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C.F. 15246911000",[],[72],{"_type":73,"label":74,"page":75},"internalLink",null,{"_id":76,"_type":77,"seo":74,"slug":78,"title":80},"7f47b73d-575d-4f56-82a5-c2a0c5f2f8c6","pageA",{"_type":8,"current":79},"imprint","Imprint",[82,86],{"_key":83,"_type":50,"title":84,"url":85},"2974397122df","Instagram","https://www.instagram.com/giustinistagetti/",{"_key":87,"_type":50,"title":88,"url":89},"377860ecd4ba","Facebook","https://www.facebook.com/p/Giustini-Stagetti-Roma-100063558789241/",{"author":91},{"_id":5,"_type":6,"bioExtended":92,"bioFull":101,"bioShort":175,"exhibitions":184,"profileImage":185,"seo":74,"slug":193,"sortValue":194,"title":10},[93],{"_key":94,"_type":36,"children":95,"markDefs":100,"style":53},"7fa9c19fb0fb",[96],{"_key":97,"_type":40,"marks":98,"text":99},"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.",[],[102,127,135,143,151,159,167],{"_key":103,"_type":36,"children":104,"markDefs":126,"style":53},"24c14e119806",[105,109,114,118,122],{"_key":106,"_type":40,"marks":107,"text":108},"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":110,"_type":40,"marks":111,"text":113},"2a4e26a1c817",[112],"em","Il Mobile Italiano",{"_key":115,"_type":40,"marks":116,"text":117},"98e6f04120be",[]," (Italian Furniture) from 1957 to 1960 and serving as director of ",{"_key":119,"_type":40,"marks":120,"text":121},"5544844b5c0e",[112],"Interni",{"_key":123,"_type":40,"marks":124,"text":125},"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":128,"_type":36,"children":129,"markDefs":134,"style":53},"6256d5f72bf4",[130],{"_key":131,"_type":40,"marks":132,"text":133},"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":136,"_type":36,"children":137,"markDefs":142,"style":53},"d9f5b865c3e1",[138],{"_key":139,"_type":40,"marks":140,"text":141},"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":144,"_type":36,"children":145,"markDefs":150,"style":53},"27e32bd6e669",[146],{"_key":147,"_type":40,"marks":148,"text":149},"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":152,"_type":36,"children":153,"markDefs":158,"style":53},"8517aa9455ad",[154],{"_key":155,"_type":40,"marks":156,"text":157},"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":160,"_type":36,"children":161,"markDefs":166,"style":53},"f732d41f6059",[162],{"_key":163,"_type":40,"marks":164,"text":165},"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":168,"_type":36,"children":169,"markDefs":174,"style":53},"48a468c4990d",[170],{"_key":171,"_type":40,"marks":172,"text":173},"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.",[],[176],{"_key":177,"_type":36,"children":178,"markDefs":183,"style":53},"f417eb5aee6e",[179],{"_key":180,"_type":40,"marks":181,"text":182},"9e7f66907c47",[],"Carlo De Carli (Milan, 1910 - Milan, 1999)",[],[],{"alt":74,"asset":186},{"_id":187,"height":188,"orientation":189,"ratio":190,"url":191,"width":192},"image-f487357f2c06cb898334266c6d3dd484e637bba3-1731x1431-jpg",1431,"landscape",1.209643605870021,"https://cdn.sanity.io/images/w19bax1v/production/f487357f2c06cb898334266c6d3dd484e637bba3-1731x1431.jpg",1731,{"_type":8,"current":9},"de carli",1778622947718]