1,721,071 research outputs found
Introduzione - Introduction
No full textIntroduction to the book that explores the post-World War II cultural and commercial exchange between Italy and the United States, highlighting a pivotal moment in the shaping of the “designed and made in Italy” identity. In the years following the war, a series of initiatives—spearheaded by figures like Carlo Ludovico Ragghianti and Max Ascoli—played a crucial role in promoting Italy’s artistic, artisanal, and industrial production abroad. Through organizations such as CADMA (1945–1948) and Handicraft Development Inc. (1947–1956), these efforts gave rise to influential events like the exhibitions at the House of Italian Handicraft in New York, the traveling show Italy at Work: Her Renaissance in Design Today (1950–1953), and high-profile showcases in department stores such as Macy’s and Kauffmann’s. These initiatives not only introduced American audiences to Italian craftsmanship and design, but also helped construct a shared cultural identity—one that blended tradition, innovation, and aesthetic excellence, and would come to define the international image of Italian production for decades to come
Terragni alle scaturigini della forma primaria
No full textIl volume contiene la pubblicazione integrale di un album di disegni realizzato nel 1925 da Giuseppe Terragni (1904-1943), protagonista indiscusso della cultura architettonica italiana del Novecento. Il documento apre una finestra su architetture, arredi storici, opere d’arte, reperti archeologici e oggetti etnografici, tra Bologna, Firenze e Roma, gettando una nuova luce sulla
formazione e sulle molteplici fonti di ispirazione dell’architetto. Tre saggi critici precedono la riproduzione dell’album, inquadrando altrettanti filoni tematici che attraversano le riflessioni grafiche di Giuseppe Terragni tra architettura, design e riferimenti culturali allargati
Mostre: arti, design, architettura 1951-1992 – Exhibitions: Arts, Design, Architecture 1951-1992
No full textLa rivista annuale "Opus Incertum" dedica il numero del 2024 all’allestimento temporaneo (esposizioni e rassegne in un periodo compreso tra il 1951 e il 1992) nella sua accezione di progetto multiscalare – ovvero che implica approcci a scale diverse, dal singolo dettaglio alla definizione dello spazio espositivo –, e multidisciplinare, inteso come attinente sia ai tradizionali campi dell’arte, dell’architettura e del design, sia alle più innovative tecniche di comunicazione multimediali e performative, in una proficua ibridazione di approcci e statuti
New York, 500 Park Avenue. The projects by Ettore Sottsass, George Nelson and Hans von Klier for the Olivetti showroom
No full textThis contribution aims to outline the processes and outcomes of a milestone in modern and contemporary showroom exhibition design, that of the Olivetti showroom in New York, 500 Park Avenue, presenting the results of research conducted on almost entirely unpublished primary sources. In particular, it analyzes and reconstructs projects by Ettore Sottsass, Jacques Famery, Bruno Scagliola, George Sowden, George Nelson and Hans von Klier, developed from 1969 to 1975
Adriano Olivetti Showrooms
No full textThe design of typing machines is the most known expression of Olivetti industrial legacy, which produced an identity that was both innovative and complex, material and immaterial. These identities are the focus of an interdisciplinary research project conducted by ECAL/University of Art and Design Lausanne and Università degli Studi di Ferrara, in partnership with the Association for the Olivetti historical archives in Ivrea.
The book Olivetti Identities: Spaces and Languages 1933–1983 presents the results of such research with the aim of analyzing the Olivetti phenomenon as a whole, highlighting its main features in the context of the corporate evolution and of the approaches of such designers as Xanti Schawinsky, Renato Zveteremich, Ettore Sottsass, Hans von Klier, Egidio Bonfante, Walter Ballmer, among others.
The time span subject of this analysis ranges from the establishment of the Olivetti advertisement office in 1933, to the opening of the permanent Olivetti pavilion at the Hannover fair in 1983, intended as a final step in a particularly efficient strategy of corporate identity.
The volume is organised in four sections, dedicated to the design of showrooms, the exhibition design of fairs and expos, the analysis of languages that forged a corporate vocabulary, such as visual communication and interaction design, as well as cultural and promotional activities. A final section collects the witnesses of designers Santiago Miranda and George Sowden, as well as former Olivetti collaborators in sales and training. Two visual essays open and close the book featuring published and unpublished documents conserved at the Olivetti historical archives
New York, 500 Park Avenue. I progetti di Ettore Sottsass, George Nelson e Hans von Klier per lo showroom Olivetti
No full textIl contributo si propone di delineare i processi e gli esiti di una pietra miliare dell'allestimento degli showroom moderni e contemporanei, quello dello showroom Olivetti di New York, 500 Park Avenue, presentando i risultati di una ricerca condotta su fonti primarie quasi interamente inedite. In particolare analizza e ricostruisce progetti di Ettore Sottsass, Jacques Famery, Bruno Scagliola, George Sowden, George Nelson e Hans von Klier, sviluppati tra il 1969 e il 1975
SCHEDE STORICO-CRITICHE SULLE SEGUENTI REALTA' PRODUTTIVE E OPERE: Officina; Giovanni Tesconi, oggetti da scrivania, 1965-1968; Angelo Mangiarotti, vaso Variazioni, 1966; Fucina; Renato Polidori, lampada Cubo, 1975-1976; Renato Polidori, vasi e ciotola, 1975-1976; Casigliani; Lella e Massimo Vignelli, tavolo Metafora 1, 1979; Lella e Massimo Vignelli, gioco Metafora 2, 1979; Lella e Massimo Vignelli, lampada Wagneriana, 1986; Paolo Tilche, piccoli vasi Omaggio a Morandi, 1978; Giulio Lanzotti, alzate Rocketto, 1981; Giulio Lanzotti, centritavola Peanuts, 1981
No full textOlivetti Identity ::from self-representation to an agenda for the future
No full textThe essay examines the development of Olivetti's corporate identity, from the opening of the Olivetti Advertising Office in 1933 to that of the permanent Olivetti pavilion at the Hannover Fair in 1983, seen as the final step in a particularly effective corporate identity strategy. Divided into four sections, the contribution develops from self-representation, critical attention, Olivetti ethos, up to a possible agenda for the future, dealing with showroom and exhibition design at trade fairs and exhibitions, as well as the languages that have shaped the company's vocabulary: visual communication and interaction design, cultural and promotional activities
14 progetti espositivi per Santa Maria delle Grazie
No full textProgetti curatoriali e di exhibition design per le collezioni librarie storiche e di pregio dell'ateneo di Ferrara
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