa & Cole, and TATO. Even after leaving Azucena, Gardella continued to design and produce furniture and decorative objects.",[],{"_key":2431,"_type":8,"children":2432,"markDefs":2445,"style":25},"2f4ff0df2977",[2433,2437,2441],{"_key":2434,"_type":12,"marks":2435,"text":2436},"4adc741c4af8",[],"During the 1950s, ‘60s, and ‘70s, his works were widely published in both national and international architectural and design journals. In 1959, Giulio Carlo Argan curated the first monograph dedicated to his career up to that point. In 1969, some of the iconic furniture pieces he designed for Kartell, in collaboration with Anna Castelli Ferrieri, brought him into the spotlight at the 9th edition of the Milan Furnishing Fair (",{"_key":2438,"_type":12,"marks":2439,"text":2440},"d70cd7c0e5e6",[125],"Salone Internazionale del Mobile",{"_key":2442,"_type":12,"marks":2443,"text":2444},"7854c73f8d6a",[],").",[],{"_key":2447,"_type":8,"children":2448,"markDefs":2501,"style":25},"48917a65c77c",[2449,2453,2457,2461,2465,2469,2473,2477,2481,2485,2489,2493,2497],{"_key":2450,"_type":12,"marks":2451,"text":2452},"e9429d23cb4d",[],"Throughout his career, Gardella received numerous prestigious awards, including the President of the Republic’s Gold Medal (",{"_key":2454,"_type":12,"marks":2455,"text":2456},"c75ed59b0fa3",[125],"Medaglia d'Oro del Presidente della Repubblica ai benemeriti della Scuola, della Cultura e dell'Arte",{"_key":2458,"_type":12,"marks":2459,"text":2460},"77485d29617a",[],"), and honorary citizenship of Alessandria. He was also awarded the Fiuggi Prize, the Regina Isabella of Ischia Prize, and was named an Honorary Member of London’s RIBA (",{"_key":2462,"_type":12,"marks":2463,"text":2464},"97ac0f5abc0e",[125],"Royal Institute of British Architects",{"_key":2466,"_type":12,"marks":2467,"text":2468},"ee7751f57d7f",[],"), the Academy of Fine Arts of Brera (",{"_key":2470,"_type":12,"marks":2471,"text":2472},"595fbb4faf4b",[125],"Accademia delle Belle Arti di Brera",{"_key":2474,"_type":12,"marks":2475,"text":2476},"5ee4abbd0444",[],"), the Academy of Saint Luke (",{"_key":2478,"_type":12,"marks":2479,"text":2480},"fab3924ef92b",[125],"Accademia di San Luca",{"_key":2482,"_type":12,"marks":2483,"text":2484},"469c768ea381",[],"), and the Lincean Academy (",{"_key":2486,"_type":12,"marks":2487,"text":2488},"dca42818763f",[125],"Accademia dei Lincei",{"_key":2490,"_type":12,"marks":2491,"text":2492},"a10e562628d2",[],"). In 1996, he was honored with the Golden Lion for Lifetime Achievement (",{"_key":2494,"_type":12,"marks":2495,"text":2496},"4dddadee35f5",[125],"Leone d’Oro alla Carriera",{"_key":2498,"_type":12,"marks":2499,"text":2500},"5db3dd9bdc95",[],") at the Venice Biennale.",[],{"_key":2503,"_type":8,"children":2504,"markDefs":2509,"style":25},"4cb191a339d8",[2505],{"_key":2506,"_type":12,"marks":2507,"text":2508},"980b29a07d34",[],"Even after his passing in 1999, Gardella’s cultural and artistic legacy continues to thrive.",[],{"_key":2511,"_type":8,"children":2512,"markDefs":2517,"style":25},"816f4c118c23",[2513],{"_key":2514,"_type":12,"marks":2515,"text":2516},"441a1391691a",[],"Since 2000, alongside a growing number of publications and studies on his work, numerous exhibitions have been organized in Italy and abroad. Additionally, many of his buildings have been recognized as historically significant and placed under protection by the Italian Cultural Heritage authorities.",[],{"_key":2519,"_type":8,"children":2520,"markDefs":2525,"style":25},"61d75b097c28",[2521],{"_key":2522,"_type":12,"marks":2523,"text":2524},"7690d20a7eef",[],"Thanks to their originality, functional design, formal elegance, and exceptional craftsmanship, Gardella’s furniture and design objects—whether custom-made or mass-produced—have attracted increasing attention from collectors and prestigious auction houses. This has led to a sharp rise in the value of his pieces in both national and international markets, as evidenced by record-breaking auction sales.",[],{"_key":2527,"_type":8,"children":2528,"markDefs":2533,"style":25},"2f373121cb38",[2529],{"_key":2530,"_type":12,"marks":2531,"text":2532},"02049adf461e",[],"Due to their artistic and cultural significance, as well as the rarity of his original furniture and design objects, his works are protected by copyright to prevent unauthorized reproductions and non-compliant copies of the original designs.",[],{"_key":2535,"_type":8,"children":2536,"markDefs":2540,"style":25},"bf9d89dae93b",[2537],{"_key":2538,"_type":12,"marks":2539,"text":316},"2959cf9106c6",[],[],{"_key":2542,"_type":8,"children":2543,"markDefs":2548,"style":25},"9f5bdaa02eac",[2544],{"_key":2545,"_type":12,"marks":2546,"text":2547},"e2f7cc860de4",[314,315],"Courtesy of Archivio Storico Gardella and CSAC – Centro Studi e Archivio della Comunicazione dell’Università di Parma.",[],[2550],{"_key":2551,"_type":8,"children":2552,"markDefs":2557,"style":25},"c66cbc433257",[2553],{"_key":2554,"_type":12,"marks":2555,"text":2556},"9e8d55508d90",[],"Ignazio Gardella (Milan, 1905 - Milan, 1999)",[],{"alt":46,"asset":2559},{"_id":2560,"height":2561,"orientation":339,"ratio":2562,"url":2563,"width":2564},"image-8ef42db2a9693990b39c830004218e23e40d17dd-2480x3745-jpg",3745,0.6622162883845126,"https://cdn.sanity.io/images/w19bax1v/production/8ef42db2a9693990b39c830004218e23e40d17dd-2480x3745.jpg",2480,{"_type":51,"current":2566},"ignazio-gardella","gardella","Ignazio Gardella",{"_id":2570,"_type":88,"bioExtended":2571,"bioFull":2580,"bioShort":2589,"profileImage":2597,"seo":2602,"slug":2604,"sortValue":2606,"title":2603},"939217fe-3d37-468d-8165-5cd27072aff2",[2572],{"_key":2573,"_type":8,"children":2574,"markDefs":2579,"style":25},"9aa27cd2db92",[2575],{"_key":2576,"_type":12,"marks":2577,"text":2578},"e8da8c8e038f",[],".",[],[2581],{"_key":2582,"_type":8,"children":2583,"markDefs":2588,"style":25},"514a489718c2",[2584],{"_key":2585,"_type":12,"marks":2586,"text":2587},"5d9ea4452bdf",[],"In progress.",[],[2590],{"_key":2591,"_type":8,"children":2592,"markDefs":2596,"style":25},"09d8f610208c",[2593],{"_key":2594,"_type":12,"marks":2595,"text":2587},"f0af3c4ec80b",[],[],{"alt":46,"asset":2598},{"_id":2599,"height":2600,"orientation":177,"ratio":178,"url":2601,"width":2600},"image-440bf6b1977bbb704a587bfc99275c693a5bd821-1172x1172-png",1172,"https://cdn.sanity.io/images/w19bax1v/production/440bf6b1977bbb704a587bfc99275c693a5bd821-1172x1172.png",{"metaDescription":2603,"metaTitle":2603,"shareImage":46},"Giovanni Gariboldi",{"_type":51,"current":2605},"giovanni-gariboldi","gariboldi",{"_id":2608,"_type":88,"bioExtended":2609,"bioFull":2618,"bioShort":2651,"profileImage":2660,"seo":46,"slug":2667,"sortValue":2669,"title":2670},"dc97c4dc-95fb-4271-a182-301e34598481",[2610],{"_key":2611,"_type":8,"children":2612,"markDefs":2617,"style":25},"039af9d94ff0",[2613],{"_key":2614,"_type":12,"marks":2615,"text":2616},"9d6d460436dc",[],"Luigi and Eros Genazzi were pivotal figures in 20th-century Italian silver craftsmanship, blending tradition with modern design. Luigi, born in 1876, trained in Milan and gained recognition as an engraver and medalist. In 1919, he founded his workshop, becoming a master silversmith, influenced by the Secessionist and Art Deco movements. In the 1920s, he collaborated with designers like Gio Ponti. His son Eros, born in 1908, brought innovative approaches in the 1930s-40s, gaining praise at international exhibitions. After Luigi’s death in 1946, Eros led the workshop to further success, earning multiple awards and leaving a lasting legacy.",[],[2619,2627,2635,2643],{"_key":2620,"_type":8,"children":2621,"markDefs":2626,"style":25},"52a00f627653",[2622],{"_key":2623,"_type":12,"marks":2624,"text":2625},"a4bf4b2de3d3",[],"Luigi and Eros Genazzi were two key figures in the landscape of 20th-century Italian silver craftsmanship, skill fully combining the rich artisan tradition with modern design innovation. Luigi Genazzi, born in 1876, trained in Milanese workshops and prestigious artistic institutions such as the Brera Academy and the Sforza Castle. From the early 1900s, he distinguished himself as an engraver and medalist, earning significant accolades such as the gold medal at the 1906 Milan Exhibition and the Grand Prix at the 1908 Genoa Exhibition. In 1919, he established his first artisan workshop, the \"Award-Winning Artistic Industrial Workshop for Chiseling, Engraving, and Silverware,\" solidifying his reputation as a master silversmith with creations embodying the refined aesthetics of the Secessionist and Art Deco movements.",[],{"_key":2628,"_type":8,"children":2629,"markDefs":2634,"style":25},"9989e8f53eb5",[2630],{"_key":2631,"_type":12,"marks":2632,"text":2633},"17abc56e5ff9",[],"Starting in the 1920s, Luigi Genazzi began producing silver artifacts in collaboration with prominent architects and designers, including Ugo Zanchetta and Gio Ponti. His creations were characterized by clean lines and meticulous surface treatments, anticipating the rationalist design trends that would shape the following decades. In 1929, he moved his business to a new workshop on Via Quadronno in Milan, where around one hundred artisans worked, including his son Eros, born in 1908. Eros, after training at the Brera Academy and apprenticing under Piero Riboldi, introduced an even more innovative vision, incorporating modern elements and experimenting with materials and forms.",[],{"_key":2636,"_type":8,"children":2637,"markDefs":2642,"style":25},"bd817ef6f240",[2638],{"_key":2639,"_type":12,"marks":2640,"text":2641},"513692829a29",[],"During the 1930s and 1940s, the Genazzi workshop experienced a period of remarkable growth, thanks in part to collaborations with renowned designers such as Ignazio Gardella and Corrado Corradi. The atelier successfully participated in numerous international exhibitions, including the Milan Triennials and the 1937 Paris Exhibition, where Eros Genazzi’s works—distinguished by biomorphic shapes and masterfully crafted surfaces—were highly praised. However, World War II abruptly halted this upward trajectory: the 1943 bombings severely damaged the workshop and destroyed the company’s historical archives. Luigi's passing in 1946 marked the definitive transition of leadership to Eros.",[],{"_key":2644,"_type":8,"children":2645,"markDefs":2650,"style":25},"052e920ac83b",[2646],{"_key":2647,"_type":12,"marks":2648,"text":2649},"4c3079513abd",[],"In the 1950s and 1960s, Eros Genazzi further cemented the workshop’s prestige, steering it toward an increasingly refined and innovative design approach. His work stood out for its perfect fusion of functionality and aesthetic sophistication, as evidenced by the numerous awards he received, including the Compasso d’Oro in 1951 for a blackened silver cocktail set and in 1957 for a cutting-edge coffee pot design. Maintaining a continuous dialogue between craftsmanship and industrial design, the Genazzi Workshop upheld a distinct identity, establishing itself as one of Italy’s leading silverware ateliers and leaving a legacy of extraordinary elegance and innovation.",[],[2652],{"_key":2653,"_type":8,"children":2654,"markDefs":2659,"style":25},"c88303b62991",[2655],{"_key":2656,"_type":12,"marks":2657,"text":2658},"92a2461ccb00",[],"Luigi (1876) and Eros Genazzi (1908)",[],{"alt":46,"asset":2661},{"_id":2662,"height":2663,"orientation":819,"ratio":2664,"url":2665,"width":2666},"image-6e71376ec30b00a81c300633ae132d710f5f73e2-6710x4764-jpg",4764,1.4084802686817801,"https://cdn.sanity.io/images/w19bax1v/production/6e71376ec30b00a81c300633ae132d710f5f73e2-6710x4764.jpg",6710,{"_type":51,"current":2668},"luigi-ed-eros-genazzi","genazzi","Luigi ed Eros Genazzi",{"_id":2672,"_type":88,"bioExtended":2673,"bioFull":2696,"bioShort":2713,"profileImage":2722,"seo":46,"slug":2728,"sortValue":2730,"title":2731},"f2380fe8-da6e-4e3a-9638-302a466556fe",[2674,2682,2689],{"_key":2675,"_type":8,"children":2676,"markDefs":2681,"style":25},"139013926275",[2677],{"_key":2678,"_type":12,"marks":2679,"text":2680},"efbeab99c618",[],"Konstantin Grcic (Munich, 1965) is a renowned designer trained as a cabinet maker and at the Royal College of Art in London. He founded his design studio in Munich in 1991, now based in Berlin. Grcic’s work spans industrial design, exhibitions, and architecture, with clients such as Cassina, Flos, and Vitra. His designs, including the MAYDAY lamp and MYTO chair, have won numerous awards, including the Compasso d'Oro. His work is featured in major design museums worldwide. ",[],{"_key":2683,"_type":8,"children":2684,"markDefs":2688,"style":25},"405410910c4f",[2685],{"_key":2686,"_type":12,"marks":2687,"text":316},"28ffe6c649c1",[],[],{"_key":2690,"_type":8,"children":2691,"markDefs":2695,"style":25},"82fe59a1c208",[2692],{"_key":2693,"_type":12,"marks":2694,"text":316},"0159ffe0ea9c",[],[],[2697,2705],{"_key":2698,"_type":8,"children":2699,"markDefs":2704,"style":25},"97ac23c9ebc4",[2700],{"_key":2701,"_type":12,"marks":2702,"text":2703},"8486f415b316",[],"Konstantin Grcic (1965) was trained as a cabinet maker at The John Makepeace School for Craftsmen in Wood before studying Design at the Royal College of Art in London. He set up his own office in Munich in 1991. Today Konstantin Grcic Design is based in Berlin. The office is active in several fields ranging from industrial design projects, exhibition design and architectural collaborations. Amongst his renowned clients are Aeance, Authentics, Cassina, ClassiCon, Flötotto, Flos, Galerie Kreo, Kettal, Laufen, Magis, Muji, Nespresso, Plank, Smart and Vitra. He is the recipient of numerous awards such as the Compasso d`Oro for his MAYDAY lamp (Flos, 2001), the MYTO chair (Plank, 2011) and the OK lamp (Flos 2016). Work by Konstantin Grcic forms part of the permanent collections of the world´s most important design museums (a.o. MoMA/New York, Centre Georges Pompidou/Paris). Grcic defines function in human terms, combining formal strictness with considerable mental acuity and humour. His work is characterised by a careful research into the history of art, design and architecture and his passion for technology and materials. Solo exhibitions of his work have been held at the Boijmans Van Beuningen Museum, Rotterdam (2006), Haus der Kunst, Munich (2006) The Art Institute of Chicargo (2009) Vitra Design Museum, Weil-am-Rhine (2014) Die Neu Sammlung, Munich (2016) Kunsthalle, Bielefeld (2017).",[],{"_key":2706,"_type":8,"children":2707,"markDefs":2712,"style":25},"31b9657fc3f6",[2708],{"_key":2709,"_type":12,"marks":2710,"text":2711},"95b3e727b270",[],"Inspired by the building principles of Pier Luigi Nervi, Konstantin Grcic’s “Magliana Project” – edited exclusively by Giustini / Stagetti – consists of a corpus of limited edition furniture – a modular table with integrated seating and suspension lighting – entirely executed in concrete according to the most innovative techniques developed from the latest studies on the material, and its small scale application.\n“Magliana Project” was launched as a temporary site-specific installation inside the venue that inspired it: the pavilion made in ferro-concrete built by Nervi in 1940s in the Roman suburbs Magliana.\n“Magliana Project” is part of the series Privato Romano Interno dedicated to contemporary design and curated by Emanuela Nobile Mino, who since 2011, has involved international designers in the production of new collections, executed with materials and techniques derived from Roman and Italian artisanal traditions.",[],[2714],{"_key":2715,"_type":8,"children":2716,"markDefs":2721,"style":25},"5dcd76cf4dd1",[2717],{"_key":2718,"_type":12,"marks":2719,"text":2720},"4baf9f4e85b9",[],"Konstantin Grcic (Munich, 1965) ",[],{"alt":46,"asset":2723},{"_id":2724,"height":2725,"orientation":339,"ratio":2726,"url":2727,"width":461},"image-23c11ff1bf93258c6f753d80f012d2e504698c40-640x954-png",954,0.6708595387840671,"https://cdn.sanity.io/images/w19bax1v/production/23c11ff1bf93258c6f753d80f012d2e504698c40-640x954.png",{"_type":51,"current":2729},"konstantin-grcic","grcic","Konstantin Grcic",{"_id":2733,"_type":88,"bioExtended":2734,"bioFull":2743,"bioShort":2871,"profileImage":2880,"seo":46,"slug":2884,"sortValue":2886,"title":2887},"2b9cffa9-4d80-407c-99bf-c7264054ee9d",[2735],{"_key":2736,"_type":8,"children":2737,"markDefs":2742,"style":25},"28939bc24c9a",[2738],{"_key":2739,"_type":12,"marks":2740,"text":2741},"a9dbb06227c0",[],"Max Ingrand (Bressuire, 1908 - Parigi, 1969) was a French designer renowned for his work in stained glass. After studying at the École nationale supérieure des Arts Décoratifs, he apprenticed with Jacques Gruber. Ingrand established his own practice in Paris, creating religious, mythological, and decorative works using advanced glass techniques. His notable projects included the furnishings for the Normandie ocean liner and the Royal Palace of Romania. In 1954, he became the Artistic Director of Fontana Arte, modernizing their production. He also designed iconic lighting and mirrors. After leaving Fontana Arte in 1967, Ingrand founded Verre Lumière.",[],[2744,2752,2776,2784,2792,2808,2824,2832,2848,2855],{"_key":2745,"_type":8,"children":2746,"markDefs":2751,"style":25},"a5fa6cada3c9",[2747],{"_key":2748,"_type":12,"marks":2749,"text":2750},"c586454d5f0c",[],"Born in 1908, the French designer attended the École nationale supérieure des Arts Décoratifs for a few years until, in 1927, he joined the atelier of the renowned glassmaker Jacques Gruber, famous since the Art Nouveau era for his extraordinary polychrome stained glass windows. This apprenticeship was fundamental in providing him with the foundation to specialize in stained glass, a field in which he would later achieve international fame.",[],{"_key":2753,"_type":8,"children":2754,"markDefs":2775,"style":25},"d205c92f8015",[2755,2759,2763,2767,2771],{"_key":2756,"_type":12,"marks":2757,"text":2758},"7743af6398b2",[],"He established an independent practice in Paris with his first wife, Paule Rouquié, creating works of religious, mythological, and interior decorative nature. He employed crystal panels engraved through refined sandblasting techniques, etching, and the addition of silver and gold plating. By the mid-1930s, Paule and Max Ingrand’s work in glass had already garnered the attention of Gio Ponti, who dedicated an article to them in ",{"_key":2760,"_type":12,"marks":2761,"text":2762},"d48aec2cb2db",[125],"Domus",{"_key":2764,"_type":12,"marks":2765,"text":2766},"dbe780b2c0bd",[]," in 1936—the same year some of their pieces were showcased at the Milan Triennale. Among their most notable works from this period were the furnishings of the grand salons of the ",{"_key":2768,"_type":12,"marks":2769,"text":2770},"26e411ddae7b",[125],"Normandie",{"_key":2772,"_type":12,"marks":2773,"text":2774},"5aaf6aeb8231",[]," ocean liner, which was tragically destroyed in a fire in the New York harbor in 1942, as well as projects in the Royal Palace of Romania in Bucharest and the decorated mirrored ceilings of Baron Empain’s villa in Brussels.",[],{"_key":2777,"_type":8,"children":2778,"markDefs":2783,"style":25},"d577eb0d26e7",[2779],{"_key":2780,"_type":12,"marks":2781,"text":2782},"e893614c7087",[],"After World War II, Ingrand, along with his second wife, moved to Neuilly-sur-Seine while continuing to work with his Parisian studio. The studio, expanded under a project by architect Pierre Vago, grew to occupy an area of 800 square meters and employed up to fifty artisans. Over time, Ingrand’s interests broadened, particularly in the fields of lighting and furniture. He produced small-series lamps, custom-designed pieces, mirrors with thick crystal treated like precious stones, screens, and tables with illuminated tops.",[],{"_key":2785,"_type":8,"children":2786,"markDefs":2791,"style":25},"731789e9bedc",[2787],{"_key":2788,"_type":12,"marks":2789,"text":2790},"393e2fdd8132",[],"In 1954, Ingrand was appointed Artistic Director of Fontana Arte, a role he took on at the strong encouragement of Gio Ponti and Pierre Vago, who saw him as the perfect successor to Pietro Chiesa. Balancing his time between his well-established Parisian studio and Milan, Ingrand significantly reshaped Fontana Arte’s production, modernizing it to align with emerging market trends while preserving the typological and qualitative characteristics that had made the company world-famous.",[],{"_key":2793,"_type":8,"children":2794,"markDefs":2807,"style":25},"ae565dab462a",[2795,2799,2803],{"_key":2796,"_type":12,"marks":2797,"text":2798},"23d095a6a115",[],"The lighting sector, in particular, saw remarkable expansion, with innovative models that skillfully combined crystal with brass and aluminum, progressively moving away from wood. Only a few of Ingrand’s lamp designs were explicitly credited to him in Fontana Arte’s catalogs (",{"_key":2800,"_type":12,"marks":2801,"text":2802},"2379041239b5",[125],"Quaderni",{"_key":2804,"_type":12,"marks":2805,"text":2806},"1c4b18a43e30",[],"), such as the iconic lamp-sculpture, model no. 2533, and the timeless table lamp with an opal diffuser base, model no. 1853, which remains in production today.",[],{"_key":2809,"_type":8,"children":2810,"markDefs":2823,"style":25},"acbe659bb938",[2811,2815,2819],{"_key":2812,"_type":12,"marks":2813,"text":2814},"085acab2dc9a",[],"Mirrors also enjoyed great success under Ingrand’s direction, adorned with thick crystal elements—sometimes cut like gemstones—or featuring rough, \"torn\" edges that enhanced the glass's reflective qualities. Additionally, his large chandeliers with curved crystal elements, such as the ",{"_key":2816,"_type":12,"marks":2817,"text":2818},"788913de0b9d",[125],"Dahlia",{"_key":2820,"_type":12,"marks":2821,"text":2822},"2b6ab7837b39",[],", became a hallmark of luxury furnishings in the 1950s and 1960s. A particularly grand version was presented at the 1958 Universal Exposition in Brussels.",[],{"_key":2825,"_type":8,"children":2826,"markDefs":2831,"style":25},"7ba8753ce086",[2827],{"_key":2828,"_type":12,"marks":2829,"text":2830},"181d2fa19c20",[],"In 1955, under Ingrand’s direction, Fontana Arte’s stores in Milan and Rome were renovated. The Milan store, particularly the one on Via Montenapoleone, featured an interior design based on a regular sequence of large mirrors that created the illusion of expanded space—a concept later adopted for Fontana Arte’s exhibition space at the 1958 Milan Fair. During the 1960s, Ingrand shifted his focus toward interior architecture, securing prestigious commissions such as the hall of RTF (French Radio Television), the Peugeot Palace, and the Rond-Point fountains on the Champs-Élysées in Paris.",[],{"_key":2833,"_type":8,"children":2834,"markDefs":2847,"style":25},"8c6d207b4814",[2835,2839,2843],{"_key":2836,"_type":12,"marks":2837,"text":2838},"1aa1053e5aca",[],"After leaving Fontana Arte in 1967, he continued working from his Parisian studio and founded the new company ",{"_key":2840,"_type":12,"marks":2841,"text":2842},"407b56051599",[125],"Verre Lumière",{"_key":2844,"_type":12,"marks":2845,"text":2846},"f94a35fe9e83",[]," in collaboration with the Saint-Gobain glassworks and the Mazda lamp factory. Max Ingrand passed away in Neuilly on August 25, 1969.",[],{"_key":2849,"_type":8,"children":2850,"markDefs":2854,"style":25},"e8e8d301c87d",[2851],{"_key":2852,"_type":12,"marks":2853,"text":316},"c95fe57f9d46",[],[],{"_key":2856,"_type":8,"children":2857,"markDefs":2870,"style":25},"e458171b82e9",[2858,2862,2866],{"_key":2859,"_type":12,"marks":2860,"text":2861},"96d583217a56",[314,315],"Excerpt from: F. Deboni, ",{"_key":2863,"_type":12,"marks":2864,"text":2865},"24f05982df8d",[125,314,315],"Fontana Arte. Gio Ponti, Pietro Chiesa, Max Ingrand",{"_key":2867,"_type":12,"marks":2868,"text":2869},"b66c40ef93f6",[314,315],", Allemandi, Torino, 2012.",[],[2872],{"_key":2873,"_type":8,"children":2874,"markDefs":2879,"style":25},"d3916cd191a0",[2875],{"_key":2876,"_type":12,"marks":2877,"text":2878},"1a2c9d25d84d",[],"Max Ingrand (Bressuire, 1908 - Parigi, 1969)",[],{"alt":46,"asset":2881},{"_id":2882,"height":1292,"orientation":339,"ratio":1293,"url":2883,"width":1295},"image-316f4d23aafb8d8d6dedfc154ccfe3ccba84f00f-1334x2000-jpg","https://cdn.sanity.io/images/w19bax1v/production/316f4d23aafb8d8d6dedfc154ccfe3ccba84f00f-1334x2000.jpg",{"_type":51,"current":2885},"max-ingrand","ingrand","Max Ingrand",{"_id":2889,"_type":88,"bioExtended":2890,"bioFull":2922,"bioShort":2952,"profileImage":2969,"seo":46,"slug":2975,"sortValue":2977,"title":2978},"edfe6b1d-73db-4603-a6b1-b7b52dc21a09",[2891,2899,2915],{"_key":2892,"_type":8,"children":2893,"markDefs":2898,"style":25},"c31e66133e64",[2894],{"_key":2895,"_type":12,"marks":2896,"text":2897},"054db515b136",[],"Iosselliani Design, an extension of the Roman jewelry brand Iosselliani, focuses on limited edition luxury objects and furniture, blending the brand’s eclectic jewelry style with interior design. Founded in 1997 by Paolo Giacomelli and Roberta Paolucci, Iosselliani draws inspiration from Italian jewelry traditions and life stories. The brand creates both fashion jewelry and fine pieces, and has collaborated on bespoke collections for top global retailers like Lane Crawford and Barney's New York. Iosselliani has flagship stores in Rome, Tokyo, and Osaka, showcasing its unique vision of combining classic and contemporary aesthetics.",[],{"_key":2900,"_type":8,"children":2901,"markDefs":2914,"style":25},"70bed3873651",[2902,2906,2910],{"_key":2903,"_type":12,"marks":2904,"text":2905},"0177705e0d8e",[],"The ",{"_key":2907,"_type":12,"marks":2908,"text":2909},"19d73523b0fc",[125],"Black Hole Sun",{"_key":2911,"_type":12,"marks":2912,"text":2913},"c26808ee77e2",[]," Collection is a corpus of works which uses the typical longitudinal cascade of gilded brass fringes, and was designed in exclusive for the Gallery by Iosselliani creative directors Paolo Giacomelli and Roberta Paolucci in collaboration with designer Veronica Nobile Mino.",[],{"_key":2916,"_type":8,"children":2917,"markDefs":2921,"style":25},"845c8b67e742",[2918],{"_key":2919,"_type":12,"marks":2920,"text":316},"c9eb4973654f",[],[],[2923,2931,2939],{"_key":2924,"_type":8,"children":2925,"markDefs":2930,"style":25},"baf3580cf2cb",[2926],{"_key":2927,"_type":12,"marks":2928,"text":2929},"869d1c5fab20",[],"Born as the extension of the Roman jewelry brand Iosselliani, Iosselliani Design is a project dedicated to limited edition luxury objects and limited edition furniture that translates the distinctive style and eclectic vision of the jewelry brand into the world of the interior design. Iosselliani Design shows its strong identity on design giving great visual and emotional impact by combining a unique poetic vision of classic style and an innovative idea of aesthetics.",[],{"_key":2932,"_type":8,"children":2933,"markDefs":2938,"style":25},"0d0885211e77",[2934],{"_key":2935,"_type":12,"marks":2936,"text":2937},"53be0406a9da",[],"Iosselliani jewelry brand was founded in Rome in 1997 by Paolo Giacomelli and Roberta Paolucci. From fashion seasonal jewelry collections to fine jewelry creations, the creative world of Iosselliani draws the inspiration from life stories and influences of the classic Italian jewellery and ornaments tradition. The vibrant excursions in the world of fashion and art has led Iosselliani to create limited bespoke collections for key worldwide retailers such as, Lane Crawford, Barney’s New York, Luisa Via Roma. Iosselliani flagship stores are located in Rome, Tokyo and Osaka.",[],{"_key":2940,"_type":8,"children":2941,"markDefs":2951,"style":25},"73e6ebbaca7b",[2942,2945,2948],{"_key":2943,"_type":12,"marks":2944,"text":2905},"f4cd16da13eb",[],{"_key":2946,"_type":12,"marks":2947,"text":2909},"07f9c21a89b6",[125],{"_key":2949,"_type":12,"marks":2950,"text":2913},"b97ffbaf3390",[],[],[2953,2961],{"_key":2954,"_type":8,"children":2955,"markDefs":2960,"style":25},"23659ab2de9d",[2956],{"_key":2957,"_type":12,"marks":2958,"text":2959},"014a2ba63558",[],"Iosselliani Design ",[],{"_key":2962,"_type":8,"children":2963,"markDefs":2968,"style":25},"4b49e67e0ea4",[2964],{"_key":2965,"_type":12,"marks":2966,"text":2967},"6487cd185089",[],"Paolo Giacomelli and Roberta Paolucci",[],{"alt":46,"asset":2970},{"_id":2971,"height":2972,"orientation":339,"ratio":340,"url":2973,"width":2974},"image-42bb1364bd5136f84ad66b32914c45d1886f6205-2912x4368-jpg",4368,"https://cdn.sanity.io/images/w19bax1v/production/42bb1364bd5136f84ad66b32914c45d1886f6205-2912x4368.jpg",2912,{"_type":51,"current":2976},"iosselliani-design","iosselliani","Iosselliani Design",{"_id":2980,"_type":88,"bioExtended":2981,"bioFull":2990,"bioShort":3015,"profileImage":3024,"seo":46,"slug":3031,"sortValue":3033,"title":3034},"97e43ea4-889d-4498-be15-0527619e0672",[2982],{"_key":2983,"_type":8,"children":2984,"markDefs":2989,"style":25},"b43775608338",[2985],{"_key":2986,"_type":12,"marks":2987,"text":2988},"b0d35a688837",[],"Edgar Jayet founded an interior architecture and design studio between Paris and Venice in 2021. Both speculative and operative, his work is born of thoughts before being embodied in matter and space. Firmly believing that contemporary creation cannot be conceived independently of its past, the studio seeks to position its projects in continuity with History and traditional techniques, building a cultivated dialogue between collectors and high craftsmanship. All interior projects and collections stem from the values held by the studio: committed to offering spaces and pieces that do not compromise when it comes to quality and technique, and continuously push craftsmen towards excellence. Edgar Jayet has built a strong relationship with institutions – his pieces of furniture are integrated into the Mobilier National state collections, as well as furnishing the Musée Condé – Château de Chantilly, or being part of the renovation of the Villa Médicis – Académie de France à Rome.",[],[2991,2999,3007],{"_key":2992,"_type":8,"children":2993,"markDefs":2998,"style":25},"5027d5f61368",[2994],{"_key":2995,"_type":12,"marks":2996,"text":2997},"be846d4aee8f",[],"Edgar Jayet is a French interior architect and designer who founded his eponymous studio between Paris and Venice in 2021. His practice operates at the intersection of speculative thinking and built reality, where each project originates from a conceptual reflection before taking form in material and space. Deeply rooted in the belief that contemporary creation must remain in dialogue with its past, the studio situates its work within a continuum of history, drawing from traditional techniques and cultural heritage.",[],{"_key":3000,"_type":8,"children":3001,"markDefs":3006,"style":25},"fd53cb4cd4c0",[3002],{"_key":3003,"_type":12,"marks":3004,"text":3005},"c48c6b2e873f",[],"Jayet’s approach fosters a refined exchange between collectors, artisans, and institutions, emphasizing the enduring value of craftsmanship. The studio is committed to producing interiors and collectible pieces that uphold the highest standards of quality and technical excellence, while continuously challenging artisans to push the boundaries of their expertise.",[],{"_key":3008,"_type":8,"children":3009,"markDefs":3014,"style":25},"d066bed3880d",[3010],{"_key":3011,"_type":12,"marks":3012,"text":3013},"48fd3fc7f8b4",[],"Over time, Edgar Jayet has developed strong relationships with leading cultural institutions. His furniture pieces have entered the prestigious Mobilier National collections, and his work has contributed to significant sites such as the Musée Condé at the Château de Chantilly and the Villa Médicis – Académie de France à Rome. Through these collaborations, his practice reinforces a dialogue between contemporary design and historical legacy.",[],[3016],{"_key":3017,"_type":8,"children":3018,"markDefs":3023,"style":25},"f297466b8bb5",[3019],{"_key":3020,"_type":12,"marks":3021,"text":3022},"1c68b273c2a8",[],"Edgar Jayet (Paris, 1997)",[],{"alt":3025,"asset":3026},"Portrait of Designer and Interior Architect Edgar Jayet",{"_id":3027,"height":3028,"orientation":339,"ratio":1095,"url":3029,"width":3030},"image-07da600c922ca1deef1e849b7d77a79eaad931e3-3075x4100-jpg",4100,"https://cdn.sanity.io/images/w19bax1v/production/07da600c922ca1deef1e849b7d77a79eaad931e3-3075x4100.jpg",3075,{"_type":51,"current":3032},"edgar-jayet","jayet","Edgar Jayet",{"_id":3036,"_type":88,"bioExtended":3037,"bioFull":3046,"bioShort":3070,"profileImage":3079,"seo":3086,"slug":3088,"sortValue":3090,"title":3087},"de6ce391-4182-4a4a-b1f0-57fc9db015a6",[3038],{"_key":3039,"_type":8,"children":3040,"markDefs":3045,"style":25},"cee66d424c10",[3041],{"_key":3042,"_type":12,"marks":3043,"text":3044},"8b4e0c7c86c3",[],"Angelo Lelii (Ancona,​ 1915 - Monza, 1987), a businessman and designer produced countless lighting fixtures, always attentive and open. His design process started from concrete elements such as a light bulb, a magnet, or glass, which he reinterpreted creatively. Passionate about mechanics, perfection, and fine craftsmanship, he equipped his company with state-of-the-art machinery and even developed new tools to achieve daring shapes. His lamps range from classic models to modern designs that became true icons of the company.\n",[],[3047,3055,3062],{"_key":3048,"_type":8,"children":3049,"markDefs":3054,"style":25},"9c08a07c0d3e",[3050],{"_key":3051,"_type":12,"marks":3052,"text":3053},"c4350c387da0",[],"Entrepreneur as well as designer (Ancona, 1915 – Monza, 1987), Angelo designed and signed a very large number of lighting fixtures. He was always attentive and willing (as people recall) to take suggestions from his craftsmen. A distinctive feature of his projects was that they always started from something concrete—for example a light bulb, a magnet, or pieces of glass—which he interpreted creatively to apply to the bodies of his lamps.\n\nPassionate about mechanics and a lover of perfection and well-crafted work, he not only equipped his company with the best machinery on the market but also developed new ones himself, capable of achieving the most daring curves.\n\nThe lamps he designed can be divided into two types: the “classic” ones, probably conceived by him and then further developed by his collaborators—especially Naborre Corno—and the “modern” production, as it was also defined internally. In this category took shape both models freely inspired by the projects of architect friends, whose design languages he translated with great sensitivity into his own products, and above all lighting fixtures that are considered the company’s true “icons,” clearly expressing his genius.",[],{"_key":3056,"_type":8,"children":3057,"markDefs":3061,"style":25},"59eff1ac7e3a",[3058],{"_key":3059,"_type":12,"marks":3060,"text":316},"d1e23a29d31e",[],[],{"_key":3063,"_type":8,"children":3064,"markDefs":3069,"style":25},"d9e9e6b8cd0f",[3065],{"_key":3066,"_type":12,"marks":3067,"text":3068},"cf975917efa9",[125,314,315],"Courtesy of a. Pansera, A. padoan, a. Palmaghini, \"Arredoluce\", catalogo ragionato 1943-1987",[],[3071],{"_key":3072,"_type":8,"children":3073,"markDefs":3078,"style":25},"517190ba80a6",[3074],{"_key":3075,"_type":12,"marks":3076,"text":3077},"55be5a795de3",[],"(Ancona,​ 1915 - Monza, 1987)",[],{"alt":46,"asset":3080},{"_id":3081,"height":3082,"orientation":819,"ratio":3083,"url":3084,"width":3085},"image-978080af61a6049ca69fa1eb3eee7751233355a0-1340x1300-png",1300,1.0307692307692307,"https://cdn.sanity.io/images/w19bax1v/production/978080af61a6049ca69fa1eb3eee7751233355a0-1340x1300.png",1340,{"metaDescription":3087,"metaTitle":3087,"shareImage":46},"Angelo Lelii",{"_type":51,"current":3089},"angelo-lelii","lelii",{"_id":3092,"_type":88,"bioExtended":3093,"bioFull":3109,"bioShort":3212,"profileImage":3221,"seo":46,"slug":3228,"sortValue":3230,"title":3231},"3e6acda6-d2d5-49e1-890c-8172997e075b",[3094,3102],{"_key":3095,"_type":8,"children":3096,"markDefs":3101,"style":25},"0aab31763aa2",[3097],{"_key":3098,"_type":12,"marks":3099,"text":3100},"164ded06fc68",[],"Angelo Mangiarotti (Milan, 1921 - Milan, 2012) graduated in Architecture from the Polytechnic of Milan in 1948. He worked in the United States in 1953-1954 and met influential architects like Frank Lloyd Wright and Mies van der Rohe. He co-founded an architectural firm with Bruno Morassutti until 1960. In 1989, he established Mangiarotti & Associates in Tokyo. Mangiarotti was also an academic, teaching at various universities worldwide. His design philosophy focused on essential characteristics and the inherent quality of materials. He received numerous awards, including the Compasso d’Oro and Honoris Causa degrees.",[],{"_key":3103,"_type":8,"children":3104,"markDefs":3108,"style":25},"f9e816d5518c",[3105],{"_key":3106,"_type":12,"marks":3107,"text":316},"91b54b5e8b38",[],[],[3110,3118,3126,3134,3142,3150,3158,3174,3182,3190,3197,3205],{"_key":3111,"_type":8,"children":3112,"markDefs":3117,"style":25},"c4fdd5c0b935",[3113],{"_key":3114,"_type":12,"marks":3115,"text":3116},"5ab70d6af054",[],"Angelo Mangiarotti was born in Milan on February 26, 1921.",[],{"_key":3119,"_type":8,"children":3120,"markDefs":3125,"style":25},"531d85a14000",[3121],{"_key":3122,"_type":12,"marks":3123,"text":3124},"8a344b2ce4d4",[],"He graduated in Architecture from the Politecnico di Milano in 1948. In 1953-1954, he worked in the United States, where he also participated in the competition for the Chicago \"LOOP.\" While living abroad, he met Frank Lloyd Wright, Walter Gropius, Mies van der Rohe, and Konrad Wachsmann.",[],{"_key":3127,"_type":8,"children":3128,"markDefs":3133,"style":25},"1441e04637ef",[3129],{"_key":3130,"_type":12,"marks":3131,"text":3132},"c595dd3d7751",[],"Upon returning from the United States, he established an architectural firm with Bruno Morassutti, a partnership that lasted until 1960.",[],{"_key":3135,"_type":8,"children":3136,"markDefs":3141,"style":25},"b2e0b65b3871",[3137],{"_key":3138,"_type":12,"marks":3139,"text":3140},"4f173c808858",[],"In 1989, he founded Mangiarotti & Associates, based in Tokyo.",[],{"_key":3143,"_type":8,"children":3144,"markDefs":3149,"style":25},"53960b6ec2f9",[3145],{"_key":3146,"_type":12,"marks":3147,"text":3148},"d8ba45618a2d",[],"From 1986 to 1992, he served as the art director of Colle Cristalleria.",[],{"_key":3151,"_type":8,"children":3152,"markDefs":3157,"style":25},"ce12f6728ddb",[3153],{"_key":3154,"_type":12,"marks":3155,"text":3156},"f24edeba7afa",[],"Alongside his architectural work—widely published in books, specialized magazines, and newspapers—Mangiarotti had an intense academic career, teaching at various Italian and international universities. In 1953-1954, he was a visiting professor at the Institute of Design at the Illinois Institute of Technology in Chicago. In 1963-1964, he taught at the Istituto Superiore di Disegno Industriale in Venice. He was also a visiting professor at the University of Hawaii in 1970, the École Polytechnique Fédérale de Lausanne in 1974, the University of Adelaide, and the South Australian Institute of Technology in 1976. In 1982, he was appointed professor at the Faculty of Architecture in Palermo. In 1983, he became a lecturer in composition at the Faculty of Architecture in Florence. In 1989-1990, he was a professor in the Industrial Design graduate program at the Faculty of Architecture at the Politecnico di Milano. He participated in numerous international seminars and conferences.",[],{"_key":3159,"_type":8,"children":3160,"markDefs":3173,"style":25},"796cddc4f4a1",[3161,3165,3169],{"_key":3162,"_type":12,"marks":3163,"text":3164},"00e97f2bfddf",[],"Mangiarotti’s design philosophy, articulated in his book ",{"_key":3166,"_type":12,"marks":3167,"text":3168},"0567ca48f34b",[125],"In nome dell’architettura",{"_key":3170,"_type":12,"marks":3171,"text":3172},"a8de8c593d14",[]," (1987), emphasized highlighting the essential characteristics of each object. He believed that only \"objective\" design could prevent misuse and instead be universally recognized by society. His architectural language expressed a renewed relationship between humans and the environment, while his design work placed significant emphasis on plastic research. His constant exploration—conducted with great attention to the properties of materials—sought to define the form of objects as an inherent quality of the material itself.",[],{"_key":3175,"_type":8,"children":3176,"markDefs":3181,"style":25},"8ae98313c7ef",[3177],{"_key":3178,"_type":12,"marks":3179,"text":3180},"1346a4e621d2",[],"His design work is marked by a lot of prizes received both in the field of design and architecture: Domus Formica Prize (1956), In/Arch Prize for Lombardia (1962), First Prize in the National Prize of Industrial Design of La Spezia Gulf (1963), AIP-Associazione Italiana Prefabbricatori Prize (1972), Prix Européen de la Construction Métallique (1979), Medal and honorary degree at III Mundial Biennal Exhibition of Architecture in Sofia (1986), First prize at \"Concorso Targa Alcan\" (1989), Special mention at In/Arch National Prize (1989), Design Plus Prize for \"Ergonomica\" collection (1991), Marble Architectural Awards (1994), Compasso d’oro ADI for carrier (1994), \"Honoris Causa\" degree in Engineering – Faculty of Architecture. Technischen Universitat of Munich (1998), Gold Metal in Architecture category - Accademia della Torre di Carrara (1998), \"Honoris Causa\" degree in Industrial Design – Faculty of Architecture. Politecnico di Milano (2002), Gold Metal for \"Apostolo del Design\" from Rima Editrice (2006), Marble Architectural Awards 2007, special mention Award \"ArchitettiVerona\" from the Ordine degli Architetti P.P.C. di Verona (2009).",[],{"_key":3183,"_type":8,"children":3184,"markDefs":3189,"style":25},"8e95a80ba273",[3185],{"_key":3186,"_type":12,"marks":3187,"text":3188},"a7eac7d0c0a9",[],"He died in Milan on 30th of June 2012.",[],{"_key":3191,"_type":8,"children":3192,"markDefs":3196,"style":25},"31e201840a06",[3193],{"_key":3194,"_type":12,"marks":3195,"text":316},"38bb32830700",[],[],{"_key":3198,"_type":8,"children":3199,"markDefs":3204,"style":25},"26d633b21959",[3200],{"_key":3201,"_type":12,"marks":3202,"text":3203},"7db663664013",[314,315],"Courtesy Fondazione Angelo Mangiarotti",[],{"_key":3206,"_type":8,"children":3207,"markDefs":3211,"style":25},"5b7f9f0e254f",[3208],{"_key":3209,"_type":12,"marks":3210,"text":316},"8561a6170b65",[],[],[3213],{"_key":3214,"_type":8,"children":3215,"markDefs":3220,"style":25},"7e3c33e38dfe",[3216],{"_key":3217,"_type":12,"marks":3218,"text":3219},"e186d279694b",[],"Angelo Mangiarotti (Milan, 1921 - Milan, 2012)",[],{"alt":46,"asset":3222},{"_id":3223,"height":3224,"orientation":339,"ratio":3225,"url":3226,"width":3227},"image-e236c219bd8968d28d0daca679fdc105b434d165-351x524-png",524,0.6698473282442748,"https://cdn.sanity.io/images/w19bax1v/production/e236c219bd8968d28d0daca679fdc105b434d165-351x524.png",351,{"_type":51,"current":3229},"angelo-mangiarotti","mangiarotti","Angelo Mangiarotti",{"_id":3233,"_type":88,"bioExtended":3234,"bioFull":3250,"bioShort":3330,"profileImage":3339,"seo":46,"slug":3346,"sortValue":3348,"title":3349},"cc186de2-eee1-4b00-97ac-e683bbec54cd",[3235,3243],{"_key":3236,"_type":8,"children":3237,"markDefs":3242,"style":25},"94df75673600",[3238],{"_key":3239,"_type":12,"marks":3240,"text":3241},"4568ab87c19e",[],"Enzo Mari (Cerano, 1932 - Milan, 2020), a graduate of the Academy of Fine Arts of Brera, began his career in Arte Programmata and later focused on industrial design. In the 1960s, he revolutionized design by creating objects for ordinary people, combining timeless quality with extensive research. Mari emphasized human needs over market trends and contributed as an artist, designer, and theorist, writing fifteen books. His works are in prominent collections, including MoMA and the Louvre. Awarded the Compasso d'Oro five times, he received the Ambrogino d'Oro in 2014 and honorary degrees from the Polytechnic of Milan and the Academy of Fine Arts of Brera.",[],{"_key":3244,"_type":8,"children":3245,"markDefs":3249,"style":25},"5026ac42cc6b",[3246],{"_key":3247,"_type":12,"marks":3248,"text":316},"bef83f493f04",[],[],[3251,3267,3275,3283,3291,3307,3315,3322],{"_key":3252,"_type":8,"children":3253,"markDefs":3266,"style":25},"f06ae9683fd2",[3254,3258,3262],{"_key":3255,"_type":12,"marks":3256,"text":3257},"f65c40a167f1",[],"Enzo Mari attended the Academy of Fine Arts of Brera in Milan and, at a young age, worked in the field of Arte Programmata (Programmed Art). From 1956 onwards, he dedicated himself to industrial design, experimenting with new materials. In the field of art, he promoted the international movement ",{"_key":3259,"_type":12,"marks":3260,"text":3261},"53680244a22a",[125],"Nuove Tendenze",{"_key":3263,"_type":12,"marks":3264,"text":3265},"b5961797a0b6",[]," (New Trends).",[],{"_key":3268,"_type":8,"children":3269,"markDefs":3274,"style":25},"507ffb3f1551",[3270],{"_key":3271,"_type":12,"marks":3272,"text":3273},"6266f9f5f48b",[],"In the 1960s, he revolutionized the concept of design by creating objects intended for so-called ordinary people, who had previously been excluded from what was considered an elitist sector. His creations, immune to the wear and tear of time and free from passing trends, derive their significance not only from extensive and long-term research but also from the quality of their forms. Mari consistently focused on human needs beyond market conditions. His work combined the roles of artist, designer, and theorist, and he authored fifteen educational and political books.",[],{"_key":3276,"_type":8,"children":3277,"markDefs":3282,"style":25},"ab1b5f295660",[3278],{"_key":3279,"_type":12,"marks":3280,"text":3281},"417a7d9fbf38",[],"His works are housed in prestigious permanent collections, including those of the Museum of Modern Art in New York, La Galleria d’Arte Moderna in Rome, the Musée des Arts Décoratifs at the Palais du Louvre in Paris, the Center d'Art Santa Mònica in Barcelona, the Kaiser Wilhelm Museum in Krefeld, the Zagreb Museum of Contemporary Art, and other public and private collections.",[],{"_key":3284,"_type":8,"children":3285,"markDefs":3290,"style":25},"30c229dc4dfd",[3286],{"_key":3287,"_type":12,"marks":3288,"text":3289},"306d8e7fd044",[],"He taught at several universities in Italy, Vienna, and Berlin.",[],{"_key":3292,"_type":8,"children":3293,"markDefs":3306,"style":25},"eb03760926b6",[3294,3298,3302],{"_key":3295,"_type":12,"marks":3296,"text":3297},"767d5bbe5095",[],"Mari was awarded the Compasso d’Oro five times, first in 1967 for \"individual design research\" and lastly in 2011 for his lifetime achievements. In 2014, he received the ",{"_key":3299,"_type":12,"marks":3300,"text":3301},"2faa8f435b4c",[125],"Ambrogino d'Oro",{"_key":3303,"_type":12,"marks":3304,"text":3305},"3ecde8e41dd9",[],", the highest honor awarded by the Municipality of Milan.",[],{"_key":3308,"_type":8,"children":3309,"markDefs":3314,"style":25},"6476bd645d03",[3310],{"_key":3311,"_type":12,"marks":3312,"text":3313},"9d6f99cb1a2a",[],"In 2000, the Polytechnic of Milan conferred upon him an Honorary Degree in Industrial Design. In 2015, the Academy of Fine Arts of Brera in Milan awarded him an Honorary Academic Diploma in Visual Arts and the title of Academician of Italy.",[],{"_key":3316,"_type":8,"children":3317,"markDefs":3321,"style":25},"0e83041e553e",[3318],{"_key":3319,"_type":12,"marks":3320,"text":316},"87d8129c0749",[],[],{"_key":3323,"_type":8,"children":3324,"markDefs":3329,"style":25},"325982685d17",[3325],{"_key":3326,"_type":12,"marks":3327,"text":3328},"5ce81a674305",[314,315],"Courtesy ©Comune di Milano-CASVA",[],[3331],{"_key":3332,"_type":8,"children":3333,"markDefs":3338,"style":25},"46748eede4e5",[3334],{"_key":3335,"_type":12,"marks":3336,"text":3337},"53cd7ba04a64",[],"Enzo Mari (Cerano, 1932 - Milan, 2020)",[],{"alt":46,"asset":3340},{"_id":3341,"height":3342,"orientation":819,"ratio":3343,"url":3344,"width":3345},"image-1388e97a249532be5670ca9853ecb7982a2567ec-2264x2263-jpg",2263,1.0004418912947415,"https://cdn.sanity.io/images/w19bax1v/production/1388e97a249532be5670ca9853ecb7982a2567ec-2264x2263.jpg",2264,{"_type":51,"current":3347},"enzo-mari","mari","Enzo Mari",{"_id":3351,"_type":88,"bioExtended":3352,"bioFull":3361,"bioShort":3450,"profileImage":3459,"seo":46,"slug":3463,"sortValue":3465,"title":3466},"f0e1ed57-4aa0-4c36-92fb-2280891c629d",[3353],{"_key":3354,"_type":8,"children":3355,"markDefs":3360,"style":25},"92401c0c4ca2",[3356],{"_key":3357,"_type":12,"marks":3358,"text":3359},"87401280718f",[],"Napoleone Martinuzzi (Murano, 1892 - Venice 1977) trained as a sculptor and became renowned for his glass designs. In 1925, he joined Paolo Venini at V.S.M. Venini & C., where he developed a distinctive sculptural style, exploring plasticity and polychromy in glass. His works included the famous \"pulegosi\" glasses and bestiary pieces. He directed the Murano Glass Museum (1922-1931) and collaborated with Gabriele d'Annunzio on several commissions. Martinuzzi participated in multiple international exhibitions, including the Venice Biennale and Monza Triennale. In 1932, he founded a new glass company. Later, he only focused on sculpture.",[],[3362,3370,3378,3386,3394,3402,3410,3418,3426,3434,3442],{"_key":3363,"_type":8,"children":3364,"markDefs":3369,"style":25},"53b32dc3da94",[3365],{"_key":3366,"_type":12,"marks":3367,"text":3368},"c9614f4f6cf8",[],"Born on the Island of Murano (Venice) on May 31, 1892 to a non-native family and therefore unable to undertake a career as a master glassmaker, Napoleone Martinuzzi began his training as a sculptor in the very early years of the twentieth century, first in various ceramic and terracotta workshops, then at the Scuola del Nudo of the Academy of Fine Arts in Venice. The interest in the volumetric rendering of forms, his natural vocation, will be a recurring and distinctive trait throughout his career, even in the glass design sector. On the influence exerted by sculpture on Martinuzzi's vast glass production, Gabriele d'Annunzio wrote that \"with the same soul of art he shapes glass and marble, [...] with the same fire he treats glass and bronze\". Having met for the first time in April 1917, the Poet established a solid and lasting relationship of mutual respect with Martinuzzi that materialized in commissions for sculptures and glass works for some rooms of the Vittoriale. In fact, for the Poet, Martinuzzi designed several stained glass windows, chandeliers, glass sets and table furnishings, the famous pumpkin-lamps for the Music Room (1928), a glass bestiary, a series of colorful glass fruits (1926-27).",[],{"_key":3371,"_type":8,"children":3372,"markDefs":3377,"style":25},"5953de17499f",[3373],{"_key":3374,"_type":12,"marks":3375,"text":3376},"e69cd3eda597",[],"From 1922 to 1931, appointed by the Municipality of Murano, Martinuzzi directed its Glass Museum, where he had the opportunity to study classical objects in depth and draw inspiration from them.",[],{"_key":3379,"_type":8,"children":3380,"markDefs":3385,"style":25},"f852e94dc50f",[3381],{"_key":3382,"_type":12,"marks":3383,"text":3384},"2597e7f08aa8",[],"From 1923, he was busy as a sculptor in the design of the Monumento dei Caduti of Murano.",[],{"_key":3387,"_type":8,"children":3388,"markDefs":3393,"style":25},"7858bc61b709",[3389],{"_key":3390,"_type":12,"marks":3391,"text":3392},"07053d0dc76e",[],"The year 1925 marked an important turning point in his career. He was first involved in the establishment of the S.A.V.A.S. (Società in Accomandita Vetro Artistico Soffiato) furnace together with his friend, the engineer Francesco Zecchin. Subsequently, he entered into a partnership with the Milanese lawyer Paolo Venini, taking on the artistic direction of the new glassworks V.S.M. Venini & C. The latter one had recently been established after the recession of the antique dealer Giacomo Cappellin from the previous and already established joint firm (V.S.M. Cappellin Venini & C.).",[],{"_key":3395,"_type":8,"children":3396,"markDefs":3401,"style":25},"b44e179c29ef",[3397],{"_key":3398,"_type":12,"marks":3399,"text":3400},"91e5058cbfca",[],"This partnership with Venini would last until 1931.",[],{"_key":3403,"_type":8,"children":3404,"markDefs":3409,"style":25},"85d7a9983ba8",[3405],{"_key":3406,"_type":12,"marks":3407,"text":3408},"f05cefc809a0",[],"At first, Martinuzzi's production remained faithful to the approach given to the company by Vittorio Zecchin, father of his partner Francesco: mostly transparent blown glass had been produced, drawn from the elegant Renaissance repertoire. However, he soon developed his own personal sculptoral language, characterized by constant experimentation and interest in the plasticity and polychromy of objects taken from real life: flowers, animals, plants, human figures.",[],{"_key":3411,"_type":8,"children":3412,"markDefs":3417,"style":25},"504d0ebe3964",[3413],{"_key":3414,"_type":12,"marks":3415,"text":3416},"b1d02d1ffcc0",[],"He participated in numerous Italian and International Art Exhibitions. In 1926, he took part in the XV Venice Art Biennale. In 1927, he took part in the II Mostra d’Arte Marinara in Rome and the III Monza Biennale. At the XVI Venice Art Biennale, in 1928, Martinuzzi presented the first “pulegosi” glasses - so called because they have dense bubbles (“puleghe”, in Venetian dialect), which were obtained by adding sodium bicarbonate or petroleum in the incandescent glass mass - a bestiary that aroused the interest of Gio Ponti, who from that moment dedicated numerous articles and inserts in Domus to Martinuzzi’s pieces and to the entire Vetreria. In 1929, he took part in the International Art Exhibition in Barcelona, ​​where he presented a review of filigrana glass. In 1930 he took part in the XVII Venice Art Biennale and the IV Monza Triennale, where he exhibited the series of Succulent Plants, first published in the magazine Domus in February 1929, the Aquariums - transparent glass vases with polychrome glass figures inside, designed to be filled with water - and the Vase with ten handles, later included in d'Annunzio's collection. In 1931 he took part in the I Quadriennale d'Arte Nazionale at the Palazzo delle Esposizioni in Rome.",[],{"_key":3419,"_type":8,"children":3420,"markDefs":3425,"style":25},"a9a66463b7db",[3421],{"_key":3422,"_type":12,"marks":3423,"text":3424},"900a61215b4e",[],"He created several glass furnishing elements for the Palazzo delle Poste in Ferrara and the Palazzo delle Poste in Bergamo, inaugurated in 1930 and 1932 respectively.",[],{"_key":3427,"_type":8,"children":3428,"markDefs":3433,"style":25},"f8922be6276b",[3429],{"_key":3430,"_type":12,"marks":3431,"text":3432},"f4c332c8e567",[],"After leaving V.S.M. Venini & C., in 1932 Martinuzzi founded Zecchin-Martinuzzi Vetri Artistici e Mosaici together with Francesco Zecchin. In 1934 and 1936, he participated in the XIX and XX Venice Art Biennale.",[],{"_key":3435,"_type":8,"children":3436,"markDefs":3441,"style":25},"bdc679f77145",[3437],{"_key":3438,"_type":12,"marks":3439,"text":3440},"89606d558277",[],"In 1936, he left the company to devote himself to sculpture.",[],{"_key":3443,"_type":8,"children":3444,"markDefs":3449,"style":25},"f06502229e6d",[3445],{"_key":3446,"_type":12,"marks":3447,"text":3448},"223f4f82a762",[],"Martinuzzi died in Venice on May 15, 1977.",[],[3451],{"_key":3452,"_type":8,"children":3453,"markDefs":3458,"style":25},"afc5ddf780fa",[3454],{"_key":3455,"_type":12,"marks":3456,"text":3457},"544cfecacbe1",[],"Napoleone Martinuzzi (Murano, 1892 - Venice 1977)",[],{"alt":46,"asset":3460},{"_id":3461,"height":818,"orientation":819,"ratio":820,"url":3462,"width":822},"image-86ea85437a4cf53af62ff92235406321ceacd3a1-1104x828-webp","https://cdn.sanity.io/images/w19bax1v/production/86ea85437a4cf53af62ff92235406321ceacd3a1-1104x828.webp",{"_type":51,"current":3464},"napoleone-martinuzzi","martinuzzi","Napoleone Martinuzzi",{"_id":3468,"_type":88,"bioExtended":3469,"bioFull":3508,"bioShort":3548,"profileImage":3557,"seo":46,"slug":3562,"sortValue":3564,"title":3565},"34742dbb-e4ed-4fa3-91a5-5ca67d504eff",[3470,3478,3485,3493,3500],{"_key":3471,"_type":8,"children":3472,"markDefs":3477,"style":25},"7fc48778ef10",[3473],{"_key":3474,"_type":12,"marks":3475,"text":3476},"e12790969687",[],"Meneguzzo began his artistic path as a painter and sculptor, later expanding into ceramics in 1949 while working at the “La Freccia” workshop of Tarcisio Tosin. His early recognition came with a solo exhibition in 1953 at the Galleria del Calibano in Vicenza. The following year he moved to Milan, where he worked as a decorator and set designer for Rai.",[],{"_key":3479,"_type":8,"children":3480,"markDefs":3484,"style":25},"2de813b5112a",[3481],{"_key":3482,"_type":12,"marks":3483,"text":316},"2cefaa177fe1",[],[],{"_key":3486,"_type":8,"children":3487,"markDefs":3492,"style":25},"588ff1420c14",[3488],{"_key":3489,"_type":12,"marks":3490,"text":3491},"f16e55c6dd86",[],"In Milan, his activity in ceramics intensified: in 1955 he co-founded, together with Bruno Danese, the workshop “DEM,” dedicated to artistic ceramic production. After its closure in 1957, he continued collaborating with Danese at “Danese Ceramiche” until 1963. Alongside this work, he exhibited in Milan at the Ariete Gallery in 1956 and later held a solo show at Galleria Il Milione, also participating in 1962 in the International Exhibition of Contemporary Ceramics in Prague.",[],{"_key":3494,"_type":8,"children":3495,"markDefs":3499,"style":25},"5a43810cda17",[3496],{"_key":3497,"_type":12,"marks":3498,"text":316},"58cbf0c8bf00",[],[],{"_key":3501,"_type":8,"children":3502,"markDefs":3507,"style":25},"ee515f62d559",[3503],{"_key":3504,"_type":12,"marks":3505,"text":3506},"42ab0cba0140",[],"From the early 1960s, his focus gradually shifted away from ceramics toward painting and sculpture, fields in which he established himself as a significant figure in Italian Informal art.",[],[3509,3517,3525,3533,3540],{"_key":3510,"_type":8,"children":3511,"markDefs":3516,"style":25},"cd558d95f8d9",[3512],{"_key":3513,"_type":12,"marks":3514,"text":3515},"e2242840d3f4",[],"Painter and sculptor, Franco Meneguzzo began working with ceramics in 1949 at the “La Freccia” workshop of Tarcisio Tosin. In 1953 he held a solo exhibition at the Galleria del Calibano in Vicenza, and the following year, after moving to Milan, he found work as a decorator and set designer at the Rai studios.",[],{"_key":3518,"_type":8,"children":3519,"markDefs":3524,"style":25},"a41e7267ceda",[3520],{"_key":3521,"_type":12,"marks":3522,"text":3523},"853bae2155fb",[],"In 1955, in Milan, he co-founded with Bruno Danese the workshop “DEM” for the production of artistic ceramics, of which he remained a partner until 1957. After its closure, he continued collaborating with Bruno Danese in his new studio “Danese Ceramiche,” a collaboration that lasted until 1963. In 1956 he exhibited some of his works at the Ariete Gallery in Milan. In 1962 he took part in the International Exhibition of Contemporary Ceramics in Prague and held a solo exhibition in Milan at the Galleria Il Milione.",[],{"_key":3526,"_type":8,"children":3527,"markDefs":3532,"style":25},"5fe43512bb0d",[3528],{"_key":3529,"_type":12,"marks":3530,"text":3531},"a5e3e4df3cce",[],"From the early 1960s onward, he focused mainly on painting and sculpture, becoming one of the leading figures of Informal art in Italy.",[],{"_key":3534,"_type":8,"children":3535,"markDefs":3539,"style":25},"5a38f8b59305",[3536],{"_key":3537,"_type":12,"marks":3538,"text":316},"a4b6cac13d56",[314,315],[],{"_key":3541,"_type":8,"children":3542,"markDefs":3547,"style":25},"b06c539aadd6",[3543],{"_key":3544,"_type":12,"marks":3545,"text":3546},"4d551ed8747e",[314,315],"© Fondazione Jacqueline vodoz e bruno danese ",[],[3549],{"_key":3550,"_type":8,"children":3551,"markDefs":3556,"style":25},"af7146469a10",[3552],{"_key":3553,"_type":12,"marks":3554,"text":3555},"a7fc7efac9dd",[],"Franco Meneguzzo (Valdagno, 1924 – Milano, 2008)",[],{"alt":46,"asset":3558},{"_id":3559,"height":3560,"orientation":177,"ratio":178,"url":3561,"width":3560},"image-b1041e18a9eebd60da16dff5ec7364abf8e100fb-482x482-webp",482,"https://cdn.sanity.io/images/w19bax1v/production/b1041e18a9eebd60da16dff5ec7364abf8e100fb-482x482.webp",{"_type":51,"current":3563},"franco-meneguzzo","meneguzzo","Franco Meneguzzo",{"_id":3567,"_type":88,"bioExtended":3568,"bioFull":3577,"bioShort":3658,"profileImage":3667,"seo":46,"slug":3673,"sortValue":3675,"title":3676},"d6d1503f-484f-415e-8501-42bb4f677a0e",[3569],{"_key":3570,"_type":8,"children":3571,"markDefs":3576,"style":25},"ac0958d0a4ed",[3572],{"_key":3573,"_type":12,"marks":3574,"text":3575},"e9087584599c",[],"Roberto Menghi (Milan, 1920–2006) was an Italian architect and designer. After graduating from the Politecnico di Milano in 1944, he was deported to a Nazi camp for opposing the RSI. Post-war, he opened a studio in Milan, designing residential, commercial, and institutional buildings, and restoring historic sites like Milan’s Palazzo dei Giureconsulti. In industrial design, he focused on innovative lighting and furniture, collaborating with firms like FontanaArte. He won major awards, including two Milan Triennale Grand Prizes and a Compasso d’Oro. Menghi also taught in Venice and the UK. His archive is preserved at CSAC in Parma, featuring drawings and models.\n",[],[3578,3586,3594,3602,3610,3618,3626,3634,3642,3650],{"_key":3579,"_type":8,"children":3580,"markDefs":3585,"style":25},"2a9c17df3026",[3581],{"_key":3582,"_type":12,"marks":3583,"text":3584},"d435d060a158",[],"Roberto Menghi was born in Milan on January 14, 1920.",[],{"_key":3587,"_type":8,"children":3588,"markDefs":3593,"style":25},"9e7d8c5dfe50",[3589],{"_key":3590,"_type":12,"marks":3591,"text":3592},"3ab4931d429b",[],"He graduated in Architecture from the Politecnico di Milano in 1944.",[],{"_key":3595,"_type":8,"children":3596,"markDefs":3601,"style":25},"a30a692672bb",[3597],{"_key":3598,"_type":12,"marks":3599,"text":3600},"0a5cd96cbc74",[],"During the Second World War, he served as a lieutenant. After the armistice, he was captured and deported to a Nazi concentration camp for refusing to support the newly established Italian Social Republic (RSI).",[],{"_key":3603,"_type":8,"children":3604,"markDefs":3609,"style":25},"bed02551c3fc",[3605],{"_key":3606,"_type":12,"marks":3607,"text":3608},"b7626104ea45",[],"Following the war, he opened his first design studio in Milan.",[],{"_key":3611,"_type":8,"children":3612,"markDefs":3617,"style":25},"4ec88ba1837b",[3613],{"_key":3614,"_type":12,"marks":3615,"text":3616},"03e0de081e62",[],"Throughout his architectural career, Menghi designed residential, commercial, and institutional buildings. He also oversaw the restoration of important historic buildings—always with a deep respect for their aesthetic and historical value—such as the Palazzo dei Giureconsulti in Milan.",[],{"_key":3619,"_type":8,"children":3620,"markDefs":3625,"style":25},"83fd783f516a",[3621],{"_key":3622,"_type":12,"marks":3623,"text":3624},"e8c663e10c92",[],"In the fields of interior and industrial design, he focused particularly on innovative lighting and furniture, collaborating with leading companies such as FontanaArte.",[],{"_key":3627,"_type":8,"children":3628,"markDefs":3633,"style":25},"c3bd25bc825e",[3629],{"_key":3630,"_type":12,"marks":3631,"text":3632},"77ac089bb892",[],"Over the years, he received numerous awards, including two Grand Prizes in the Glass and Design sections at the Milan Triennale and a Compasso d’Oro for design.",[],{"_key":3635,"_type":8,"children":3636,"markDefs":3641,"style":25},"e7e76e2e0505",[3637],{"_key":3638,"_type":12,"marks":3639,"text":3640},"5f5c98bca3f6",[],"Menghi also taught architecture and design at the IUAV University of Venice and at the Bath Academy of Art in the United Kingdom.",[],{"_key":3643,"_type":8,"children":3644,"markDefs":3649,"style":25},"d73627c3943b",[3645],{"_key":3646,"_type":12,"marks":3647,"text":3648},"41d89eaefdb8",[],"He passed away in Milan on April 20, 2006.",[],{"_key":3651,"_type":8,"children":3652,"markDefs":3657,"style":25},"adccf9daeebe",[3653],{"_key":3654,"_type":12,"marks":3655,"text":3656},"b6ba53325e78",[],"Today, the Centre for Studies and Communication Archives (CSAC) in Parma houses a publicly accessible archive dedicated to his work, which includes drawings, models, and design objects.",[],[3659],{"_key":3660,"_type":8,"children":3661,"markDefs":3666,"style":25},"3e97f2360bd3",[3662],{"_key":3663,"_type":12,"marks":3664,"text":3665},"589f83a2b4fa",[],"Roberto Menghi (Milan, 1920 - Milan, 2006)",[],{"alt":46,"asset":3668},{"_id":3669,"height":3670,"orientation":339,"ratio":3671,"url":3672,"width":1012},"image-a3000efb210f87307f4863d8b30959173603f7af-800x997-jpg",997,0.802407221664995,"https://cdn.sanity.io/images/w19bax1v/production/a3000efb210f87307f4863d8b30959173603f7af-800x997.jpg",{"_type":51,"current":3674},"roberto-menghi","menghi","Roberto Menghi",{"_id":3678,"_type":88,"bioExtended":3679,"bioFull":3688,"bioShort":3713,"profileImage":3736,"seo":46,"slug":3743,"sortValue":3745,"title":3746},"55e20aca-6f5a-4c12-aeee-fa48cdd4f6b1",[3680],{"_key":3681,"_type":8,"children":3682,"markDefs":3687,"style":25},"da4c1217dc01",[3683],{"_key":3684,"_type":12,"marks":3685,"text":3686},"5310a2354155",[],"Giacomo Moor (Milan, 1981) began working in carpentry early on. He studied at the Polytechnic University in Milan, where he combined rigorous planning with a passion for woodworking. In 2011, after completing a dissertation on wood, he opened his studio with partner Aurelie Callegari. Moor designs experimental collections, custom furnishings, and unique pieces, blending precise design with traditional craftsmanship. His awards include Best Young Designer at EDIDA 2016 and the Wallpaper* Award in 2017. Moor’s collections, like “Centina” and “Funamolo,” explore the intersection of architecture, design, and traditional craftsmanship, with wood as the main material.",[],[3689,3697,3705],{"_key":3690,"_type":8,"children":3691,"markDefs":3696,"style":25},"a6c1aabbe2f2",[3692],{"_key":3693,"_type":12,"marks":3694,"text":3695},"c63e86cfde7b",[],"Born in Milan in 1981, Giacomo Moor begins to work in a carpenter’s workshop at an early age. During his years at the Politecnico University in Milan, under the guidance of professor and architect Beppe Finessi, he starts to bring together rigorous planning with his fascination for the beauty and versatility of woodworking. In 2011, after majoring in Design with a final dissertation on wood called “Valuable Imperfections. Cabinetmaking, from sculpture to design” published by Abitare, Giacomo Moor opens his studio with his partner Aurelie Callegari.",[],{"_key":3698,"_type":8,"children":3699,"markDefs":3704,"style":25},"2e8ccea1dc66",[3700],{"_key":3701,"_type":12,"marks":3702,"text":3703},"26e8b5245e3b",[],"From the planning of experimental collections to the production of tailor made furnishings, Giacomo Moor achieves through his practice the dual resolution of ideation and realisation. In his studio/carpentry in Milan, Moor refines and defines his ideas: he designs products for companies, he creates limited editions for galleries, he produces unique pieces for private clients, and he is engaged in every step of the process. Constantly striving to improve carpentry techniques, he unites the precision and the formal rigour of the design with the sensitivity of manual craftsmanship. Giacomo Moor was nominated the Best Young Designer by Elle Décor Italia during EDIDA 2016, and in the same year he won the BestYoungDesigner Award at the Salone del Mobile. In 2017 he won the Wallpaper* Award with his work Kit del Legnamè and in 2018 the LandRoverBornAward.",[],{"_key":3706,"_type":8,"children":3707,"markDefs":3712,"style":25},"e873ffa08248",[3708],{"_key":3709,"_type":12,"marks":3710,"text":3711},"6ccfe5e7f7f5",[],"Both using wood as their primary material, “Centina” and Funamolo” collections have been conceived by Giacomo Moor exclusively for the gallery within a fild of research that focuses on the theme of interdisciplinary cross-contamination between architecture and design, and on the deployment of the instruments, methods and materials of traditional workmanship.",[],[3714,3722,3729],{"_key":3715,"_type":8,"children":3716,"markDefs":3721,"style":25},"3676ba53e943",[3717],{"_key":3718,"_type":12,"marks":3719,"text":3720},"372cc69cbadf",[],"Giacomo Moor (Milan, 1981)",[],{"_key":3723,"_type":8,"children":3724,"markDefs":3728,"style":25},"4f695c3dcd2f",[3725],{"_key":3726,"_type":12,"marks":3727,"text":316},"3e8b402655d4",[],[],{"_key":3730,"_type":8,"children":3731,"markDefs":3735,"style":25},"cb7238d7f679",[3732],{"_key":3733,"_type":12,"marks":3734,"text":316},"ae63c9683632",[],[],{"alt":46,"asset":3737},{"_id":3738,"height":3739,"orientation":339,"ratio":3740,"url":3741,"width":3742},"image-fb753d23ce37ff7a7f3346f2053e039b136f656c-642x966-png",966,0.6645962732919255,"https://cdn.sanity.io/images/w19bax1v/production/fb753d23ce37ff7a7f3346f2053e039b136f656c-642x966.png",642,{"_type":51,"current":3744},"giacomo-moor","moor","Giacomo Moor",{"_id":3748,"_type":88,"bioExtended":3749,"bioFull":3758,"bioShort":3934,"profileImage":3943,"seo":46,"slug":3950,"sortValue":3952,"title":3953},"f64d95c1-490e-47ae-8b24-397ed2019570",[3750],{"_key":3751,"_type":8,"children":3752,"markDefs":3757,"style":25},"8784f29f4d94",[3753],{"_key":3754,"_type":12,"marks":3755,"text":3756},"89b56b1fd9f2",[],"Luigi Moretti (Rome, 1906 - Capraia Isola, 1973) was an influential Italian architect. He studied at the Politecnico di Milano, later working as an assistant to Vincenzo Fasolo. Moretti contributed to numerous architectural projects, including Youth Houses, the Mussolini Forum, and the Imperial Square. He co-founded Cofimprese in 1945 and completed key residential projects in Milan and Rome. A prominent scholar, he founded the magazine Spazio and later worked on major urban plans, including the Olympic Village and the CEP district. Moretti also earned international recognition, including awards from the American Institute of Architects and the Italian government. ",[],[3759,3767,3775,3783,3799,3807,3823,3831,3839,3847,3855,3863,3871,3879,3887,3903,3919,3926],{"_key":3760,"_type":8,"children":3761,"markDefs":3766,"style":25},"0065534329e4",[3762],{"_key":3763,"_type":12,"marks":3764,"text":3765},"f31ffc255769",[],"Luigi Moretti graduated in 1930 with a project for a college of classical higher education in Villa dei Papi, near Grottaferrata (Rome). Between 1931 and 1934, he worked as an assistant to Vincenzo Fasolo in the Chair of History and Styles of Architecture and to Gustavo Giovannoni in the Chair of Restoration of Monuments. He later collaborated with archaeologist Corrado Ricci as part of a three-year Roman studies scholarship. His studies on the arrangement of Trajan's Market area date back to this period.",[],{"_key":3768,"_type":8,"children":3769,"markDefs":3774,"style":25},"d52236ac8d5b",[3770],{"_key":3771,"_type":12,"marks":3772,"text":3773},"cb0f963c9d1b",[],"In 1933, through his association with Renato Ricci, President of the Balilla National Opera, he was appointed to lead the institution’s technical office. For the organization, he designed the Youth House in Piacenza, the Trastevere House in Rome, the Trecate House, the Women's House in Piacenza, and, in 1937, the Youth Houses in Urbino and Tivoli.",[],{"_key":3776,"_type":8,"children":3777,"markDefs":3782,"style":25},"3479317102d2",[3778],{"_key":3779,"_type":12,"marks":3780,"text":3781},"de5ccd96439f",[],"In 1936, he was commissioned to develop the regulatory plan for the Mussolini Forum, a project previously assigned to architect Enrico Del Debbio. Within the same area, he designed the experimental Casa Balilla, later the fencing academy, the Palestra del Duce, and the commemorative cell. In 1934, he participated in the national competition for the Palazzo del Littorio and the Exhibition of the Fascist Revolution. He was selected for the second round of the competition and received a special mention. His ability to merge tradition and modernity in his work earned him explicit recognition.",[],{"_key":3784,"_type":8,"children":3785,"markDefs":3798,"style":25},"246559c57e1d",[3786,3790,3794],{"_key":3787,"_type":12,"marks":3788,"text":3789},"45e1baafabdf",[],"In a 1936 interview with Luigi Diemoz, published in ",{"_key":3791,"_type":12,"marks":3792,"text":3793},"292f59cc1548",[125],"Quadrivio",{"_key":3795,"_type":12,"marks":3796,"text":3797},"d000c3863414",[],", he outlined some architectural concepts that he would later develop throughout his career. Meanwhile, Rome was preparing for the Universal Exposition scheduled for 1942. In 1938, Moretti, along with Muratori, Fariello, and Quaroni, won the competition for the Imperial Square. As part of the final project, he focused on the design of the Gran Teatro, whose construction was halted due to Italy’s entry into World War II.",[],{"_key":3800,"_type":8,"children":3801,"markDefs":3806,"style":25},"cf1403f68a8d",[3802],{"_key":3803,"_type":12,"marks":3804,"text":3805},"ce15c3554b89",[],"At the start of the war, Moretti suspended his work, and records from this period are somewhat incomplete and fragmented. In 1945, he met Count Adolfo Fossataro, with whom he founded the company Cofimprese. Together, they built three hotel residences in Milan, which became a model for this new building typology. They also constructed a complex of offices and residences in Corso Italia, Milan, and, between 1947 and 1951, a residential building for the Astrea cooperative in Rome, along with the Girasole building. After these projects, Cofimprese dissolved.",[],{"_key":3808,"_type":8,"children":3809,"markDefs":3822,"style":25},"bdc7becfc9f6",[3810,3814,3818],{"_key":3811,"_type":12,"marks":3812,"text":3813},"61e193aab007",[],"From this moment, Moretti resumed an intense activity, not only in architecture but also as a scholar and art critic. In 1950, he founded the magazine ",{"_key":3815,"_type":12,"marks":3816,"text":3817},"cdb8fced462d",[125],"Spazio",{"_key":3819,"_type":12,"marks":3820,"text":3821},"a343bb9ab95f",[],", and in 1954, in Rome, he opened a gallery of the same name in collaboration with Michel Tapié.",[],{"_key":3824,"_type":8,"children":3825,"markDefs":3830,"style":25},"d7f3017453b3",[3826],{"_key":3827,"_type":12,"marks":3828,"text":3829},"b81fc240a8e0",[],"In the following years, his work was extensive and diverse. He received commissions from private clients, public administrations, and national institutions. He developed plans for the new urban park coordination plan and represented the Ministry of Public Works on the drafting committee for Rome’s inter-municipal plan.",[],{"_key":3832,"_type":8,"children":3833,"markDefs":3838,"style":25},"d987460cbfd5",[3834],{"_key":3835,"_type":12,"marks":3836,"text":3837},"d06591ad38ea",[],"In 1958, he collaborated on the design of major residential districts, including the Olympic Village, which won the IN/ARCH Prize in 1961 for the best construction in the Lazio region, the CEP district in Livorno, and the INCIS district in Decima, Rome.",[],{"_key":3840,"_type":8,"children":3841,"markDefs":3846,"style":25},"c79a74de0d80",[3842],{"_key":3843,"_type":12,"marks":3844,"text":3845},"f7ffc87eccb5",[],"Moretti received significant recognition: in 1957, the Giovanni Gronchi National Architecture Prize from the Accademia Nazionale di San Luca; in 1964, the Gold Medal of Merit for School, Culture, and Art from the Head of State; an award from the Saint Louis Institute of Architecture; and honorary membership in the American Institute of Architects. He was also elected an academic at the Accademia Nazionale di San Luca.",[],{"_key":3848,"_type":8,"children":3849,"markDefs":3854,"style":25},"a75484bd9266",[3850],{"_key":3851,"_type":12,"marks":3852,"text":3853},"5526e584cec6",[],"Since 1957, he served as an external consultant to the General Real Estate Company, for which, in 1960, he began designing the Stock Exchange Tower in Montreal and the Watergate residential complex in Washington, D.C. These two projects cemented his international reputation.",[],{"_key":3856,"_type":8,"children":3857,"markDefs":3862,"style":25},"f7f30f32d3a6",[3858],{"_key":3859,"_type":12,"marks":3860,"text":3861},"7de827a5f490",[],"In 1957, Moretti founded the Institute of Mathematical and Operational Research for Urban Planning (IRMOU) to develop his theories on \"parametric architecture,\" which aimed to apply mathematical theories to architectural design. As president of the institute, he was invited to participate in numerous commissions, conferences, and debates on urban issues.",[],{"_key":3864,"_type":8,"children":3865,"markDefs":3870,"style":25},"6757d1e0cdc7",[3866],{"_key":3867,"_type":12,"marks":3868,"text":3869},"b05a0c68e3be",[],"Among his works in the 1960s were the San Maurizio building in Monte Mario, the twin buildings in the EUR district of Rome, the headquarters of ESSO and the General Real Estate Company—winning the IN/ARCH Regional Prize in 1966—the redevelopment of the Baths of Bonifacio VIII in Fiuggi, the Termini-Risorgimento section of the new Rome subway, the Pietro Nenni Bridge (designed with engineer Silvano Zorzi), and the underground parking facility at Villa Borghese.",[],{"_key":3872,"_type":8,"children":3873,"markDefs":3878,"style":25},"b8c2253ecdac",[3874],{"_key":3875,"_type":12,"marks":3876,"text":3877},"80be76dce8f1",[],"In 1968, Moretti’s project for a sanctuary on Lake Tiberias in Tabgha, Holy Land, was approved by the Holy See, but construction did not begin due to the outbreak of conflict between Israelis and Palestinians in the area.",[],{"_key":3880,"_type":8,"children":3881,"markDefs":3886,"style":25},"f90cdf3eb878",[3882],{"_key":3883,"_type":12,"marks":3884,"text":3885},"5e6e5084d1d2",[],"Meanwhile, he expanded his professional activities to other countries, including Kuwait and Algeria, where he initiated a series of projects that were later completed by his studio collaborators—architects Giovanni Quadarella and Lucio Causa, and engineer Pierluigi Borlenghi.",[],{"_key":3888,"_type":8,"children":3889,"markDefs":3902,"style":25},"aca60c59f3ce",[3890,3894,3898],{"_key":3891,"_type":12,"marks":3892,"text":3893},"6a670e4035ec",[],"Despite his significant commitments to design, Moretti never abandoned his other interests. In 1964, he participated in the international conference on Michelangelo studies with the essay ",{"_key":3895,"_type":12,"marks":3896,"text":3897},"5354a082b335",[125],"The Ideal Structures of Michelangelo and Baroque Architecture",{"_key":3899,"_type":12,"marks":3900,"text":3901},"a5b2f0672758",[],". He also produced a film on Michelangelo’s life, which won the Film d'Arte award at the Venice Biennale. In 1967, he delivered a lecture at the Accademia Nazionale di San Luca on Borromini’s series of generalized structures.",[],{"_key":3904,"_type":8,"children":3905,"markDefs":3918,"style":25},"1f6a6ba25c50",[3906,3910,3914],{"_key":3907,"_type":12,"marks":3908,"text":3909},"1df285d0e285",[],"In 1967, he received the Prix d'Excellence Design Canada, and in 1968, the Antonio Feltrinelli Prize from the Accademia Nazionale dei Lincei. That same year, the publisher De Luca released ",{"_key":3911,"_type":12,"marks":3912,"text":3913},"47b8bf223c2b",[125],"50 Images of Architectures by Luigi Moretti",{"_key":3915,"_type":12,"marks":3916,"text":3917},"75047271b91f",[],", with a preface by Giuseppe Ungaretti.",[],{"_key":3920,"_type":8,"children":3921,"markDefs":3925,"style":25},"e36cfbc3cf48",[3922],{"_key":3923,"_type":12,"marks":3924,"text":316},"bd65e9989656",[],[],{"_key":3927,"_type":8,"children":3928,"markDefs":3933,"style":25},"700f3ed09a90",[3929],{"_key":3930,"_type":12,"marks":3931,"text":3932},"13ddfdc06087",[314,315],"Source: Archivio Centrale dello Stato, Fondo Luigi Moretti\nSistema Archivistico Nazionale – Archivi degli Architetti",[],[3935],{"_key":3936,"_type":8,"children":3937,"markDefs":3942,"style":25},"9910c52cc951",[3938],{"_key":3939,"_type":12,"marks":3940,"text":3941},"e4aada33190a",[],"Luigi Moretti (Rome, 1906 - Capraia Isola, 1973)",[],{"alt":46,"asset":3944},{"_id":3945,"height":3946,"orientation":819,"ratio":3947,"url":3948,"width":3949},"image-ac44bd54a1706000d6909c52f8d224103617f04c-3934x2924-jpg",2924,1.3454172366621067,"https://cdn.sanity.io/images/w19bax1v/production/ac44bd54a1706000d6909c52f8d224103617f04c-3934x2924.jpg",3934,{"_type":51,"current":3951},"luigi-moretti","moretti","Luigi Moretti",{"_id":3955,"_type":88,"bioExtended":3956,"bioFull":3965,"bioShort":4028,"profileImage":4037,"seo":46,"slug":4041,"sortValue":4043,"title":4044},"4b9acc71-671b-4f59-aa62-f9a84ebf14f7",[3957],{"_key":3958,"_type":8,"children":3959,"markDefs":3964,"style":25},"c7114d48f1d4",[3960],{"_key":3961,"_type":12,"marks":3962,"text":3963},"bd770897cd2d",[],"Giuseppe Ostuni (Agrate Brianza, 1901 - Milan 1966) was an Italian lighting designer who transformed modern lighting with his innovative vision. He began his career in the 1920s at Gabbianelli and quickly gained acclaim for his elegant, functional designs. In 1945, he founded O-Luce, a company known for clean lines, geometric shapes, and modern materials like plexiglass and aluminum. His work was both practical and visually striking. Ostuni’s designs have been showcased in renowned institutions such as MoMA and the Triennale di Milano. Today, he remains a key figure in 20th-century design, continuing to influence contemporary lighting.\n",[],[3966,3974,3982,3990,3998,4006,4013,4020],{"_key":3967,"_type":8,"children":3968,"markDefs":3973,"style":25},"e37cb948ee48",[3969],{"_key":3970,"_type":12,"marks":3971,"text":3972},"11db4d83f665",[],"Giuseppe Ostuni was an Italian light designer who revolutionized the world of lighting with his innovative designs and creative approach. Born in 1901 in Agrate Brianza, Italy, Ostuni was a visionary who believed that lighting was an essential element in creating a harmonious and functional living space.",[],{"_key":3975,"_type":8,"children":3976,"markDefs":3981,"style":25},"37c31a9229cb",[3977],{"_key":3978,"_type":12,"marks":3979,"text":3980},"45b3f573f07e",[],"Ostuni's career began in the 1920s when he started working as a designer for the prestigious Italian lighting company, Gabbianelli. He quickly gained recognition for his unique designs that combined functionality with elegance and simplicity. His work caught the attention of many leading architects and designers of the time, and he soon became one of the most sought-after lighting designers in Italy.",[],{"_key":3983,"_type":8,"children":3984,"markDefs":3989,"style":25},"b2875f485c3d",[3985],{"_key":3986,"_type":12,"marks":3987,"text":3988},"35e3812dd54f",[],"In 1945, Ostuni founded his own lighting company, O-Luce, which became renowned for its innovative and avant-garde designs. His creations were characterized by clean lines, geometric shapes, and the use of new materials such as plexiglass and aluminum. His designs were not only aesthetically pleasing but also practical, providing the perfect balance of form and function.",[],{"_key":3991,"_type":8,"children":3992,"markDefs":3997,"style":25},"22f2066d7388",[3993],{"_key":3994,"_type":12,"marks":3995,"text":3996},"0e14b447944c",[],"Ostuni's work has been exhibited in some of the most prestigious museums and galleries around the world, including the Museum of Modern Art in New York and the Triennale di Milano. His designs have also been featured in numerous publications, including Domus, Casa Vogue, and Architectural Digest.",[],{"_key":3999,"_type":8,"children":4000,"markDefs":4005,"style":25},"779daef458fd",[4001],{"_key":4002,"_type":12,"marks":4003,"text":4004},"d763c09e37a4",[],"Today, Giuseppe Ostuni is considered one of the most influential lighting designers of the 20th century. His legacy continues to inspire designers and architects around the world, and his designs remain as relevant and innovative as they were when he first created them.",[],{"_key":4007,"_type":8,"children":4008,"markDefs":4012,"style":25},"a9c06a221ff6",[4009],{"_key":4010,"_type":12,"marks":4011,"text":316},"5894debdcc85",[],[],{"_key":4014,"_type":8,"children":4015,"markDefs":4019,"style":25},"4df0bcae1f15",[4016],{"_key":4017,"_type":12,"marks":4018,"text":316},"e35877a9c313",[],[],{"_key":4021,"_type":8,"children":4022,"markDefs":4027,"style":25},"6322788df5e1",[4023],{"_key":4024,"_type":12,"marks":4025,"text":4026},"fd82a03639d5",[315],"Source: Oluce",[],[4029],{"_key":4030,"_type":8,"children":4031,"markDefs":4036,"style":25},"604369ba689a",[4032],{"_key":4033,"_type":12,"marks":4034,"text":4035},"17f25a25e48e",[],"Giuseppe Ostuni (Agrate Brianza, 1901 - Milan, 1966)",[],{"alt":46,"asset":4038},{"_id":4039,"height":1012,"orientation":177,"ratio":178,"url":4040,"width":1012},"image-2e4eb768ff02a36b5f9a9fd921bebda26bee8940-800x800-jpg","https://cdn.sanity.io/images/w19bax1v/production/2e4eb768ff02a36b5f9a9fd921bebda26bee8940-800x800.jpg",{"_type":51,"current":4042},"giuseppe-ostuni","ostuni","Giuseppe Ostuni",{"_id":4046,"_type":88,"bioExtended":4047,"bioFull":4056,"bioShort":4137,"profileImage":4146,"seo":46,"slug":4153,"sortValue":4155,"title":4156},"d4abb2e7-1bfa-4706-bf3a-35f2364ea02a",[4048],{"_key":4049,"_type":8,"children":4050,"markDefs":4055,"style":25},"2d8f4ee7583f",[4051],{"_key":4052,"_type":12,"marks":4053,"text":4054},"c6ca1ac7d831",[],"Domenico (Ico) Parisi (Palermo, 1916 - Como, 1996) moved to Como in 1925. After earning a diploma in 1936, he worked with architect Giuseppe Terragni, meeting key figures in Italian culture. He co-founded Studio Alta Quota and served in WWII, documenting his experience through photography and drawings. Postwar, he collaborated with Luisa Aiani, whom he married in 1947. They opened La Ruota, a center for design and art. Parisi's work blended architecture and visual arts. In the 1970s, he explored existential living concepts. After Luisa’s death in 1990, he continued working until his own death in 1996.",[],[4057,4073,4081,4097,4105,4121,4129],{"_key":4058,"_type":8,"children":4059,"markDefs":4072,"style":25},"1718b33fe65e",[4060,4064,4068],{"_key":4061,"_type":12,"marks":4062,"text":4063},"324dd85b356f",[],"Domenico (Ico) Parisi was born in Palermo on September 23, 1916, to Sicilian parents who mostly lived in the Piedmont region of northern Italy. In 1925, the Parisi family moved to Como, where Ico earned his diploma as a building technician in 1936. After his studies, Parisi apprenticed at the firm of Terragni. This opportunity allowed him to meet key figures in Italian architecture, art, and culture of the time, including Cattaneo, Lingeri, Radice, Rho, Bontempelli, Bardi, Persico, Ciliberti, and Sartoris. He later founded a diverse design collective called ",{"_key":4065,"_type":12,"marks":4066,"text":4067},"2abca1fc5fca",[125],"Studio Tecnico Artistico Alta Quota",{"_key":4069,"_type":12,"marks":4070,"text":4071},"6919b891010c",[]," with fellow architects Fulvio Cappelletti, Giovanni Galfetti, and Silvio Longhi.",[],{"_key":4074,"_type":8,"children":4075,"markDefs":4080,"style":25},"a347167aabd1",[4076],{"_key":4077,"_type":12,"marks":4078,"text":4079},"26dad7588a20",[],"When Italy entered World War II, Parisi enlisted as a second lieutenant in the Ninth Pontieri Battalion, operating on the Russian front. Profoundly affected by the war, he documented his experiences through drawings and photography - an expressive medium he remained deeply attached to throughout his life. He was discharged from the military in 1943 and returned to Como, where he resumed his design work, focusing on custom furniture pieces, exhibition installations, and architectural interiors in collaboration with Luisa Aiani, the young widow of Giovanni Galfetti.",[],{"_key":4082,"_type":8,"children":4083,"markDefs":4096,"style":25},"b2150d863130",[4084,4088,4092],{"_key":4085,"_type":12,"marks":4086,"text":4087},"93aef04ef3db",[],"In 1947, he married Luisa, and in 1948, they opened their first furniture studio, named ",{"_key":4089,"_type":12,"marks":4090,"text":4091},"c8dbdb5a2c4b",[125],"La Ruota",{"_key":4093,"_type":12,"marks":4094,"text":4095},"bb06f66e89e0",[]," (“The Wheel”), which became a hub for design, art, exhibitions, and cultural events. In 1952, encouraged by his friend Sartoris, he completed his architecture degree at the Institute Athenaeum in Lausanne.",[],{"_key":4098,"_type":8,"children":4099,"markDefs":4104,"style":25},"223fed47465e",[4100],{"_key":4101,"_type":12,"marks":4102,"text":4103},"90be8ef837e2",[],"From the early 1950s onward, Parisi’s work as a furniture designer and architect became increasingly intense and prolific. From his earliest projects, he adopted a methodological approach inspired by figures such as Carlo Belli and Alberto Sartoris, integrating the pictorial arts into design by involving painters and sculptors in the creative process, thus paving the way for a new architectural language.",[],{"_key":4106,"_type":8,"children":4107,"markDefs":4120,"style":25},"da4b2bd1a55b",[4108,4112,4116],{"_key":4109,"_type":12,"marks":4110,"text":4111},"64283492260d",[],"The late 1960s marked a turning point in Parisi’s design research. He began to explore a new utopian and existential idea of living, without fully abandoning the design of buildings and furniture. These explorations, carried out with a group of artists, culminated in the project ",{"_key":4113,"_type":12,"marks":4114,"text":4115},"6a4f6e15550d",[125],"Ipotesi per una casa esistenziale",{"_key":4117,"_type":12,"marks":4118,"text":4119},"2134dde11390",[]," (“Hypothesis for an Existential House”) in 1972–1973, which was first presented in Paris in 1974. In 1986, the first retrospective of his work was held at the Pavilion of Contemporary Art in Milan.",[],{"_key":4122,"_type":8,"children":4123,"markDefs":4128,"style":25},"e576bf2da382",[4124],{"_key":4125,"_type":12,"marks":4126,"text":4127},"0bd790dd6a68",[],"In 1990, Luisa - his life partner and an inexhaustible source of creative energy - passed away suddenly. Deeply shaken, Parisi nonetheless continued his work and exhibitions.",[],{"_key":4130,"_type":8,"children":4131,"markDefs":4136,"style":25},"57d25e1acd0a",[4132],{"_key":4133,"_type":12,"marks":4134,"text":4135},"180b4121c2cf",[],"Ico Parisi died in Como on 19 December 1996.",[],[4138],{"_key":4139,"_type":8,"children":4140,"markDefs":4145,"style":25},"5ee1dd94a3ad",[4141],{"_key":4142,"_type":12,"marks":4143,"text":4144},"e048fb7e63c5",[],"Ico Parisi (Palermo, 1916 - Como, 1996)",[],{"alt":46,"asset":4147},{"_id":4148,"height":4149,"orientation":339,"ratio":4150,"url":4151,"width":4152},"image-07728624a07d2ab7f38a9241b9254a464e99b10f-692x709-jpg",709,0.9760225669957687,"https://cdn.sanity.io/images/w19bax1v/production/07728624a07d2ab7f38a9241b9254a464e99b10f-692x709.jpg",692,{"_type":51,"current":4154},"ico-parisi","parisi","Ico Parisi",{"_id":4158,"_type":88,"bioExtended":4159,"bioFull":4168,"bioShort":4304,"profileImage":4313,"seo":46,"slug":4320,"sortValue":4322,"title":4323},"e8387b64-15b1-4734-9e39-d23b3ad0fd49",[4160],{"_key":4161,"_type":8,"children":4162,"markDefs":4167,"style":25},"c7164dd393be",[4163],{"_key":4164,"_type":12,"marks":4165,"text":4166},"ac001583a1ed",[],"Gio Ponti (Milan, 1891 - Milan, 1979) graduated in Architecture in 1921. He co-founded his practice and the Milanese neo-classicists group, later creating innovative designs for Richard-Ginori, Christofle, and Venini. In 1928, he founded Domus magazine, promoting new design ideas. Ponti’s architectural works include the Pirelli Tower (1956), Villa Planchart, and Villa Arreaza. He also designed iconic furniture, such as the Leggera chair. As a professor at Milan Polytechnic from 1936, he later founded the Stile magazine. Ponti’s work evolved with a focus on surfaces, color, and light. ",[],[4169,4177,4185,4193,4201,4209,4217,4225,4233,4241,4249,4257,4265,4273,4281,4289,4296],{"_key":4170,"_type":8,"children":4171,"markDefs":4176,"style":25},"ea31bce417d3",[4172],{"_key":4173,"_type":12,"marks":4174,"text":4175},"2332a44767d9",[],"Gio Ponti was born in Milan on 18th November 1891, where he graduates at the Faculty of Architecture, Polytechnic in 1921.",[],{"_key":4178,"_type":8,"children":4179,"markDefs":4184,"style":25},"50b51de47825",[4180],{"_key":4181,"_type":12,"marks":4182,"text":4183},"2826dae9a869",[],"In the same year he opened his first practice with architects Emilio Lancia and Mino Fiocchi, joining the \"Milanese neo-classicists\" group. These were the years of the house in Via Randaccio in Milan and Villa Bouilhet at Garches in Paris.",[],{"_key":4186,"_type":8,"children":4187,"markDefs":4192,"style":25},"0f399da0dfce",[4188],{"_key":4189,"_type":12,"marks":4190,"text":4191},"688a7c45dd83",[],"With Lancia, Buzzi, Marelli, Venini and Chiesa, in 1927, he founded “Il Labirinto”, with the aim of producing avanguardistic high quality furniture.",[],{"_key":4194,"_type":8,"children":4195,"markDefs":4200,"style":25},"853eb2e4eb45",[4196],{"_key":4197,"_type":12,"marks":4198,"text":4199},"c9cf64e17944",[],"From 1923 to 1930, he was Richard-Ginori’s artistic director creating a refined porcelain collection awarded at the Paris expo in 1925.",[],{"_key":4202,"_type":8,"children":4203,"markDefs":4208,"style":25},"7eca414b37b0",[4204],{"_key":4205,"_type":12,"marks":4206,"text":4207},"25af6b2d0d80",[],"Contemporarly he designs for Christofle, Krupp, and Venini.",[],{"_key":4210,"_type":8,"children":4211,"markDefs":4216,"style":25},"2a6858a529ca",[4212],{"_key":4213,"_type":12,"marks":4214,"text":4215},"fea0101acdfd",[],"In 1928, he founded \"Domus\" magazine which he will direct throughout his life making it an instrument for spreading new design ideas in architecture, in interior design, in the decorative arts.",[],{"_key":4218,"_type":8,"children":4219,"markDefs":4224,"style":25},"183d80e6ea7a",[4220],{"_key":4221,"_type":12,"marks":4222,"text":4223},"23c52c1b2080",[],"From the end of the 1920s, are the first \"typical houses\", emblematically called ‹‹Domus››, where interest in rationalist theories was combined with the concept of Italianness.",[],{"_key":4226,"_type":8,"children":4227,"markDefs":4232,"style":25},"ba68c787195c",[4228],{"_key":4229,"_type":12,"marks":4230,"text":4231},"2d064055b273",[],"The association with Lancia ends in 1933, with the Rasini house at the Bastioni di Porta Venezia in Milan.",[],{"_key":4234,"_type":8,"children":4235,"markDefs":4240,"style":25},"32704e291929",[4236],{"_key":4237,"_type":12,"marks":4238,"text":4239},"76d9961f14c8",[],"To be remembered his commitment in the Milan Triennials (1930, 1933, 1936, 1940 and 1951) and, with the Ponti-Fornaroli-Soncini studio until 1945, the Palazzo Montecatini, the Palazzo RAI, the Rectorate of the University of Padua, the Institute of Mathematics of Rome, Casa Marmont and Casa Laporte in Milan, Villa Donegani in Bordighera.",[],{"_key":4242,"_type":8,"children":4243,"markDefs":4248,"style":25},"c0b162495e6f",[4244],{"_key":4245,"_type":12,"marks":4246,"text":4247},"3634e3301647",[],"From 1936 he is professor at the Faculty of Architecture of the Milan Polytechnic.",[],{"_key":4250,"_type":8,"children":4251,"markDefs":4256,"style":25},"6343ed6f3be1",[4252],{"_key":4253,"_type":12,"marks":4254,"text":4255},"7f2ede883228",[],"In 1941 he founded the magazine ‹‹Stile››, which he directed until 1947 and in 1954 he invented the \"Compasso d'Oro\".",[],{"_key":4258,"_type":8,"children":4259,"markDefs":4264,"style":25},"7795701ce56e",[4260],{"_key":4261,"_type":12,"marks":4262,"text":4263},"f05af2f77bef",[],"Since the early 1950s – and since 1952 associated with Fornaroli and Rosselli - Ponti has launched an extraordinary series of projects, an expression of the theory of the \"finished form\", in the field of furniture with \"organized walls\" (self-illuminating furniture, furnished windows, panel dashboard), the design of iconic furniture for Cassina (from the Leggera chair from 1951, to the Distex and Round armchair from 1956) and of architectures, as for instance the Villa Planchart and Villa Arreaza in Caracas and Villa Nemazee in Tehran. And of course, the Pirelli Tower, 1956, and the \"Superleggera\" chair, 1957.",[],{"_key":4266,"_type":8,"children":4267,"markDefs":4272,"style":25},"0d7895cedb8d",[4268],{"_key":4269,"_type":12,"marks":4270,"text":4271},"b86d3467bf1a",[],"In the 1960s, Ponti's attention shifts to surfaces, color and light.",[],{"_key":4274,"_type":8,"children":4275,"markDefs":4280,"style":25},"5b36e95cc364",[4276],{"_key":4277,"_type":12,"marks":4278,"text":4279},"abc6e3244d48",[],"Among these years are, among others, the project of the Hotel Parco dei Principi in Sorrento, the churches of San Francesco and San Carlo in Milan, the facade of the Bijenkorf in Einhoven in the Netherlands, that of the INA Palace in Via San Paolo in Milan, the Pakistan House Hotel in Islamabad, up to, in the 70s, the Denver Museum in Colorado and the Cathedral of Taranto where the work on the surfaces is accentuated until the dematerialization and the architecture becomes a perforated sheet, which in its play with light, with folds and transparencies, dissolves the volumes.",[],{"_key":4282,"_type":8,"children":4283,"markDefs":4288,"style":25},"4dbc9c90e270",[4284],{"_key":4285,"_type":12,"marks":4286,"text":4287},"a7a5a5846969",[],"Gio Ponti died in Milan in September 1979.",[],{"_key":4290,"_type":8,"children":4291,"markDefs":4295,"style":25},"80791635fa6a",[4292],{"_key":4293,"_type":12,"marks":4294,"text":316},"3bcea54e8800",[],[],{"_key":4297,"_type":8,"children":4298,"markDefs":4303,"style":25},"dcfabd0dc53b",[4299],{"_key":4300,"_type":12,"marks":4301,"text":4302},"45d1a92f967d",[315,314],"Courtesy Salvatore Licitra, Gio Ponti Archives",[],[4305],{"_key":4306,"_type":8,"children":4307,"markDefs":4312,"style":25},"19084b969385",[4308],{"_key":4309,"_type":12,"marks":4310,"text":4311},"c8817fb5cbe2",[],"Gio Ponti (Milan, 1891 - Milan, 1979)",[],{"alt":46,"asset":4314},{"_id":4315,"height":4316,"orientation":339,"ratio":4317,"url":4318,"width":4319},"image-c5a3d6f816227b9362bb115fd46581d5b916f40c-801x1181-jpg",1181,0.6782387806943269,"https://cdn.sanity.io/images/w19bax1v/production/c5a3d6f816227b9362bb115fd46581d5b916f40c-801x1181.jpg",801,{"_type":51,"current":4321},"gio-ponti","ponti","Gio Ponti",{"_id":4325,"_type":88,"bioExtended":4326,"bioFull":4391,"bioShort":4445,"profileImage":4454,"seo":46,"slug":4461,"sortValue":4463,"title":4464},"7372c00e-591b-480f-80e8-145e9f2276b8",[4327,4335,4343,4383],{"_key":4328,"_type":8,"children":4329,"markDefs":4334,"style":25},"14b903dfd20e",[4330],{"_key":4331,"_type":12,"marks":4332,"text":4333},"1bf3fb337a93",[],"An architect, urban planner, and designer among the most original figures of 20th-century Italian culture, Gustavo Pulitzer Finali pursued a multidisciplinary approach that, spanning architecture and the outfitting of ocean liners, played a decisive role in shaping the modern language of interiors in Italy.",[],{"_key":4336,"_type":8,"children":4337,"markDefs":4342,"style":25},"a5ff447051aa",[4338],{"_key":4339,"_type":12,"marks":4340,"text":4341},"e103c379b815",[],"Born in Trieste into a family of Central European origin, he studied engineering at the Polytechnic University of Munich, acquiring a technical education that remained central to his approach to design. From the 1920s onwards, he established himself as a leading figure in Italian interior architecture, distinguished by a method that conceived spaces, furniture, and objects as elements of a unified system, combining technical innovation, artisanal craftsmanship, and industrial production. ",[],{"_key":4344,"_type":8,"children":4345,"markDefs":4382,"style":25},"21eedff9d46e",[4346,4350,4354,4358,4362,4366,4370,4374,4378],{"_key":4347,"_type":12,"marks":4348,"text":4349},"b57a8dbe1d04",[],"A key representative of the so-called “Triestine school” of naval architecture, he was responsible for some of the most advanced fittings of Italian ocean liners between the two World Wars and in the postwar period. His naval career began in 1925 with the salons of the ",{"_key":4351,"_type":12,"marks":4352,"text":4353},"bfd296cb3a26",[125],"Saturnia",{"_key":4355,"_type":12,"marks":4356,"text":4357},"e87e52ea2866",[],", followed by the ",{"_key":4359,"_type":12,"marks":4360,"text":4361},"32b4fc0e093c",[125],"Vulcania",{"_key":4363,"_type":12,"marks":4364,"text":4365},"488bc0f87dfa",[]," and the ",{"_key":4367,"_type":12,"marks":4368,"text":4369},"8251046a8527",[125],"Conte Grande",{"_key":4371,"_type":12,"marks":4372,"text":4373},"38dac2335e59",[],". With the Victoria for Lloyd Triestino (1930), he achieved international acclaim, introducing modern spatial solutions that transcended the traditional decorative vocabulary of ship interiors. In the following years, he realized the layouts of numerous prestigious vessels, including the ",{"_key":4375,"_type":12,"marks":4376,"text":4377},"b60bb7025b99",[125],"Andrea Doria",{"_key":4379,"_type":12,"marks":4380,"text":4381},"41d2a8a677f6",[],", at the invitation of Gio Ponti, where luxury and elegance were combined with Central European cultural references and a clear dialogue with Rationalist aesthetics.",[],{"_key":4384,"_type":8,"children":4385,"markDefs":4390,"style":25},"4f827a44663c",[4386],{"_key":4387,"_type":12,"marks":4388,"text":4389},"9f6e9df5f1ea",[],"Alongside his work at the scale of interiors, he contributed to major urban and architectural projects, including the planning of the mining town of Carbonia in the late 1930s with Ignazio Guidi and Cesare Valle, and the design of the town of Arsia in Istria.",[],[4392,4400,4437],{"_key":4393,"_type":8,"children":4394,"markDefs":4399,"style":25},"3e1c795f8c06",[4395],{"_key":4396,"_type":12,"marks":4397,"text":4398},"0b5d76a33ccd",[],"Gustavo Pulitzer Finali (Trieste, 1887 – Trieste, 1967) was an architect, designer, and urban planner who played a major role in shaping modern interior design in Italy. Born into a family of Central European origin, he studied engineering at the Technical University of Munich, an education that strongly informed his technical and systematic approach to design.",[],{"_key":4401,"_type":8,"children":4402,"markDefs":4436,"style":25},"6ea650e9ca10",[4403,4407,4410,4414,4417,4421,4424,4428,4432],{"_key":4404,"_type":12,"marks":4405,"text":4406},"b812ea67e591",[],"From the 1920s onward he became a leading figure in Italian interior architecture, developing a method that treated space, furniture, and objects as part of a unified design system. Closely associated with the “Triestine school” of naval architecture, he designed the interiors of major Italian ocean liners, including the ",{"_key":4408,"_type":12,"marks":4409,"text":4353},"943698007c93",[125],{"_key":4411,"_type":12,"marks":4412,"text":4413},"e4fb3caf1ff9",[],", ",{"_key":4415,"_type":12,"marks":4416,"text":4361},"83a4e16eb998",[125],{"_key":4418,"_type":12,"marks":4419,"text":4420},"09f664731c28",[],", and ",{"_key":4422,"_type":12,"marks":4423,"text":4369},"bfff3f928f78",[125],{"_key":4425,"_type":12,"marks":4426,"text":4427},"751c7f3b2dfd",[],". With the liner ",{"_key":4429,"_type":12,"marks":4430,"text":4431},"79f56823dd0f",[125],"Victoria",{"_key":4433,"_type":12,"marks":4434,"text":4435},"7c1a21ce01bd",[]," for Lloyd Triestino he gained international recognition, introducing modern spatial solutions that departed from the traditional decorative vocabulary of ship interiors.",[],{"_key":4438,"_type":8,"children":4439,"markDefs":4444,"style":25},"2d48dab4f291",[4440],{"_key":4441,"_type":12,"marks":4442,"text":4443},"e975966c6ce2",[],"Alongside his work in interior design, he contributed to important urban projects, including the planning of the mining town of Carbonia with Ignazio Guidi and Cesare Valle, and the design of the town of Arsia in Istria.",[],[4446],{"_key":4447,"_type":8,"children":4448,"markDefs":4453,"style":25},"c42f11fd2211",[4449],{"_key":4450,"_type":12,"marks":4451,"text":4452},"89290007f608",[],"Gustavo Pulitzer Finali (Trieste, 1887 – Genoa, 1967)",[],{"alt":46,"asset":4455},{"_id":4456,"height":4457,"orientation":339,"ratio":4458,"url":4459,"width":4460},"image-34831b9fb945551ebdd10113bc62932a09a59530-2126x2546-jpg",2546,0.8350353495679497,"https://cdn.sanity.io/images/w19bax1v/production/34831b9fb945551ebdd10113bc62932a09a59530-2126x2546.jpg",2126,{"_type":51,"current":4462},"gustavo-pulitzer-finali","pulitzer finali","Gustavo Pulitzer Finali",{"_id":4466,"_type":88,"bioExtended":4467,"bioFull":4476,"bioShort":4673,"profileImage":4682,"seo":4689,"slug":4691,"sortValue":4693,"title":4694},"13ff7995-7a0b-40dd-b4d7-ecbd0bdcd549",[4468],{"_key":4469,"_type":8,"children":4470,"markDefs":4475,"style":25},"4962d4085624",[4471],{"_key":4472,"_type":12,"marks":4473,"text":4474},"6a5964f20981",[],"Ludovico Quaroni (Rome, 1911–1987) was a prominent Italian architect and urban planner. Graduated from La Sapienza in 1934, he co-founded a studio with Fariello and Muratori. He contributed to Italy's reconstruction, co-founding APAO and serving as INU vice president. Key works include Rome’s INA-Casa Tiburtino neighborhood, La Martella village in Matera, and Gibellina’s Mother Church. He taught at major Italian universities and authored influential texts. Quaroni received numerous awards and contributed to major journals. His archives are held by the Adriano Olivetti Foundation and are being catalogued.\n",[],[4477,4485,4493,4501,4509,4517,4525,4533,4541,4549,4565,4657,4665],{"_key":4478,"_type":8,"children":4479,"markDefs":4484,"style":25},"79f36b0b8815",[4480],{"_key":4481,"_type":12,"marks":4482,"text":4483},"168855d034a4",[],"Ludovico Quaroni was born in Rome on March 21, 1911.",[],{"_key":4486,"_type":8,"children":4487,"markDefs":4492,"style":25},"635f85c6036d",[4488],{"_key":4489,"_type":12,"marks":4490,"text":4491},"c124f744ae24",[],"He obtained his classical high school diploma in 1928 and graduated with honors in Architecture from the University of Rome La Sapienza in 1934. That same year, he qualified as a licensed architect at the Politecnico di Milano and opened his first studio in Rome with Francesco Fariello and Saverio Muratori.",[],{"_key":4494,"_type":8,"children":4495,"markDefs":4500,"style":25},"fe4550b30801",[4496],{"_key":4497,"_type":12,"marks":4498,"text":4499},"a508f1b7985e",[],"During the 1930s, he participated in numerous national and international competitions, presenting forward-thinking proposals—including designs for the new Auditorium in Rome, the urban plan for Aprilia, and the Piazza Imperiale in the E42 district of Rome, the latter awarded ex aequo with Luigi Moretti.",[],{"_key":4502,"_type":8,"children":4503,"markDefs":4508,"style":25},"e46044c26816",[4504],{"_key":4505,"_type":12,"marks":4506,"text":4507},"e3ce28dbaaa7",[],"In 1940, Quaroni was drafted into military service. Captured by the British, he spent five years as a prisoner of war in India, where he continued to design housing and gave architecture lessons to fellow prisoners. He returned to Italy in 1946.",[],{"_key":4510,"_type":8,"children":4511,"markDefs":4516,"style":25},"66f9300151da",[4512],{"_key":4513,"_type":12,"marks":4514,"text":4515},"f4174524c48f",[],"In the postwar years, he played a leading role in the reconstruction of the country. He was a founding member of APAO (Association for Organic Architecture), established by Bruno Zevi, and served as vice president of the INU (National Institute of Urban Planning).",[],{"_key":4518,"_type":8,"children":4519,"markDefs":4524,"style":25},"8b08fa3e13a5",[4520],{"_key":4521,"_type":12,"marks":4522,"text":4523},"a96ea461ebf2",[],"Together with Mario Ridolfi, he participated in the competition for the new Termini Station (1947) and designed the INA-Casa neighborhood in Tiburtino, Rome (1947–1955)—both emblematic projects of architectural Neorealism during Italy’s reconstruction.",[],{"_key":4526,"_type":8,"children":4527,"markDefs":4532,"style":25},"3371fdc1110d",[4528],{"_key":4529,"_type":12,"marks":4530,"text":4531},"d78336099db0",[],"In the 1950s, he also worked on the design of housing in the village of La Martella in Matera, with a focus on social interaction and community life. His project included the design of the village church.",[],{"_key":4534,"_type":8,"children":4535,"markDefs":4540,"style":25},"fcd550aa78b4",[4536],{"_key":4537,"_type":12,"marks":4538,"text":4539},"e312220239da",[],"In the 1970s, he designed the monumental Mother Church in Gibellina, Sicily, as part of the reconstruction efforts following the Belice Valley earthquake.",[],{"_key":4542,"_type":8,"children":4543,"markDefs":4548,"style":25},"75ad52917fee",[4544],{"_key":4545,"_type":12,"marks":4546,"text":4547},"7737e93d18e9",[],"Alongside his architectural practice, Quaroni was deeply committed to teaching. Beginning in 1936, he worked as an assistant to Enrico Del Debbio, Marcello Piacentini, and Plinio Marconi at La Sapienza. From 1940 onward, he held professorships at several universities: Rome, Naples (1951–1955), Florence (1957–1964), and again in Rome, where he taught until 1981.",[],{"_key":4550,"_type":8,"children":4551,"markDefs":4564,"style":25},"13ff0f6cff0a",[4552,4556,4560],{"_key":4553,"_type":12,"marks":4554,"text":4555},"6aa7dae720f5",[],"He received numerous honors throughout his career, including the Diplôme de Grand Prix at the ",{"_key":4557,"_type":12,"marks":4558,"text":4559},"22b3015e7dff",[125],"Exposition Internationale de l’Urbanisme et de l’Habitation",{"_key":4561,"_type":12,"marks":4562,"text":4563},"c1178cd801d1",[]," (1947), the Olivetti Prize for Urban Planning (1956), the IN/Arch Award (National Institute of Architecture), as well as multiple accolades at the Milan Triennale across six editions.",[],{"_key":4566,"_type":8,"children":4567,"markDefs":4656,"style":25},"6e800cf06405",[4568,4572,4576,4580,4584,4587,4591,4594,4598,4601,4605,4608,4612,4616,4620,4624,4628,4632,4636,4640,4644,4648,4652],{"_key":4569,"_type":12,"marks":4570,"text":4571},"b1c3ffe3ffc9",[],"Quaroni was also an active contributor to several architectural journals, including ",{"_key":4573,"_type":12,"marks":4574,"text":4575},"1ca9dca690fe",[125],"Metron",{"_key":4577,"_type":12,"marks":4578,"text":4579},"41625f66b17c",[],", ",{"_key":4581,"_type":12,"marks":4582,"text":4583},"ea66e9ea09d6",[125],"Urbanistica",{"_key":4585,"_type":12,"marks":4586,"text":4579},"54509e0d39a6",[],{"_key":4588,"_type":12,"marks":4589,"text":4590},"923b3e321a67",[125],"Comunità",{"_key":4592,"_type":12,"marks":4593,"text":4579},"13b0a3959468",[],{"_key":4595,"_type":12,"marks":4596,"text":4597},"d5b8af74be45",[125],"Casabella",{"_key":4599,"_type":12,"marks":4600,"text":4579},"49315b3eb1fc",[],{"_key":4602,"_type":12,"marks":4603,"text":4604},"2ab6f4dc4d1e",[125],"Architettura d’oggi",{"_key":4606,"_type":12,"marks":4607,"text":4579},"9064d3a7c123",[],{"_key":4609,"_type":12,"marks":4610,"text":4611},"45eac174a4a3",[125],"La Casa",{"_key":4613,"_type":12,"marks":4614,"text":4615},"974257841c34",[],", and ",{"_key":4617,"_type":12,"marks":4618,"text":4619},"3bbe9a57c07d",[125],"Architettura: cronache e storia",{"_key":4621,"_type":12,"marks":4622,"text":4623},"0dce4fece2d8",[],". He curated the series ",{"_key":4625,"_type":12,"marks":4626,"text":4627},"6366140d8548",[125],"Planning & Design",{"_key":4629,"_type":12,"marks":4630,"text":4631},"a8de553c8a46",[],"and, starting in 1977, served on the editorial board of ",{"_key":4633,"_type":12,"marks":4634,"text":4635},"3c23ee63acb8",[125],"Parametro",{"_key":4637,"_type":12,"marks":4638,"text":4639},"75e7c50fa071",[],". His published works include ",{"_key":4641,"_type":12,"marks":4642,"text":4643},"5b01e9da79ee",[125],"La Torre di Babele",{"_key":4645,"_type":12,"marks":4646,"text":4647},"3aab593222a0",[]," (1967) and ",{"_key":4649,"_type":12,"marks":4650,"text":4651},"03dce16b57f8",[125],"Progettare un edificio. Otto lezioni di architettura",{"_key":4653,"_type":12,"marks":4654,"text":4655},"b345330b5aae",[]," (1977)—originally conceived as course material for the 1974–75 academic year and still used as a university text today.",[],{"_key":4658,"_type":8,"children":4659,"markDefs":4664,"style":25},"fbdf51405a10",[4660],{"_key":4661,"_type":12,"marks":4662,"text":4663},"ff98e738f58a",[],"Ludovico Quaroni passed away in Rome on July 22, 1987.",[],{"_key":4666,"_type":8,"children":4667,"markDefs":4672,"style":25},"59e6a98a583d",[4668],{"_key":4669,"_type":12,"marks":4670,"text":4671},"944a3b9b100e",[],"His personal and professional archive—including drawings, design materials, and private correspondence—is preserved at the Adriano Olivetti Foundation and is currently undergoing cataloguing.",[],[4674],{"_key":4675,"_type":8,"children":4676,"markDefs":4681,"style":25},"c45c317b77b3",[4677],{"_key":4678,"_type":12,"marks":4679,"text":4680},"80bbe5449151",[],"(Rome, 1911 - Rome, 1987)",[],{"alt":46,"asset":4683},{"_id":4684,"height":4685,"orientation":819,"ratio":4686,"url":4687,"width":4688},"image-a0311a546bd08ad02f57024c7fd47257a6172c05-596x507-jpg",507,1.175542406311637,"https://cdn.sanity.io/images/w19bax1v/production/a0311a546bd08ad02f57024c7fd47257a6172c05-596x507.jpg",596,{"metaDescription":46,"metaTitle":4690,"shareImage":46},"Page about the designer Ludovico Quaroni",{"_type":51,"current":4692},"ludovico-quaroni","quaroni","Ludovico Quaroni",{"_id":4696,"_type":88,"bioExtended":4697,"bioFull":4706,"bioShort":4715,"profileImage":4724,"seo":46,"slug":4731,"sortValue":4733,"title":4734},"75a1e89e-e5d8-44a0-8775-53624f705973",[4698],{"_key":4699,"_type":8,"children":4700,"markDefs":4705,"style":25},"2833ea4fe7e7",[4701],{"_key":4702,"_type":12,"marks":4703,"text":4704},"7d4f062e0f53",[],"Umberto Riva (Milan, 1928 – Palermo, 2021) was an Italian architect and designer. He graduated in architecture from Venice in 1959 and began his career in Milan in 1960. His work spanned urban planning, buildings, interiors, and furniture design. Notable projects include houses in Stintino (1960) and Osmate (1975), the school in Faedis (1977), and Piazza San Nazaro in Milan (1989-1992). His interior projects include Casa Frea (1983) and the renovation of Caffè Pedrocchi (1994-1998). Riva’s work was exhibited internationally, including at the Paris Biennial and La Triennale di Milano. He received multiple awards, including the Gold Medal for Italian Architecture.",[],[4707],{"_key":4708,"_type":8,"children":4709,"markDefs":4714,"style":25},"5e1ee21376a0",[4710],{"_key":4711,"_type":12,"marks":4712,"text":4713},"66f46b0ce5c5",[],"Umberto Riva (Milan, 1928 – Palermo, 2021) was an Italian architect and designer. He studied architecture in Venice, graduating in 1959.\nHis professional activity began in Milan in 1960. His projects evolve on diverse scales ranging from urban spaces to individual buildings, landscape and interiors, and furnishing to furniture and lamp design.\nSince the beginning, his works have been published in the principal design magazines. Among the architectural projects: the houses in Stintino, Sardinia (1960) and in Osmate (1975); the school of Faedis (1977); Piazza San Nazaro in Milan (1989-1992); Casa Miggiano in Otranto (1990-1996); Case alla Morlana in Bergamo (1991 and 1995-2002); the Fincantieri shipyard, Castellammare (1999-2002); Piazza della Farnesina in Rome (1991 and 1996-2002) and the San Corbiniano Church located in the Infernetto suburb in Rome (2011).\nAmong the interiors: Casa Frea in Milan (1983-1984); Casa Insinga in Milan (1987); Casa Vernizzi in Paris (1988); the IB Office store in Padua (1992); the layout of the atrium, bar and library of the Palazzo dell’Arte in Milan (1994-1995); the renovation of Caffè Pedrocchi in Padua (1994-1998); the architectural new arrangement of Palazzo Barbaran da Porto in Vicenza(1998).\nHis projects have been exhibited in many international exhibition including the Paris Biennial and La Triennale di Milano. Among the majors exhibitions: “Umberto Riva. Sistemazioni Urbane”, Palazzo Bosdari in Ancona (1997); “Disegni di Architettura dal Dopoguerra ad oggi, dalla collezione di Francesco Moschini” at the Scuderie Medicee di Poggio in Caiano (2002); “Rooms You May Have Missed: Bijoy Jain, Umberto Riva” at the CCA of Montreal (2015).\nSince 1999 he had been member of the Accademia di San Luca; in 2003 and in 2018 he was awarded the Gold Medal for Italian Architecture by La Triennale di Milano.",[],[4716],{"_key":4717,"_type":8,"children":4718,"markDefs":4723,"style":25},"f03187d6f456",[4719],{"_key":4720,"_type":12,"marks":4721,"text":4722},"a6f688f590dd",[],"Umberto Riva (Milan, 1928 – Palermo, 2021)",[],{"alt":46,"asset":4725},{"_id":4726,"height":4727,"orientation":339,"ratio":4728,"url":4729,"width":4730},"image-13de45c68b75a28045454900fde35d412c11132f-672x1012-png",1012,0.6640316205533597,"https://cdn.sanity.io/images/w19bax1v/production/13de45c68b75a28045454900fde35d412c11132f-672x1012.png",672,{"_type":51,"current":4732},"umberto-riva","riva","Umberto Riva",{"_id":4736,"_type":88,"bioExtended":4737,"bioFull":4746,"bioShort":4801,"profileImage":4810,"seo":46,"slug":4817,"sortValue":4819,"title":4820},"071a5b49-ed5f-4a4b-ba55-64020a792eb6",[4738],{"_key":4739,"_type":8,"children":4740,"markDefs":4745,"style":25},"0753ce002e02",[4741],{"_key":4742,"_type":12,"marks":4743,"text":4744},"845db3e452b0",[],"Gino Sarfatti (Venice, 1912 - Griante, 1985) initially studied Aeronautical Engineering before shifting to lighting design. In 1938, he founded his own lighting company, Arteluce, which became renowned for its innovative designs. Sarfatti’s work was showcased in major exhibitions, including the Triennale in Milan, and won the Compasso d’Oro in 1954. In 1962, Arteluce moved to a new store designed by Vittoriano Viganò. Sarfatti sold the company to Flos in 1973 and retired to Lake Como. His legacy endures through his influential lighting designs and contributions to Italian modernism.",[],[4747,4755,4763,4771,4779,4786],{"_key":4748,"_type":8,"children":4749,"markDefs":4754,"style":25},"dc7b4d2c4bd3",[4750],{"_key":4751,"_type":12,"marks":4752,"text":4753},"0e7056f16b6f",[],"Gino Sarfatti was born in Venice on September 16th, 1912.",[],{"_key":4756,"_type":8,"children":4757,"markDefs":4762,"style":25},"de63f4f8f8ad",[4758],{"_key":4759,"_type":12,"marks":4760,"text":4761},"98023d483421",[],"The Sarfatti family became established in Venice as early as the fourtheenth century (the Sarfatti name is derived from “Zarfatti” the denomination used for French Jewish). Childhood for Gino Sarfatti was definitely marked by economic well-being and the cosmopolitan atmosphere that characterized Venice in the early twenthieth century. After classical studies, in 1930, Gino Sarfatti moved to Genoa to enrol in the faculty of Aeronautical Engineering, as an extremely brilliant student. However, due to the snowballing political situation, at 23 years of age, young Sarfatti was forced to interrupt his studies and seek work. A positive outcome to this reversal of fortune occurred when a family friend, owner of a business in Murano that produced blown glass for lamps, introduced him to the theme of lighting. Soon, he decided to move to Milan where, not long after, with Aldo Valcarenghi and Dino Mondolfi, Sarfatti founded his first lighting company, Lumen, which grew rapidly becoming one of the most important firms in the sector. In 1938 Sarfatti left Lumen to found his own small lighting workshop, Arte Luce (the two words were originally sometimes separated). Arteluce, with great foresight, opened a first store on the very central Corso Littorio, today Corso Matteotti, at no. 12, in the building designed by Gio Ponti, Palazzo Ferrania, close to Scaglia and Casa&Giardino, the stores that in the immediate pre-war sell products suited to the times. Arteluce advertising appeared in “Domus” and “Stile” the new magazines founded by Gio Ponti in 1941, and partecipates at the 7th Triennial in Milan in 1940. Due to the racial persecutions, Sarfatti was forced to move with his family to Switzerland, and Arteluce production was temporarly moved to Albavilla. Immediately after Liberation, Sarfatti came back to Milan and in 1950 took a long and fundamental trip to the U.S.. During his absence, he entrusted the artistic direction of Arteluce to his friend Vittoriano Viganò, who was to mark that period and the future of the firm with his own style. Products of that period were the ceiling lights with large articulated arms, with cones of various functions, like light mobiles. In 1953, it was time to renovate the store in Via Matteotti, and Sarfatti assigned the renovation project to Zanuso.",[],{"_key":4764,"_type":8,"children":4765,"markDefs":4770,"style":25},"51a78f28c793",[4766],{"_key":4767,"_type":12,"marks":4768,"text":4769},"5475550459c7",[],"In 1950 some important pieces by Arteluce were included in the exhibition “MUSA: Italy at Work – Her Renaissance in Design Today” in Chicago. In 1952 eleven Arteluce pieces were included in the “Exhibition of Italian Decorative Arts” in Paris curated by Franco Albini. In 1954 lapm model 559 won the Compasso d’Oro Prize and in the same year, at the X Triennial, models 1063 and 1065 won the “Gran Premio”. From then on, Sarfatti constantly partecipated in the Triennial until 1973, when he receive another Gold Medal. The year 1962 was a milestone year for Sarfatti and Arteluce. The historic store on Via Matteotti closed its door and moved to a new larger space in Via della Spiga: a revolutionary project by Vittoriano Viganò. The orders increased rapidly, particularly the “custom designed” projects and the ship fitttings, as for instance the ones for the cruise ships Michelangelo and Raffaello and the great “cloud” chandelier for the Teatro Regio by Carlo Mollino in Turin.",[],{"_key":4772,"_type":8,"children":4773,"markDefs":4778,"style":25},"35f5f25fcfc2",[4774],{"_key":4775,"_type":12,"marks":4776,"text":4777},"304184252c04",[],"Sarfatti was not someone who delegated easily and he continue to rely on a few trusted and tested collaborators including architects Maria Luisa Vignelli, Annamaria Costanza Fattori, Jole Sarfatti, the sons Roberto and Riccardo, and Riccardos’ wife Sandra Severi. In 1973, the year that marked the greatest profit in Arteluce’s history, Sarfatti made an unpredictable decision: on December 24th he sold his entire holding to the Flos group. From this moment on, his relations with the world of design were cut off very sharply, even though, in the meantime, a “historic” interest in the story of Arteluce began to emerge. In 1974 he retired to live in his house on Lake Como, in Griante. Gino Sarfatti died on March 6th 1985, in Gravedona.",[],{"_key":4780,"_type":8,"children":4781,"markDefs":4785,"style":25},"5319fbb9a798",[4782],{"_key":4783,"_type":12,"marks":4784,"text":316},"497067cef204",[],[],{"_key":4787,"_type":8,"children":4788,"markDefs":4800,"style":25},"bfc6b82ae48c",[4789,4793,4796],{"_key":4790,"_type":12,"marks":4791,"text":4792},"0620fa78aa15",[125,314,315],"Excerpt from M. Romanelli, S. Severi, “Gino Sarfatti Opere scelte 1938-1973”, Silvana Editoriale, Cinisello Balsamo (Milano) 2012",{"_key":4794,"_type":12,"marks":4795,"text":1763},"76f22d4c8155",[314,315],{"_key":4797,"_type":12,"marks":4798,"text":4799},"54c43b86e6e8",[125,125,314,315],"Photo Courtesy Archivio Storico Flos",[],[4802],{"_key":4803,"_type":8,"children":4804,"markDefs":4809,"style":25},"6590a5e994b1",[4805],{"_key":4806,"_type":12,"marks":4807,"text":4808},"9c9afdfc9cf0",[],"Gino Sarfatti (Venice, 1912 - Griante, 1985)",[],{"alt":46,"asset":4811},{"_id":4812,"height":4813,"orientation":819,"ratio":4814,"url":4815,"width":4816},"image-e92e3d1fbd241da57942c3e012f9c98ecd1e24cf-1000x989-jpg",989,1.0111223458038423,"https://cdn.sanity.io/images/w19bax1v/production/e92e3d1fbd241da57942c3e012f9c98ecd1e24cf-1000x989.jpg",1000,{"_type":51,"current":4818},"gino-sarfatti","sarfatti","Gino Sarfatti",{"_id":4822,"_type":88,"bioExtended":4823,"bioFull":4832,"bioShort":4888,"profileImage":4897,"seo":46,"slug":4903,"sortValue":4905,"title":4906},"5032b24e-a2c7-4e19-8ee3-bb6202323cad",[4824],{"_key":4825,"_type":8,"children":4826,"markDefs":4831,"style":25},"4208732a5052",[4827],{"_key":4828,"_type":12,"marks":4829,"text":4830},"77e0197181d8",[],"Tobia Scarpa (Venice, 1935) graduated in Architecture from IUAV University in 1957. That year, he began working with Venini, succeeding Massimo Vignelli and continuing after Paolo Venini’s death. Though he started in glass, Scarpa gained international fame as a designer and architect. With his wife Afra Bianchin, he founded a studio and collaborated with major brands like Flos, B&B Italia, and Knoll. He also designed architecture for Benetton. In the 2000s, he taught at IUAV and received the Compasso d’Oro for lifetime achievement in 2008.\n",[],[4833,4840,4848,4864,4872,4880],{"_key":4834,"_type":8,"children":4835,"markDefs":4839,"style":25},"c665a14377de",[4836],{"_key":4837,"_type":12,"marks":4838,"text":1763},"b9ed916a1ae9",[],[],{"_key":4841,"_type":8,"children":4842,"markDefs":4847,"style":25},"0c48b07cc95f",[4843],{"_key":4844,"_type":12,"marks":4845,"text":4846},"c251b1a0ac0b",[],"Tobia Scarpa was born in Venice on January 1, 1935.",[],{"_key":4849,"_type":8,"children":4850,"markDefs":4863,"style":25},"400101d22ca3",[4851,4855,4859],{"_key":4852,"_type":12,"marks":4853,"text":4854},"571a1938a392",[],"\nHe graduated in Architecture from the IUAV University of Venice in 1957. That same year, Tobia Scarpa began collaborating with the historic Venini glassworks, just as his father Carlo had done. He succeeded Massimo Vignelli, who had left for the United States, and worked with the company until 1962, continuing even after Paolo Venini’s death in 1959. Among his projects, the ",{"_key":4856,"_type":12,"marks":4857,"text":4858},"0a62f3925088",[125],"Occhi",{"_key":4860,"_type":12,"marks":4861,"text":4862},"8b3f97ca5ebc",[]," series stands out, in which geometric murrine, with a transparent core and colored border, compose a refined visual grid that reinterprets motifs previously explored by his father.",[],{"_key":4865,"_type":8,"children":4866,"markDefs":4871,"style":25},"5e622547a624",[4867],{"_key":4868,"_type":12,"marks":4869,"text":4870},"9709ca2be702",[],"Although he began in the world of glass, Tobia Scarpa achieved international acclaim primarily as a designer and architect. Together with his wife Afra Bianchin, whom he met during university and who was his creative partner for over fifty years, he opened a design studio in Montebelluna, her hometown. From there began a long period of collaborations with some of the most prestigious Italian and international companies, including Gavina, Cassina, Meritalia, Flos, B&B Italia, C&B, Molteni&C, Unifor, and Knoll.",[],{"_key":4873,"_type":8,"children":4874,"markDefs":4879,"style":25},"8228674d5209",[4875],{"_key":4876,"_type":12,"marks":4877,"text":4878},"c9fab48cdc35",[],"In parallel, Tobia Scarpa dedicated himself to architecture, designing villas, public buildings, industrial plants, and numerous international stores for the Benetton group.",[],{"_key":4881,"_type":8,"children":4882,"markDefs":4887,"style":25},"710421696af2",[4883],{"_key":4884,"_type":12,"marks":4885,"text":4886},"93c4de5b6146",[],"Starting in the 2000s, he became a lecturer at IUAV University in Venice, teaching in the Department of Design.\nIn 2008, he received the Compasso d’Oro for lifetime achievement, an award that celebrates the excellence and coherence of an entire design career.",[],[4889],{"_key":4890,"_type":8,"children":4891,"markDefs":4896,"style":25},"e4600aff40ed",[4892],{"_key":4893,"_type":12,"marks":4894,"text":4895},"396078f48f3a",[],"Tobia Scarpa (Venice, 1935)",[],{"alt":46,"asset":4898},{"_id":4899,"height":4900,"orientation":339,"ratio":4901,"url":4902,"width":2186},"image-69e2feccef54ff426be74054f28bd880c21ed474-1200x1818-jpg",1818,0.6600660066006601,"https://cdn.sanity.io/images/w19bax1v/production/69e2feccef54ff426be74054f28bd880c21ed474-1200x1818.jpg",{"_type":51,"current":4904},"tobia-scarpa","scarpa","Tobia Scarpa",{"_id":4908,"_type":88,"bioExtended":4909,"bioFull":4918,"bioShort":4974,"profileImage":4983,"seo":46,"slug":4988,"sortValue":4905,"title":4990},"52d14799-b6ce-41ed-b85a-e7d596f2d62f",[4910],{"_key":4911,"_type":8,"children":4912,"markDefs":4917,"style":25},"20ae0366fe15",[4913],{"_key":4914,"_type":12,"marks":4915,"text":4916},"9163e5408212",[],"Carlo Scarpa (Venice, 1906 - Sendai, 1978) was an architect known for his deep connection to Venice and its region. After studying at the Regia Accademia delle Belle Arti, he collaborated with Murano glassworks and taught at IUAV. His first major project was the restoration of Ca’ Foscari University (1937). Scarpa’s exhibition designs, particularly for the Venice Biennale, are internationally recognized, as are his contributions to the Gallerie dell’Accademia and Museo Correr. His renovation of the Museo di Castelvecchio in Verona is considered a milestone. Scarpa’s work with materials, especially steel and concrete, left a lasting mark on 20th-century architecture.",[],[4919,4927,4935,4943,4951,4959,4966],{"_key":4920,"_type":8,"children":4921,"markDefs":4926,"style":25},"b99231230eff",[4922],{"_key":4923,"_type":12,"marks":4924,"text":4925},"22ef86bec777",[],"Carlo Scarpa is an architect whose international notoriety is on the rise today, yet he also has a strong connection to Venice and its surrounding region.",[],{"_key":4928,"_type":8,"children":4929,"markDefs":4934,"style":25},"92257ac4ab37",[4930],{"_key":4931,"_type":12,"marks":4932,"text":4933},"3a3ddcdc0122",[],"Born in Venice and raised in Vicenza, he graduated from the Regia Accademia delle Belle Arti in Venice. In the 1920s, while still very young, he began collaborating with the Murano glassworks and started practicing as an architect while teaching at Venice’s Regio Istituto Superiore di Architettura (later IUAV), a role he continued throughout his career. His first completed project was the restoration of the Ca’ Foscari University seat (1937), where he demonstrated great skill in redefining interior spaces and an exceptional sensitivity in the use of materials—qualities that would characterize all his future work.",[],{"_key":4936,"_type":8,"children":4937,"markDefs":4942,"style":25},"8d9110fb691f",[4938],{"_key":4939,"_type":12,"marks":4940,"text":4941},"a789ed0cc1d8",[],"He was consistently involved in exhibition design projects, particularly for the Venice Biennale and the city’s permanent collections. Though later modified by others, his work on the Gallerie dell’Accademia and the Museo Correr remains a milestone in the history of museum exhibition design on an international level, as do his contributions to the Gipsoteca in Possagno and Palazzo Abatellis in Palermo. Many of his exhibition design choices stemmed from his deep engagement with works of art, both ancient and contemporary. He had a remarkable ability to highlight the individuality of each piece, even when placed in diverse contexts, as exemplified by his Olivetti project in Piazza San Marco, Venice.",[],{"_key":4944,"_type":8,"children":4945,"markDefs":4950,"style":25},"6f484deb6eb2",[4946],{"_key":4947,"_type":12,"marks":4948,"text":4949},"2972e9068030",[],"From the early 1970s, Scarpa’s name gained prominence on the national scene, though his work always maintained a deeply personal character and a clear detachment from the themes dominating the work of many of his contemporaries. In the realm of exhibition design and museum installations, he carved out an independent approach, drawing inspiration from distant times and cultures, as evidenced by his fascination with Far Eastern civilizations.",[],{"_key":4952,"_type":8,"children":4953,"markDefs":4958,"style":25},"0091dc822bd8",[4954],{"_key":4955,"_type":12,"marks":4956,"text":4957},"e9464a2177cd",[],"The greatest and most challenging project of his later years was the renovation of the Museo di Castelvecchio in Verona. This project involved multiple interventions on the various architectural bodies of the Scaliger castle, where Scarpa developed extraordinary solutions and designed a museum installation that has left a lasting mark on 20th-century international museology. Over time, materials and construction processes became one of his most significant fields of research. His work with steel and concrete allowed him to create some of the most original interpretations of contemporary building methods.",[],{"_key":4960,"_type":8,"children":4961,"markDefs":4965,"style":25},"0314819a7720",[4962],{"_key":4963,"_type":12,"marks":4964,"text":316},"e6c26f5a0978",[],[],{"_key":4967,"_type":8,"children":4968,"markDefs":4973,"style":25},"ead352735f4b",[4969],{"_key":4970,"_type":12,"marks":4971,"text":4972},"b9ed903674a4",[314,315],"Courtesy of Fondazione MAXXI",[],[4975],{"_key":4976,"_type":8,"children":4977,"markDefs":4982,"style":25},"b8167fa74750",[4978],{"_key":4979,"_type":12,"marks":4980,"text":4981},"8e662d0fb33d",[],"Carlo Scarpa (Venice, 1906 - Sendai, 1978)",[],{"alt":46,"asset":4984},{"_id":4985,"height":4986,"orientation":339,"ratio":340,"url":4987,"width":1292},"image-417e095fcb4404b8cf56690e8411795bd4fa07d1-2000x3000-jpg",3000,"https://cdn.sanity.io/images/w19bax1v/production/417e095fcb4404b8cf56690e8411795bd4fa07d1-2000x3000.jpg",{"_type":51,"current":4989},"carlo-scarpa","Carlo Scarpa",{"_id":4992,"_type":88,"bioExtended":4993,"bioFull":5002,"bioShort":5011,"profileImage":5020,"seo":46,"slug":5027,"sortValue":5029,"title":5018},"1c0739c4-87f5-4ef0-bb7e-9f5e95ce99c7",[4994],{"_key":4995,"_type":8,"children":4996,"markDefs":5001,"style":25},"3cc91659579e",[4997],{"_key":4998,"_type":12,"marks":4999,"text":5000},"9b9e3ba4e70e",[],"Seguso Vetri d’Arte is one of Murano’s oldest and most prestigious glassmaking dynasties, with origins dating back to 1397. In 1932, Antonio Seguso co-founded the company, later named Seguso Vetri d’Arte. His sons and Flavio Poli, a key artistic figure, contributed to its growth. Renowned worldwide, the firm created works for the Vatican, royal families, and iconic venues. Its creations are featured in over 75 major museums, including MoMA and the British Museum. Honored with the Compasso d’Oro and multiple international prizes, the company returned to Seguso family ownership in the 2000s and continues under the 23rd generation.",[],[5003],{"_key":5004,"_type":8,"children":5005,"markDefs":5010,"style":25},"f12194bc7e51",[5006],{"_key":5007,"_type":12,"marks":5008,"text":5009},"c0dd2c09e0a2",[],"The history of Seguso Vetri d’Arte is among the oldest and most prestigious in Murano. The origins of the Seguso dynasty date back at least to 1397, the year in which a document preserved in the State Archives of Venice attests to the glassmaking activity of Filius Segusi. Since then, the glass tradition has continued uninterrupted, spanning centuries and establishing itself as one of the most significant in the island’s history.\n\nOver time, the Seguso family was involved in various entrepreneurial ventures, including the founding of Vetreria Artistica Barovier & C. In 1932, Antonio Seguso, along with Napoleone Barovier and Luigi Ferro, founded Artistica Vetreria e Soffieria Barovier, Seguso e Ferro, which in 1937 adopted its definitive name: Seguso Vetri d’Arte.\n\nAntonio’s sons also worked in the company: Angelo and Archimede as master glassblowers, Bruno as technical director, Ernesto as administrative director, and Isidoro as commercial director. The artistic direction was entrusted to Flavio Poli, a central figure in shaping the creative identity of the glassworks, who also became a partner. In 1963, he was succeeded in the role of artistic director by his pupil Mario Pinzoni.\n\nSeguso Vetri d’Arte stands out internationally for the excellence of its creations, receiving commissions from grand hotels, theatres, royal families around the world, and the Vatican, for which it created a majestic chandelier for Pope John XXIII.\n\nSince the 1950s, the works of the glassworks have become part of the permanent collections of over 75 major international museums, including the Murano Glass Museum, the MoMA and the Metropolitan Museum in New York, the Victoria & Albert Museum and the British Museum in London, the Musée des Arts Décoratifs in Paris, and the Museo Nacional in Madrid.\n\nThe company has also received numerous official accolades: in 1954, the prestigious Compasso d’Oro – established in the same year by Gio Ponti – was awarded to the Grande Vaso Blu Rubino (Large Ruby Blue Vase) designed by Flavio Poli. Seguso Vetri d’Arte also won the Grand Prize at the Milan Triennale four times, and in 1958, the Grand Prix at the Brussels World’s Fair.\n\nIn 1973, the company was sold to outside ownership, but in the early 2000s, it returned to the hands of the family. Today, the twenty-third generation of the Seguso family – represented by brothers Gianluca, Pierpaolo, and Gianandrea – continues the activity, preserving and renewing a centuries-old tradition of glassmaking excellence.",[],[5012],{"_key":5013,"_type":8,"children":5014,"markDefs":5019,"style":25},"740ef5424166",[5015],{"_key":5016,"_type":12,"marks":5017,"text":5018},"bf1ecbfe9c66",[],"Seguso Vetri d'Arte",[],{"alt":46,"asset":5021},{"_id":5022,"height":5023,"orientation":339,"ratio":5024,"url":5025,"width":5026},"image-aad8623b78dc76403e217030e96e543f599b1c8d-1474x1939-jpg",1939,0.7601856627127386,"https://cdn.sanity.io/images/w19bax1v/production/aad8623b78dc76403e217030e96e543f599b1c8d-1474x1939.jpg",1474,{"_type":51,"current":5028},"seguso-vetri-d-arte","seguso vetri d'arte",{"_id":5031,"_type":88,"bioExtended":5032,"bioFull":5041,"bioShort":5129,"profileImage":5138,"seo":46,"slug":5145,"sortValue":5147,"title":5148},"21df788d-c55a-429b-ada2-59d3f223afaf",[5033],{"_key":5034,"_type":8,"children":5035,"markDefs":5040,"style":25},"aee833ecaf55",[5036],{"_key":5037,"_type":12,"marks":5038,"text":5039},"de3fcd186669",[],"Ettore Sottsass (Innsbruck, 1917 - Milan, 2007), grew up in Trentino and studied architecture in Turin. After graduating in 1939, he pursued both architecture and painting. He moved to Milan in 1946, working with the Triennale and later marrying writer Fernanda Pivano. Sottsass gained fame as a designer, winning Compasso d’Oro awards for Olivetti’s Elea 9003 and Valentine typewriter. A 1961 illness in California deeply affected him. A constant traveler, he drew inspiration from global cultures. In 1981, he co-founded the Memphis group. His later years were rich with exhibitions and collaborations. ",[],[5042,5050,5058,5066,5074,5082,5090,5098,5106,5114,5121],{"_key":5043,"_type":8,"children":5044,"markDefs":5049,"style":25},"0a14b43e0485",[5045],{"_key":5046,"_type":12,"marks":5047,"text":5048},"361a1c7d0ee4",[],"Ettore Sottsass Jr. was born in Innsbruck, spent his childhood in Trentino, and was educated in 1930s Turin, following in the footsteps of his father, architect Ettore Sottsass Sr. (1892–1954). In 1939, he graduated from the Polytechnic University, although he also nurtured a passion for painting, which he developed in the studio of Luigi Spazzapan.",[],{"_key":5051,"_type":8,"children":5052,"markDefs":5057,"style":25},"aa4c0af947a1",[5053],{"_key":5054,"_type":12,"marks":5055,"text":5056},"d37449c7694d",[],"In 1946, he moved to Milan, where he worked as an architect while also collaborating with the Triennale, curating the installations for the crafts section.",[],{"_key":5059,"_type":8,"children":5060,"markDefs":5065,"style":25},"68e40a5ff48b",[5061],{"_key":5062,"_type":12,"marks":5063,"text":5064},"1bfc56d67196",[],"Three years later, he married Fernanda Pivano, who introduced him to English-language writers, particularly the leading voices of the Beat Generation. In 1967, alongside Allen Ginsberg, he co-founded the underground magazine Pianeta Fresco.",[],{"_key":5067,"_type":8,"children":5068,"markDefs":5073,"style":25},"07416f71c386",[5069],{"_key":5070,"_type":12,"marks":5071,"text":5072},"abf608871436",[],"Sottsass pursued his architectural career in parallel with his work as a designer, the latter earning him several prestigious accolades. These included the Compasso d’Oro for the Elea 9003 electronic computer (1959), and again in 1970 for Valentine, the first portable typewriter, both produced by Olivetti.",[],{"_key":5075,"_type":8,"children":5076,"markDefs":5081,"style":25},"e084a3728eba",[5077],{"_key":5078,"_type":12,"marks":5079,"text":5080},"ff980566f21b",[],"In 1961, due to a serious kidney infection, he was hospitalised in Palo Alto, California, and was saved at the last moment thanks to corticosteroid-based treatments—an experience that left a lasting impression on him.",[],{"_key":5083,"_type":8,"children":5084,"markDefs":5089,"style":25},"f0efb98467b0",[5085],{"_key":5086,"_type":12,"marks":5087,"text":5088},"e9f9611625b7",[],"An indefatigable traveller, he never ceased to explore Europe, America, and the East. His journeys served both as a source of inspiration and as the subject of numerous conceptually driven photographs.",[],{"_key":5091,"_type":8,"children":5092,"markDefs":5097,"style":25},"118968cfd2f8",[5093],{"_key":5094,"_type":12,"marks":5095,"text":5096},"aa61227088b4",[],"In 1976, the Venice Biennale dedicated a major retrospective to Sottsass, curated by Vittorio Gregotti. It was on this occasion that he met Barbara Radice, his future partner, who would play an active role in both the founding of the Memphis group (1981) and the magazine Terrazzo, published from 1988 to 1996.",[],{"_key":5099,"_type":8,"children":5100,"markDefs":5105,"style":25},"03bf578db898",[5101],{"_key":5102,"_type":12,"marks":5103,"text":5104},"e72c0d2595b1",[],"The final years of his life were marked by intense exhibition activity and collaborations with both leading names in industrial design and prominent galleries.",[],{"_key":5107,"_type":8,"children":5108,"markDefs":5113,"style":25},"555ac6cda390",[5109],{"_key":5110,"_type":12,"marks":5111,"text":5112},"59e93baa9193",[],"Ettore Sottsass passed away in Milan on New Year’s Day, 2007.",[],{"_key":5115,"_type":8,"children":5116,"markDefs":5120,"style":25},"1763b7b385ae",[5117],{"_key":5118,"_type":12,"marks":5119,"text":316},"d28e95078c41",[],[],{"_key":5122,"_type":8,"children":5123,"markDefs":5128,"style":25},"c11b75fe57d6",[5124],{"_key":5125,"_type":12,"marks":5126,"text":5127},"75f4305c8353",[315],"Courtesy of Fondazione Giorgio Cini\nArchivio Ettore Sottsass Jr.",[],[5130],{"_key":5131,"_type":8,"children":5132,"markDefs":5137,"style":25},"1e9b62b2266f",[5133],{"_key":5134,"_type":12,"marks":5135,"text":5136},"da4cce01b4d0",[],"Ettore Sottsass (Innsbruck, 1917 - Milan, 2007)",[],{"alt":46,"asset":5139},{"_id":5140,"height":5141,"orientation":339,"ratio":5142,"url":5143,"width":5144},"image-c2ce2f99dc8515e4c3be8f1cf58d526456a51e2e-2734x3794-jpg",3794,0.720611491829204,"https://cdn.sanity.io/images/w19bax1v/production/c2ce2f99dc8515e4c3be8f1cf58d526456a51e2e-2734x3794.jpg",2734,{"_type":51,"current":5146},"ettore-sottsass","sottsass","Ettore Sottsass",{"_id":5150,"_type":88,"bioExtended":5151,"bioFull":5160,"bioShort":5264,"profileImage":5273,"seo":46,"slug":5280,"sortValue":5282,"title":5283},"808ee035-08aa-413c-96f2-c5258c5fb1ad",[5152],{"_key":5153,"_type":8,"children":5154,"markDefs":5159,"style":25},"35d0250835c4",[5155],{"_key":5156,"_type":12,"marks":5157,"text":5158},"9fcd5c77377f",[],"Thomas Stearns (Oklahoma City, 1936 - Philadelphia, 2006) studied Art in the U.S. before receiving a scholarship and Fulbright Grant to work in Murano in 1960. Fascinated by Paolo Venini’s glasswork, he joined the Venini glassworks despite language and technical challenges. With support from Checco (Francesco Ongaro), Stearns developed innovative glass designs, breaking traditional Murano aesthetics. Inspired by Venice, he created notable works like the Cappello del Doge series. His pieces gained acclaim at the 1962 Venice Biennale but were disqualified due to nationality. After two years, Stearns returned to the U.S., shifted to fiber sculpture.\n",[],[5161,5169,5177,5185,5193,5201,5209,5232,5240,5248,5256],{"_key":5162,"_type":8,"children":5163,"markDefs":5168,"style":25},"3a68d54f4695",[5164],{"_key":5165,"_type":12,"marks":5166,"text":5167},"477c3b6e911c",[],"Thomas Stearns was born in Oklahoma City, in the United States, in 1936.\nStearns' artistic training developed in the United States during the 1950s: he first studied at the Memphis Academy of Arts, then at the Cranbrook Academy of Art in Michigan. During these years, he focused primarily on painting, textile art, and to some extent, glass, though he worked in flat, two-dimensional forms, such as sheets.",[],{"_key":5170,"_type":8,"children":5171,"markDefs":5176,"style":25},"184e7ad50ebd",[5172],{"_key":5173,"_type":12,"marks":5174,"text":5175},"3d0c42d5deb9",[],"In 1960, at just 24 years old, he received a postgraduate scholarship from the Italian government, along with a Fulbright Travel Grant. Being always fascinated by the work of Paolo Venini, whom he called “the most skilled and avant-garde artist in Murano in the field of colored glass art”, Stearns arrived in Murano, where he began a collaboration with the Venini glassworks. The company had just passed under the leadership of Ludovico Diaz de Santillana, Paolo Venini’s son-in-law, following Venini’s death the previous year.",[],{"_key":5178,"_type":8,"children":5179,"markDefs":5184,"style":25},"c60364629c15",[5180],{"_key":5181,"_type":12,"marks":5182,"text":5183},"75f167b949e9",[],"The start of the collaboration was not easy: Stearns did not speak Italian and communicated only with the director and his secretary; with the glassblowers, he relied on drawings to illustrate, step by step, the operational sequences needed to produce the different models.",[],{"_key":5186,"_type":8,"children":5187,"markDefs":5192,"style":25},"0e2364384984",[5188],{"_key":5189,"_type":12,"marks":5190,"text":5191},"c42d6ff4f575",[],"He had no experience with three-dimensional blown glass, but the company, also interested in the production of architectural glass, saw potential in his profile. In an entirely exceptional move, De Santillana gave him access to all areas of the furnace: blowing, hot working, annealing, and cold finishing. Stearns furthered this technical knowledge by attending the Experimental Glass Station of Murano.",[],{"_key":5194,"_type":8,"children":5195,"markDefs":5200,"style":25},"b87fa93dcb88",[5196],{"_key":5197,"_type":12,"marks":5198,"text":5199},"6644a82be8b5",[],"Stearns’ initial approach to the furnace met with some resistance, due to the highly experimental nature of his designs: irregular shapes, complex profiles, opaque and tactile colours, far from the Murano aesthetic of the time. The person who enthusiastically embraced his vision was Francesco Ongaro, known as Checco, then a young apprentice. A deep understanding developed between the two, destined to last over time. From that moment on, Checco became the sole executor of his projects.",[],{"_key":5202,"_type":8,"children":5203,"markDefs":5208,"style":25},"ffd774f0effc",[5204],{"_key":5205,"_type":12,"marks":5206,"text":5207},"25c7dc3b24d1",[],"At the end of his scholarship, Stearns was offered an extension of the collaboration as a Guest Designer. He accepted and stayed another year at the glassworks, where he focused mainly on vase design but also experimented in lighting.",[],{"_key":5210,"_type":8,"children":5211,"markDefs":5231,"style":25},"d129213fef87",[5212,5216,5220,5224,5227],{"_key":5213,"_type":12,"marks":5214,"text":5215},"cc9926900248",[],"His muse was Venice: the reflections of the lagoon, especially at night, were his main source of colour inspiration. The ",{"_key":5217,"_type":12,"marks":5218,"text":5219},"b46eea7758ac",[125],"Cappello del Doge",{"_key":5221,"_type":12,"marks":5222,"text":5223},"aed04715715f",[]," series, also featured in ",{"_key":5225,"_type":12,"marks":5226,"text":2762},"98b0044d6e9b",[125],{"_key":5228,"_type":12,"marks":5229,"text":5230},"17549742b969",[]," in 1962, was explicitly inspired by the headwear of Venetian doges.",[],{"_key":5233,"_type":8,"children":5234,"markDefs":5239,"style":25},"feb00ab28b93",[5235],{"_key":5236,"_type":12,"marks":5237,"text":5238},"c4f85dd89a22",[],"In the same year, he took part in the Venice Art Biennale, presenting six glass works made with Venini. His pieces received unanimous praise from the jury and came close to winning the gold medal, which was later withdrawn when it was discovered that the artist was not Italian.",[],{"_key":5241,"_type":8,"children":5242,"markDefs":5247,"style":25},"615ffd2793e0",[5243],{"_key":5244,"_type":12,"marks":5245,"text":5246},"9461cbcb1ca6",[],"At the end of his contract, he declined another offer to stay: after two intense years, Stearns left Murano and returned to the United States. He would never work with glass again.",[],{"_key":5249,"_type":8,"children":5250,"markDefs":5255,"style":25},"32ea0705c7f7",[5251],{"_key":5252,"_type":12,"marks":5253,"text":5254},"bbc15be479ba",[],"Back home, he resumed working in fibre sculpture and teaching at the University of the Arts in Philadelphia.",[],{"_key":5257,"_type":8,"children":5258,"markDefs":5263,"style":25},"737295668b7b",[5259],{"_key":5260,"_type":12,"marks":5261,"text":5262},"afef493e1ce0",[],"Thomas Stearns died in Philadelphia in 2006.",[],[5265],{"_key":5266,"_type":8,"children":5267,"markDefs":5272,"style":25},"0af17fc89e55",[5268],{"_key":5269,"_type":12,"marks":5270,"text":5271},"89433025c0e8",[],"Thomas Stearns (Oklahoma City, 1936 - Philadelphia, 2006)",[],{"alt":46,"asset":5274},{"_id":5275,"height":5276,"orientation":339,"ratio":5277,"url":5278,"width":5279},"image-83e073cbbeca67de0da9995af58afee423e55cc0-1779x2275-jpg",2275,0.781978021978022,"https://cdn.sanity.io/images/w19bax1v/production/83e073cbbeca67de0da9995af58afee423e55cc0-1779x2275.jpg",1779,{"_type":51,"current":5281},"thomas-stearns","stearns","Thomas Stearns",{"_id":5285,"_type":88,"bioExtended":5286,"bioFull":5295,"bioShort":5344,"profileImage":5353,"seo":46,"slug":5360,"sortValue":5362,"title":5363},"270ebaf1-0f1b-4050-9ee2-7f48a5ad562a",[5287],{"_key":5288,"_type":8,"children":5289,"markDefs":5294,"style":25},"e8ec6b1f7133",[5290],{"_key":5291,"_type":12,"marks":5292,"text":5293},"1c908159a27a",[],"Vincent Van Duysen (Lokeren, 1962) founded Vincent Van Duysen Architects in 1989. His firm focuses on high-end residential projects worldwide, blending architecture, interior, and product design. Known for his use of pure, tactile materials, Van Duysen creates timeless, functional, and comfortable designs. His work emphasizes spatial integrity, light, and texture. He has received numerous accolades, including the Flemish Culture Prize for Design and the Henry van de Velde Lifetime Achievement Award. As creative director for Molteni&C and Dada, and through collaborations with brands like Zara Home, Van Duysen reshapes global design identities.",[],[5296,5304,5312,5320,5328,5336],{"_key":5297,"_type":8,"children":5298,"markDefs":5303,"style":25},"481ef9954cd0",[5299],{"_key":5300,"_type":12,"marks":5301,"text":5302},"ac8126f13463",[],"Vincent Van Duysen was born in Lokeren, Belgium, in 1962. After earning a degree from the Sint- Lucas School of Architecture, Ghent, he worked with Aldo Cibic in Milan, followed by a collaboration with Jean De Meulder in Antwerp, Belgium.",[],{"_key":5305,"_type":8,"children":5306,"markDefs":5311,"style":25},"e63ce83858bb",[5307],{"_key":5308,"_type":12,"marks":5309,"text":5310},"379da1179bea",[],"In 1989, Vincent Van Duysen Architects was established. Today, the firm has grown into a team of about 40 collaborators with work ranging from product design for numerous international brands, to commercial and large-scale architectural projects, with a focus on high-end residences both in Belgium or spread across Europe, the Middle East, Asia and the USA.\nFrom the outset, a definite relationship between architecture, interior and product design has been the driving force behind the conception of projects inspired by subtle transitions between these disciplines and combined with a spatial design attitude, constantly striving for the essence.",[],{"_key":5313,"_type":8,"children":5314,"markDefs":5319,"style":25},"6d4ec21b38a3",[5315],{"_key":5316,"_type":12,"marks":5317,"text":5318},"f11447ac94a3",[],"The use of pure and tactile materials translates into clean, timeless design. With respect to context and tradition, it’s an approach within which the senses, and the physical experience of space, textures and light place the integrity of the user at its core. Functionality, durability and comfort are the prime components of the work, an architectural language not shy to convey aesthetics, but prone to eschew fashion and trends.",[],{"_key":5321,"_type":8,"children":5322,"markDefs":5327,"style":25},"33f68c9eeb3d",[5323],{"_key":5324,"_type":12,"marks":5325,"text":5326},"3c5d7a4752c5",[],"During his career, Van Duysen has received multiple awards among which the Flemish Culture Prize for Design, Belgian Designer of the Year and the Henry van de Velde Lifetime Achievement Award, and an EDIDA for Best Interior Designer of the Year. In 2021, the Winery VV has also been nominated and shortlisted for the Mies Van Der Rohe Award. His name has also been included in the AD100 survey by the Architectural Digest network and Elle Decor A-List multiple times.",[],{"_key":5329,"_type":8,"children":5330,"markDefs":5335,"style":25},"ffc290e40edf",[5331],{"_key":5332,"_type":12,"marks":5333,"text":5334},"d1606adfcb5e",[],"In 2016, Van Duysen was appointed as creative director of Italian brands Molteni&C and Dada, reshaping their global image by designing flagship stores, exhibition stands and a series of new products. From 2018 to May 2020, he covered the role of art director at Sahco for Kvadrat, after which he has been collaborating as a senior designer. 2022 marks the beginning of a collaboration with Zara Home.",[],{"_key":5337,"_type":8,"children":5338,"markDefs":5343,"style":25},"fe767db6a9e5",[5339],{"_key":5340,"_type":12,"marks":5341,"text":5342},"b8ab7ce21782",[],"For many years, Van Duysen’s work has been appearing on a number of prestigious international publications. Starting from 1994, his projects and realizations have also been featured in different monographs among which those edited by renowned publishing house Thames & Hudson. In 2024, “Vincent Van Duysen: Private”, a new personal look into the architect’s residences, has been published by Rizzoli with photography by François Halard.",[],[5345],{"_key":5346,"_type":8,"children":5347,"markDefs":5352,"style":25},"ffa36834879b",[5348],{"_key":5349,"_type":12,"marks":5350,"text":5351},"d10c7242caf0",[],"Vincent Van Duysen (Lokeren, 1962)",[],{"alt":46,"asset":5354},{"_id":5355,"height":5356,"orientation":819,"ratio":5357,"url":5358,"width":5359},"image-a98029266bac320f47ca30fb2707b6c3f8ff02c6-2560x1707-jpg",1707,1.4997070884592854,"https://cdn.sanity.io/images/w19bax1v/production/a98029266bac320f47ca30fb2707b6c3f8ff02c6-2560x1707.jpg",2560,{"_type":51,"current":5361},"vincent-van-duysen","van duysen","Vincent Van Duysen",{"_id":5365,"_type":88,"bioExtended":5366,"bioFull":5375,"bioShort":5479,"profileImage":5487,"seo":46,"slug":5495,"sortValue":5496,"title":5394},"c1ca7331-9296-4655-aad3-c33b49c07461",[5367],{"_key":5368,"_type":8,"children":5369,"markDefs":5374,"style":25},"635ef18c4e14",[5370],{"_key":5371,"_type":12,"marks":5372,"text":5373},"736a48f3b17f",[],"The Venini brand, founded by Milanese lawyer Paolo Venini in 1921 with Giacomo Cappellin, quickly gained success for its refined blown glass. After their split in 1925, Paolo Venini established V.S.M. Venini & C. From the 1930s onward, Venini worked with the most renowned artists, designers and architects. After Paolo's death in 1959, his son-in-law Ludovico Diaz de Santillana took over. Venini has always remained a global leader in artistic glass.",[],[5376,5384,5400,5408,5416,5431,5439,5447,5455,5463,5471],{"_key":5377,"_type":8,"children":5378,"markDefs":5383,"style":25},"15588755c1fb",[5379],{"_key":5380,"_type":12,"marks":5381,"text":5382},"6bff41828153",[],"The history of the Venini brand is closely tied to that of its founder, the Milanese lawyer Paolo Venini.",[],{"_key":5385,"_type":8,"children":5386,"markDefs":5399,"style":25},"c24f5fe1ad5e",[5387,5391,5395],{"_key":5388,"_type":12,"marks":5389,"text":5390},"4ff2fb30ce2d",[],"The name ",{"_key":5392,"_type":12,"marks":5393,"text":5394},"43356a0d601d",[125],"Venini",{"_key":5396,"_type":12,"marks":5397,"text":5398},"d4b9fc319e29",[]," first appears in the name of the glassworks V.S.M. Cappellin Venini & C., founded in Murano on November 5, 1921, together with the Venetian antiquarian Giacomo Cappellin. The company quickly gained success, building a solid commercial network in Italy and Europe. This was thanks in part to the refined production of blown glass inspired by Renaissance aesthetics, designed by Vittorio Zecchin, who was appointed artistic director, and crafted by the best master glassmakers of the time: Ceno Barovier, Rafael Ferro, Malvino Pavanello, and Nane Patare (Giovanni Seguso). However, the partnership ended in the spring of 1925 due to differences among the partners.",[],{"_key":5401,"_type":8,"children":5402,"markDefs":5407,"style":25},"81129b88390f",[5403],{"_key":5404,"_type":12,"marks":5405,"text":5406},"e237f272ff11",[],"That same year, Paolo Venini founded a new company: V.S.M. Venini & C., which he would lead until his death in 1959. Among the first partners were engineer Francesco Zecchin, son of Vittorio, and sculptor Napoleone Martinuzzi, who took on the role of artistic director until 1932, giving the production an original and distinctive sculptural language.",[],{"_key":5409,"_type":8,"children":5410,"markDefs":5415,"style":25},"556d80c842e7",[5411],{"_key":5412,"_type":12,"marks":5413,"text":5414},"36291997fde0",[],"At the end of the 1920s, Paolo’s younger brother Franco Venini joined him in Venice to focus on colour chemistry research, creating shades that would become iconic for the company. He died prematurely at the age of just 41, due to prolonged exposure to chemical substances.",[],{"_key":5417,"_type":8,"children":5418,"markDefs":5430,"style":25},"7b7e7974478d",[5419,5423,5426],{"_key":5420,"_type":12,"marks":5421,"text":5422},"f6576ff1b067",[],"During those same years, Milanese architect Gio Ponti began dedicating numerous articles and in-depth features to the glassworks’ new creations in ",{"_key":5424,"_type":12,"marks":5425,"text":2762},"441db849e8bf",[125],{"_key":5427,"_type":12,"marks":5428,"text":5429},"02ab88017d6f",[],", the magazine he had just founded, significantly contributing to its success. Starting in the 1940s, he began collaborating directly with the company, designing several collections.",[],{"_key":5432,"_type":8,"children":5433,"markDefs":5438,"style":25},"8b0fe753ba5e",[5434],{"_key":5435,"_type":12,"marks":5436,"text":5437},"d69ca97a04de",[],"The 1930s and 1940s marked a true turning point in the glassworks’ history: Venini took part systematically in major international exhibitions, including the Venice Biennales, and began collaborating with important artists, designers, and architects. Among them were Swedish ceramist Tyra Lundgren and architect Tomaso Buzzi, who succeeded Martinuzzi as artistic director. Also emblematic was the long-lasting collaboration with Carlo Scarpa, artistic director from 1932 to 1947, whose contributions radically modernised the language of the furnace.",[],{"_key":5440,"_type":8,"children":5441,"markDefs":5446,"style":25},"7e4fa0651070",[5442],{"_key":5443,"_type":12,"marks":5444,"text":5445},"795a3af4fb93",[],"The post-war period was a complex time, but Venini continued to expand its international reputation, thanks also to collaborations with Fulvio Bianconi, Lino Tagliapietra, Riccardo Licata, Franco Albini, Massimo Vignelli, Tobia Scarpa, and international designers such as Ken Scott and Lyn Tissot.",[],{"_key":5448,"_type":8,"children":5449,"markDefs":5454,"style":25},"1d9208551bc0",[5450],{"_key":5451,"_type":12,"marks":5452,"text":5453},"1fa3ea41a9eb",[],"Upon the death of Paolo Venini on July 22, 1959, the company’s leadership passed to his son-in-law, architect Ludovico Diaz de Santillana, already a collaborator of the glassworks, initially supported by Venini’s widow, Ginette Gignons. The 1960s saw the arrival of new key figures: Thomas Stearns, Toni Zuccheri, Tapio Wirkkala, Dale Chihuly, and Vico Magistretti.",[],{"_key":5456,"_type":8,"children":5457,"markDefs":5462,"style":25},"00f4fbd1dbad",[5458],{"_key":5459,"_type":12,"marks":5460,"text":5461},"43727ece0719",[],"The year 1972 was marked by a dramatic event: a fire destroyed the company’s offices and archives, burning samples, prototypes -many of which were irreplaceable- photographs, and original drawings. Very few documents survived. It was during this difficult period that Laura de Santillana, Ludovico’s daughter, began designing for the firm.",[],{"_key":5464,"_type":8,"children":5465,"markDefs":5470,"style":25},"0746be2c887b",[5466],{"_key":5467,"_type":12,"marks":5468,"text":5469},"8cf408d78085",[],"Starting in the 1980s, the company changed ownership several times. Nevertheless, major collaborations continued, with leading figures such as Alessandro Mendini, Ettore Sottsass, Gae Aulenti, Mario Bellini, Timo Sarpaneva, and Giorgio Vigna.",[],{"_key":5472,"_type":8,"children":5473,"markDefs":5478,"style":25},"70ac808fa6ec",[5474],{"_key":5475,"_type":12,"marks":5476,"text":5477},"6db3f7b6cc79",[],"Artists, designers, and architects -often vastly different in background and language- from all over the world have been drawn to the Venini furnace, which more than any other has helped shape the evolution of glass design on a global scale.",[],[5480],{"_key":5481,"_type":8,"children":5482,"markDefs":5486,"style":25},"36a904ec731e",[5483],{"_key":5484,"_type":12,"marks":5485,"text":5394},"cd9511e967c3",[],[],{"alt":5488,"asset":5489},"Image of two Venini artists",{"_id":5490,"height":5491,"orientation":339,"ratio":5492,"url":5493,"width":5494},"image-7fe02abc7c1213411a367759d3adf207901378e2-1080x1350-jpg",1350,0.8,"https://cdn.sanity.io/images/w19bax1v/production/7fe02abc7c1213411a367759d3adf207901378e2-1080x1350.jpg",1080,{"_type":51,"current":5496},"venini",{"_id":5498,"_type":88,"bioExtended":5499,"bioFull":5524,"bioShort":5730,"profileImage":5739,"seo":46,"slug":5746,"sortValue":5496,"title":5748},"ec17b09b-716a-4dd3-a9af-9892201c7f07",[5500],{"_key":5501,"_type":8,"children":5502,"markDefs":5523,"style":25},"e1c36193d098",[5503,5507,5511,5515,5519],{"_key":5504,"_type":12,"marks":5505,"text":5506},"e73445a10fff",[],"Paolo Venini (Cusano Milanino, 1895 - Venice, 1959) was a key figure in 20th-century Murano glass art. After abandoning a law career, he partnered with Giacomo Cappellin in 1921 to create the V.S.M. Cappellin Venini & C. glassworks. In 1925, Paolo Venini founded V.S.M. Venini & C., leading it until his death in 1959. His company became renowned for collaborating with artists like Carlo Scarpa, Tomaso Buzzi, and Gio Ponti, and for producing iconic glass designs. Paolo Venini’s innovations, such as the ",{"_key":5508,"_type":12,"marks":5509,"text":5510},"803b62139e82",[125],"Diamante",{"_key":5512,"_type":12,"marks":5513,"text":5514},"a6a2ce9590d1",[]," and ",{"_key":5516,"_type":12,"marks":5517,"text":5518},"1075b0cf4c7e",[125],"Zaffirici",{"_key":5520,"_type":12,"marks":5521,"text":5522},"5a2f1f31443f",[]," series, elevated Murano glass internationally.",[],[5525,5533,5541,5549,5557,5565,5588,5627,5714,5722],{"_key":5526,"_type":8,"children":5527,"markDefs":5532,"style":25},"c83ba07def1a",[5528],{"_key":5529,"_type":12,"marks":5530,"text":5531},"eccba2055229",[],"A visionary innovator in twentieth-century Murano glass art, Paolo Venini was born in Cusano Milanino (Milan) on January 12, 1895, into a bourgeois family with no ties to the glassmaking industry. After earning a degree in law, he soon abandoned his legal career to follow a new calling. His encounter with Giacomo Cappellin, a Venetian antiques dealer with a shop specializing in antiques and Murano glass on Via Montenapoleone in Milan, proved to be a turning point. On November 5, 1921, the two became partners, founding the V.S.M. Cappellin Venini & C. glassworks in Murano.",[],{"_key":5534,"_type":8,"children":5535,"markDefs":5540,"style":25},"3051df06195f",[5536],{"_key":5537,"_type":12,"marks":5538,"text":5539},"fe4868532e4d",[],"The company quickly took on a well-defined structure: Cappellin managed the commercial aspects, Venini oversaw industrial production, and the artistic direction was entrusted to the painter Vittorio Zecchin, who introduced a refined collection of transparent blown glass inspired by the elegant Renaissance repertoire.",[],{"_key":5542,"_type":8,"children":5543,"markDefs":5548,"style":25},"17531ae01eff",[5544],{"_key":5545,"_type":12,"marks":5546,"text":5547},"8104603aad1a",[],"The partnership ended in the spring of 1925 when, despite the company’s success and a solid commercial network across Italy and Europe, internal disagreements led Cappellin to leave the furnace and establish his own glassworks. That same year, Paolo Venini founded V.S.M. Venini & C., which he directed until his death in 1959. Among the company’s first partners were engineer Francesco Zecchin, Vittorio’s son, and sculptor Napoleone Martinuzzi, who served as artistic director until 1932. Initially, production followed the path set by the previous company, but Martinuzzi soon gave it a new identity, characterized by an original language and a strong emphasis on the plasticity of forms.",[],{"_key":5550,"_type":8,"children":5551,"markDefs":5556,"style":25},"de98304567bc",[5552],{"_key":5553,"_type":12,"marks":5554,"text":5555},"bb014455716f",[],"As the driving force behind the company that elevated Murano artistic glass to internationally recognized Italian excellence, Paolo Venini played a crucial role in identifying, guiding, and retaining extraordinary talents, maintaining rigorous oversight of every aspect of production. Under his direction, highly skilled glassmakers and visionary designers from diverse stylistic backgrounds contributed to shaping a unique creative language, all united by a shared corporate culture.",[],{"_key":5558,"_type":8,"children":5559,"markDefs":5564,"style":25},"8b81e99647f3",[5560],{"_key":5561,"_type":12,"marks":5562,"text":5563},"a6b219c6f31e",[],"Among the most iconic collaborations, that with architect Tomaso Buzzi stands out—he was brought in to revitalize the company after the economic downturn following the Wall Street Crash. Another defining collaboration was with Carlo Scarpa, whose unmistakable signature style influenced production so profoundly that he eventually became artistic director. Other prominent figures included Swedish ceramist Tyra Lundgren, designer Fulvio Bianconi, Russian painter and set designer Eugène Barman, American fashion designer Ken Scott, painter Riccardo Licata, designer Piero Fornasetti, American designer Charles Lin Tissot, designer Massimo Vignelli, and architect Tobia Scarpa. Noteworthy, too, was the collaboration with Norwegian designer Grete Korsmo, who created an exquisite series of glass and silver jewelry, produced in limited editions, which ceased upon Venini’s death.",[],{"_key":5566,"_type":8,"children":5567,"markDefs":5587,"style":25},"e41cdeb47437",[5568,5572,5576,5580,5583],{"_key":5569,"_type":12,"marks":5570,"text":5571},"4db8968cc7bc",[],"Deeply connected to Milan’s vibrant cultural scene—a key hub for discussions on decorative arts—Paolo Venini cultivated close relationships with the city’s leading architects. Among them, Gio Ponti became a significant interlocutor, forging a solid relationship of mutual respect. This connection led to the founding of the ",{"_key":5573,"_type":12,"marks":5574,"text":5575},"9d9943a8d8ec",[125],"Il Labirinto",{"_key":5577,"_type":12,"marks":5578,"text":5579},"952c5d15f320",[]," association in 1927, created with other architects with the aim of producing luxury furniture and home accessories for an exclusive clientele. Ponti also actively supported Venini’s glassworks, dedicating ample space to it in the pages of ",{"_key":5581,"_type":12,"marks":5582,"text":2762},"62aeeabac44d",[125],{"_key":5584,"_type":12,"marks":5585,"text":5586},"a908279c74a5",[],", the magazine he founded in 1928, thereby contributing to its growing prestige.",[],{"_key":5589,"_type":8,"children":5590,"markDefs":5626,"style":25},"3f7fceed89dc",[5591,5595,5598,5602,5606,5610,5614,5618,5622],{"_key":5592,"_type":12,"marks":5593,"text":5594},"7fbf18a54229",[],"Although not a designer himself, Paolo Venini conceived numerous objects, often reinterpreting well-established traditional techniques, which he regularly presented at various editions of the Venice Biennale, the Milan Triennale, and the Monza Biennale. Particularly noteworthy is the ",{"_key":5596,"_type":12,"marks":5597,"text":5510},"b95f0bc3cc3a",[125],{"_key":5599,"_type":12,"marks":5600,"text":5601},"fb396a6d35c7",[]," series of thick transparent crystal glasses (1934–36), distinguished by a faceted surface—an unusual feature for Murano glass—influenced by German and Austrian styles, though free from rigid geometric constraints. This was followed by the ",{"_key":5603,"_type":12,"marks":5604,"text":5605},"f79cc1bc7b94",[125],"zaffirici",{"_key":5607,"_type":12,"marks":5608,"text":5609},"7b715817458f",[]," (1950–51), produced with a refined reworking of the filigree technique, and the ",{"_key":5611,"_type":12,"marks":5612,"text":5613},"5f27d7d2bfe3",[125],"opalini",{"_key":5615,"_type":12,"marks":5616,"text":5617},"103618510757",[]," (1952), featuring extraordinary chromatic intensity, which were presented at the ",{"_key":5619,"_type":12,"marks":5620,"text":5621},"e9686e5a3886",[125],"Mostra Storica del Vetro Muranese",{"_key":5623,"_type":12,"marks":5624,"text":5625},"2741f3a71f3c",[]," during the 1952 Venice Biennale.",[],{"_key":5628,"_type":8,"children":5629,"markDefs":5713,"style":25},"d87d4e131d2d",[5630,5634,5638,5642,5646,5650,5654,5658,5662,5666,5670,5674,5678,5682,5686,5690,5694,5698,5702,5706,5709],{"_key":5631,"_type":12,"marks":5632,"text":5633},"326f80ac1c76",[],"During the 1950s, Venini explored the ancient ",{"_key":5635,"_type":12,"marks":5636,"text":5637},"8f4626bca8b7",[125],"murrine",{"_key":5639,"_type":12,"marks":5640,"text":5641},"27a2787fb344",[]," technique—in variations featuring ",{"_key":5643,"_type":12,"marks":5644,"text":5645},"ab28eb26c3d1",[125],"dame",{"_key":5647,"_type":12,"marks":5648,"text":5649},"e4d35442d884",[],", half-moons, dots, and transparent patterns—and renewed the use of ",{"_key":5651,"_type":12,"marks":5652,"text":5653},"abd594391fcd",[125],"vetro mosaico",{"_key":5655,"_type":12,"marks":5656,"text":5657},"43082fd6bc52",[]," with multicolored solutions. Other notable works from this period include the ",{"_key":5659,"_type":12,"marks":5660,"text":5661},"af11ee35f46f",[125],"vetri diafani",{"_key":5663,"_type":12,"marks":5664,"text":5665},"1b2a7d9adeef",[]," (1956), the characteristic ",{"_key":5667,"_type":12,"marks":5668,"text":5669},"fb15c824beff",[125],"vetri incisi",{"_key":5671,"_type":12,"marks":5672,"text":5673},"7898c55f79e5",[]," (1956–57), which gained great acclaim, as well as ",{"_key":5675,"_type":12,"marks":5676,"text":5677},"93480ab2fc40",[125],"bottiglie",{"_key":5679,"_type":12,"marks":5680,"text":5681},"bba2cf6eedfb",[]," (1956–59), ",{"_key":5683,"_type":12,"marks":5684,"text":5685},"db80d754ba1e",[125],"compostiere",{"_key":5687,"_type":12,"marks":5688,"text":5689},"89197a2627df",[]," (1959), ",{"_key":5691,"_type":12,"marks":5692,"text":5693},"310e8555eaff",[125],"obelischi",{"_key":5695,"_type":12,"marks":5696,"text":5697},"26fe92d93448",[]," (1948–59), and ",{"_key":5699,"_type":12,"marks":5700,"text":5701},"cc434e2ea33d",[125],"clessidre",{"_key":5703,"_type":12,"marks":5704,"text":5705},"48e922aecfce",[]," (1957). Between 1957 and 1959, he created polychrome glass windows, featured on the cover of ",{"_key":5707,"_type":12,"marks":5708,"text":2762},"50d8182f1726",[125],{"_key":5710,"_type":12,"marks":5711,"text":5712},"e20c7518d8f0",[]," (August 1957), executed using mosaic glass and brushstroke glass techniques, mounted on metal frames, and incorporated into projects by architects Oscar Storonov, the B.B.P.R. studio, and Franco Albini.",[],{"_key":5715,"_type":8,"children":5716,"markDefs":5721,"style":25},"29524578f435",[5717],{"_key":5718,"_type":12,"marks":5719,"text":5720},"a0a5f2814cf4",[],"The years immediately following World War II were challenging. Ever attentive to the demands of the international market, Paolo Venini focused on expanding into the American market.",[],{"_key":5723,"_type":8,"children":5724,"markDefs":5729,"style":25},"b6c02bdc2a76",[5725],{"_key":5726,"_type":12,"marks":5727,"text":5728},"5dabc0b1f9ee",[],"He passed away in Venice on July 22, 1959.",[],[5731],{"_key":5732,"_type":8,"children":5733,"markDefs":5738,"style":25},"4aef6089d508",[5734],{"_key":5735,"_type":12,"marks":5736,"text":5737},"d81a4974a133",[],"Paolo Venini (Cusano Milanino, 1895 - Venice, 1959)",[],{"alt":5740,"asset":5741},"Portrait of designer Paolo Venini, creative director of Venini",{"_id":5742,"height":5743,"orientation":339,"ratio":5744,"url":5745,"width":1094},"image-f5bd37c7763f75ad6dc449e940b0056049aa1b49-1280x1530-jpg",1530,0.8366013071895425,"https://cdn.sanity.io/images/w19bax1v/production/f5bd37c7763f75ad6dc449e940b0056049aa1b49-1280x1530.jpg",{"_type":51,"current":5747},"paolo-venini","Paolo Venini",{"_id":5750,"_type":88,"bioExtended":5751,"bioFull":5774,"bioShort":5894,"profileImage":5903,"seo":46,"slug":5909,"sortValue":5911,"title":5912},"15255f32-558f-4584-b3a3-3014189ef18e",[5752,5760,5767],{"_key":5753,"_type":8,"children":5754,"markDefs":5759,"style":25},"2ef1035984c1",[5755],{"_key":5756,"_type":12,"marks":5757,"text":5758},"cc2b24359ada",[],"Vittoriano Viganò (Milan, 1919 - Milan, 1996) was an influential architect and educator. He graduated from the Politecnico di Milano in 1944 and worked with BBPR before establishing his own practice. A professor of Interior Architecture and later Architectural Composition, he researched residential spaces, museums, and theaters. In the 1950s, he became the artistic director of Arteluce, influencing its design with iconic light fixtures. Viganò worked on numerous architectural projects, including residential designs and commercial spaces. He also contributed to urban planning in Milan, Rimini, and Salò. ",[],{"_key":5761,"_type":8,"children":5762,"markDefs":5766,"style":25},"9aa679640646",[5763],{"_key":5764,"_type":12,"marks":5765,"text":316},"f2fa2f01bc71",[],[],{"_key":5768,"_type":8,"children":5769,"markDefs":5773,"style":25},"38458b789da1",[5770],{"_key":5771,"_type":12,"marks":5772,"text":1763},"89820b6cc958",[],[],[5775,5783,5791,5799,5823,5854,5862,5870,5878,5886],{"_key":5776,"_type":8,"children":5777,"markDefs":5782,"style":25},"906d60483c77",[5778],{"_key":5779,"_type":12,"marks":5780,"text":5781},"cf8f0d7d7478",[],"Vittoriano Viganò was born in Milan in 1919. His education took place between Classical Studies and the Faculty of Architecture at the Politecnico di Milano, where he graduated in 1944. After obtaining his professional qualification, he undertook a brief apprenticeship at the BBPR studio before establishing his own professional practice.",[],{"_key":5784,"_type":8,"children":5785,"markDefs":5790,"style":25},"cc5dc8129630",[5786],{"_key":5787,"_type":12,"marks":5788,"text":5789},"1f17909d0b3e",[],"Simultaneously, he began his academic career at the university, initially as a voluntary assistant, later as a freelance lecturer, and by the second half of the 1960s, as a tenured professor of Interior Architecture. This discipline was previously taught by Gio Ponti—often cited as one of his mentors alongside Giuseppe Terragni—and later by Carlo De Carli. In 1979, he transitioned to teaching Architectural Composition. Over the years, he developed research on primary residential and service typologies, museums, theaters, and the relationship between space and objects. His work integrated themes of residential and service spaces, the \"architectural potential\" of infrastructural nodes, and the \"spatial faculties\" of vertical structures.",[],{"_key":5792,"_type":8,"children":5793,"markDefs":5798,"style":25},"ec5159c649a9",[5794],{"_key":5795,"_type":12,"marks":5796,"text":5797},"27bc876a3931",[],"His cultural environment played a fundamental role in shaping his work, particularly his family background. Through his father, Vico, a painter and engraver, Vittoriano was exposed to Milanese and international artistic circles. This experience later enabled him to explore the intersection of different art forms, particularly in collaboration with institutions like the Triennale and the Lombard production system, including companies such as Arteluce. In the 1950s, Gino Sarfatti entrusted him with the artistic direction of Arteluce, a role in which he left a lasting mark on the firm’s aesthetic. His most iconic products from this period include ceiling lights with large articulated arms and multifunctional cone-shaped diffusers, resembling luminous mobiles.",[],{"_key":5800,"_type":8,"children":5801,"markDefs":5822,"style":25},"9e7a00de43af",[5802,5806,5810,5814,5818],{"_key":5803,"_type":12,"marks":5804,"text":5805},"978a0320237b",[],"Viganò also held a significant role on the international scene, particularly as the Italian correspondent for two influential French magazines founded by André Bloc: ",{"_key":5807,"_type":12,"marks":5808,"text":5809},"e2a77745bb80",[125],"L'Architecture d'Aujourd'hui",{"_key":5811,"_type":12,"marks":5812,"text":5813},"43e52d12b05c",[]," (1947-1955) and ",{"_key":5815,"_type":12,"marks":5816,"text":5817},"cc854285ae36",[125],"Aujourd'hui. Art et Architecture",{"_key":5819,"_type":12,"marks":5820,"text":5821},"bb97749c7bb6",[]," (from 1955).",[],{"_key":5824,"_type":8,"children":5825,"markDefs":5853,"style":25},"bd9a72c91a75",[5826,5830,5834,5837,5841,5845,5849],{"_key":5827,"_type":12,"marks":5828,"text":5829},"0bdec2914801",[],"Following his early works—such as the condominium in Viale Piave (1945, with Carlo Pagani) and Cinema dal Verme (1947-48, with Mario Cavallè) in Milan—his collaboration with the Triennale began. He contributed to projects such as the ",{"_key":5831,"_type":12,"marks":5832,"text":5833},"22aaeb2c9465",[125],"Mostra del Verde",{"_key":5835,"_type":12,"marks":5836,"text":4413},"493bc846a2ab",[],{"_key":5838,"_type":12,"marks":5839,"text":5840},"e9fec780573e",[125],"Casette for Veterans",{"_key":5842,"_type":12,"marks":5843,"text":5844},"5e087ff14d53",[],", and the ",{"_key":5846,"_type":12,"marks":5847,"text":5848},"116e96d0bba0",[125],"Project for the Youth Hotel at QT8",{"_key":5850,"_type":12,"marks":5851,"text":5852},"8b151e5a9597",[],", all for the VIII Triennale. His numerous residential space redesigns, including the Sarfatti House (1951) and his own office (1947), marked the 1950s as a particularly fruitful period in the maturation of his architectural language.",[],{"_key":5855,"_type":8,"children":5856,"markDefs":5861,"style":25},"f9c0d0ec0041",[5857],{"_key":5858,"_type":12,"marks":5859,"text":5860},"42685363a299",[],"During this decade, he completed an impressive series of works, including isolated residences (Casa Bloc in Portese del Garda, 1953-58), apartments (the condominium in Via Gran San Bernardo, 1957-60; Apartment in Milan, 1956-58), and radically reimagined exhibition and commercial spaces (Galleria del Fiore, 1953-54; Galleria Apollinaire, 1954-55 in Milan). He also designed collective service buildings, such as the Istituto Marchiondi (1953-58), later revisited in the new Faculty of Architecture headquarters (1965-85), and commercial establishments like the Tom Boy shop (1959-60) and the Arteluce shop (1961-62).",[],{"_key":5863,"_type":8,"children":5864,"markDefs":5869,"style":25},"ce56a44439a9",[5865],{"_key":5866,"_type":12,"marks":5867,"text":5868},"566070af8db2",[],"In these years, he also initiated a reflection on industrial production spaces, beginning with the Cartiere Sterzi in Varese (1956-58), later expanding with projects like the Colorificio Attiva in Novi Ligure (1965-70) and the Mollificio Bresciano in San Felice del Benaco (1967-82).",[],{"_key":5871,"_type":8,"children":5872,"markDefs":5877,"style":25},"1ecdddb6018e",[5873],{"_key":5874,"_type":12,"marks":5875,"text":5876},"b0b28eb87ae1",[],"His engagement with urban space was consistent and enduring. His lifelong dedication to Milan's Parco Sempione is particularly notable, alongside significant planning projects for Rimini (redevelopment of the old Marecchia riverbed, 1969-82) and Salò (redevelopment of the lakefront and various historic center projects, 1983-96).",[],{"_key":5879,"_type":8,"children":5880,"markDefs":5885,"style":25},"9905e6f30cfc",[5881],{"_key":5882,"_type":12,"marks":5883,"text":5884},"82dda6418671",[],"Vittoriano Viganò passed away in Milan in 1996.",[],{"_key":5887,"_type":8,"children":5888,"markDefs":5893,"style":25},"1eb2245a7e66",[5889],{"_key":5890,"_type":12,"marks":5891,"text":5892},"32fc670f2d2d",[],"Excerpt from the text by Roberto Rizzi, published on www.ordinearchitetti.mi.it\nCourtesy of Ordine e Fondazione degli Architetti, Pianificatori, Paesaggisti e Conservatori della Provincia di Milano.",[],[5895],{"_key":5896,"_type":8,"children":5897,"markDefs":5902,"style":25},"61ded37550f0",[5898],{"_key":5899,"_type":12,"marks":5900,"text":5901},"91da01c3c26f",[],"Vittoriano Viganò (Milan, 1919 - Milan, 1996)",[],{"alt":46,"asset":5904},{"_id":5905,"height":5906,"orientation":819,"ratio":5907,"url":5908,"width":4816},"image-e013f018cdce5c4257ef0fbee0517dc4646a9a0f-1000x736-jpg",736,1.358695652173913,"https://cdn.sanity.io/images/w19bax1v/production/e013f018cdce5c4257ef0fbee0517dc4646a9a0f-1000x736.jpg",{"_type":51,"current":5910},"vittoriano-vigano","viganò ","Vittoriano Viganò",{"_id":5914,"_type":88,"bioExtended":5915,"bioFull":5924,"bioShort":5988,"profileImage":5997,"seo":46,"slug":6004,"sortValue":6006,"title":6007},"200148f2-8246-4603-99a3-0acf72364609",[5916],{"_key":5917,"_type":8,"children":5918,"markDefs":5923,"style":25},"3ad67a134295",[5919],{"_key":5920,"_type":12,"marks":5921,"text":5922},"fe561b7d4fb4",[],"Massimo Vignelli (Milan, 1931 - New York, 2014) graduated in Architecture from the IUAV University in Venice. In 1953, he began designing for Venini in Murano, creating Nordic-inspired lamps with vibrant colors. He later moved to the U.S., where he married Lella Vignelli and co-founded a design studio in Milan in 1960. In 1965, he co-founded Unimark International, designing the iconic New York subway map. In 1971, he and Lella launched Vignelli Associates in New York. Vignelli worked with major brands like Knoll, Pirelli, American Airlines, and Benetton, shaping corporate identities. ",[],[5925,5933,5941,5956,5964,5972,5980],{"_key":5926,"_type":8,"children":5927,"markDefs":5932,"style":25},"85874c6ca0bd",[5928],{"_key":5929,"_type":12,"marks":5930,"text":5931},"d1b73704a267",[],"Massimo Vignelli was born in Milan on January 10, 1931.",[],{"_key":5934,"_type":8,"children":5935,"markDefs":5940,"style":25},"115b01cac0dc",[5936],{"_key":5937,"_type":12,"marks":5938,"text":5939},"b1da6967fed6",[],"\nHe began his studies at the Politecnico of his hometown, then moved to Venice, where he graduated in Architecture from the IUAV University.",[],{"_key":5942,"_type":8,"children":5943,"markDefs":5955,"style":25},"ea4b9eb58cac",[5944,5948,5951],{"_key":5945,"_type":12,"marks":5946,"text":5947},"5ed3ccd2528a",[],"In 1953, during his time in Venice, he was invited by Paolo Venini to collaborate with the historic Murano glassworks, initially in the lighting sector. For Venini, he designed a series of lamps inspired by Nordic design but characterised by vibrant Murano colours, marked by bold colored bands. In addition to lighting, he also created tableware and household objects. Many of his glass creations were featured in the pages of ",{"_key":5949,"_type":12,"marks":5950,"text":2762},"b378a4b3110d",[125],{"_key":5952,"_type":12,"marks":5953,"text":5954},"5256f509755c",[]," magazine.",[],{"_key":5957,"_type":8,"children":5958,"markDefs":5963,"style":25},"bb909528227a",[5959],{"_key":5960,"_type":12,"marks":5961,"text":5962},"1bb645c24fee",[],"In 1957, he ended his collaboration with Venini and moved to the United States, where he married Elena Valle in the same year, later known as Lella Vignelli. After some professional experiences, he briefly returned to Italy in 1960 and, together with his wife, founded his first design studio in Milan, which was active until 1964. That year, he returned permanently to the USA and co-founded Unimark International, which was destined for international success. From this period comes the famous New York subway map, known for its geometric abstraction and formal clarity, although initially controversial.",[],{"_key":5965,"_type":8,"children":5966,"markDefs":5971,"style":25},"45395ceb3028",[5967],{"_key":5968,"_type":12,"marks":5969,"text":5970},"20f961043272",[],"In 1971, after leaving Unimark, he founded Vignelli Associates in New York, once again together with Lella.",[],{"_key":5973,"_type":8,"children":5974,"markDefs":5979,"style":25},"1029f023ac04",[5975],{"_key":5976,"_type":12,"marks":5977,"text":5978},"459f370facfb",[],"Over the course of his long career, Vignelli collaborated with some of the most important Italian and international companies. In addition to Venini, he worked in the design sector with Poltrona Frau, Poltronova, and Knoll, for which he also redesigned the logo. As a graphic designer, he curated the visual identity and advertising campaigns for Pirelli, Olivetti, Ford, American Airlines, Lancia, TG2 Rai, Benetton, Sisley, Ducati, and Ferrovie dello Stato.",[],{"_key":5981,"_type":8,"children":5982,"markDefs":5987,"style":25},"ddecabdd2e09",[5983],{"_key":5984,"_type":12,"marks":5985,"text":5986},"9fe37a622231",[],"Massimo Vignelli died in New York on May 27, 2014.",[],[5989],{"_key":5990,"_type":8,"children":5991,"markDefs":5996,"style":25},"fac87f6588a5",[5992],{"_key":5993,"_type":12,"marks":5994,"text":5995},"8a8fa4858030",[],"Massimo Vignelli (Milan, 1931 - New York, 2014)",[],{"alt":46,"asset":5998},{"_id":5999,"height":6000,"orientation":819,"ratio":6001,"url":6002,"width":6003},"image-415c8e8207c8b6b4bb52159a1531af23eaea9199-4283x4252-jpg",4252,1.007290686735654,"https://cdn.sanity.io/images/w19bax1v/production/415c8e8207c8b6b4bb52159a1531af23eaea9199-4283x4252.jpg",4283,{"_type":51,"current":6005},"massimo-vignelli","vignelli","Massimo Vignelli",{"_id":6009,"_type":88,"bioExtended":6010,"bioFull":6019,"bioShort":6097,"profileImage":6106,"seo":46,"slug":6113,"sortValue":6115,"title":6116},"d504af11-633e-4ba5-a3e4-1bf26d791d37",[6011],{"_key":6012,"_type":8,"children":6013,"markDefs":6018,"style":25},"9d1f23514196",[6014],{"_key":6015,"_type":12,"marks":6016,"text":6017},"18c683b6a97f",[],"Tapio Wirkkala (Hanko, 1915 - Helsinki, 1985) connected with Venini in the 1950s but began collaborating in 1965, invited by Ludovico De Santillana. Already renowned for his work with Karhula-Iittala, Wirkkala sought to explore Murano’s advanced glass techniques. In Venice, he formed close bonds with master glassmakers. His refined, technically inventive works for Venini -created mainly between the 1960s and 1980s- explored incalmo, murrine, and filigree, using bold colors and forms. His designs gained international acclaim. His works now feature in major museums worldwide, including MoMA and Centre Pompidou.",[],[6020,6027,6035,6043,6051,6059,6081,6089],{"_key":6021,"_type":8,"children":6022,"markDefs":6026,"style":25},"88b2cabb6af9",[6023],{"_key":6024,"_type":12,"marks":6025,"text":1763},"135cfe72226a",[],[],{"_key":6028,"_type":8,"children":6029,"markDefs":6034,"style":25},"c377f2cbf25b",[6030],{"_key":6031,"_type":12,"marks":6032,"text":6033},"1afb00a3785a",[],"Tapio Wirkkala was born in Hanko, Finland, on June 2nd, 1915.\nHis first contact with the Venini company dates back to the Milan Triennials of the 1950s, when Paolo Venini -always attentive to the avant-garde of Nordic design (he had already collaborated in the 1930s with figures such as the Swedish ceramist Tyra Lundgren and the Norwegian Grete Kosmo)- recognized in Wirkkala’s work a language akin to his vision.",[],{"_key":6036,"_type":8,"children":6037,"markDefs":6042,"style":25},"329c7380c62e",[6038],{"_key":6039,"_type":12,"marks":6040,"text":6041},"7d0805d95de6",[],"However, it was not until more than a decade later that a true collaboration began. It was Ludovico De Santillana -Paolo Venini’s son-in-law and his successor as head of the glassworks- who officially invited the Finnish artist to visit the Murano furnace.",[],{"_key":6044,"_type":8,"children":6045,"markDefs":6050,"style":25},"ffb11b25c733",[6046],{"_key":6047,"_type":12,"marks":6048,"text":6049},"2f870895d465",[],"When Tapio arrived in Murano in the spring of 1965, he was already a prominent figure in the international design scene, known especially for his work with the Finnish company Karhula-Iittala, which specialised in glass production.",[],{"_key":6052,"_type":8,"children":6053,"markDefs":6058,"style":25},"9e68e8041f27",[6054],{"_key":6055,"_type":12,"marks":6056,"text":6057},"a6c78a42d4e6",[],"His numerous stays in Venice stemmed from a desire to deepen his understanding of glassmaking techniques that were not available to him in Finland. According to various accounts -including that of his daughter Maaria- Tapio immediately formed an extraordinary connection with the master glassmakers he worked with: in particular, Farai (Mario Colelli), Grasso (Mario Tosi), and occasionally Checco (Francesco Ongaro). He shared the work at the furnace with them, working the same shifts and overcoming language barriers through a generous and intuitive use of drawing, sometimes sketching directly on the walls of the furnace.",[],{"_key":6060,"_type":8,"children":6061,"markDefs":6080,"style":25},"7af8e941d81d",[6062,6066,6070,6073,6076],{"_key":6063,"_type":12,"marks":6064,"text":6065},"b047c9743c07",[],"His creations for Venini -developed mainly between the 1960s and 1980s- enjoyed significant commercial success. These were blown glass objects, light and refined, essential in form but rich in technical inventiveness. Wirkkala extensively experimented with ",{"_key":6067,"_type":12,"marks":6068,"text":6069},"6efc34cccbe6",[125],"incalmo",{"_key":6071,"_type":12,"marks":6072,"text":4579},"b0e77970f737",[],{"_key":6074,"_type":12,"marks":6075,"text":5637},"d45c3979d7e8",[125],{"_key":6077,"_type":12,"marks":6078,"text":6079},"7c9bbadda1fc",[],", and filigree techniques, introducing a vibrant colour palette, often playing with striking bichromies and polychromies.",[],{"_key":6082,"_type":8,"children":6083,"markDefs":6088,"style":25},"f0c3e12a96cf",[6084],{"_key":6085,"_type":12,"marks":6086,"text":6087},"9ef94055bdd7",[],"Tapio Wirkkala died in Helsinki on May 19, 1985.",[],{"_key":6090,"_type":8,"children":6091,"markDefs":6096,"style":25},"fbfbc3434b8f",[6092],{"_key":6093,"_type":12,"marks":6094,"text":6095},"60ec27bb5f50",[],"Today, his works are held in the collections of some of the world’s most important museums, including the Museum of Modern Art in New York and the Centre Pompidou in Paris.",[],[6098],{"_key":6099,"_type":8,"children":6100,"markDefs":6105,"style":25},"bc6dcb4c9764",[6101],{"_key":6102,"_type":12,"marks":6103,"text":6104},"b6279aefe3dd",[],"Tapio Wirkkala (Hanko, 1915 - Helsinki, 1985)",[],{"alt":46,"asset":6107},{"_id":6108,"height":6109,"orientation":339,"ratio":6110,"url":6111,"width":6112},"image-7bb373d1a38f47e6229986c900dfc11112c4b529-400x553-jpg",553,0.7233273056057866,"https://cdn.sanity.io/images/w19bax1v/production/7bb373d1a38f47e6229986c900dfc11112c4b529-400x553.jpg",400,{"_type":51,"current":6114},"tapio-wirkkala","wirkkala","Tapio Wirkkala",{"_id":6118,"_type":88,"bioExtended":6119,"bioFull":6128,"bioShort":6209,"profileImage":6218,"seo":46,"slug":6223,"sortValue":6225,"title":6226},"fc37fa95-417c-4d7f-b5a2-e61e3c182f03",[6120],{"_key":6121,"_type":8,"children":6122,"markDefs":6127,"style":25},"4678699609d2",[6123],{"_key":6124,"_type":12,"marks":6125,"text":6126},"b62c75ff3c49",[],"Vittorio Zecchin (Murano, 1878 - Murano, 1947) was influenced early by glassmaking through his father but pursued painting at the Venice Academy. His art, shaped by the Viennese Secession, extended to applied arts like embroidery, tapestries, and enamelled glass. In 1921, he became artistic director of V.S.M. Cappellin Venini & C., revolutionizing Murano glass with Renaissance-inspired, refined, and essential forms. After a company split in 1925, he continued shaping modern glass design. Zecchin also taught and worked with other major glassmakers. His works were widely exhibited in Italy and abroad. ",[],[6129,6137,6145,6153,6161,6169,6177,6185,6193,6201],{"_key":6130,"_type":8,"children":6131,"markDefs":6136,"style":25},"dceac2420ed7",[6132],{"_key":6133,"_type":12,"marks":6134,"text":6135},"09f131cd6c23",[],"Vittorio Zecchin was born in Murano in 1878. From a young age, he came into contact with the world of glass thanks to his father, a technical composer at a Murano glassworks. Despite this early connection, Zecchin pursued his training as a painter, graduating from the Academy of Fine Arts in Venice.",[],{"_key":6138,"_type":8,"children":6139,"markDefs":6144,"style":25},"8f1faf1ae87d",[6140],{"_key":6141,"_type":12,"marks":6142,"text":6143},"d6f3d7d2b279",[],"His artistic career began in the vein of the Viennese Secession, with paintings characterised by decorative, polychrome tones influenced by Central European taste. During these same years, he applied his curiosity and versatility to various applied arts - embroidery, tapestries, glass objects decorated with enamels and gold, often creating small works in the Secessionist style using murrine.",[],{"_key":6146,"_type":8,"children":6147,"markDefs":6152,"style":25},"550cee386ee8",[6148],{"_key":6149,"_type":12,"marks":6150,"text":6151},"71bc8fbed368",[],"The cultural fervor of those years, driven by two key events - the 1889 bequest of Felicita Bevilacqua La Masa, which dedicated part of Ca’ Pesaro to exhibitions of young artists, and the first edition of the Venice Biennale in 1895 - offered Zecchin new opportunities for experimentation and visibility in a deeply renewed context.",[],{"_key":6154,"_type":8,"children":6155,"markDefs":6160,"style":25},"7d20389e6569",[6156],{"_key":6157,"_type":12,"marks":6158,"text":6159},"3995295b59ca",[],"A turning point in his career came in 1921, when he was appointed artistic director of V.S.M. Cappellin Venini & C., a glassworks newly founded by Venetian antique dealer Giacomo Cappellin and Milanese lawyer Paolo Venini. This was an unusual choice at the time, as Zecchin did not come from the glassmaking world, but it would prove crucial for shaping the new Murano aesthetic.",[],{"_key":6162,"_type":8,"children":6163,"markDefs":6168,"style":25},"ff69efdf6406",[6164],{"_key":6165,"_type":12,"marks":6166,"text":6167},"e452f4dea759",[],"Zecchin introduced a radically innovative language, in stark contrast to contemporary glassworks, which were still tied to the late 19th-century Art Nouveau style. His creations were inspired by the elegance and simplicity of the Venetian Renaissance repertoire, with light, essential forms, and refined colours, often evoking the paintings of Veronese and Tintoretto. As Pasquale Gagliardi notes, these forms “seem to be supported by a breath or a sigh.”",[],{"_key":6170,"_type":8,"children":6171,"markDefs":6176,"style":25},"ca4d6961bfb6",[6172],{"_key":6173,"_type":12,"marks":6174,"text":6175},"7661ab049fd3",[],"In 1925, following the split between Cappellin and Venini, Zecchin’s collaboration with V.S.M. Cappellin Venini ended. The two partners went on to establish separate glassworks - M.V.M. Cappellin & C. and V.S.M. Venini & C. - both initially adhering to the aesthetic path set by Zecchin. In particular, M.V.M. Cappellin & C. brought him back as artistic director (and, in part, also a partner) until 1926.",[],{"_key":6178,"_type":8,"children":6179,"markDefs":6184,"style":25},"53d200f39b9f",[6180],{"_key":6181,"_type":12,"marks":6182,"text":6183},"c95c109b2ddd",[],"During these years, Zecchin produced an extensive catalogue of blown glass works, predominantly monochrome and transparent: goblets, vases, tableware, candlesticks, chandeliers. These objects marked the emergence of a new modern language in Murano glass art.",[],{"_key":6186,"_type":8,"children":6187,"markDefs":6192,"style":25},"2116518a6de9",[6188],{"_key":6189,"_type":12,"marks":6190,"text":6191},"a21051c6530c",[],"After his time with Cappellin, Zecchin returned to decorative arts - tapestries, embroidery, mosaics, furniture, metalwork - while continuing to collaborate with numerous glassworks, including Ferro-Toso, A.V.E.M., Salir, Barovier Seguso Ferro, and Fratelli Toso. He was also active in teaching at the Murano Glass Industry School and the Abate Zanetti Institute.",[],{"_key":6194,"_type":8,"children":6195,"markDefs":6200,"style":25},"0c5cacf2b945",[6196],{"_key":6197,"_type":12,"marks":6198,"text":6199},"f825d65e48d1",[],"Throughout his long career, Zecchin took part in important art exhibitions in Italy and abroad: the Salon d’Automne in Paris, the Rome Triennale, the Exposition Universelle in Paris, the Monza Biennale, and, of course, the Venice Biennale.",[],{"_key":6202,"_type":8,"children":6203,"markDefs":6208,"style":25},"eab3c6fabeb3",[6204],{"_key":6205,"_type":12,"marks":6206,"text":6207},"6e829bd21b0a",[],"He died in Murano on April 15th, 1947.",[],[6210],{"_key":6211,"_type":8,"children":6212,"markDefs":6217,"style":25},"6008232937e2",[6213],{"_key":6214,"_type":12,"marks":6215,"text":6216},"ff3b1b5d24a0",[],"Vittorio Zecchin (Murano, 1878 - Murano, 1947)",[],{"alt":46,"asset":6219},{"_id":6220,"height":6221,"orientation":177,"ratio":178,"url":6222,"width":6221},"image-180058fe403a0f0f96d2f5b2495816cf82064e82-300x300-jpg",300,"https://cdn.sanity.io/images/w19bax1v/production/180058fe403a0f0f96d2f5b2495816cf82064e82-300x300.jpg",{"_type":51,"current":6224},"vittorio-zecchin","zecchin","Vittorio Zecchin",{"_id":6228,"_type":6228,"seo":46,"slug":6229,"title":6231},"authorsPage",{"_type":51,"current":6230},"authors","Authors",{"author":46,"authorTypes":6233,"productTypes":6238},[6234,6236],{"_id":66,"_type":67,"slug":6235,"title":70},{"_type":51,"current":69},{"_id":72,"_type":67,"slug":6237,"title":75},{"_type":51,"current":74},[6239,6241],{"_id":78,"_type":79,"slug":6240,"title":70},{"_type":51,"current":69},{"_id":82,"_type":79,"slug":6242,"title":75},{"_type":51,"current":74},1778622942537]