Massimo Morozzi (b. 1941) was Italian architect and designer. He was born in Florence and now lives and works in Milan.
Until 1966, he was a student of architecture in Florence.
He created Archizoom Associati in 1968 with Andrea Branzi, Gilberto Corretti, and Paolo Deganello, which developed industrial and architectural designs and urban planning and was a notable Italian architecture practice until 1972. He oversaw Montedison’sMontedison’s Centro Design Montefibre’sMontefibre’s attempts to promote furniture and textile products from 1972 to 1977. He studied colour and interior design, and he pioneered a new ”soft” furniture design technique.
Morozzi and Cassina worked to develop the 1974 AEO chair at Archizoom. He founded the firm CDM (Consulenti Design Milano) in 1976 with Branzi, Gianni Cutolo, Alessandro Mendini, Clino Trini Castelli, and Ettore Sottsass, which handled large-scale projects such as the corporate image and landscaping of Leonardo da Vinci airport in Rome, an information system for the Italian post office, a centre for creative colorimetrics for the ”Colorterminal,” and the Piaggo colour.
He founded his design firm in 1982, specialising in domestic products and industrial design for clients such as Fiam, Edra, Mazzei, Giorgetti, Ideal Standard, Cassina, Alessi, and Driade, as well as working in Japan and Australia. Cassina produced his multi-coloured, seven-part Tangram table in 1983.
He received the 1979 Premio Compasso d’Orod’Oro ( for Colordinamo, Decorativ, Fibrematching 25).
You may also be interested in
Four architects-Andrea Branzi, Gilberto Corretti, Paolo Deganello, Massimo Morozzi-and two designers-Dario Bartolini and Lucia Bartolini-founded Archizoom this Italian avant-garde design studio in 1966 in Florence, Italy. They focused on exhibition installations and architecture and designing interiors and goods as part of the Italian Anti-Design or Radical Design movement.
Studio Alchimia Italian design collaborative located in Milan. Alessandro Guerriero (b. 1943), an architect, created Studio Alchimia in 1976 as a gallery to show experimental work that was not limited by industrial production. The studio’s allusion to alchemy was meant to ridicule Modernism’s scientific reasoning.