آثار آلساندر مندينيworks of alessandro mendini

استوديو آلكيميا
stdio alchimia
مبلمان طراحي شده توسط گروه هاي ايتاليايي آلكيميا و ممفيس عموما از نخستين نمونه هاي اشياي پست مدرن محسوب مي شوند.در سال1976 السندرو(الساندرو) گوريو(1)استوديو آلكيميا را در ميلان با استفاده از راهكارهاي نظري الساندرو منديني تاسيس كرد.فلسفه استوديو از هر نظر با محصول مدار بودن عيني و فني عملكردگرايي در تضاد بود.اين جنبش در اصل ريشه در جنبش راديكال دهه60داشت ولي از آنجا كه فاقد هرگونه جهت گيري سياسي بود صرفا خود را(تريبوني براي هم انديشي پست راديكال (2))ناميدند.
نام آلكيميا اشاره اي طنز آميز به كيمياگري قرون وسطي يا (علم) تبديل مواد به طلاست.گروه آلكيميا لوازم(بي ارزش)روزمره را با رنگ هاي درخشنده و تزيينات مطابق مي پوشاندند تا اشياء (طلايي) خلق شوند.هدف آلكيميا ايجاد ارتباط احساسي و حسي جديدي بين استفاده كننده و شيء بود كه با عملكردگرايي صرف محصولات توليد انبوه شده ي مدرن تضاد داشت.در نتيجه اعضاي اين گروه نه در صدد توليد انبوه طرح هاي خود بودند و نه دقيقا به كارايي شي ء اهميت ميدادند.در عوض بر توانايي خود در پراكندن طرح هاي گويا ،خنده دار و خلاق،شاعرانه و كنايه آميز تاكيد داشتند.
اعضاي اين گروه عبارت بودند از:آلساندروگريرو-آلساندرو منديني-آندريا برانزي-اتوره سوتساس-ميكله دولوكي-اوگو لا پيترا-تريكس هاوسمن-رابرت هاوسمن-ريكاردو داليسي و .....

آلساندرو منديني(1931-)
تحصيلات معماري خود را در ميلان به پايان رساند و اكنون به عنوان طراح با نيتزولي(3)همكاري ميكند.منديني يكي از نظريه پردازان آنتي ديزاين ايتاليا و از موسسان گروه گلوبال تولز در1973،سردبير مجله كازابلا از 1970-1975و ناشر داموس از 1979-1985بود.او همراه آلساندرو گريرو استوديو آلكاميا را در1976تاسيس كردو در آنجا به فلسفه ري ديزاين(4) و طراحي روزمره خود شكل داد.پس از انحلال آلكيميا طرح هايش براي آلسي،سواچ،راش،ويترا و بسياري از شركت هاي ديگر تهيه كرد.

1-alessandro guerriero
2-postradical forum of discussion
3-nizzoli
4-redesign
رفرنس:تاريخ مختصر طراحي صنعتي-توماس هاف-ترجمه ندا لنكراني-انتشارات مارليك-1390

 

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آثار جو كولومبو طراح صنعتي دهه works of joe colombo .60

جو كولومبو Joe Colombo
1930-1971

يكي از برترين طراحان صنعتي دهه60واستاد طراحي با پلاستيك محسوب مي شود.اشكال فوتورستيك(فوتوريسمي)او از سفرهاي فضايي و داستان هاي علمي تخيلي دهه60الهام گرفته است.

Joe Colombo (1930-1971)

was born in Milan, Italy and went to school at the Brera Academy of Fine Art where he studied painting and sculpture. He entered the avant-garde art scene of the early fifties as part of the "Nuclear Movement" of painters who sought to break down the formal, static boundaries of painting with more organic images bursting out of the growing international anxiety about the nuclear bomb. This was the perfect environment for Colombo to begin germinating his philosophies on designs for the future. His sketches and plans for underground "nuclear cities" included airways crowded with space shuttles and rockets and a subterranean metropolis with layers for storage, transportation and living. Throughout his professional life he would focus some of these more outrageous visions into a design aesthetic built on the theory that, "we will have to make the home live for us, for our needs, for a new way of living more consistent with the reality of today and tomorrow."

In 1954 Colombo was put in charge of an exhibit of ceramics from the International Meetings at Albisola for the 10th Milan Triennial. He also built several "television shrines" for the Triennial, which were open-air environments for showcasing television designs. In the late 1950s he went to school at the Faculty of Architecture and designed his first project, a condominium, in 1956. In 1962 he opened his own studio in Milan designing architecture and furniture. In 1964 he was awarded an IN-Arch prize for the interior of a hotel in Sardinia. The landmark feature of the design was a double ceiling illuminated from within and broken up on the exterior by protruding prisms that reflected and refracted the light.

During the sixties, and until his death in 1971, Colombo produced an extraordinary number of furniture and appliance designs. Among some of his best-known appliance designs are the "Optic" alarm clock (1970), an air conditioner for the company Candy, and the lighting fixtures "Spider" (1965) and "Circlope" (1970). His furniture designs from this period championed plastic as a viable modern material. His "Universale" chair (1965) was a single piece of plastic that was highly successful as was his "Boby" trolley (1970).

Colombo also began working in plastic with self-contained units that provided all the services of a room. He believed that "all the objects needed in a house should be integrated with the usable spaces; hence, they no longer ought to be called furnishings but 'equipment.'" These "dynamic pieces of furniture" were useful because "habits change, the interior of rooms has to change with them." Some of his more interesting examples of this theory are the "Mini-kitchen" (1963) and the "Total Furnishing Unit" (1971), which breaks domestic living into a simple set of functions carried out within a modular Kitchen, Cupboard, Bed and Bathroom.

Colombo believed that the designer was the "creator of the environment of the future" and he was completely committed to building a new language of interior design by creating entire, seamless environments for living rather than individual pieces of furniture. His progressive work was driven by the desire to create an object that was "autonomous, independent of its architectural container, and that can be coordinated and programmed to adapt in any spatial situation, in the present or future."

refrense:http://www.r20thcentury.com/biography_detail.cfm?designer_id=51

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