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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":1015,"_type":31,"children":1016,"markDefs":1029,"style":48},"a401721d5a44",[1017,1021,1025],{"_key":1018,"_type":35,"marks":1019,"text":1020},"6462f2cfd104",[],"The well-known ",{"_key":1022,"_type":35,"marks":1023,"text":1024},"c47d2c19c8ad",[651],"Primavera",{"_key":1026,"_type":35,"marks":1027,"text":1028},"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":1031,"_type":31,"children":1032,"markDefs":1037,"style":48},"28e4ca7ebfa2",[1033],{"_key":1034,"_type":35,"marks":1035,"text":1036},"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":1039,"_type":31,"children":1040,"markDefs":1060,"style":48},"fa5adcdcb7bb",[1041,1045,1049,1053,1056],{"_key":1042,"_type":35,"marks":1043,"text":1044},"8b0e14ce93ed",[],"One of his most recognisable innovations is the so-called ",{"_key":1046,"_type":35,"marks":1047,"text":1048},"2ce758f56c80",[651],"vetri rostrati",{"_key":1050,"_type":35,"marks":1051,"text":1052},"452fbb290bed",[],", characterised by a spiked and irregular surface, still produced by the furnace today. Another notable innovation bearing his signature is the ",{"_key":1054,"_type":35,"marks":1055,"text":1048},"e13190effe15",[651],{"_key":1057,"_type":35,"marks":1058,"text":1059},"f4b405941ce6",[],", with their distinctive spiked surface, which remain in production.",[],{"_key":1062,"_type":31,"children":1063,"markDefs":1068,"style":48},"9447126c08e1",[1064],{"_key":1065,"_type":35,"marks":1066,"text":1067},"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.",[],[1070],{"_key":1071,"_type":31,"children":1072,"markDefs":1077,"style":48},"c10b98552b94",[1073],{"_key":1074,"_type":35,"marks":1075,"text":1076},"7db4c2a6ddb7",[],"Ercole Barovier (Murano, 1889 - Venice 1974)",[],{"alt":1079,"asset":1080},"Portrait of Ercole Barovier holding a vase",{"_id":1081,"height":1082,"orientation":531,"ratio":1083,"url":1084,"width":1085},"image-814d66f782d38c761d0f19767dfd7d296beed0d9-1345x1883-png",1883,0.7142857142857143,"https://cdn.sanity.io/images/w19bax1v/production/814d66f782d38c761d0f19767dfd7d296beed0d9-1345x1883.png",1345,{"_type":10,"current":179},"barovier",[1089],{"_id":435,"_type":301,"seo":4,"slug":1090,"title":438},{"_type":10,"current":437},{"collection":4,"edition":992,"materials":1092,"measurements":1093,"notes":4,"year":1096},"\"Bollicine\" glass with applied foot and star-form prunts",{"centimeters":1094,"inches":1095},"H 35 / D max 30","H 13,7 / D max 11,8","1942","Enquiry about the work 'Ercole Barovier, A Stelle - Vase'",{"landingImage":4,"thumbnailImage":1099},{"alt":4,"asset":1100,"settings":4},{"_id":1101,"height":1102,"orientation":531,"ratio":1103,"url":1104,"width":1105},"image-ae60cf32151ef08f27af40f505599d6b5bb0585a-3303x4955-jpg",4955,0.6665993945509586,"https://cdn.sanity.io/images/w19bax1v/production/ae60cf32151ef08f27af40f505599d6b5bb0585a-3303x4955.jpg",3303,{"authors":1107,"collections":4,"typologies":1109},[1108],{"_id":177,"title":180},[1110,1111],{"_id":435,"title":438},{"_id":407,"title":441},[1113],{"alt":4,"asset":1114},{"_id":1115,"height":603,"orientation":531,"ratio":532,"url":1116,"width":605},"image-11afb0ca7397ce323037bacfd063ead72fe554df-3648x5472-jpg","https://cdn.sanity.io/images/w19bax1v/production/11afb0ca7397ce323037bacfd063ead72fe554df-3648x5472.jpg",{"image":1118,"settings":1125},{"alt":4,"asset":1119},{"_id":1120,"height":1121,"orientation":555,"ratio":1122,"url":1123,"width":1124},"image-f263198a87c9b54690f8f4b0c4aa89727c5ffbaa-3324x2807-jpg",2807,1.184182401140007,"https://cdn.sanity.io/images/w19bax1v/production/f263198a87c9b54690f8f4b0c4aa89727c5ffbaa-3324x2807.jpg",3324,{"imageSize":576},[1127,1145],{"_id":1128,"_type":447,"authors":1129,"featuredImages":1131,"seo":1139,"slug":1142,"title":1144},"79fc68b6-438e-4d4c-a5cc-7691e7c9747e",[1130],{"_id":177,"title":180},{"landingImage":4,"thumbnailImage":1132},{"alt":4,"asset":1133},{"_id":1134,"height":1135,"orientation":531,"ratio":1136,"url":1137,"width":1138},"image-5169277d263f145cf93a418633638a33b2f1ee3b-3193x4789-png",4789,0.6667362706201713,"https://cdn.sanity.io/images/w19bax1v/production/5169277d263f145cf93a418633638a33b2f1ee3b-3193x4789.png",3193,{"metaDescription":1140,"metaTitle":1141,"shareImage":4},"Details on the Segmentato Vase by Ercole Barovier","Segmentato Vase Ercole Barovier",{"_type":10,"current":1143},"segmentato-vase","Segmentato - Vase",{"_id":596,"_type":447,"authors":1146,"featuredImages":1148,"seo":1151,"slug":1152,"title":611},[1147],{"_id":177,"title":180},{"landingImage":4,"thumbnailImage":1149},{"alt":4,"asset":1150},{"_id":602,"height":603,"orientation":531,"ratio":532,"url":604,"width":605},{"metaDescription":607,"metaTitle":608,"shareImage":4},{"_type":10,"current":610},[1154],"a stelle - vase",{"metaDescription":1156,"metaTitle":1156,"shareImage":4},"A Stelle Vase Ercole Barovier",{"_type":10,"current":1158},"a-stelle-vase","A Stelle - Vase",{"_id":1161,"_type":447,"authors":1162,"categories":1294,"details":1297,"enquirySubjectOverride":4,"featuredImages":1304,"filterables":1312,"images":1317,"largeDisplayImage":1328,"products":4,"searchables":1330,"seo":1332,"slug":1335,"title":1337},"d07137ab-9fcf-47cd-8a5c-58616aee43b0",[1163],{"_id":217,"_type":97,"bioExtended":1164,"bioFull":1173,"bioShort":1277,"profileImage":1285,"seo":4,"slug":1293,"sortValue":219,"title":220},[1165],{"_key":1166,"_type":31,"children":1167,"markDefs":1172,"style":48},"635ef18c4e14",[1168],{"_key":1169,"_type":35,"marks":1170,"text":1171},"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.",[],[1174,1182,1197,1205,1213,1229,1237,1245,1253,1261,1269],{"_key":1175,"_type":31,"children":1176,"markDefs":1181,"style":48},"15588755c1fb",[1177],{"_key":1178,"_type":35,"marks":1179,"text":1180},"6bff41828153",[],"The history of the Venini brand is closely tied to that of its founder, the Milanese lawyer Paolo Venini.",[],{"_key":1183,"_type":31,"children":1184,"markDefs":1196,"style":48},"c24f5fe1ad5e",[1185,1189,1192],{"_key":1186,"_type":35,"marks":1187,"text":1188},"4ff2fb30ce2d",[],"The name ",{"_key":1190,"_type":35,"marks":1191,"text":220},"43356a0d601d",[651],{"_key":1193,"_type":35,"marks":1194,"text":1195},"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":1198,"_type":31,"children":1199,"markDefs":1204,"style":48},"81129b88390f",[1200],{"_key":1201,"_type":35,"marks":1202,"text":1203},"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":1206,"_type":31,"children":1207,"markDefs":1212,"style":48},"556d80c842e7",[1208],{"_key":1209,"_type":35,"marks":1210,"text":1211},"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":1214,"_type":31,"children":1215,"markDefs":1228,"style":48},"7b7e7974478d",[1216,1220,1224],{"_key":1217,"_type":35,"marks":1218,"text":1219},"f6576ff1b067",[],"During those same years, Milanese architect Gio Ponti began dedicating numerous articles and in-depth features to the glassworks’ new creations in ",{"_key":1221,"_type":35,"marks":1222,"text":1223},"441db849e8bf",[651],"Domus",{"_key":1225,"_type":35,"marks":1226,"text":1227},"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":1230,"_type":31,"children":1231,"markDefs":1236,"style":48},"8b0fe753ba5e",[1232],{"_key":1233,"_type":35,"marks":1234,"text":1235},"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":1238,"_type":31,"children":1239,"markDefs":1244,"style":48},"7e4fa0651070",[1240],{"_key":1241,"_type":35,"marks":1242,"text":1243},"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":1246,"_type":31,"children":1247,"markDefs":1252,"style":48},"1d9208551bc0",[1248],{"_key":1249,"_type":35,"marks":1250,"text":1251},"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":1254,"_type":31,"children":1255,"markDefs":1260,"style":48},"00f4fbd1dbad",[1256],{"_key":1257,"_type":35,"marks":1258,"text":1259},"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":1262,"_type":31,"children":1263,"markDefs":1268,"style":48},"0746be2c887b",[1264],{"_key":1265,"_type":35,"marks":1266,"text":1267},"8cf408d78085",[],"Starting in the 1980s, the company changed ownership several times. 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Cristoforo, Milano","Ceramic Vase Gio Ponti ",{"_type":10,"current":1455},"ceramic-vase","Ceramic Vase",[1458],"allegory of architecture vase",{"metaDescription":1460,"metaTitle":1461,"shareImage":4},"A vase designed by Giovanni Gariboldi, featuring a central bas-relief of an allegory of architecture made by the sculptor Salvatore Saponaro","Vase by Giovanni Gariboldi",{"_type":10,"current":1463},"allegory-of-architecture-vase","Allegory of Architecture Vase",{"_id":1466,"_type":447,"authors":1467,"categories":1505,"details":1508,"enquirySubjectOverride":4,"featuredImages":1515,"filterables":1523,"images":1529,"largeDisplayImage":1540,"products":4,"searchables":1549,"seo":1551,"slug":1554,"title":1556},"c98904a3-ee3b-439f-99f4-63a63761331f",[1468],{"_id":172,"_type":97,"bioExtended":1469,"bioFull":1478,"bioShort":1487,"profileImage":1496,"seo":4,"slug":1503,"sortValue":1504,"title":175},[1470],{"_key":1471,"_type":31,"children":1472,"markDefs":1477,"style":48},"2833ea4fe7e7",[1473],{"_key":1474,"_type":35,"marks":1475,"text":1476},"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.",[],[1479],{"_key":1480,"_type":31,"children":1481,"markDefs":1486,"style":48},"5e1ee21376a0",[1482],{"_key":1483,"_type":35,"marks":1484,"text":1485},"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.",[],[1488],{"_key":1489,"_type":31,"children":1490,"markDefs":1495,"style":48},"f03187d6f456",[1491],{"_key":1492,"_type":35,"marks":1493,"text":1494},"a6f688f590dd",[],"Umberto Riva (Milan, 1928 – Palermo, 2021)",[],{"alt":4,"asset":1497},{"_id":1498,"height":1499,"orientation":531,"ratio":1500,"url":1501,"width":1502},"image-13de45c68b75a28045454900fde35d412c11132f-672x1012-png",1012,0.6640316205533597,"https://cdn.sanity.io/images/w19bax1v/production/13de45c68b75a28045454900fde35d412c11132f-672x1012.png",672,{"_type":10,"current":174},"riva",[1506],{"_id":347,"_type":301,"seo":4,"slug":1507,"title":350},{"_type":10,"current":349},{"collection":4,"edition":1509,"materials":1510,"measurements":1511,"notes":4,"year":1514},"VeArt Scorzè","Black plastic base, white sand-blasted glass diffuser",{"centimeters":1512,"inches":1513},"H 24 / Ø 32","H 9,36 / Ø 12,48","1975",{"landingImage":4,"thumbnailImage":1516},{"alt":4,"asset":1517,"settings":4},{"_id":1518,"height":1519,"orientation":531,"ratio":1520,"url":1521,"width":1522},"image-0c5c88cc948dc03c4ee7e7bb679a28f62f40d1bb-3650x5474-jpg",5474,0.6667884545122397,"https://cdn.sanity.io/images/w19bax1v/production/0c5c88cc948dc03c4ee7e7bb679a28f62f40d1bb-3650x5474.jpg",3650,{"authors":1524,"collections":4,"typologies":1526},[1525],{"_id":172,"title":175},[1527,1528],{"_id":347,"title":350},{"_id":329,"title":353},[1530,1534],{"alt":4,"asset":1531},{"_id":1532,"height":603,"orientation":531,"ratio":532,"url":1533,"width":605},"image-ff900181742696e1d0779a57ade836e416b88b96-3648x5472-jpg","https://cdn.sanity.io/images/w19bax1v/production/ff900181742696e1d0779a57ade836e416b88b96-3648x5472.jpg",{"alt":4,"asset":1535},{"_id":1536,"height":1537,"orientation":531,"ratio":532,"url":1538,"width":1539},"image-162b44d57dd7fc4c574a89ef4330af7828fd2de3-3506x5259-jpg",5259,"https://cdn.sanity.io/images/w19bax1v/production/162b44d57dd7fc4c574a89ef4330af7828fd2de3-3506x5259.jpg",3506,{"image":1541,"settings":1548},{"alt":4,"asset":1542},{"_id":1543,"height":1544,"orientation":555,"ratio":1545,"url":1546,"width":1547},"image-7853c59836f3911c94bc1bd3ba5e4e9c5e9e4a33-3277x2320-jpg",2320,1.4125,"https://cdn.sanity.io/images/w19bax1v/production/7853c59836f3911c94bc1bd3ba5e4e9c5e9e4a33-3277x2320.jpg",3277,{"imageSize":576},[1550],"amanita - table lamps",{"metaDescription":1552,"metaTitle":1553,"shareImage":4},"Amanita Table Lamps Umberto Riva VeArt Scorzè","Amanita Table Lamps Umberto Riva",{"_type":10,"current":1555},"amanita-table-lamps","Amanita - Table Lamps",{"_id":1558,"_type":447,"authors":1559,"categories":1756,"details":1759,"enquirySubjectOverride":4,"featuredImages":1765,"filterables":1775,"images":1781,"largeDisplayImage":1790,"products":1797,"searchables":1824,"seo":1826,"slug":1829,"title":1831},"3fd3309a-49e4-4e53-9fc4-9c2f9c931366",[1560],{"_id":247,"_type":97,"bioExtended":1561,"bioFull":1570,"bioShort":1738,"profileImage":1747,"seo":4,"slug":1754,"sortValue":1755,"title":250},[1562],{"_key":1563,"_type":31,"children":1564,"markDefs":1569,"style":48},"719d5033b20c",[1565],{"_key":1566,"_type":35,"marks":1567,"text":1568},"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.",[],[1571,1579,1587,1595,1603,1619,1635,1691,1699,1707,1715,1723,1730],{"_key":1572,"_type":31,"children":1573,"markDefs":1578,"style":48},"80c813437d99",[1574],{"_key":1575,"_type":35,"marks":1576,"text":1577},"ecc4d1a87390",[],"Ignazio Gardella is widely recognized as one of the masters of 20th-century Italian modern architecture.",[],{"_key":1580,"_type":31,"children":1581,"markDefs":1586,"style":48},"8606cbdca3e2",[1582],{"_key":1583,"_type":35,"marks":1584,"text":1585},"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":1588,"_type":31,"children":1589,"markDefs":1594,"style":48},"b9d2ee7f83bb",[1590],{"_key":1591,"_type":35,"marks":1592,"text":1593},"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":1596,"_type":31,"children":1597,"markDefs":1602,"style":48},"6ac78ebc478f",[1598],{"_key":1599,"_type":35,"marks":1600,"text":1601},"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":1604,"_type":31,"children":1605,"markDefs":1618,"style":48},"015211657bdc",[1606,1610,1614],{"_key":1607,"_type":35,"marks":1608,"text":1609},"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":1611,"_type":35,"marks":1612,"text":1613},"92d3bacd2b94",[651],"haute bourgeoisie.",{"_key":1615,"_type":35,"marks":1616,"text":1617},"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":1620,"_type":31,"children":1621,"markDefs":1634,"style":48},"2f4ff0df2977",[1622,1626,1630],{"_key":1623,"_type":35,"marks":1624,"text":1625},"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":1627,"_type":35,"marks":1628,"text":1629},"d70cd7c0e5e6",[651],"Salone Internazionale del Mobile",{"_key":1631,"_type":35,"marks":1632,"text":1633},"7854c73f8d6a",[],").",[],{"_key":1636,"_type":31,"children":1637,"markDefs":1690,"style":48},"48917a65c77c",[1638,1642,1646,1650,1654,1658,1662,1666,1670,1674,1678,1682,1686],{"_key":1639,"_type":35,"marks":1640,"text":1641},"e9429d23cb4d",[],"Throughout his career, Gardella received numerous prestigious awards, including the President of the Republic’s Gold Medal (",{"_key":1643,"_type":35,"marks":1644,"text":1645},"c75ed59b0fa3",[651],"Medaglia d'Oro del Presidente della Repubblica ai benemeriti della Scuola, della Cultura e dell'Arte",{"_key":1647,"_type":35,"marks":1648,"text":1649},"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":1651,"_type":35,"marks":1652,"text":1653},"97ac0f5abc0e",[651],"Royal Institute of British Architects",{"_key":1655,"_type":35,"marks":1656,"text":1657},"ee7751f57d7f",[],"), the Academy of Fine Arts of Brera (",{"_key":1659,"_type":35,"marks":1660,"text":1661},"595fbb4faf4b",[651],"Accademia delle Belle Arti di Brera",{"_key":1663,"_type":35,"marks":1664,"text":1665},"5ee4abbd0444",[],"), the Academy of Saint Luke (",{"_key":1667,"_type":35,"marks":1668,"text":1669},"fab3924ef92b",[651],"Accademia di San Luca",{"_key":1671,"_type":35,"marks":1672,"text":1673},"469c768ea381",[],"), and the Lincean Academy (",{"_key":1675,"_type":35,"marks":1676,"text":1677},"dca42818763f",[651],"Accademia dei Lincei",{"_key":1679,"_type":35,"marks":1680,"text":1681},"a10e562628d2",[],"). In 1996, he was honored with the Golden Lion for Lifetime Achievement (",{"_key":1683,"_type":35,"marks":1684,"text":1685},"4dddadee35f5",[651],"Leone d’Oro alla Carriera",{"_key":1687,"_type":35,"marks":1688,"text":1689},"5db3dd9bdc95",[],") at the Venice Biennale.",[],{"_key":1692,"_type":31,"children":1693,"markDefs":1698,"style":48},"4cb191a339d8",[1694],{"_key":1695,"_type":35,"marks":1696,"text":1697},"980b29a07d34",[],"Even after his passing in 1999, Gardella’s cultural and artistic legacy continues to thrive.",[],{"_key":1700,"_type":31,"children":1701,"markDefs":1706,"style":48},"816f4c118c23",[1702],{"_key":1703,"_type":35,"marks":1704,"text":1705},"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":1708,"_type":31,"children":1709,"markDefs":1714,"style":48},"61d75b097c28",[1710],{"_key":1711,"_type":35,"marks":1712,"text":1713},"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. 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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":2296,"_type":31,"children":2297,"markDefs":2302,"style":48},"a41e7267ceda",[2298],{"_key":2299,"_type":35,"marks":2300,"text":2301},"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. 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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. ",[],[2429,2437,2445,2453,2469,2477,2493,2501,2509,2517,2525,2533,2541,2549,2557,2573,2589,2596],{"_key":2430,"_type":31,"children":2431,"markDefs":2436,"style":48},"0065534329e4",[2432],{"_key":2433,"_type":35,"marks":2434,"text":2435},"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":2438,"_type":31,"children":2439,"markDefs":2444,"style":48},"d52236ac8d5b",[2440],{"_key":2441,"_type":35,"marks":2442,"text":2443},"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":2446,"_type":31,"children":2447,"markDefs":2452,"style":48},"3479317102d2",[2448],{"_key":2449,"_type":35,"marks":2450,"text":2451},"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":2454,"_type":31,"children":2455,"markDefs":2468,"style":48},"246559c57e1d",[2456,2460,2464],{"_key":2457,"_type":35,"marks":2458,"text":2459},"45e1baafabdf",[],"In a 1936 interview with Luigi Diemoz, published in ",{"_key":2461,"_type":35,"marks":2462,"text":2463},"292f59cc1548",[651],"Quadrivio",{"_key":2465,"_type":35,"marks":2466,"text":2467},"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":2470,"_type":31,"children":2471,"markDefs":2476,"style":48},"cf1403f68a8d",[2472],{"_key":2473,"_type":35,"marks":2474,"text":2475},"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":2478,"_type":31,"children":2479,"markDefs":2492,"style":48},"bdc7becfc9f6",[2480,2484,2488],{"_key":2481,"_type":35,"marks":2482,"text":2483},"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":2485,"_type":35,"marks":2486,"text":2487},"cdb8fced462d",[651],"Spazio",{"_key":2489,"_type":35,"marks":2490,"text":2491},"a343bb9ab95f",[],", and in 1954, in Rome, he opened a gallery of the same name in collaboration with Michel Tapié.",[],{"_key":2494,"_type":31,"children":2495,"markDefs":2500,"style":48},"d7f3017453b3",[2496],{"_key":2497,"_type":35,"marks":2498,"text":2499},"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":2502,"_type":31,"children":2503,"markDefs":2508,"style":48},"d987460cbfd5",[2504],{"_key":2505,"_type":35,"marks":2506,"text":2507},"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":2510,"_type":31,"children":2511,"markDefs":2516,"style":48},"c79a74de0d80",[2512],{"_key":2513,"_type":35,"marks":2514,"text":2515},"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":2518,"_type":31,"children":2519,"markDefs":2524,"style":48},"a75484bd9266",[2520],{"_key":2521,"_type":35,"marks":2522,"text":2523},"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":2526,"_type":31,"children":2527,"markDefs":2532,"style":48},"f7f30f32d3a6",[2528],{"_key":2529,"_type":35,"marks":2530,"text":2531},"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. 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villa la saracena",{"metaDescription":2882,"metaTitle":2882,"shareImage":4},"Bookcase Villa La Saracena Luigi Moretti",{"_type":10,"current":2884},"bookcase-villa-la-saracena","Bookcase, Villa La Saracena",{"_id":2887,"_type":447,"authors":2888,"categories":2981,"details":2984,"enquirySubjectOverride":2988,"featuredImages":2989,"filterables":2996,"images":3002,"largeDisplayImage":3018,"products":3020,"searchables":3059,"seo":3061,"slug":3063,"title":3065},"c52e06fe-9c5a-48ff-a12f-ab3a5d2b760f",[2889],{"_id":187,"_type":97,"bioExtended":2890,"bioFull":2899,"bioShort":2964,"profileImage":2973,"seo":4,"slug":2979,"sortValue":2980,"title":190},[2891],{"_key":2892,"_type":31,"children":2893,"markDefs":2898,"style":48},"398d4121d013",[2894],{"_key":2895,"_type":35,"marks":2896,"text":2897},"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. ",[],[2900,2908,2916,2924,2932,2940,2948,2956],{"_key":2901,"_type":31,"children":2902,"markDefs":2907,"style":48},"e9d06c8d2f3e",[2903],{"_key":2904,"_type":35,"marks":2905,"text":2906},"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":2909,"_type":31,"children":2910,"markDefs":2915,"style":48},"e3a411665417",[2911],{"_key":2912,"_type":35,"marks":2913,"text":2914},"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":2917,"_type":31,"children":2918,"markDefs":2923,"style":48},"5daf37835d43",[2919],{"_key":2920,"_type":35,"marks":2921,"text":2922},"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":2925,"_type":31,"children":2926,"markDefs":2931,"style":48},"acd9e829017f",[2927],{"_key":2928,"_type":35,"marks":2929,"text":2930},"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":2933,"_type":31,"children":2934,"markDefs":2939,"style":48},"e72f0d4087ff",[2935],{"_key":2936,"_type":35,"marks":2937,"text":2938},"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":2941,"_type":31,"children":2942,"markDefs":2947,"style":48},"abdfa60b61ea",[2943],{"_key":2944,"_type":35,"marks":2945,"text":2946},"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. 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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":2957,"_type":31,"children":2958,"markDefs":2963,"style":48},"a21daa641349",[2959],{"_key":2960,"_type":35,"marks":2961,"text":2962},"ec912e0cd1d7",[],"Guido Gambone died in Florence on September 20, 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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.",[],[3648,3656,3664,3672,3680,3688],{"_key":3649,"_type":31,"children":3650,"markDefs":3655,"style":48},"16d4480283cb",[3651],{"_key":3652,"_type":35,"marks":3653,"text":3654},"0f2cb4640e49",[],"Pietro Chiesa was born in Milan in 1892 to a wealthy family of Swiss-Ticino origin that had long resided in Italy. 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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":3665,"_type":31,"children":3666,"markDefs":3671,"style":48},"b05944cdfa62",[3667],{"_key":3668,"_type":35,"marks":3669,"text":3670},"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. 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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.",[],[3802,3810,3818,3826,3834,3841],{"_key":3803,"_type":31,"children":3804,"markDefs":3809,"style":48},"dc7b4d2c4bd3",[3805],{"_key":3806,"_type":35,"marks":3807,"text":3808},"0e7056f16b6f",[],"Gino Sarfatti was born in Venice on September 16th, 1912.",[],{"_key":3811,"_type":31,"children":3812,"markDefs":3817,"style":48},"de63f4f8f8ad",[3813],{"_key":3814,"_type":35,"marks":3815,"text":3816},"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":3819,"_type":31,"children":3820,"markDefs":3825,"style":48},"51a78f28c793",[3821],{"_key":3822,"_type":35,"marks":3823,"text":3824},"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":3827,"_type":31,"children":3828,"markDefs":3833,"style":48},"35f5f25fcfc2",[3829],{"_key":3830,"_type":35,"marks":3831,"text":3832},"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":3835,"_type":31,"children":3836,"markDefs":3840,"style":48},"5319fbb9a798",[3837],{"_key":3838,"_type":35,"marks":3839,"text":506},"497067cef204",[],[],{"_key":3842,"_type":31,"children":3843,"markDefs":3856,"style":48},"bfc6b82ae48c",[3844,3848,3852],{"_key":3845,"_type":35,"marks":3846,"text":3847},"0620fa78aa15",[651,514,515],"Excerpt from M. Romanelli, S. 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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.",[],[4074,4082,4090,4098],{"_key":4075,"_type":31,"children":4076,"markDefs":4081,"style":48},"52a00f627653",[4077],{"_key":4078,"_type":35,"marks":4079,"text":4080},"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":4083,"_type":31,"children":4084,"markDefs":4089,"style":48},"9989e8f53eb5",[4085],{"_key":4086,"_type":35,"marks":4087,"text":4088},"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":4091,"_type":31,"children":4092,"markDefs":4097,"style":48},"bd817ef6f240",[4093],{"_key":4094,"_type":35,"marks":4095,"text":4096},"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":4099,"_type":31,"children":4100,"markDefs":4105,"style":48},"052e920ac83b",[4101],{"_key":4102,"_type":35,"marks":4103,"text":4104},"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. 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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":4200,"_type":31,"children":4201,"markDefs":4205,"style":48},"f9e816d5518c",[4202],{"_key":4203,"_type":35,"marks":4204,"text":506},"91b54b5e8b38",[],[],[4207,4215,4223,4231,4239,4247,4255,4271,4279,4287,4294,4302],{"_key":4208,"_type":31,"children":4209,"markDefs":4214,"style":48},"c4fdd5c0b935",[4210],{"_key":4211,"_type":35,"marks":4212,"text":4213},"5ab70d6af054",[],"Angelo Mangiarotti was born in Milan on February 26, 1921.",[],{"_key":4216,"_type":31,"children":4217,"markDefs":4222,"style":48},"531d85a14000",[4218],{"_key":4219,"_type":35,"marks":4220,"text":4221},"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":4224,"_type":31,"children":4225,"markDefs":4230,"style":48},"1441e04637ef",[4226],{"_key":4227,"_type":35,"marks":4228,"text":4229},"c595dd3d7751",[],"Upon returning from the United States, he established an architectural firm with Bruno Morassutti, a partnership that lasted until 1960.",[],{"_key":4232,"_type":31,"children":4233,"markDefs":4238,"style":48},"b2e0b65b3871",[4234],{"_key":4235,"_type":35,"marks":4236,"text":4237},"4f173c808858",[],"In 1989, he founded Mangiarotti & Associates, based in Tokyo.",[],{"_key":4240,"_type":31,"children":4241,"markDefs":4246,"style":48},"53960b6ec2f9",[4242],{"_key":4243,"_type":35,"marks":4244,"text":4245},"d8ba45618a2d",[],"From 1986 to 1992, he served as the art director of Colle Cristalleria.",[],{"_key":4248,"_type":31,"children":4249,"markDefs":4254,"style":48},"ce12f6728ddb",[4250],{"_key":4251,"_type":35,"marks":4252,"text":4253},"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":4256,"_type":31,"children":4257,"markDefs":4270,"style":48},"796cddc4f4a1",[4258,4262,4266],{"_key":4259,"_type":35,"marks":4260,"text":4261},"00e97f2bfddf",[],"Mangiarotti’s design philosophy, articulated in his book ",{"_key":4263,"_type":35,"marks":4264,"text":4265},"0567ca48f34b",[651],"In nome dell’architettura",{"_key":4267,"_type":35,"marks":4268,"text":4269},"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":4272,"_type":31,"children":4273,"markDefs":4278,"style":48},"8ae98313c7ef",[4274],{"_key":4275,"_type":35,"marks":4276,"text":4277},"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":4280,"_type":31,"children":4281,"markDefs":4286,"style":48},"8e95a80ba273",[4282],{"_key":4283,"_type":35,"marks":4284,"text":4285},"a7eac7d0c0a9",[],"He died in Milan on 30th of June 2012.",[],{"_key":4288,"_type":31,"children":4289,"markDefs":4293,"style":48},"31e201840a06",[4290],{"_key":4291,"_type":35,"marks":4292,"text":506},"38bb32830700",[],[],{"_key":4295,"_type":31,"children":4296,"markDefs":4301,"style":48},"26d633b21959",[4297],{"_key":4298,"_type":35,"marks":4299,"text":4300},"7db663664013",[514,515],"Courtesy Fondazione Angelo 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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",[],[5160,5168,5175],{"_key":5161,"_type":31,"children":5162,"markDefs":5167,"style":48},"9c08a07c0d3e",[5163],{"_key":5164,"_type":35,"marks":5165,"text":5166},"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. 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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.",[],[5266,5274,5282,5298,5306,5314,5322],{"_key":5267,"_type":31,"children":5268,"markDefs":5273,"style":48},"28afa8e6a7a6",[5269],{"_key":5270,"_type":35,"marks":5271,"text":5272},"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":5275,"_type":31,"children":5276,"markDefs":5281,"style":48},"be0c5272b5a5",[5277],{"_key":5278,"_type":35,"marks":5279,"text":5280},"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":5283,"_type":31,"children":5284,"markDefs":5297,"style":48},"c54f833c253e",[5285,5289,5293],{"_key":5286,"_type":35,"marks":5287,"text":5288},"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. 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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. 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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":8045,"_type":31,"children":8046,"markDefs":8051,"style":48},"8b81e99647f3",[8047],{"_key":8048,"_type":35,"marks":8049,"text":8050},"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":8053,"_type":31,"children":8054,"markDefs":8074,"style":48},"e41cdeb47437",[8055,8059,8063,8067,8070],{"_key":8056,"_type":35,"marks":8057,"text":8058},"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":8060,"_type":35,"marks":8061,"text":8062},"9d9943a8d8ec",[651],"Il Labirinto",{"_key":8064,"_type":35,"marks":8065,"text":8066},"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":8068,"_type":35,"marks":8069,"text":1223},"62aeeabac44d",[651],{"_key":8071,"_type":35,"marks":8072,"text":8073},"a908279c74a5",[],", the magazine he founded in 1928, thereby contributing to its growing prestige.",[],{"_key":8076,"_type":31,"children":8077,"markDefs":8113,"style":48},"3f7fceed89dc",[8078,8082,8085,8089,8093,8097,8101,8105,8109],{"_key":8079,"_type":35,"marks":8080,"text":8081},"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. 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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. 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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":8626,"_type":31,"children":8627,"markDefs":8632,"style":48},"66f9300151da",[8628],{"_key":8629,"_type":35,"marks":8630,"text":8631},"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":8634,"_type":31,"children":8635,"markDefs":8640,"style":48},"8b08fa3e13a5",[8636],{"_key":8637,"_type":35,"marks":8638,"text":8639},"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":8642,"_type":31,"children":8643,"markDefs":8648,"style":48},"3371fdc1110d",[8644],{"_key":8645,"_type":35,"marks":8646,"text":8647},"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. 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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":8666,"_type":31,"children":8667,"markDefs":8680,"style":48},"13ff0f6cff0a",[8668,8672,8676],{"_key":8669,"_type":35,"marks":8670,"text":8671},"6aa7dae720f5",[],"He received numerous honors throughout his career, including the Diplôme de Grand Prix at the ",{"_key":8673,"_type":35,"marks":8674,"text":8675},"22b3015e7dff",[651],"Exposition Internationale de l’Urbanisme et de l’Habitation",{"_key":8677,"_type":35,"marks":8678,"text":8679},"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":8682,"_type":31,"children":8683,"markDefs":8771,"style":48},"6e800cf06405",[8684,8688,8692,8695,8699,8702,8706,8709,8713,8716,8720,8723,8727,8731,8735,8739,8743,8747,8751,8755,8759,8763,8767],{"_key":8685,"_type":35,"marks":8686,"text":8687},"b1c3ffe3ffc9",[],"Quaroni was also an active contributor to several architectural journals, including ",{"_key":8689,"_type":35,"marks":8690,"text":8691},"1ca9dca690fe",[651],"Metron",{"_key":8693,"_type":35,"marks":8694,"text":7192},"41625f66b17c",[],{"_key":8696,"_type":35,"marks":8697,"text":8698},"ea66e9ea09d6",[651],"Urbanistica",{"_key":8700,"_type":35,"marks":8701,"text":7192},"54509e0d39a6",[],{"_key":8703,"_type":35,"marks":8704,"text":8705},"923b3e321a67",[651],"Comunità",{"_key":8707,"_type":35,"marks":8708,"text":7192},"13b0a3959468",[],{"_key":8710,"_type":35,"marks":8711,"text":8712},"d5b8af74be45",[651],"Casabella",{"_key":8714,"_type":35,"marks":8715,"text":7192},"49315b3eb1fc",[],{"_key":8717,"_type":35,"marks":8718,"text":8719},"2ab6f4dc4d1e",[651],"Architettura d’oggi",{"_key":8721,"_type":35,"marks":8722,"text":7192},"9064d3a7c123",[],{"_key":8724,"_type":35,"marks":8725,"text":8726},"45eac174a4a3",[651],"La Casa",{"_key":8728,"_type":35,"marks":8729,"text":8730},"974257841c34",[],", and ",{"_key":8732,"_type":35,"marks":8733,"text":8734},"3bbe9a57c07d",[651],"Architettura: cronache e storia",{"_key":8736,"_type":35,"marks":8737,"text":8738},"0dce4fece2d8",[],". 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Otto lezioni di architettura",{"_key":8768,"_type":35,"marks":8769,"text":8770},"b345330b5aae",[]," (1977)—originally conceived as course material for the 1974–75 academic year and still used as a university text today.",[],{"_key":8773,"_type":31,"children":8774,"markDefs":8779,"style":48},"fbdf51405a10",[8775],{"_key":8776,"_type":35,"marks":8777,"text":8778},"ff98e738f58a",[],"Ludovico Quaroni passed away in Rome on July 22, 1987.",[],{"_key":8781,"_type":31,"children":8782,"markDefs":8787,"style":48},"59e6a98a583d",[8783],{"_key":8784,"_type":35,"marks":8785,"text":8786},"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.",[],[8789],{"_key":8790,"_type":31,"children":8791,"markDefs":8796,"style":48},"c45c317b77b3",[8792],{"_key":8793,"_type":35,"marks":8794,"text":8795},"80bbe5449151",[],"(Rome, 1911 - Rome, 1987)",[],{"alt":4,"asset":8798},{"_id":8799,"height":8800,"orientation":555,"ratio":8801,"url":8802,"width":8803},"image-a0311a546bd08ad02f57024c7fd47257a6172c05-596x507-jpg",507,1.175542406311637,"https://cdn.sanity.io/images/w19bax1v/production/a0311a546bd08ad02f57024c7fd47257a6172c05-596x507.jpg",596,{"metaDescription":4,"metaTitle":8805,"shareImage":4},"Page about the designer Ludovico Quaroni",{"_type":10,"current":114},"quaroni",[8809],{"_id":373,"_type":301,"seo":4,"slug":8810,"title":376},{"_type":10,"current":375},{"collection":4,"edition":4,"materials":8812,"measurements":8813,"notes":4,"year":1303},"Marble, iron, brass",{"centimeters":8814,"inches":8815},"H 73 / L 250 / W 90","H 28,7 / L 98,4 / W 35,4","Enquiry about the work 'Ludovico Quaroni, Dining Table'",{"landingImage":4,"thumbnailImage":8818},{"alt":4,"asset":8819,"settings":4},{"_id":8820,"height":603,"orientation":531,"ratio":532,"url":8821,"width":605},"image-06547aa3ad25d3bd68c38511b41933b62a4acb89-3648x5472-jpg","https://cdn.sanity.io/images/w19bax1v/production/06547aa3ad25d3bd68c38511b41933b62a4acb89-3648x5472.jpg",{"authors":8823,"collections":4,"typologies":8825},[8824],{"_id":112,"title":115},[8826,8827],{"_id":373,"title":376},{"_id":355,"title":384},[8829],{"alt":4,"asset":8830},{"_id":8831,"height":603,"orientation":531,"ratio":532,"url":8832,"width":605},"image-5547a27fc24f3744312a97a6161c71213ef45f11-3648x5472-jpg","https://cdn.sanity.io/images/w19bax1v/production/5547a27fc24f3744312a97a6161c71213ef45f11-3648x5472.jpg",{"image":8834,"settings":8841},{"alt":4,"asset":8835},{"_id":8836,"height":8837,"orientation":555,"ratio":8838,"url":8839,"width":8840},"image-991683948a6558d0f504cbb9aca0d9f1d47507cd-3956x2638-jpg",2638,1.4996209249431387,"https://cdn.sanity.io/images/w19bax1v/production/991683948a6558d0f504cbb9aca0d9f1d47507cd-3956x2638.jpg",3956,{"imageSize":576},[8573],{"metaDescription":8844,"metaTitle":8844,"shareImage":4},"Dining Table Ludovico Quaroni",{"_type":10,"current":8846},"dining-table-",{"_id":8848,"_type":447,"authors":8849,"categories":8935,"details":8938,"enquirySubjectOverride":8944,"featuredImages":8945,"filterables":8956,"images":8962,"largeDisplayImage":8974,"products":8983,"searchables":9000,"seo":9001,"slug":9003,"title":8578},"d30cb075-1327-4d66-96ef-be10055c505a",[8850],{"_id":287,"_type":97,"bioExtended":8851,"bioFull":8860,"bioShort":8917,"profileImage":8926,"seo":4,"slug":8933,"sortValue":8934,"title":290},[8852],{"_key":8853,"_type":31,"children":8854,"markDefs":8859,"style":48},"cfbf8839e479",[8855],{"_key":8856,"_type":35,"marks":8857,"text":8858},"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.",[],[8861,8869,8877,8885,8893,8901,8909],{"_key":8862,"_type":31,"children":8863,"markDefs":8868,"style":48},"d6444f2fd68a",[8864],{"_key":8865,"_type":35,"marks":8866,"text":8867},"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":8870,"_type":31,"children":8871,"markDefs":8876,"style":48},"95c4e3778d02",[8872],{"_key":8873,"_type":35,"marks":8874,"text":8875},"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":8878,"_type":31,"children":8879,"markDefs":8884,"style":48},"5dbada5a8444",[8880],{"_key":8881,"_type":35,"marks":8882,"text":8883},"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. 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This ability to harmonize the old with the new would become the unmistakable hallmark of all his future designs.",[],{"_key":8894,"_type":31,"children":8895,"markDefs":8900,"style":48},"4dc6b6bd3dea",[8896],{"_key":8897,"_type":35,"marks":8898,"text":8899},"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":8902,"_type":31,"children":8903,"markDefs":8908,"style":48},"aeb00de575bc",[8904],{"_key":8905,"_type":35,"marks":8906,"text":8907},"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. 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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.",[],[9208,9216,9224,9232,9240,9248,9256,9264,9272,9280,9288],{"_key":9209,"_type":31,"children":9210,"markDefs":9215,"style":48},"53b32dc3da94",[9211],{"_key":9212,"_type":35,"marks":9213,"text":9214},"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":9217,"_type":31,"children":9218,"markDefs":9223,"style":48},"5953de17499f",[9219],{"_key":9220,"_type":35,"marks":9221,"text":9222},"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":9225,"_type":31,"children":9226,"markDefs":9231,"style":48},"f852e94dc50f",[9227],{"_key":9228,"_type":35,"marks":9229,"text":9230},"2597e7f08aa8",[],"From 1923, he was busy as a sculptor in the design of the Monumento dei Caduti of Murano.",[],{"_key":9233,"_type":31,"children":9234,"markDefs":9239,"style":48},"7858bc61b709",[9235],{"_key":9236,"_type":35,"marks":9237,"text":9238},"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":9241,"_type":31,"children":9242,"markDefs":9247,"style":48},"b44e179c29ef",[9243],{"_key":9244,"_type":35,"marks":9245,"text":9246},"91e5058cbfca",[],"This partnership with Venini would last until 1931.",[],{"_key":9249,"_type":31,"children":9250,"markDefs":9255,"style":48},"85d7a9983ba8",[9251],{"_key":9252,"_type":35,"marks":9253,"text":9254},"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":9257,"_type":31,"children":9258,"markDefs":9263,"style":48},"504d0ebe3964",[9259],{"_key":9260,"_type":35,"marks":9261,"text":9262},"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":9265,"_type":31,"children":9266,"markDefs":9271,"style":48},"a9a66463b7db",[9267],{"_key":9268,"_type":35,"marks":9269,"text":9270},"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":9273,"_type":31,"children":9274,"markDefs":9279,"style":48},"f8922be6276b",[9275],{"_key":9276,"_type":35,"marks":9277,"text":9278},"f4c332c8e567",[],"After leaving V.S.M. Venini & C., in 1932 Martinuzzi founded Zecchin-Martinuzzi Vetri Artistici e Mosaici together with Francesco Zecchin. 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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. 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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":15201,"_type":31,"children":15202,"markDefs":15222,"style":48},"d205c92f8015",[15203,15207,15210,15214,15218],{"_key":15204,"_type":35,"marks":15205,"text":15206},"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":15208,"_type":35,"marks":15209,"text":1223},"d48aec2cb2db",[651],{"_key":15211,"_type":35,"marks":15212,"text":15213},"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":15215,"_type":35,"marks":15216,"text":15217},"26e411ddae7b",[651],"Normandie",{"_key":15219,"_type":35,"marks":15220,"text":15221},"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":15224,"_type":31,"children":15225,"markDefs":15230,"style":48},"d577eb0d26e7",[15226],{"_key":15227,"_type":35,"marks":15228,"text":15229},"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":15232,"_type":31,"children":15233,"markDefs":15238,"style":48},"731789e9bedc",[15234],{"_key":15235,"_type":35,"marks":15236,"text":15237},"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":15240,"_type":31,"children":15241,"markDefs":15254,"style":48},"ae565dab462a",[15242,15246,15250],{"_key":15243,"_type":35,"marks":15244,"text":15245},"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":15247,"_type":35,"marks":15248,"text":15249},"2379041239b5",[651],"Quaderni",{"_key":15251,"_type":35,"marks":15252,"text":15253},"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":15256,"_type":31,"children":15257,"markDefs":15270,"style":48},"acbe659bb938",[15258,15262,15266],{"_key":15259,"_type":35,"marks":15260,"text":15261},"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":15263,"_type":35,"marks":15264,"text":15265},"788913de0b9d",[651],"Dahlia",{"_key":15267,"_type":35,"marks":15268,"text":15269},"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":15272,"_type":31,"children":15273,"markDefs":15278,"style":48},"7ba8753ce086",[15274],{"_key":15275,"_type":35,"marks":15276,"text":15277},"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":15280,"_type":31,"children":15281,"markDefs":15294,"style":48},"8c6d207b4814",[15282,15286,15290],{"_key":15283,"_type":35,"marks":15284,"text":15285},"1aa1053e5aca",[],"After leaving Fontana Arte in 1967, he continued working from his Parisian studio and founded the new company ",{"_key":15287,"_type":35,"marks":15288,"text":15289},"407b56051599",[651],"Verre Lumière",{"_key":15291,"_type":35,"marks":15292,"text":15293},"f94a35fe9e83",[]," in collaboration with the Saint-Gobain glassworks and the Mazda lamp factory. 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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":16363,"_type":31,"children":16364,"markDefs":16368,"style":48},"9aa679640646",[16365],{"_key":16366,"_type":35,"marks":16367,"text":506},"f2fa2f01bc71",[],[],{"_key":16370,"_type":31,"children":16371,"markDefs":16375,"style":48},"38458b789da1",[16372],{"_key":16373,"_type":35,"marks":16374,"text":3851},"89820b6cc958",[],[],[16377,16385,16393,16401,16425,16457,16465,16473,16481,16489],{"_key":16378,"_type":31,"children":16379,"markDefs":16384,"style":48},"906d60483c77",[16380],{"_key":16381,"_type":35,"marks":16382,"text":16383},"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":16386,"_type":31,"children":16387,"markDefs":16392,"style":48},"cc5dc8129630",[16388],{"_key":16389,"_type":35,"marks":16390,"text":16391},"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":16394,"_type":31,"children":16395,"markDefs":16400,"style":48},"ec5159c649a9",[16396],{"_key":16397,"_type":35,"marks":16398,"text":16399},"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":16402,"_type":31,"children":16403,"markDefs":16424,"style":48},"9e7a00de43af",[16404,16408,16412,16416,16420],{"_key":16405,"_type":35,"marks":16406,"text":16407},"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":16409,"_type":35,"marks":16410,"text":16411},"e2a77745bb80",[651],"L'Architecture d'Aujourd'hui",{"_key":16413,"_type":35,"marks":16414,"text":16415},"43e52d12b05c",[]," (1947-1955) and ",{"_key":16417,"_type":35,"marks":16418,"text":16419},"cc854285ae36",[651],"Aujourd'hui. 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He contributed to projects such as the ",{"_key":16433,"_type":35,"marks":16434,"text":16435},"22aaeb2c9465",[651],"Mostra del Verde",{"_key":16437,"_type":35,"marks":16438,"text":16439},"493bc846a2ab",[],", ",{"_key":16441,"_type":35,"marks":16442,"text":16443},"e9fec780573e",[651],"Casette for Veterans",{"_key":16445,"_type":35,"marks":16446,"text":16447},"5e087ff14d53",[],", and the ",{"_key":16449,"_type":35,"marks":16450,"text":16451},"116e96d0bba0",[651],"Project for the Youth Hotel at QT8",{"_key":16453,"_type":35,"marks":16454,"text":16455},"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":16458,"_type":31,"children":16459,"markDefs":16464,"style":48},"f9c0d0ec0041",[16460],{"_key":16461,"_type":35,"marks":16462,"text":16463},"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":16466,"_type":31,"children":16467,"markDefs":16472,"style":48},"ce56a44439a9",[16468],{"_key":16469,"_type":35,"marks":16470,"text":16471},"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":16474,"_type":31,"children":16475,"markDefs":16480,"style":48},"1ecdddb6018e",[16476],{"_key":16477,"_type":35,"marks":16478,"text":16479},"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":16482,"_type":31,"children":16483,"markDefs":16488,"style":48},"9905e6f30cfc",[16484],{"_key":16485,"_type":35,"marks":16486,"text":16487},"82dda6418671",[],"Vittoriano Viganò passed away in Milan in 1996.",[],{"_key":16490,"_type":31,"children":16491,"markDefs":16496,"style":48},"1eb2245a7e66",[16492],{"_key":16493,"_type":35,"marks":16494,"text":16495},"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.",[],[16498],{"_key":16499,"_type":31,"children":16500,"markDefs":16505,"style":48},"61ded37550f0",[16501],{"_key":16502,"_type":35,"marks":16503,"text":16504},"91da01c3c26f",[],"Vittoriano Viganò (Milan, 1919 - 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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",[],[21055,21063,21071,21079,21087,21095,21103,21126,21134,21142,21150],{"_key":21056,"_type":31,"children":21057,"markDefs":21062,"style":48},"3a68d54f4695",[21058],{"_key":21059,"_type":35,"marks":21060,"text":21061},"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":21064,"_type":31,"children":21065,"markDefs":21070,"style":48},"184e7ad50ebd",[21066],{"_key":21067,"_type":35,"marks":21068,"text":21069},"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":21072,"_type":31,"children":21073,"markDefs":21078,"style":48},"c60364629c15",[21074],{"_key":21075,"_type":35,"marks":21076,"text":21077},"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":21080,"_type":31,"children":21081,"markDefs":21086,"style":48},"0e2364384984",[21082],{"_key":21083,"_type":35,"marks":21084,"text":21085},"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":21088,"_type":31,"children":21089,"markDefs":21094,"style":48},"b87fa93dcb88",[21090],{"_key":21091,"_type":35,"marks":21092,"text":21093},"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":21096,"_type":31,"children":21097,"markDefs":21102,"style":48},"ffd774f0effc",[21098],{"_key":21099,"_type":35,"marks":21100,"text":21101},"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":21104,"_type":31,"children":21105,"markDefs":21125,"style":48},"d129213fef87",[21106,21110,21114,21118,21121],{"_key":21107,"_type":35,"marks":21108,"text":21109},"cc9926900248",[],"His muse was Venice: the reflections of the lagoon, especially at night, were his main source of colour inspiration. 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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":21135,"_type":31,"children":21136,"markDefs":21141,"style":48},"615ffd2793e0",[21137],{"_key":21138,"_type":35,"marks":21139,"text":21140},"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. 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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.",[],[21363,21371,21379,21386,21402,21409,21449,21457,21464],{"_key":21364,"_type":31,"children":21365,"markDefs":21370,"style":48},"12dad25a4e2d",[21366],{"_key":21367,"_type":35,"marks":21368,"text":21369},"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":21372,"_type":31,"children":21373,"markDefs":21378,"style":48},"fbff76ba88e8",[21374],{"_key":21375,"_type":35,"marks":21376,"text":21377},"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":21380,"_type":31,"children":21381,"markDefs":21385,"style":48},"565c858ebc6e",[21382],{"_key":21383,"_type":35,"marks":21384,"text":506},"b24da63f328f",[],[],{"_key":21387,"_type":31,"children":21388,"markDefs":21401,"style":48},"05505ad273dd",[21389,21393,21397],{"_key":21390,"_type":35,"marks":21391,"text":21392},"1dd775bc49ed",[],"Between 1946 and 1947, he designed ",{"_key":21394,"_type":35,"marks":21395,"text":21396},"24ed17bbd23e",[651],"The Four Seasons",{"_key":21398,"_type":35,"marks":21399,"text":21400},"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":21403,"_type":31,"children":21404,"markDefs":21408,"style":48},"1e29a0d06348",[21405],{"_key":21406,"_type":35,"marks":21407,"text":506},"15f5d3333a50",[],[],{"_key":21410,"_type":31,"children":21411,"markDefs":21448,"style":48},"554fa3e5b634",[21412,21416,21420,21424,21428,21432,21436,21440,21444],{"_key":21413,"_type":35,"marks":21414,"text":21415},"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. 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