Museo del Novecento presents Aldo Rossi. Design 1960-1997 curated by Chiara Spangaro. In collaboration with Aldo Rossi and the Silvana Editoriale Foundation, from April 29 to October 2.
Architect, designer, theorist and critic. One of the protagonists of the visual culture of the twentieth century. The Museo del Novecento tells Aldo Rossi through more than 350, – between furniture and utensils, prototypes and models, paintings, drawings and studies designed and manufactured since 1960
to 1997. A unique visual testimony, exhibited jointly for the first time.
The turning point in his career came in 1979, when he opened up the world of industrial production. He creates furniture and products for use first with Alessi, then with Artemide, DesignTex, Bruno Longoni Atelier of furniture, Molteni & C | UniFor, Richard-Ginori, Rosenthal, Up & Up (now UpGroup).
In almost twenty years of work, he has developed more than 70 pieces of furniture and objects, many of which are still in production today, experimenting with shapes and colors in metals and wood, marble and stone, ceramics and porcelain, handmade fabrics. and industrial and plastic materials. The exhibition – whose staging project was designed by Morris Adjmi – MA Architects, Rossi’s collaborator and later associated with New York – is divided into nine roomswho each compare graphic works and craft and industrial products.
There first sala introduces us to the relationship between painted image and the reality of the object; there other is dedicated to prototypes and variants of an imaginary domestic panorama and leads to the reconstruction of a poetic environment in third room. Here, works such as the Paris series (UniFor, 1994) and Tea & In collaboration with Co “ee Piazza (Alessi, 1983) the service is the visual and metaphysical center, accompanied by
walls with unpublished drawings of the interior of Rossi’s house in via Rugabella.
There fourth space presents the diversity of object production, in relation to the shape of the cube that evokes the San Cataldo cemetery in Modena and introduces the Apollonian geometric figures used by the architect in both design and architecture: fifth space: from the prototypes of RichardGinori and Rosenthal, to the architectural plans for the Monument to the Partisans in Segrate and the school by Fagnano Olona, to the rugs made with ARP Studio in Sardinia (1986) or wooden inlays by Bruno Longoni Furnishing Studio (1997).
IN sixth hall are lined chairs, armchairs, large furniture and their variants of material and color, from the Papyro desk (Molteni & C,
1989) at the Tabularium coffee table (Up & Up, 1985). The reconstruction of the hall’s home interior seven collects Rossi’s furniture and objects with others he has collected and presented in his homes, including the American ca “ettiere, a print by Giovanni Battista Piranesi, a nineteenth-century sideboard that served as inspiration for his design, to ideally enter into his private sphere.
The relationship to architecture is clearly at its core dedicated to the furniture designed by Rossi for some of his buildings, presented inoctave space: the seat of the Carlo Felice Theater in Genoa (Molteni & C | UniFor, 1990) or the museum chair built for the Bonnefanten Museum in Maastricht (UniFor, 1994). The magical and mysterious presence of the Teatro del Mondo, which closes the exhibition in not at floor, evokes the temporary wooden structures – from the lighthouse to the cabin, to the floating theater and returns circularly to the core of the initial works.