Fulvio Irace traces how Prouvé’s lifelong investigation into the “architecture of assembly” was covered in Domus from the 1940s to 1970s.
Our third appointment in the homes of the designers from the Domus Archive takes place at Leo Lionni’s, a Dutch artist who lives between Italy and America and owns a home-studio guarded by a horseman.
.jpeg.foto.rsmall.jpg)
During the roaring decades following World War II, the Milanese architect’s installations where the ultimate stage for the cosmopolitan recital of a rising city.
Overlooked by critics for decades, the work of the Italian architect recently passed away needs to be observed as much as possible through a transparent lens, neither intentionally obscurantist, nor naively apologetic.
These trains keep on running along the gulf, linking Naples to Sorrento: Learn more about the history of Superstudio’s electric train, the industrial masterpiece designed by the genius of Roberto Magris.
Our second appointment in the homes of the designers from the Domus Archive takes place at Hungarian textile designer and colourist Eszter Haraszty’s: a home-studio filled with colours, travel memories and spices.
In 1956, Domus published the speech given by the father of Bauhaus at the opening ceremony of its dialectical successor, the Hochschule für Gestaltung (HfG)
We are living this period of quarantine surrounded by books, abstract pictures and Peruvian artefacts. Our homes express who we are. And what do other people’s homes tell us? We are taking a stroll through the archives, in the homes of key figures for Domus. The first visit is to Ernesto Nathan Rogers, in Milan.
Exploring the archives, Fulvio Irace revisits a project where the ancient was incorporated as a “living memory of the past”, the Terme Regina Isabella on the island of Ischia by Ignazio Gardella, published by Gio Ponti in Domus 268 (March 1952). From Domus 1044.
The Catalan architect between radical projects, historicism and the construction of his critical figure, through the decades of Domus archive.
In 1968, Tommaso Trini wrote on Domus about the work of a younger Enzo Mari - a true "engineer" of design, interested in child psychology, and the creator of a language made of clear images and elementary forms.
