Alessandro Mendini (b.1931) played an important part in the development of Italian, Postmodern, and Radical design. He was co-founder of Studio Alchymia (with Alessandro and Adriana Guernero) in 1976. He was awarded several international prizes, including the Compasso d’Oro in 1979, 1981, and 2014. In 2011, he was awarded with the title Doctor Honoris Causa of the Ecole Normale Supérieure de Cachan.
The Studio Alchimia in Milan was founded in 1976 and exhibited its first collection in 1979. Alessandro Mendini’s Proust armchair is one of the most unusual pieces from the Bau.Haus collection. It was made in a small number and individually painted to express the collective’s unease with mass production.
Alessi is an Italian domestic metal products factory. You would think that Alessi Italy’s foremost design factory would have its headquarters in an imposing palazzo in Milan. Instead, the company is nestled near a small northern Italian lake called Lago d’Orta, a mountain range from its more famous big brother, Lago Maggiore.
He was an apprentice in the studio of Giovan Battista Gianotti, painter, furniture designer, and decorator; in 1921, opened Bot- tega di Pietro Chiesa, Milan; in 1927, (with Gio Ponti, Michele Marelli, Tomaso Buzzi, Emilio Lancia, and Paolo Venini) founded Il Labirinto, which produced high-quality glassware.
Gio Ponti founded Domus in 1928, this journal devoted to architecture and design, originally named “L’ Arte della Casa,” has been at the forefront of design debate in Italy. In the 1930s, it was mainly concerned with a Novecento aesthetic, but it also paid attention to more radical tendencies, as Persico’s 1934 article “A New Start for Architecture” exemplifies.
He worked for various firms in Italy and Yugoslavia. He received a patent for a bookcase-component system. Clients included Ferro & Lazzarini (glassware) and Italianline. He was best known for his lighting in glass and a mushroom-shaped table lamp in marble; became a member of ADI (Associazione per il Disegno Industriale); was author of Venini Glass (1990) and the manager of an art auction house.
He worked in the family firm Ceramica Franco Pozzi in Gallarate from 1951 and redesigned its traditional products in an award-winning Functional style. His widely published 1970 Compact stacking coffee service was designed for machine production in three sizes. He set up his design practice, where clients included Riedel, Rossi, Guzzini, Pierre Cardin, Rosenthal, Norex, La Rinascente department store, and Alitalia.
From cl1880, Zen directed the most crucial furniture workshop in Milan. He was active in the stile floreale, continued after the 1902 Turin ‘Esposizione Internazionale d’Arte Decorativa Moderna’ to be known for his Art Nouveau and Symbolist motifs. He was not a designer himself but instead a factory owner and manager. From 1898, his firm was associated with Haas of Vienna, whose designers included Otto Eckmann.
From 1977 to 1983, he worked as the chief editor of the design magazine Modo and as a consultant for the fashion magazine Donna. She designed interiors for Driade, Gianfranco Ferré, Montres and GFF Duty Free, Fontana Arte, Granciclismo sports machines, and Morassutti/Metropolis, as well as serving as an image and product consultant for the Croff/Rinascente chain.