In the period following the Second World War, the Italian design scene was one of the most vital in Europe. Design was soon recognised as a major strategic resource of central economic importance. Its success was facilitated by the Milan System, a contact network of designer architects, theoreticians and smaller-scale artisanal enterprises. The Triennale di Milano also played an important role. Charged by the state with the collection and promotion of as well as research into Italian design, it was a widely-respected forum particularly in the 1950s and 1960s.
This exhibition assembles some of the most important and representative examples of Italian design from 1945 to 2000 to illustrate the dominant role of design in modern-day Italian culture.
The 100 objects on display have been selected on account of their technological innovation, choice of materials, originality or influence on subsequent design. Most of the exhibits come from the sphere of interior design, but subjects such as transport or life in public spaces are also focused on. Although largely the product of industrial processes, most of these objects are redolent with nostalgia and memory. They touch us, showing us who we were, how we lived and how we "furnished" our lives.
The exhibits are displayed chronologically and divided into five sections corresponding to the major epochs of Italian history from 1945. They take the visitor on a fascinating journey through the history of Italian design. The post-war years and the reconstruction (1945-1960). The Vespa by Piaggio and the Lexikon typewriter by Olivetti symbolise the birth of modern Italian design.
The economic boom and the consumer craze (1960–1970). These years are typified by the use of plastics, the moon landing and Pop-Art. The years of social unrest and plastic (1970–1980). This period saw the emergence of design icons such as Tizio by Sapper, the Boby serving cart by Colombo and the Proust armchair by Mendini. Hedonism and Postmodernism (1980–1990). This period is exemplified by the designs of the Memphis group and the Richard III armchair by Philippe Starck.
The difficult search for a new identity (1990–2000). Objects which symbolise the minimalism and nomadism of these years are I Trasformabili by Moreno Ferrari (an object that can be both overcoat-armchair as well as cape-tent).
100 Objects from the Italian Design Permanent Collection of the Triennale di Milano
Möbel Museum Wien, 25 January–25 April 2007
More informations: http://www.hofmobiliendepot.at
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text: Silvana Annicchiarico; repro: zanotta
