GN - 08 - Mendini 2 PDF

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Alessandro Mendini (1931-)
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Superfluous Designer
As an artist
Feeling
Spiritual
trivial
Decoration
Design Irrational
Needless
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Form
Crafts
Fashion
The synthesis of the arts Irony
Ornament
Art
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Gorilla, cover of Casabella, n. 367, 1972
1970: Think
Director of
"Nice house"
RADICAL
DESIGN
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http://www.arte.rai.it/articoli/1972-
italy-the-new-domestic-landscape-
al-moma-of-new-york / 14621 /
default.aspx
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A. Mendini, self-portrait with a prisoner of Mauthausen, 1974
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Alessandro Mendini, Lassù, 1974-75 (performance for Casabella)
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"SPIRITUAL USE OBJECTS"
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Joseph Kosuth, One and Three Chairs, 1965

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REPRESENTATION REPRESENTATION
ICONIC LOGIC
REALITY'
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EARTH GRANTS INCLUDED IN PLEXIGLAS: The chair is no longer an object
Functional but becomes the reliquary of a lost thing
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A. Mendini, Terra Chair, 1975
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A. Mendini, Straw chair, 1975
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Marianne Brandt and Hin Bredendieck, 1928
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GLOBAL TOOLS
January 12, 1973 Archizoom Associac, Remo Buc, Riccardo Dalisi, Ugo La Pietra, 9999, Gaetano Pesce, Gianni
Pe, ena, E, Hours So, sass jr., Superstudio, UFO and Zziggurat founded in the editorial office of 'Casabella' the 'Global
Tools'. Defining in the first document published on issue 377 of "Casabella", "... a system of laboratories
For the propagation of the use of natural technical substances and relacvi comportamenc .. "which was set as obie vo
"... to squash the free development of creakness Individual ... ", Global Tools proposed as a place to
Communication and comparison in which the research work intended to specialize in disciplinary areas, and in which
Common experiences and prose -protocpo should have come to fruition. The school-lab represented
Define the attempt by the radical movement not to disperse the different experiences but more
organize them, not so much to give to sistemaccità for experimental activity as to run them on different paths.
To the contrary, the programming of seminars and workshops open to the public, the movement sought to find again
Community based programs and common activities. Born as a link and research hypothesis
Common on the possible themes of mass creakness in 'leisure society', in reality Global
Tools never came into operation.
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From an interview with Alessandro Mendini (1987):
"As for Modo, the basic idea was that
Of wanting to contaminate the purity of the speech
On the prose, or elite, in the history of magazines
Of architects, uranium, making her react with the energy of the
Professional, or massive. I wanted to overcome moralism
pico erature of the Modern Movement,
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Using (precisely) a WAY and morality

Different, I wanted me, ere the proge, or in relation
Say, to with life, with joys, sorrows, i
People's behavior. This was the theme:
Thinking of "strumenc" gives the men of "others"
Reality, to a new infinite (and upside down) world of
Not only joke, necessary, even authoritarian, but
Also cheerful, imaginative, ritual, fun by
Buy, sell, exchange, lend, give
And destroy. This was the method: give the hours, hours
Shuffle cracks and expose it to documenc, noczie, doubts,
GRAPHICS Truth and even paradoxical falsity because he
PHOTOGRAPHY Could elaborate his personal synthesis.
Did you get that intent? A magazine is a a, or a
FASHION
Enthusiasm that only the hours, hours can judge. But one
DESIGN
Magazine is also a container that the various say, gold
ETC. One after the other fill in different ideas: and
Continuing his life, I know that Mode now begins a
FASHION magazine, since 1977 New cycle, which I hope very lucky! ".
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REDESIGN: give
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a new
Meaning a
Existing objects
"I INVENT AND GET THE COPY, WHY IN THE PANTHEISM OF THE ENORME BY LATTEA
OF THE GOODS, ALL THAT I CAN THINK THAT IS: THE IMPORTANT IS WHAT IT IS
ORIGINAL MY WAY TO FALSE "
Alessandro Mendini, Originality false, 1997
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Alessandro Mendini, sofa Kandissi, Alchymia, 1979
Wassily Kandinsky,
Wild Calm,
1923
Grace Jones in a maternity dress designed by Jean-Paul Goude and Antonio Lopez, 1979 © Jean-Paul
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Goude
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DECORATION AS "VALUE
STABLE ", ANTROPOLOGIC, THAT
SEND TO INCIDENT NEEDS AND
IRRATIONAL
READY MADE; HAND WORK;
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http://www.arte.rai.it/articoli/la-poltrona-proust/19079/default.aspx
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GL Ciagà, Alessandro Mendini, 2011
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Adolf Loos (1870-1933)
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Alchemy Foundation by Adriana and Alessandro
Warrior (1976): to create an autonomous production of furniture not
Industrial and to propose quesc ogge to the public to, across a range of
allescmenc
MANCHESTER OF ALCHIMIA - Alessandro Mendini, 1984
For the Alchemy group today it is important to a, or to "draw". Drawing, or eme, ere signs, is not "design"
And it is not "proge, or": it is instead a free and concisen movement of thought when it is expressed visually. A
Motion "waded".
For Alchemy his task of drawing a group is to give the others a testament to
"Sencmental thought". The mo of work innovation lies not in its efficiency pra ca, the "beauty" dell'ogge, or
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Consists in the love and magic with which it is proposed, in the soul that it addresses.
For Alchemy, man and woman today live in a state of turbulence and imbalance, but above, or dear, is eroded
Of their life is that of "de, garlic": frammenc organizzacvi, human, industrial, policci, cultural .... This time
Of transition sees them immersed in indefinite fear due to the disappearance of mole considerac values as sought.
You need to find yourself again, Alchimia works on considerac negacvi values, weakness, void, absence
And the deep, now understood as side-by-side reflections, or to what is external, full and violent, as things from
remove.
If the labors of times do not pass, and that there are obie, you find, if philosophy seems closed to the future, if it is
Impossible to think of general and rational transformations, the Alchemy group focuses on itself, seeks
But, to think within, with the sole intention of signaling his poetic vocation. It does its a, or
Introversion, his minimal crematory arbitrariness, beyond any judgment.
This is the "new morality" of Alchemy.
For Alchemy, disciplines do not affect when they are considered within their rules. Indeed, it is
It is important to investigate in the great free spaces existing between being.
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For Alchimia you never know whether you are doing sculpture, archery, ura, applied art, theater or
even more. The prose, or acts ambiguously outside the prose, or himself, in a state of waste, of indifference
Disciplinary, dimensional and conceal, the proge, or is just a gymnast of the design.
Alchemy's memory and tradition are important. But the new design is independent of any failure
Rhetorical, which Alchimia shakes and decays in a formal form and kaleidoscopic scal.
For Alchemy is well-specialization, namely the assumption that they should live conception methods and
"Confused" production, where they can mix brickwork, industry, information, techniques and materials to, and
ina, hich.
For Alchemy worth the conce or "variation". Given the insufficiency of design to face the world, the design
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It becomes a concise work without beginning, endless, and without jumble. Language and language games
Behavior interweaves, combine and repeat infinitely in the two-dimensional image and
Three-dimensional of the orge, or drawn, into a system of orderly disorder, valid only "within itself". The beaters, or
Visual wins on the cultural root and on the plowing, it is worth the purified image, cooled and "detached" from the weight
Anthropological and ritual of the arcsta. The indefinite mistake of fantasy gives rise to the construction of a
A mechanism which represents, in the eternal knowledge of man, which Alchemy does own, to redesign
Incessantly the image of the world and its ornamental matrices.
For Alchemy, the objects must be "normal" and "abnormal" together. Their component of any kind
It brings together in quo give, in the real and in need of appia chin, their exception component removing them from the
Custom and connects them to the need for the unexpected, the accident, the difference, the transgression.
For Alchemy the design is a cycle: you, or what will happen, has already happened, and the individual fantasy, the basis of
The world's survival, can travel through you to every culture and place, as long as you work in a loving way.
For Alchemy, the prose, or it is delicate, does not impose, but it gently accompanies and accompanies the course of life and
Of the death of the people to whom that story, or likes.
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The praise of the banal, Studio Form / Alchymia, 1980
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Eleggere il giorno come campo

Of inquiry: freeing up new energies
Creative and uploading new ones
Meanings (with restyling interventions
Or redesign) objects now extinguished and
Exhausts sense. A work by
Reconciliation of the function
Of the designer as an intellectual
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At the end of 1979 Mendini
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Takes the lead

"Domus", in the years of
Maximum diffusion of the
Postmodern culture
(neo-modern)
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CONTESTED
"AUTHORITY" OF THE
DESIGN
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Alessandro Mendini et al., Groninger Museum, NL, 1990
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Groninger Museum, Pavilion by Coop Himmelb (l) au
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2017/8/22 Untitled

Alessandro Mendini (1931-)

The synthesis of the arts Irony

A. Mendini, self-portrait with a prisoner of Mauthausen, 1974

"SPIRITUAL USE OBJECTS"

Joseph Kosuth, One and Three Chairs, 1965

A. Mendini, Terra Chair, 1975

A. Mendini, Straw chair, 1975

Marianne Brandt and Hin Bredendieck, 1928

Using (precisely) a WAY and morality

Alessandro Mendini, Originality false, 1997

Alessandro Mendini, sofa Kandissi, Alchymia, 1979

READY MADE; HAND WORK;

GL Ciagà, Alessandro Mendini, 2011

Adolf Loos (1870-1933)

MANCHESTER OF ALCHIMIA - Alessandro Mendini, 1984

Eleggere il giorno come campo

Takes the lead

Alessandro Mendini et al., Groninger Museum, NL, 1990

Groninger Museum, Pavilion by Coop Himmelb (l) au

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