10 American stories

Four Italian authors (and Ai Weiwei) in New York, the Chicago Architectue Biennial, two houses and two museums. Discover last year’s best articles about the United States, published in domusweb.

With a survey curated by Maria Cristina Didero at R & Gallery, Radical Design invades New York once again, celebrating significant design movement from the historical perspective and showing its relevance for contemporary design too.

With the oxymoronic title “Make New History”, Los Angeles-based practice Johnston Marklee, curators of the second Chicago Architecture Biennial, suggest that history could once more allow architects to look to the past to inform the present: “Look back to move forward.”

Fig.1 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Fig.2 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Fig.3 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Fig.4 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Fig.5 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Fig.6 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Fig.7 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Fig.8 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Fig.9 Bruner/Cott & Associates, Mass MoCA Edificio 6, North Adams, 2017
Bruner/Cott & Associates, Mass MoCA Edificio 6, planimetria
Bruner/Cott & Associates, Mass MoCA Edificio 6, piano terra
Bruner/Cott & Associates, Mass MoCA Edificio 6, primo piano
Bruner/Cott & Associates, Mass MoCA Edificio 6, secondo piano
Bruner/Cott & Associates, Mass MoCA Edificio 6, sezione longitudinale
Bruner/Cott & Associates, Mass MoCA Edificio 6, sezione trasversale

More than a classic retrospective, the New York Met Breuer’s exhibition dedicated to Ettore Sottsass is an exploration into the jungle of the Italian architect and designer’s interests.

Designed by New York-based studio Taylor and Miller, the white residence in Western Massachusetts maintains a dualistic relationship with the lake against which it is nestled.

The New York gallery Hauser & Wirth has put on a solo exhibition of the work of the Italian artist Fabio Mauri. Central to it is his investigation of the mechanisms behind the ideologies that scarred the twentieth century.

Pave Piuma, Piero Gilardi, published in the Gufram catalogue, 1973. Courtesy of Axel Iberti, Gufram Archives
Globo Tissurato lamp by Ugo La Pietra, 1966-67, produced by Poggi. Image courtesy of Ugo La Pietra Archive, Milan
Archival photo of the Superonda sofa by Archizoom Associati, 1966. Photo Dario Bartolini. Courtesy of Centro Studi Poltronova
Archival photo of the Superonda sofa by Archizoom Associati, 1966. Photo Dario Bartolini. Courtesy of Centro Studi Poltronova
“Wearable Chairs” performance by Gianni Pettena, Minneapolis, Minnesota, 1971. Photo courtesy of Gianni Pettena
Wearable Chair by Gianni Pettena, 1971. Photo Joe Kramm
Group photo of Archizoom Associati in front of the studio in via Ricorboli, Firenze, 1968. From left: Paolo Deganello, Lucia Bartolini, Massimo Morozzi, Natalino Torniai (collaboratore), Dario Bartolini, Gilberto Corretti, Andrea Branzi. Photo courtesy of Studio Andrea Branzi
Lounge chair Pratone by Pietro Derossi, Giorgio Ceretti e Riccardo Rosso, 1966, prodotta da Gufram dal 1971, still in production. Photo Joe Kramm
Safari sofa (portrayed with San Remo lamps) byArchizoom Associati, 1967/68, prodotto da Poltronova. Photo Joe Kramm
Cactus coatrack by Guido Drocco and Franco Mello, 1972, sui fotografato con il Sistema di sedute Sassi di Piero Gilardi, 1967, prduced in 1971, still in the Gufram catalogue. Photo Joe Kramm
Polaris Excelsior lamp, by Superstudio, 1967, produce by Poltronova. Photo Joe Kramm
“L’Altro Mondo” nightclub, Rimini, interiors designed by Pietro Derossi e Giorgio Ceretti, 1967. Photo courtesy of Pietro Derossi
“L’Altro Mondo” nightclub, Rimini, interiors designed by Pietro Derossi e Giorgio Ceretti, 1967. Photo courtesy of Pietro Derossi
Photo for the advertising of the Pratone lounge chair by Pietro Derossi, Giorgio Ceretti e Riccardo Rosso, 1966, produced by Gufram in 1971. Photo Ugo Mulas, courtesy of Pietro Derossi
Casa Gufram, published in the catalogue, 1973. Photo courtesy of Axel Iberti, Gufram Archives
Puffo stools by Ceretti, Derossi and Rosso in the Italian Pavilion theatre for the XIV Triennale, Milano, 1968. Photo courtesy of Pietro Derossi
Puffo stools by Ceretti, Derossi and Rosso in the Italian Pavilion theatre for the XIV Triennale, Milano, 1968. Photo courtesy of Pietro Derossi
Penta-bidet stand of Studio65, Eurodomus 4 Expo Torino, 1972. Photo courtesy of Franco Audrito, Studio65 Archive
Installation “La Maison Introuvable” with Studio65 furniture and Juncta tiles, 1974. Photo courtesy of Franco Audrito, Studio65 Archive

Aiming to impose an order on the objects and fashions of the last 100 years, the exhibition curated by Paola Antonelli at MoMA in New York brings together 111 fundamental items, divided up scientifically by stereotype, archetype and prototype. As Veronica Santi writes, it just needs updating.

The Public Art Fund in New York City presents “Good Fences Make Good Neighbors”, Ai Weiwei’s largest and most ambitious public art exhibition.

Nestled in Los Angeles hills, the Blackbirds units designed by Barbara Bestor are a proposal for quality dense housing in a city with little available land, where community and native landscape encounter.

Cover image: Ai Weiwei, Arch, 2017. Courtesy Ai Weiwei Studio/ Frahm & Frahm. Photo Jason Wyche, courtesy Public Art Fund, NY