Chapter 19 Appendix 1(4)

--------------- Appendix 1(4) --------------- It was also during this period that Romualdo Borlette, the Milanese department store tycoon and owner of LARINASCENTE department store, established the Compass d'Oro Award in 1954 to reward product designs with creative and technological breakthroughs every year, becoming the highest honor indicator in the design industry. With FIAT's 500 Nuova car put into production in 1957 and widely welcomed by consumers, Olivetti's Lettera 22, the first portable typewriter, appeared and immediately became the collection of the American Museum of Modern Art, and the Italian design industry has developed into a mature one. state.

(4) Growing up in rebellion The post-war Italian economic miracle, now you can not only see the mass-produced refrigerators, washing machines, TVs and even cars in the special exhibition hall of the museum, but also feel it in director Fellini's "La Dolce Vita". Compared with other developed industrial countries such as Germany and the United States, Italy's production technology is not first-class, but it also emphasizes the superb design level, and its products continue to occupy an important position in the international market, replacing the warm and simple family of Nordic design Culture, but with bright and high-end artistic taste ahead of the lead.Take the most vigorously developed and most successful plastic at that time as an example. New chemical technology led to the emergence of new aesthetic viewpoints. While making full use of the "bendable and stretchable" characteristics of plastic, Italian designers also successfully avoided its mediocrity. The feeling of cheapness, with its strange and changeable shapes and rich colors, has won the recognition of consumers neatly.From the Graphis combined office furniture of the manufacturer TECHO, to the model 4860 stacking chair designed by Joe Colombo for KARTELL, and the Valentine typewriter with a red plastic shell designed by Ettore Sottsass for Olivetti, they are all epoch-making plastic designs that are both popular and popular.

When the plastic design products are in the limelight, a series of TV and radio products developed by Richard Sapper and Marco Zanuso for BRIONVEGA are also eye-catching.From Italy's first all-transistor TV Doney14 to portable TV Algol11, from TS502 folding cube radio to super cool black box TV Black201, all have once again confirmed the superiority of the "Italian Line" (ltalianLine). With the economic recession, inflation and unemployment in Italy starting in the mid-1960s, since 1968, waves of demonstrations by students and workers in the world have also aroused the response of students in Italy.Architecture students in major cities were particularly active in the demonstrations. They were dissatisfied that they had no jobs after graduation after paying expensive tuition fees. Lost the early pioneer spirit.In addition, the POP art concept advocated by Andy Warhol began to become popular abroad and influenced the fields of architecture and design. Italian designers, who have always been responsive, also responded with their creations.

The two radical architect organizations "SuperStudio" and "Archizoom", founded in Florence in 1966, held a manifesto exhibition called "Superarchitecture", depicting a utopian ideal way of life that hopes to change the world through architecture, in order to "reverse Design" (antidesign) spirit, challenging the mainstream good taste that is becoming more and more routine. From Castiglioni Brothers’ Dada-style reused designs——Mezzadro tractor chair, Allunaggio moon lander chair, to Lomazzi, D, Urbino&DePas’ oversized baseball glove leather sofa and classic inflatable transparent plastic chair Blow designed for ZANOTTA, Gatti, Paolini&Teodoro's beanbag recliner Sacco, and GaetanoPesce's compressed plastic unpacked and restored into the Up series of plump female body sofas are all pioneers of radical anti-design back then.

(5) When Radicalism Becomes the Mainstream As soon as the prologue of the 1980s opened, the Memphis design team headed by Ettore Sottsass fired the first shot, setting off a wave of post-modernist design with vigor and vitality. In the first exhibition of the Memphis team in September 1981, the playful and childlike furniture and daily necessities designed by the founding team members were ecstatic and joyful, with unique shapes and unexpected materials.After all, I have been bored by years of noble and good taste, and everyone sincerely embraces this kind of cheating. The predecessor of Memphis was the Alchymia design studio. The person in charge Alessandro Guerriero and the participants Alessandro Mendini, Ettore Sottsass and others were suspicious of the good taste of mass production, but they were not satisfied with only designing a single item made for the exhibition.They are all exploring how these conceptual cultural works can be combined with daily life and open up the market as furniture and household items.After arguing and exchanging various ideas, Sottsass left Alchymia, and by chance gathered a group of young talents such as Michelede Lucchi, Aldo Cibic, Matteo Thun, George Sowden, and Nathaliedu Pasquier, etc., together with the theoretical veteran Andrea Branzi, organized the Memphis team to continue deviant, while Calculate carefully.

The overall design atmosphere in Italy has matured enough to absorb and accommodate various voices, so following Memphis’s post-modern concept, many mainstream design and production teams have followed suit and launched many experimental works: one produced by CASSINA GaetanoPesce's split sofa, DRIADE's Aforismi storage combination designed by Antonia Astori, AldoRossi's miniature architectural Cabinadell, EIba's wardrobe, and the well-known ALESSI tableware and kitchen utensils and ARTIMIDE lighting are all avant-garde experimental design spirits. One successful attempt after another to combine mainstream consumer production models.

After experiencing the extremely vigorous "design first" reality in the 1980s, design has become a common cultural phenomenon in global consumer life during the decade from the 1990s to the 21st century.There is no living product that does not emphasize that it has been "designed", and the public response and economic return of this added value have also been tested repeatedly. In the mid-1990s, Italian design manufacturers actively absorbed international design talents. Brands such as CAPPELLINI, DRIADE, MAGIS, KARTELL, etc. have promoted generation after generation of emerging design talents from France, the United Kingdom, the Netherlands, Germany and Japan, creating fresh topics for the "globalization" of the design industry.Facing the ever-changing international political climate, the more diverse, more open, and more competitive global economic status quo, Italian design must also constantly readjust its positioning, and continue to be able to propose original forward-looking ideas while consolidating its leading position. Concept and creation, once again proclaiming to the world that Italy was not designed in a day.