Formed in 1987, Atika was aligned with the Anti-Design orientation of Archizoom, Alchimia, and Memphis in Italy. One of its goals was to support Post-Modernism, seeking an outlet for experimentation and new means of expression. Its expressive language used signs of symbolic meanings that referred to nature, society, and urban destruction.
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.
The British Royal Society of Arts (RSA) established the Royal Designer for Industry designation in 1936 to encourage high-quality industrial design and elevate the reputation of designers. It is given to persons who have demonstrated “consistent excellence in beautiful and efficient industrial design.”
Memphis was a movement in interior design introduced at the annual Milan Furniture Fair in 1981. It consisted of a group led by Memphis guru Ettore Sottass of avant-garde Italian designers. With outrageous interpretations of traditional furnishings and accessories, Memphis shocked the traditionally quiet industry.
Unit One was a British avant-garde community of architects and fine artists were created by designer, artist, and teacher Paul Nash to encourage Modernism in art and architecture in England. Henry Moore, Barbara Hepworth, and Ben Nicholson were among the group’s most prominent members, as were the architects’ Wells Coates and Colin Lucas.
Its members included Pierre Chareau, Raymond Templier, Dominique (André Domin and Marcel Genevriere), and Pierre Legrain. In 1926 and 1927, they showed their work as the Groupe des Cinq at Galerie Barbazanges, Paris. The gallery, at 109 rue du Faubourg St. Honoré, was designed by André Lurcat. The association is not to be confused with Les Cinq.
The creation in 1901 of the Société des Artistes Décorateurs (SAD) reflected the increasing significance in France of this new profession of Decorative Arts. This resulted from a series of government-funded projects carried out in the fine and applied arts schools of France to improve the status of applied arts and training.
Between 1890 and 1914, the École de Nancy, or Nancy School, was a group of Art Nouveau artisans and designers based in Nancy, France. The furniture designer Louis Majorelle, the cabinet maker and glass artist Jacques Grüber, the glass and furniture designer Émile Gallé, and the Daum crystal factory were important contributors.