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Best of #Archive
From Domus’ archive, a selection of projects and writings published over the years by the magazine, which tell the history of architecture, design and art.
A few days before Milan Design Week, international showcase of new design, we suggest the reading of A taste for taste, where Bruno Munari expands on a few possible combinations between different historical styles, exploring a phenomenon of the time by which objects and things from other eras are enjoyed not with the taste that produced them but with the "taste for taste".
To the object's world is dedicated also the October 1981 issue of Domus, that surveys the work of Philip Garner, an American designer with an affection for futuristic appliances — especially the automobile — and a longing for push-button utopias.
In 1968, Domus helped those in need of a radio or television by proposing Briovega's innovative range of products, created by designers such as Marco Zanuso, Richard Sapper, and brothers Achille and Piergiacomo Castiglioni.
Between design and architecture The itinerant house: in synch with the 1968 utopias, Domus published two proposals for a "self-packed" house, an itinerant, prefabricated structure which could be transported — by truck, raft or helicopter — entirely and fully equipped.
Among the big architectural projects tells by Domus, the 1964-65 New York World's Fair IBM pavilion, designed by Charles Eames with Studio Saarinen, featured a suspended ovoid theatre over a canopy of steel trees, in which a multimedia show offered glimpses of the future. In 1975, Louis Kahn's buildings for Dacca are the starting point for a conversation between Richard Saul Wurman and Henry Wilcots, shedding light onto the great architect's process and work methods.
The magazine has always dealt with art as well: in 1972, Germano Celant presented the work of Vito Acconci as a set of experiences where "the slang of the body" became the only way in which to escape from the dictatorship of the language of books.
Finally, a blast from the past with an eye to current events – the forthcoming soccer World Cup and Venice Biennale – with the Images of Brasilia 1966 by Cesare Casati and a text by Charles Jencks on The Presence of the Past, the first Venice Architecture Biennale, directed by Paolo Portoghesi.
