TRIENNALE. Centro Studi Triennale 2: OREFICERIA METALLI PIETRE MARMI LEGNI . . . . [Alla 9a Triennale di Milano], July 1952.

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OREFICERIA METALLI PIETRE MARMI LEGNI PELLI MATERIE PLASTICHE [Alla 9a Triennale di Milano]

Centro Studi Triennale series No. 2

Aldo Carpi [preface], Zetti e Spreafico [Series Editors]

[Quaderni Triennale Domus] Aldo Carpi [preface], Zetti e Spreafico  [Editors]: OREFICERIA METALLI PIETRE MARMI LEGNI PELLI MATERIE PLASTICHE [Alla 9a Triennale di Milano]. Milan: Domus, July 1952 [No. 2 of the Centro Studi Triennale series].  First edition. Quarto. Text in Italian. Perfect-bound in thick printed wrappers.  124 pp. 164 black and white photographic plates. Index. Illegible circular emboss to title page, and a few leaves tacky. A fine copy.

7.5 x 9.25 book with 124 pages illustrated with 164 black and white captioned plates of Jewelry, Metals, Stones, Marble, Wood, Leather, and Plastic from the finest craftsmen and studios of the era.  Second of the proposed seven-volume Domus series to serve as a comprehensive published record of the 1952 Milan Triennale Exposition. All work identified by designer and manufacturer.

Manufacturers and designers include Paolo Aletti,Heidel Alois, Karl Aubach, Pietro Anneratone, Posio Renato Artea, Arte Arigianato Orobico, Artrhodoid, Carlo Barbasetti Di Brun, Mirko Barsaldella, Franco Bertolli, Augusto Bertoni, Antonio Biggi, Ugo Blasi, Birolli E Ciuti, Gianni Bombaglio, Borio E Aviotti,  Kay Bojensen, Matar Broer, Korrodi Burch, Reg Butler, Ursula Cadorin, Giuseppe Cappelli, Canari,  Erberto Carboni, Luigi Carozzi, Carrara E Matta, Edoardo Ceresa, Enrico Ciutti, Pio Colombo, Consorzio Industriale Ampezzano, Gabriella Corvaia, Las Gazzarda Cremona, Robin Day, Titina De Filippo, Paolo De Poli, Giusepe De Vivo, Piero De Vecchi, Nello Deliziosi, Pierre Durantet, Elebak, Alfio Fallica, S. Faniel, Eugenio Fegarotti, Angel Ferrant, V. Ferrario, Fiaschi, Flexa, Flueler, Fiessler E Co., Ernesto Franceschini, Alessandro Franceschini, Michele Franceschini, Gallino, Natale Galvanoni, Gandolfi E Fraschina, Sandro Gavioli, Luigi Genazzi, Giacomozzi, Dante Gozzi, Gustavsberg, Paolo Guzzano, Virgilio Guzzi, Haefeli, Ole Hagen, Karl Hagenauer, Elisabetta Hanappe, Karl Gustav Hansen, Parigi Hermes, Hochschule Der Bildenden Kunste Monaco Di Baviera, Hugler, Erwin Huppert, Henning Koppel, Leutner Kretman, Krupp Italiana, Luigi Invernizzi, Istituto D’arte Di Venezia, Istituto D’arte Statale Di Firenze, Istituto D’arte Di Sassari, Istituto D’arte Governativa Di Napoli, Pape Joansson, Cesare Lacca, Bice Lazzari, Hans Leistikow, Stig Lindberg, L. M. P., Piero Lunati, Noretta Malaguzzi, Domingo Marchiano, Wilhelm Marsmann, Luigi Martinotti, Mazzetti, Meazza, Anne Marie Mehnert, Jam Mercade, G. Messa, A. Michelsen, Myricae, Borge Mogensen, Montencatini, Enzo Morelli,, Genni Muchi, Attilio E Claudio Nani, Alexander Noll, Gino Novello, Ocram, Christofle Orfevrerie, D’ercuis Orfevrerie, Pio Orlandini, Carlo Paganini, Adolfo Pariani, Sigurt Persson, Mario Pinton, A. E. S. Pirelli, Pirelli Sapsa, Udine, Pittino, Fidrian Pfeifer, G. Pongini, Gio Ponti, Luigi Porro, Prampolini, Girgio Quaroni, Emanuele Rambaldi, E. Rasmussen, Ludwig Redl, Safna, Liegi Sartell, S. O. M. Schiavi, Shuler E Kun, Anto Schwarz, Ciro Scognamiglio, Scuola D’arte Di Volterra, Scuola D’arte Di Pesaro, Scuola D’arte Di Sulmona, Scuola D’arte Di Monaco Di Baviera, Scuola D’arte Di Anagni, Scuola Artistica Per L’intarsio E L’ebanisteria, Sorrento, Scuola Artistica Industriale Di Isernia, Scuola Di Spilimbergo, Seitz, Secondo Sgorlon, Giuseppe Sisini, Speth, Leonardo Spreafico, Taiuti, Vittorio Tavernari, Antonio Terminiello, Torboli, Morck Ibi Trikr, Valextra, Dante Vannini, Antonio Voltan, Artur, Winde, Wide E Buschle, Tapio Wirkkala, Worle, Umberto Zimelli and many others.

Gio Ponti and Editoriale Domus envisioned Centro Studi Triennale as a seven-volume series showcasing every facet of the 1952 Milan Triennale. Six volumes were published between May 1952 and November 1954: Volume One: Pizzi, Ricami, Tessuti, Paglia e Vimini [Lace, Embroidery, Fabrics, And Wicker Straw, 1952]; Volume Two: Oreficeria Metalli Pietre Marmi Legni Pelli Materie Plastiche [Jewellery Metals Stones Marble Wood Leather Plastic, 1952]; Volume Three: Vetri [Glass, 1952]; Volume Four: Ceramica [Ceramics, 1953]; Volume Five: Ambienti Arredati [Furnished Rooms, 1954 ]; and Volume Six : Il Quartiere Sperimentale Della Triennale Di Milano [The District Of the Experimental Triennale, 1954]. The planned Volume 5 titled Architettura dell’Esposizione Grafica e Pubblicita was never published; Ambienti Arredati was the replacement subject. The series ended with Volume 6 in 1954.

The Milan Triennial Exhibition of Decorative Arts and Modern Architecture (La Triennale di Milano) was established in Monza in 1923 as the first Biennial of Decorative Arts. The Biennial outgrew its place as a regional showcase and developed an international standing after becoming a triennial in 1930. Created as a showcase for modern decorative and industrial arts, with the aim of stimulating relations among the industry, production sectors and applied arts, La Triennale di Milano became the main Italian event for promoting architecture, visual and decorative arts, design, fashion and audio/video production. Since 1933 the Triennale has been located in Milan in the Palazzo dell’Arte.

The Triennali of the 1950s and 1960s generated critical attention and fierce debate until 1968 when the 14th Triennale was brought to an early end by student demonstrators. This manifestation of the volatility of political and social events in many ways echoed the increasingly fragile complexities of the Italian design world. Thereafter the Triennali ceased to play such a central role in design research, rhetoric, and relevance.

Milan Triennial Exhibitions recognized by the BIE took place in: 1933, 1936, 1940, 1947, 1951, 1954, 1957, 1960, 1964, 1968, 1988, 1991, and 1996.

In that year the Triennale not only showed the work of innovative young Rationalist designers Figini and Pollini in the Electric House but also work from abroad. This included contributions from the Berlin Werkbund and the Dessau Bauhaus, as well as furniture by Mies Van Der Rohe and electrical products by AEG and Siemens. In 1933 the 5th Triennale moved to the newly built Palazzo d'Arte by Giovanni Muzio in Milan. As well as an exhibition devoted to the Futurist visionary architect Antonio Sant'Elia, the prototype of the Breda ETR 200 electric express train designed by Giuseppe Pagano and Gio Ponti was exhibited as were photographs of Ciam architectural design by Le Corbusier, Gropius, and Mies Van Der Rohe. Amongst the Italian designs at the 6th Triennale of 1936 was a Modernist dwelling by Gio Ponti and the Salone della Vittoria by Edouardo Persico, Marcello Nizzoli, and others where an acknowledgement of the classicism of Mussolini's ‘Roma Secunda’ sat uneasily with the avant-garde leanings of Rationalism. Amongst progressive work from abroad was glass design by the Finnish designer Aino Aalto, who won a Gold Medal, as well as the birchwood Modernist furniture of her husband Alvar.

The 1940 Triennale came to a premature end with Italy's involvement in the Second World War. After the war the Triennali resumed in 1947, an exhibition largely devoted to housing and reconstruction: including contributions by Ettore Sottsass, Vico Magistretti, and others. At the 1951 Triennale attention was devoted to ‘The Form of the Useful’ in a display organized by Ludovico Bellgoioso and Enrico Peressutti. Such a focus on industrial aesthetics gave rise to feelings that gathered strength in the 1950s, namely that the social and economic dimensions of design were underplayed at the expense of the quest for style. Nonetheless, much experimentation was evident in the exploration of the aesthetic possibilities of foam rubber furniture, organic form, and the ‘rediscovery’ of craft traditions as a stimulus to innovative work in a number of fields. Designers such as Franco Albini, Achille and Piergiacomo Castiglione, Carlo Mollino, and Marco Zanuso did much to suggest the high profile of Italian design in the following decades. Also prominent was the work of Tapio Wirkkala, who designed the critically acclaimed Finnish display. Indeed, Scandinavian design generally featured significantly in the shows of the 1950s. During that and the following decade the Triennali of the 1950s and 1960s continued to elicit critical attention and often fierce debate until 1968 when the 14th Triennale was brought to an early end by student demonstrators. This manifestation of the volatility of political and social events in many ways echoed the increasingly fragile complexities of the Italian design world. Thereafter the Triennali ceased to play such a central role in design research, rhetoric, and relevance.

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