Ultrarazionale è un programma preciso: il termine stesso ne definisce le
intenzioni, la volontà. Gavina, già tra gli artefici dell’industrial design a cavallo
degli anni Cinquanta e Sessanta, aveva intuito, subito dopo, il limite del
razionalismo e la necessità del suo superamento a tutto campo. La sua idea
per una linea di mobili “ultrarazionale” aveva un programma preciso: la volontà
dell’“oltre” come necessità di liberarsi dai limiti del movimento moderno.
È proprio Dino Gavina che, giudicando senza riserve l’opera magistrale di
Carlo Scarpa in architettura, ne rintraccia i germi di assoluta modernità
anche per la produzione seriale e, surrogandone la genialità inventiva, lascia
che si depositi come prodotto finito solo l’essenza dell’idea. Il primo passo
lungo questo sentiero ricco di tappe è la realizzazione del tavolo Doge. Dino
Gavina scopriva, in un’opera minore di Scarpa, il primo segno tangibile di
confluenza con i suoi progetti ultrarazionali, rintracciandovi segnali profetici
di ormai maturo superamento del freddo razionalismo. La nuova regola è
principalmente l’esaltazione dei parametri progettuali. Fanno parte
della collezione Ultrazionale: Doge, Sarpi, Orseolo, Valmarana, Delfi, Florian.
Ultrarazionale is a collection that had a specific aim: even its name was a
declaration of intent. Gavina, who was already a leading figure in the world
of design in the period from the fifties to the sixties, was one of the first to
realise that Rationalism had its limits, and saw the need to overcome these,
coming up with something that went a little further. What he came up with
was a line of furniture which he named “ultrarazionale” with a precise idea in
mind: the aim of taking things “further” liberating his pieces from the strict
confines of the Modern Movement. It was Dino Gavina who realised the full
potential of Carlo Scarpa on seeing his architecture, taking from this work its
total modernity and applying it to the manufacturing processes, taking full
advantage of his inventive genius, allowing only a hint of the original ideas
to show through in the finished products. The first step in a long series of
products was the production of the Doge table.
Dino Gavina uncovered in one of Scarpa’s lesser works, the first tangible signs
of compatibility with his “ultra-Rational” designs, finding in his work prophetic
signals that the time was now ripe for going beyond the stringency of cold
Rationalism. In this new regime all design parameters were now pushed
to their limits. The Ultrazionale Collection includes: Doge, Sarpi, Orseolo,
Valmarana, Delfi, Florian.
Ultrarazionale : le nom de la collection est en soi une déclaration d’intention.
Gavina, qui était déjà une figure emblématique du design entre les années
1950 et 1960, fut le premier à prendre conscience des limites du rationalisme
et de la nécessité de les dépasser. Il eut alors l’idée d’une collection qui irait un
peu plus loin et créa la ligne de meubles “ultrarazionale” avec l’objectif d’aller
“au-delà” des choses et de les libérer du cadre strict du modernisme. Dino
Gavina prit conscience de tout le potentiel de l’architecture de Carlo Scarpa
et s’inspira de sa modernité pour l’appliquer aux procédés de production,
tirant parti de l’esprit ingénieux de Scarpa tout en laissant l’idée originale
apparaître en filigrane dans le produit fini. Le premier élément de cette longue
série de créations fut la table Doge. C’est dans l’un des travaux les moins
connus de Scarpa que Dino Gavina a découvert les premiers signes tangibles
d’une compatibilité avec ses créations “ultrarazionale”. Il considère le travail
de Scarpa comme une prophétie appelant les artistes à dépasser la rigueur
d’un rationalisme austère. Selon cette vision, tous les éléments du design
étaient poussés à l’extrême. La collection Ultrarazionale comprend des
créations toujours en production telles que Doge, Sarpi, Orseolo, Valmarana,
Delfi, Florian.
Nel 1971 Dino Gavina, con una sferzante operazione di rottura, introduce
l’opera d’arte “funzionale” nell’arredamento, creando all’interno di Simon una
nuova collezione denominata Ultramobile, adattando in modo sorprendente
all’uso quotidiano l’oggetto surrealista. Con i suoi ormai celebri pezzi – Les
grands trans-Parents, Le Miroir “S”, Traccia, Constantin – Ultramobile era
dalla parte dell’immaginazione: non in polemica con la razionalità euclidea
di un’immagine della casa compiutamente circoscritta nell’area razionale
funzionale, ...bensì voleva completare l’intelligenza con la meraviglia,
fare interagire la geometria con la fantasia, scoprire al di là della scansione
rigorosa, il lampo vitale e sempre un po’ abbagliante della sorpresa...
In 1971 Dino Gavina, daringly broke away from the confines of previous
trends by taking works of art and making them into “functional”
pieces of furniture, creating a whole new line of furniture for Simon called
Ultramobile, and fi nding surprising new ways to adapt Surrealist pieces,
converting them into everyday household objects. With pieces which are now
known by all – Les grands trans-Parents, Le Miroir “S”, Traccia, Constantin
– Ultramobile was on the side of people’s imagination: not getting into a
debate with the Euclidean geometry with the image of houses offered by
functional Rationalism, ...but rather, offering an intelligent answer as to
how to fill spaces, adding fantasy to geometric lines, finding something
that went beyond this strict obedience to rules, like a flash of lightning,
finding a surprising new way to light up the room...
En 1971, Dino Gavina rompt radicalement avec les conventions en introduisant
l’œuvre d’art « fonctionnelle » dans le mobilier : il crée au sein même de
Simon, la collection Ultramobile et adapte de façon surprenante l’objet
surréaliste aux objets du quotidien. Avec ses pièces, désormais bien connues
de tous – Les grands trans-Parents, Le Miroir “S”, Traccia, Constantin –
Ultramobile se plaçait du côté de l’imagination. L’idée n’était pas de polémiquer
sur la rationalité euclidienne d’une image de la maison s’inscrivant dans un
cadre rationnel fonctionnel. La volonté était plutôt d’allier l’intelligence à
l’étonnement, de créer une interaction entre la géométrie et la fantaisie, et
de découvrir au-delà d’une empreinte rigoureuse, l’éclair de vie et de la
surprise, toujours source d’un certain d’éblouissement.
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