Davide Mosconi. Her freelance design work included products for Poltronova, Candle, Ideal Standard, Louis Vuitton, and Artemide, to name a few.[5]. Throughout the 60s and 70s, Aulenti produced furniture for Milan's major design houses, including Knoll, Zanotta and Kartell, as well as lighting for Artemide, Stilnovo and Martinelli Luce. Gae Aulenti (pronounced [ˈɡaːe auˈlɛnti]; 4 December 1927 – 31 October 2012) was a prolific Italian architect, whose work spans industrial and exhibition design, furniture, graphics, stage design, lighting and interior design. Her proposal transformed the cavernous central hall, a magnificent barrel-vaulted train shed lit by arching rooflights, into an open exhibition space, with the insertion of modern industrial materials. - Aulenti, "Raggi: Has the fact that you are a woman been a crucial influence in your work:" Aulenti: Yes." Her work on the Musée d’Orsay led to commissions to create a space for the National Museum of Modern Art at the Centre Georges Pompidou in Paris; the restoration of the Palazzo Grassi as an art museum in Venice; the conversion of an old Italian embassy in Berlin into an Academy of Science; and the restoration of a 1929 exhibition hall in Barcelona as Museu Nacional d'Art de Catalunya. "There are plenty of other talented female architects, but most of them seem to link up with men...I've always worked for myself, and it's been quite and education. - Aulenti quoted in The Guardian's recent obituary. Jeremy Myerson, "Grande Dame" article in Design Week, 14 October 1994. If the architectural style did not find a proper glory and longevity, Gae Aulenti’s applications of Neoliberty’s dictates to industrial design are nonetheless interesting and celebrated. During that time she became part of a group of young professionals influenced by the philosophy of Ernesto Nathan Rogers. "Nowhere is it possible to escape from intrusions on the eye." Aiming to promote dialogue and integration between the two cultures, the Italian Institute of Culture in Tokyo is as Italian in the inside as it is Japanese in the exterior: the building, featuring white marble corners and vibrant red facades overlooking the imperial gardens and the sakura, never ceased to attract critics, as Aulenti herself. But Gaetana Aulenti was one of a kind. And then, to take a stand against the ephemeral, against passing trends...and to return to lasting values." Is this an amusement park or a kindergarten? [6], Her career ended with over 200 built works. New York: Harry N. Abrams, Inc., Publishers. "Design & Art: Gae Aulenti." About. For Olivetti she conjured explosive shop windows for showrooms in Paris and Buenos Aires. Born in the town of Palazzolo dello Stella, near Trieste, Gaetana Aulenti decided to study architecture as a form of rebellion against her parents' desires for her to become "a nice society girl". Gae Aulenti, the Italian architect of the Musée d'Orsay in Paris and a prolific designer of furniture, lighting and theatre sets, has died aged 84. Muriel Emmanuel. [5] She then also served as vice-president of the Italian Association Of Industrial Design (ADI). "Aulenti has indulged herself in an aggressive orgy of ornamental excess," declared the Architects' Journal. She always wanted the focus of the room to be the occupants, believing people make the room a room. She caught the attention of Gianni Agnelli, chairman of the Fiat empire, for which she designed showrooms in Turin, Zurich and Brussels – dynamic compositions of contorted routes criss-crossing between cars raised on inclined platforms. 100 Contemporary Architects. Contemporary Architects. She was chosen in 1981 to convert the Beaux Arts-style Gare d'Orsay railway station in Paris into a new home for impressionist art. "One feels crowded, oppressed and empty in turn. ^ L'adieu à Gae Aulenti, « l'architecture Mme, en la République, 1 Novembre de 2012. "There are plenty of other talented female architects, but most of them seem to link up with men," said Aulenti, who divorced twice and is survived by her daughter, the costume designer Giovanna Buzzi, and a granddaughter. During her almost 20 years in that company, she introduced some emblematic pieces and a new intuitive design style that goes straight from the idea to the development of the prototype. Quali sono state le caratteristiche del progetto di Gae Aulenti dedicato al Museo d’Orsay che le ha fatto vincere il bando di concorso internazionale? With echoes of buttresses and primal pitched-roof forms, they reveal a taste for references to preclassical architecture and a sense of elementary construction. A portion of Aulenti's papers, drawings, and designs including the design drawings for the Asian Art Museum in San Francisco, California are collected at International Archive of Women in Architecture in Newman Library, Virginia Tech. Aulenti began her career as a private-practicing architect and freelance designer out of Milan in 1954. Musée d’Orsay – Paris. She even designed the mannequins. Web. The architect had to deal with the legacy of a Rationalist architectural style and a Fascist mentality, that openly condemned any kind of female emancipation, promoting instead a poetry of masculinity and minimalism. In San Francisco, she transformed the city’s Beaux Art Main Library into a museum of Asian art. Design & Art: Products. Part of the MoMA permanent collection, the Pipistrello Lamp was designed for the Olivetti showrooms and then mass-produced by Martinelli Luce in the ’60s, when new plastic-molding techniques were making it possible to create any possible shape, including a bat’s outspread wings. Aulenti also occasionally worked as a stage designer for Luca Ronconi, including for Samstag aus Licht (1984). But although Aulenti realized over 700 projects, she is relatively unknown outside her native Italy. [3], Aulenti's work in theater was highly architectural, as she saw 'the scenic box not as a container to embellish and render recognizable in the sense of something already known, but as a real space in itself". Milan 1979. Producteur - Knoll. Arata Isozaki "International Design Yearbook 1988-89", London 1988. [5] Her architectural practice included many interior flat designs for corporate clients, including Fiat, Banca Commerciale Italiana, Pirelli, Olivetti, and Knoll International. Gae Aulenti (pronounced [ˈɡaːe auˈlɛnti]; 4 December 1927 – 31 October 2012) was a prolific Italian architect, whose work spans industrial and exhibition design, furniture, graphics, stage design, lighting and interior design. An object with an embracing sinuosity that distances itself from the squared geometry of the period: in 1962 Gae Aulenti designed the Sgarsul rocking chair for Poltronova, the Italian firm that was enjoying Ettore Sottsass’ original artistic direction in the same years. She told The Times that she studied architecture in defiance of her parents’ hope that she would become “a nice society girl.” She soon joined the staff of Casabella, a design magazine, and joined with her peers in rejecting the architecture of masters like Le Corbusier, Mies van der Rohe and Walter Gropius. She was suffering from chronic illness and made her last public appearance on 16 October, when she received the career prize at the Milan Triennale. "But 20,000 people a day stand in line waiting to get in.". ", Aulenti, whose character was every bit as forceful as her architecture, was not fazed: "The press was very rude," she said frankly. It is a masterpiece whose 45° dovetail joints make it extremely sturdy. [5] During that time, she also designed for a department store, La Rinascente, and later designed furniture for Zanotta, where she created two of her most well known pieces, the "April" folding chair which was made from stainless steel with a removable cover, and her "Sanmarco" table constructed from plate-glass. - Aulenti in interview with Franco Raggi, "From a Great Desire to Build a City" published in. If you're designing an airport, then airplanes are important. - Aulenti quoted in The Times, "The conscious principle in this design has been to achieve forms that could create experiences, and that could at the same time welcome everyone's experiences with the serenity of an effortless development." [1] She was well known for several large-scale museum projects, including the Musée d'Orsay in Paris (1980–86) with ACT Architecture, the Contemporary Art Gallery at the Centre Pompidou in Paris, the restoration of Palazzo Grassi in Venice (1985–86), and the Asian Art Museum of San Francisco with HOK (firm) (2000–2003). Aulenti was one of the few women working in architecture and design in postwar Italy and her talents found a vast range of outlets, from showrooms for Fiat and Olivetti to sets for La Scala, the opera house in Milan, to private villas for the rich. Original cast-iron beams and plaster rosettes were contrasted with wire mesh partitions and new rough stone walls, on which the collection, of mainly French art from 1848 to 1915, was daringly hung. A triple wooden frame with adjustable height and tilt thanks to indentations carved into the inside. The Italian designer gained international renown for her transformation of a Parisian train station into the Musée d’Orsay (1980–1986). The houses she went on to design in the 70s and 80s shared a similarly postmodern sensibility. New York: St. Martin's Press, 1980. 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How to grow a successful architecture & design profile on Instagram, Precious Plastic’s world’s first open-source building brick from plastic waste, Research vs Business in architecture – Martha Thorne and Laura Clèries. <. Aulenti taught at Venice School of Architecture as an assistant instructor in architectural composition[5] from 1960 to 1962 and at the Milan School of Architecture of the Polytechnic University from 1964 to 1967. One of her most famous pieces, a coffee table in the form of a thick square of glass supported on four black casters, is in the collection of the Museum of Modern Art in New York. Agnelli became a close friend and later commissioned her to renovate the Palazzo Grassi in Venice as an exhibition space, and to build a ski lodge in St Moritz.

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