[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-glas-italia-ettore-sottsass":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":121},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":116,"matched_pages":117,"match_count":118,"two_pages":119,"show_text":120},3304,"Ettore Sottsass","glas-italia-ettore-sottsass","\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Faf\u002F0db21cb99769ce30f995980bcff21f.pdf","Glas Italia",1953,"glas-italia","2.1 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.2.png","1\nEttore Sottsass nasce a Innsbruck, in Austria, nel 1917. \nSi laurea in architettura al Politecnico di Torino nel 1939. \nNel 1947 apre a Milano uno studio professionale dove si\noccupa di progetti di architettura e di design.\nIn parallelo con la sua produzione progettuale sviluppa \nla sua attività culturale. Ettore Sottsass partecipa a\ndiverse edizioni della Triennale di Milano, espone \nin mostre collettive e personali in Italia e all'estero.\nNel 1958 inizia la sua collaborazione con Olivetti \ncome consulente per il design, collaborazione che durerà\nper oltre trent’ anni e che gli frutterà tre Compassi d’Oro\nper il design. Ha disegnato tra l'altro, \nnel 1959, il primo calcolatore elettronico italiano, \ne in seguito varie periferiche e macchine per scrivere \nelettriche e portatili come Praxis, Tekne e Valentine.\nDopo un lungo giro di conferenze nelle università inglesi,\nnel 1976 gli é stata conferita la laurea honoris causa dal\nRoyal College of Art di Londra.\nNel 1981 ha dato inizio, con collaboratori, amici e\narchitetti di fama internazionale al gruppo Memphis, \nche è diventato in breve il simbolo del “nuovo design” \ne un riferimento per le avanguardie contemporanee. \nUn anno dopo ha fondato lo studio Sottsass Associati con \nil quale prosegue la sua attività di architetto e designer.\nSue opere e progetti fanno parte delle collezioni \npermanenti di importanti musei di vari paesi, come:\nMuseum of Modern Art di New York, Metropolitan\nMuseum di New York, Centre Georges Pompidou di\nParigi, Musée des Arts Décoratifs di Parigi, Victoria &\nAlbert Museum di Londra, il Musée des Arts Décoratifs\ndi Montreal, Israel Museum di Gerusalemme, \nNational Museum di Stoccolma, ecc...\nEttore Sottsass was born in Innsbruck, in Austria, in 1917.\nHe graduates in Architecture from the Polytechnic in\nTurin in 1939. In 1947 he opens a practice in Milan\nwhere he takes care of design and architectural projects.\nAlongside his projecting production, he develops his\ncultural activity. Ettore Sottsass takes part in various\neditions of the Triennale of Milan, exposes in collective\nand personal exhibitions in Italy and abroad. \nIn 1958 he begins his collaboration with Olivetti as a\ndesign consultant, a collaboration which will last for over\nthirty years and will earn him three Compassi d'Oro for\nthe design. \nIn 1959 he has designed, among other things, the first\nItalian electronic calculator and later on several\nperipherals and electric and portable typewriters, \nsuch as Praxis, Tekne, and Valentine.\nAfter a long tour of conferences in the English\nuniversities, in 1976 he was conferred the laurea honoris\ncausa from the Royal College of Art of London.\nIn 1981 he has started, together with collaborators,\nfriends and architects of international reputation, the\nMemphis group, which has quickly become the symbol\nof the \"new design\" and a reference for the contemporary\navant-gardes.\nOne year later he has founded the studio Sottsass\nAssociati, with whom he pursues his activity as an\narchitect and designer.\nHis works and projects form part of the permanent\ncollections of important museums in several countries,\nsuch as: Museum of Modern Art of New York,\nMetropolitan Museem of New York, Centre Georges\nPompidou of Paris, Musée des Arts Décoratifs of Paris,\nVictoria & Albert Museum of London, Musée des Arts\nDécoratifs of Montreal, Israel Museum of Jerusalem,\nNational Museum of Stockholm, etc...\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.3.png","3\n2\nPoche volte nella vita professionale ho incontrato\nindustriali intellettuali aperti, capaci di entrare nel\ncervello complicato del designer, capaci di avere pazienza\nanche se l’esistenza si fa rischiosa, anche se la coesistenza\ntra idee di design e  imposizioni di mercato si fa\nimprobabile.\nIndustriali di questa qualità ne ho conosciuti pochi e tra\nquesti pochi credo di poter annoverare la famiglia Arosio,\nproprietari dell’industria Glas Italia. Una industria\ncollocata in Brianza e specializzata – molto specializzata –\nnella lavorazione di grandi lastre (600 x 321) di vetro \ne cristallo; cioè taglio, tempera, stratifica, incollaggio,\nincisione, sabbiatura, verniciatura e altro per edilizia \ne arredamento.\nHanno anche pensato di poter usare un sistema che\npermette di produrre lastre di specchio colorate\nincollando tra due lastre di cristallo speciali pellicole \nche filtrano la luce colorandola. \nIl catalogo dei colori dei filtri è vastissimo.\nSarà stato un caso ma non credo: i signori di Glas Italia\nmi hanno chiesto se avrei accettato di disegnare qualche\nspecchio colorato e naturalmente ho detto \n“Sì, molto volentieri”.\nSi sa che una cosa è lavorare con molti colori e un’altra\ncosa lavorare con un solo colore. Se si devono tenere\ninsieme molti colori nascono i problemi del rapporto tra\nle diverse quantità delle superfici cromatiche e le segrete\ndinamiche che la presenza dei colori inevitabilmente\nprovoca dentro la superficie. Disegnare con il colore\ndiventa una operazione complicata ma anche liberatoria:\nsi possono abbandonare la strutture degli assi cartesiani\ne si possono inseguire nuove strutture dettate dal colore \ne in una nuova continua dinamica.\nQuesti i problemi che si sono incontrati per strada\ndisegnando specchi colorati; sono i problemi che anche\nsollecitano la curiosità del progettista.\nSi dice: “Che qualche ignota divinità ci protegga”. \nEttore Sottsass\nMilano, 28 dicembre ’07\nDuring my professional life I have known only few open-\nminded intellectual industrialists able to get into the\ncomplicated head of the designer, able to be patient when\nlife becomes risky, when, for instance, the coexistence\nbetween the ideas of design and the demands of the\nmarket becoming improbable.\nI have known few industrialists with this quality. \nAmong these few I believe I can count the Arosio family,\nowner of the factory Glas Italia. It is a factory set in\nBrianza and it is specialized -very specialized- in\nprocessing large glass and crystal plates (600 x 321 cm)\nwith cutting, tempering, laminating, glueing, engraving,\nsandblasting, painting and more, for the building and\nfurniture trades.\nThey also invented a system to produce coloured mirror\nplates, by assembling two glass sheets with special films\nbetween them, films which filter and colour the light. \nThe catalogue of colours is very wide.\nI don't believe it was by chance that the gentlemen of\nGlas Italia  asked me if I wanted to design some coloured\nmirrors, and of course I said: \n“Yes, with great pleasure”.\nIt is known that working with many colours is different\nfrom working with only one colour. If you have to keep\ntogether many colours there are problems among the\ndifferent quantities of the chromed surfaces and the\nsecret dynamics that the presence of colour inevitably\ncreates on the surface. Designing with colour becomes \na complicated, but liberating exercise: you can abandon the\nstructure of the Cartesian axes and you can follow new \nstructures, guided by colours in new and continuous\ndynamics.\nThese were the problems arising while designing the\ncoloured mirrors. They are problems stirring the curiosity\nof the designer.\nAs they say: “May some unknown god protect us”.\nEttore Sottsass\nMilano, December 28th 2007\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.4.png","gli  specchi di dioniso\n5\n4\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.5.png","Gli Specchi di Dioniso\nn. 6\n7\n6\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.6.png","9\n8\nse qualcosa ci salverà sarà\nla bellezza\nif anything will save us,it\nis beauty\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.7.png","11\n10\nGli Specchi di Dioniso\nn. 5\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.8.png","13\n12\nMi arrabbio \nquando mi dicono che sono\nun artista;\ncioè,non mi arrabbio \nma sono fondamentalmente\nun architetto.\nI get angry when they tell\nme I am an artist;\nwell,I don't really get\nangry,but I am basically an\narchitect.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.9.png","15\n14\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.10.png","17\n16\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.11.png","19\nGli Specchi di Dioniso\nn. 1\n18\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.12.png","21\n20\nGli Specchi di Dioniso\nn. 1\nUn designer dovrebbe sapere\nche gli oggetti possono\ndiventAre lo strumento di \nun rito esistenziale.\nA designer should know that\nobjects can become\ninstruments of an \nexistential rite.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.13.png","23\n22\nGli Specchi di Dioniso\nn. 4\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.14.png","Gli Specchi di Dioniso\nn. 4\n25\n24\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.15.png","27\n26\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.16.png","29\n28\nGli Specchi di Dioniso\nn. 2\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.17.png","31\nGli Specchi di Dioniso\nn. 3\n30\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.18.png","Gli Specchi di Dioniso\nn. 3\n33\n32\nPer me ilviaggio è una\nforma di lavoro:\ncome andassi a scuola,\nin una scuola strana dove\nqualche cosa vedo,\nqualche cosa mi dicono,\nqualche cosa mi \nraccontano.\nTraveling is for me a kind \nof job:\nas if I went to school,\na strange schoolwhere\nsomething I can see on my\nown and something I’m told.\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.19.png","35\n34\nshibam\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.20.png","37\n36\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.21.png","...Così sono andate le cose \ne adesso ...si può vedere\nmolto bene quello che\ndisegnavo in quegli anni\nCinquanta.\nSi può vedere molto bene che\nstavo cercando in tutti \ni modi di “aggiungere”\nqualche altra nuova\nteorica apertura alla\noriginaria definizione di\nfunzionalismo senza\ndistruggere niente \ndell'insegnamento poetico\ndei grandi maestri,\nquelli che mi avevano\nsvelato il senso della\nmodernità.\n…This is the way things \nhappened,and now....\nyou can clearly see what \nI was drawing in the 50s.\nYou can clearly see that \nI was trying to find an\nopening,to “add”something\nnew to the original\ndefinition of \nfunctionalism,without\ndestroying anything\nof the poeticalteachings\nof the great masters,those\nmasters who unveiled to me\nthe sense of modernity.\nShibam\nn. 2\n39\n38\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.22.png","41\n40\n41\n40\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.23.png","43\n42\nShibam\nn. 1\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.24.png","45\n44\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.25.png","47\n46\nGLI SPECCHI DI DIONISO \nSerie di specchi di varie forme e misure con cornici policrome\ncomposte da elementi in specchio laminato colorato, in\ncristallo laminato colorato e in cristallo laccato.\nA series of mirrors in various shapes and sizes with polychromatic\nframes composed of elements in laminated coloured mirror,\nin laminated coloured glass and in lacquered glass.\nGli Specchi di Dioniso  1\nL62 H58\nGli Specchi di Dioniso  2\nL68 H64\nGli Specchi di Dioniso  4\nL71 H52\nGli Specchi di Dioniso  5\nL68 H68\nGli Specchi di Dioniso 6\nL66 H63\nGli Specchi di Dioniso  3\nL62 H58\nSHIBAM 1\nSpecchiera a totem con mensola porta oggetti.\nLe due facciate sono in specchio bianco mentre i fianchi sono\nin specchio decorato con sottili incisioni colorate (disponibili\nnei colori rosa e azzurro).\nIl basamento è in granito nero assoluto levigato opaco.\nTotem mirror with a shelf.\nThe two frontal sides are in white mirror and the lateral ones in\ndecorated mirror with thin coloured engravings (available in the\ncolours pink and light blue). The base is in matt polished absolute\nblack granite.\nSHIBAM 2\nSpecchiera a totem con lampadine rosse e bianche.\nI fianchi e le facciate sono in specchio parzialmente\ndecorato con sottili incisioni bianche che girano \nsu tutto il perimetro.\nIl basamento è in granito nero assoluto levigato opaco. \nTotem mirror with red and white bulbs.\nAll sides are in mirror partially decorated with thin white \nengravings going around the whole perimeter.\nThe base is in matt polished absolute black granite. \nShibam  1\nL 88 P32 H176\nShibam  2\nL 72 P32 H176\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002F0e\u002F311e8150cf294552282c1754dbed2e.26.png","responsabile del progetto\u002Fresponsible for the poject: Elena Cutolo\nprogetto grafico\u002Fgraphic project:  Graph.X\nfoto\u002Fph. pag.3: Daniele Badolato\nsi ringrazia\u002Fthanks to: Barbara Radice\nfotografie degli specchi \nrealizzate da Santi caleca\nPictures of mirrors by\nsanti 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