Although Italy did not have a prominent image in the development of early modern design, after World War II, especially after the 1950s, Italy became the most dynamic place for modern design. The creative talents of Italian designers greatly enriched modern design. Content. Italy is also the birthplace of radical design movement. From the POP design in the 60s to the post-modern design in the 1980s, Italian designers have played an important role. Umberto Eco, a famous Italian writer and art critic, said with pride when talking about Italian design. “If there is a design theory in other countries, Italy has a design philosophy, maybe a set of Design philosophy." The history of this design philosophy is not long, because Italy's Mussolini became an alliance with Hitler during World War II and Italy suffered from the hardships of war. At the end of World War II, Italy was almost rebuilding on a rubble. home. The Italian design of the late 1940s was also entirely intended to meet the functionalist mass production of people's lives.
In the 50's, Italian design began to implement the "practical plus aesthetic" design principles. The Milan Triennial in 1951 showed the world that Italy had started its own design movement and that "The Production of Art" became Italian design. The new slogan of the division. After the hard work of the designers, the 70th-century exhibition titled "Italian, the New Style of Home Products" was exhibited at the Museum of Modern Art in the United States and established the Italian design's worldwide status. Due to the outstanding achievements of Italian designers, Italy has even formed a "design-oriented production method", which has created a virtuous cycle of Italian design and production. This mode of production not only affirms the talents of the designers but also improves the quality of life of the entire people. Many designers from Italy came from architects and graduated from the Polytechnic of Milan or the Turin Institute of Architecture. This kind of educational mechanism may be more able to exert the designer's potential, so most Italian designers are versatile. The same designer can design luxurious and elegant world-class Ferrari cars, as well as design ordinary Italian macaroni patterns.
The Italian designer pays attention to the trend in the design of each piece, pays attention to the local characteristics of the national characteristics, and also emphasizes the individual talents. Like other countries, Italy has also experienced various movements of modern design, such as functionalism, pop design, etc. But each style can produce many variants, and then it becomes an Italian style. Their design is very colorful. The Italian design differs from the highly commercial American design and also differs from the traditional Scandinavian design. Their design is a combination of traditional craftsmanship, modern thinking, personal talent, natural materials, modern craftsmanship, new materials, and more. Compared with designers from other countries, Italian designers prefer to use modern design as an art and culture. Italian designers continue to introduce new ideas. In the 1960s, they began to guide the world's new design trends. From radical design and anti-design in the 60s to post-modern design movement in the 1980s, Italian designers have always been at the forefront of world design. His creativity has dazzled the designers of other countries. In the works of Italian designers, we can easily see the design ideas and creative intentions contained in it. Unlike other designers, Italian designers like to name their own designs, the famous Italian designer Eto'?
Ettore Sottsass said: "Design is a way for me to explore life. It is a way to explore society, politics, love, food, and even design itself. After all, It is a Utopian way of symbolizing perfect life. "In his design, he integrated architecture, aesthetics, technology, and interest in society. The Italian modern design includes the designer's ideas and pursuits in addition to practicality. , ideals, wishes and illusions. In a world of increasing pressure and unfriendliness, Italian designers propose that furniture has more than just a place to rest and place items. It also means restoring lost emotions and providing a comfortable sanctuary. Many designers regard "serving dreams for a world that does not have time for dreams" as a design ideal. For example, Italian young designer Massimo Iosa Ghini called his design sofa with armrests "mother", which means that this sofa can provide a sense of protection, warmth and comfort. sense. It is these design concepts that allow Italian design to demonstrate its practical features while also providing us with many practical things. The Italian design allows us to see the importance of the designer's mind. Especially today, when people begin to realize the importance of culture, Italian design undoubtedly provides us with a good example.
- The above is taken from "The Modern World Design Code" (Hunan Fine Arts Publishing House) --------------------------------- --------------------
90th generation Italian design
Designers engaged in a design mischief in the 80s, or can be said to have climbed to the top of a high-tech, designer's work is not overly concise or over-decorated, the design seems to have reached the two extremes. In the 1990s, design was faced with new issues. In addition to designing an item and its functions, a design work must also do more. In a world of increasing pressure and unfriendly experiences, the structure and meaning of design products are also changing. Furniture means restoring lost emotions and becoming a comfortable refuge. It no longer just provides people with a place to sit or Lying tool.
"The designer must create new goals and open a new horizon" is the view of Borek Sipek. Spok was one of the most successful contemporary designers. He started from Prague and he also worked for Italian manufacturers. For him, the design work not only has the material function, but also it should act as a magical object, exert its own energy, this kind of energy can reach people's inner world. As in all other fields of art, design has lost its absolute belief in the turning point of a hundred years. In the development process of modern design, this belief has not only had a decisive influence in the 1920s and 1930s, but also continued into the 1960s and 1970s. Although some rebels oppose international modernism, they are often understood as avant-garde art of the 20th century. Their behavior is seen more as artistic behavior than they are as designers. They themselves have always Seen as a pioneer of a new movement. From a historical point of view, at the end of every century, decoration has become a common phenomenon. In this decade, memories of the past have not prevented older or younger designers from creating tough, fantastic, mysterious, emotional, or imaginative beauty. These unusual things, both visual and emotional, may have provocative effects, but they do not fulfill their functional requirements, just as some appearance-but not practical chairs, armchairs, kitchen utensils and beds same. \
Designers' attitude towards design has continuously triggered a stronger protest from the media. A German authoritative lifestyle magazine criticized these designs "high-quality artificial behavior" indignantly, accusing the designers of being "offensively arrogantly" and "wildly ignoring the function, even the beauty". It seems that the new The era demands new styles.The designers began to connect the satisfaction of people with the deepest desires in people's hearts and strive to be reflected in the design.To provide a dream for a world that does not have time to dream, to become part of the work of many designers. Massimo Losa Ghini is one of the young design stars and he calls the armchair he designed “Mamaâ€, an affectionate name that makes this model. The simple yet thick and soft armchair has a special significance, and it also makes the meaning given by the designer in this ordinary furniture extremely clear, which means providing the user with a sense of protection, warmth and comfort. Maggiste and Francesco Binfare have been inspired by an adventurous dream. They designed an armchair that looks like a The shape of the saddle can be rotated 90 degrees, like a saddle, it is made of leather.
The covered cotton mat resembles a horse blanket. At the end of the 20th century, the chair designers had no interest in elegant shapes and clear lines. Among all the furniture, beds are the closest refuge for people but have long been neglected by designers. But from the Italian design of the 1990s, this situation is changing. In 1992, Eto Sottosas used wood, bronze, gold-plated copper and glazed pottery to create a luxurious bed called "Night with a full moon" which created a romantic atmosphere of. Although this type of bed may seem a bit too simple, the designer simply treats the headboard into an arc with two geometric figures that symbolize the stars and full moon. Toni Cordero expects the Sighs, full of grievances, to be protected by mysterious pillars in his bed. Conneiderro designed the beds in addition to a simple modern shape, decorated with a number of bamboo poles similar to those used by primitive tribes to perform witchcraft. In addition to the four corners, they are arranged side by side next to the bed, resulting in a far-away The mystery of modern society.
Another luxurious bed "Misteriosa" designed by Sotosas uses polished wood and gold-plated metal. The bizarre shapes and contrasting red, white and black bring people to an ancient castle and Its facilities. The designers of the 1990s not only provided functional and aesthetic requirements, but they also provided us with dreams and illusions. The design of Italy is still developing. The exhibitions they continue to introduce are constantly making new proposals, new ideas and new thinking for the design field. After entering the 1990s, environmental issues have become the most concerned issue in the design community. Italian design that has always focused on the design connotation has not evaded this issue.
While making the design even more culturally conspicuous, they also hope to put the furniture's small environment in the natural environment and have more visionary thinking besides paying attention to people themselves. They revealed at the new exhibition that the furniture would last longer, consume less of its natural resources, make furniture more functional, take up less space, and take up less space. As in the '98 Milan International