GN - 09 - Verso Il 2000 2 PDF

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Alessi, Tea and Coffee Plaza, 1983
ALESSANDRO MENDINI FOR

ALESSI
MULTIPLE CONCEPTS,
LIMITED EDITION, SERIES
DIVERSIFIED PE SUPER
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THE DISSIDIA BETWEEN ART AND

INDUSTRY
Tea and Coffee Plaza, 1983:

Service in only 99 copies in
Silver 925/1000
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Michael Graves
Robert Venturi
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Hans Hollein
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Paolo Portoghesi
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Aldo Rossi, Coffee Maker, Alessi, 1984
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Aldo Rossi, Coffee maker, Alessi, 1983 (silver, enamel, quartz)
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Aldo Rossi, World Theater, Venice, 1979
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Aldo Rossi, Kettle, Alessi, 1988
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Alessandro Mendini, Furniture for men, Bisazza, since 1997
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Stefano Giovannoni, Girotondo, Alessi, 1989 (steel)
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Stefano Giovannoni, Merdolino, Alessi, 1993 (thermoplastic resin)
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Stefano Giovannoni, Mary Biscuit, Alessi 1995
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Stefano Giovannoni, Magic Bunny, Toothpick Holder, Alessi, 1998
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Stefano Giovannoni, Piripicchio, Lens Lens, Alessi, 2005
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Stefano Giovannoni with Miriam Mirri, Pino,
Funnel, Alessi, 1998
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Stefano Giovannoni, Cico, Easter egg, Alessi, 2000
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Internationalization
Of Italian design
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Philippe Starck is first called in Italy in 1984 by Enrico Baleri (Baleri
Italy). His following years: Driade, Flos, Kartell, etc.
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Philippe Starck, Président M, Baleri, 1984
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"The most consumed pology

Of bourgeois decoration, the effect
Elite mask, a technological game a
surprise.
They are the ingredien! Of this cocktail
Explosive, which Starck creates, moved
From the old home armchairs that i
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Bourgeois abandon the

Philippe resurrected street. homage
by paying
To President Micerrand for the Chamber of Commerce
The apartment of the apartment at Elysée.
The most radical starck of Starck.
Structure entirely printed in
Strong rigid polyurethane, varnished
With smal! polyurethane. Cushion in
Expanded polyurethane and dacron, rives! To
In fabric or leather.2
Materials: strucura: rigid polyurethane

- pillow: soft polyurethane
Finishes: strucura: black, silver -
Pillow: black technical fabric, leather
White or black
Philippe Starck, Richard III, Baleri, 1981
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Philippe Starck, Louis Ghost, Kartell, 2002
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"Sensory parameters are as essential as i
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Functional parameters. I replaced the aesthetic approach with

Semantics, my objects are references a bit '
Emblematic, they are not the most beautiful, but they are
Immediately understood by the public "
Philippe Starck
DESIGN HOW TO PRODUCE SIGNS
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Philippe Starck, Juicy Salif, Alessi, 1990-91
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Philippe Starck, Gnomes, Kartell, 2000 (Hemoplastic Technopolymer)

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Raymond Loewy, PRR S1, 1939
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philippe_starck_thinks_deep_on_des
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philippe-starck-lessons-of-design /
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Philippe Starck, Miss Sissi, Flos, 1990
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ECLECTICISM
LANGUAGE RESEARCH
DIFFERENT, EVEN
antithetical:
Borek Sipek, Ron Arad,

Toyo Ito, Starck, Sejima, etc.
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Shiro Kuramata, Bookshelf, Cappellini, 1970
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Shiro Kuramata, Side, Cappellini, 1970
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In the mid-1980s they closed Memphis and then Alchemy. At least for what
It concerns the language of the ogge, the tendency to refrain begins to emerge
On the discomfort caused by the reduction of "este! Co" to frivolity, according to one
Definition of the Italian philosopher Gianni Va mo, and the proliferation of forms,
Due to an excess of "noise", "pollution semio! Co". The same
Poor market success in Memphis and Alchemy, which triumphed over
Pages of the journals but remained confined within the art of
luxury, off the interest of the industries for the postmodern design. In the wake
Of ongoing reflection, gains new visibility in the tradition of design

Italian cos! Tuita by rationalistic archives! Operan! From the 1950s and beyond
Young people who work in the development of that tradition. It must be added
That this, in the field of produ and market, as well as of quality
Prolific, has always continued with quiet success: to do just that

Some examples, Mari (chair Tonieca, 1985); Magistre (Chair Silver,
1989); New designers like Antonio Cicerio (see the great success of the
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Sity sofa, 1986). The rationalist or neo-rationalist philosopher reaffirms,

Within the emergence of a general paradigm of 'new simplicity'.
New companies and new designers also emerge: so Paolo Rizzaco e

Alberto Meda design for Luceplan an amazing array of lamps
(Berenice, 1985; Costanza, 1986; Titania, 1989).
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Antonio Citterio, Sity, B & B Italy, 1986. Compasso d'Oro 1987
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Vico Magistretti, Silver, De Padova, 1989
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Paolo Rizzatto, Constance, Luceplan, 1986
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Kazuo Shinohara for Sawaya & Moroni, Straw Chair, 1987
"... if there is something for you
Which is worth it
Fight for what
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Concerns the values

Architectural, is the way
Aesthetic Japanese,
Deprived of that
Sentimentality that is not
Never been
Usefulness for society
Nor for the individual "
K. Shinohara, 1994.
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AGFronzoni, Series 64, 1964, production Caps
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Vico Magistretti, Atollo, Oluce, 1977
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Ettore Sottsass, Carlton, Memphis 1981 (HPL Print Laminate)
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Marco Zanuso, TS 502, Brionvega, 1964
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Jasper Morrison, Universal System, Cappellini, 1990

(wood)
Ettore Sottsass, Beverly, Laminto Print, lacquered metal and wood, Memphis 1981
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Grace Jones in a maternity dress designed by

Jean-Paul Goude and Antonio Lopez, 1979
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Jean-Paul Goude

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2017/8/22 Untitled

ALESSANDRO MENDINI FOR

THE DISSIDIA BETWEEN ART AND

Tea and Coffee Plaza, 1983:

Aldo Rossi, Kettle, Alessi, 1988

Stefano Giovannoni, Girotondo, Alessi, 1989 (steel)

Stefano Giovannoni, Merdolino, Alessi, 1993 (thermoplastic resin)

Stefano Giovannoni, Mary Biscuit, Alessi 1995

Stefano Giovannoni, Magic Bunny, Toothpick Holder, Alessi, 1998

"The most consumed pology

Bourgeois abandon the

Materials: strucura: rigid polyurethane

Philippe Starck, Richard III, Baleri, 1981

"Sensory parameters are as essential as i

Functional parameters. I replaced the aesthetic approach with

Immediately understood by the public "

DESIGN HOW TO PRODUCE SIGNS

Philippe Starck, Juicy Salif, Alessi, 1990-91

Philippe Starck, Gnomes, Kartell, 2000 (Hemoplastic Technopolymer)

Raymond Loewy, PRR S1, 1939

Philippe Starck, Miss Sissi, Flos, 1990

Borek Sipek, Ron Arad,

Shiro Kuramata, Bookshelf, Cappellini, 1970

Shiro Kuramata, Side, Cappellini, 1970

Pages of the journals but remained confined within the art of

Of ongoing reflection, gains new visibility in the tradition of design

Prolific, has always continued with quiet success: to do just that

Sity sofa, 1986). The rationalist or neo-rationalist philosopher reaffirms,

New companies and new designers also emerge: so Paolo Rizzaco e

Paolo Rizzatto, Constance, Luceplan, 1986

"... if there is something for you

Fight for what

Concerns the values

Sentimentality that is not

Usefulness for society

Nor for the individual "

Vico Magistretti, Atollo, Oluce, 1977

Ettore Sottsass, Carlton, Memphis 1981 (HPL Print Laminate)

Marco Zanuso, TS 502, Brionvega, 1964

Jasper Morrison, Universal System, Cappellini, 1990

Grace Jones in a maternity dress designed by

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