07 - Pop Radical 2

2017/8/22 Luigi Caccia Dominioni (1913-2016)
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Luigi Caccia Dominioni (1913-2016)
https://translate.googleusercontent.com/translate_f 1/63
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Richard Hamilton, Manifesto for the

Show "This is Tomorrow", London,
1955-56
Andy Warhol, Campbell's Soup Cans, 1962
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4
Sixties:
Pop and Radical design
• Contamination with art
• Politics and controversy
• Criticism of rationalism and product logic
• No production but self-production, or
"Practice" (exhibitions, performances, publications)
• Beautiful design / Counter-design
• Products NOT thought of as homogeneous parts of a
Furniture system
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XIV Triennale of Milan, 1968. Theme: The Great Number. Expected opening: May 30, 1968
"Our opposition is not against some small ones

System shortcomings. It's quite one
Total opposition that faces all the way
Of the dominant state of the authoritarian state.
It depends on our creative skills to deepen and
Politicize boldly and resolutely the
Visible and immediate contradictions »
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"... to overcome the disciplinary discourse of design,
That is, the recomposition of contradictions a
Formal level, destroying precisely this
Level the usual image of the product, denying
The giving of a formal fairness capable of
Satisfy in the obsolete terms of "good taste" "
F. Ray, Radical Story, "Casabella", 386, 1973
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Flood of Florence, November 4, 1966
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Archizoom and Superstudio, Super-Architecture Show, Pistoia, 1966
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SUPERSTUDIO from left: Alessandro Magris, Cristiano Toraldo of France, Piero Frassinelli, Roberto Magris, Adolfo Natalini.
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Archizoom and Superstudio, Superarchitecture, 1966
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"The objects were to enter the houses
Falling asleep by the Florentine bourgeoisie and
Italian as Troy horses for
To stimulate the same shock that we had
Provoked the view of the water inside
Of Florentine monuments (...) Over the years
Sixty homes were still tied
To classical and archetypal desueti typologies,
Such as the "good living room" that
She kept vacuum in the plastic for
preserve it. We wanted to upset
All this world, subvert all of it
Functional typologies to demonstrate how
It was possible to sleep in a living room and
Eat in the bedroom. It started in

This way that process of
Shaking and liquefaction - that in a
Certain sense had been suggested
From the flood - both of the typologies of the
Domestic interiors and urban interiors. "
Cristiano Toraldo of France, in The Interview

Secret Life of the Continuous Monument,
Quodlibet, Macerata 2015, p. 97.
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Superstudio, Passiflora, (1966, 1968 Poltronova)
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Archizoom, Superwave Sofa, Poltronova 1966. Polyurethane coated with glossy sky (black or white
red)
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Superstudio, Lamp Gherpe, Poltronova 1967
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THE POLTRONOVA COMPANY
(Text from Poltronova's website)
"This is born in the Tuscan country, where it does not come by chance but by determination,
Following the road that winds through fields and countries. It is born of enthusiasm, fortune & intercourse meetings
Characters out of the ordinary. Founded in 1957, the company soon acquires an image
advanced thanks to the direction of ar s ca And I know sass hours, original figure of designers,
Archite + o, ceramic and intelle + uale, which in twenty years signed for Poltronova more than 50 progeCs.
So sass brings color to the furnishing field, and an alphabet of new and new materials
thicknesses, as in the proje + or Superbox: cabinets with large bases, rives && laminate plas & co striped
Such as street signs or petrol stations.
Soon, creates & activity of So + sass meets the new radical groups, Archizoom and Superstudio,
Who realized in 1966 in Pistoia "Superarchite + ura", exhibition-manifesto of the Italian Radical Design.
From the proto-exhibits, wood and board, the SuperDome sofa of the Archizoom group, which opens the
Road to new ways of living the domes & co landscape, and the Passiflora and Gherpe lamps of the
Superstudio, pop artwork, colored plas & ca. On the wave of the visionary creation & life of the years
Sixty, Poltronova hosts in its even and memorable spaces such as Allen Ginsberg reading that
draws crowds of young people gathered to see one of protagonis & the Beat generates on reciting the
His poems ... It is in this climate of great vivacity intelle + uale that are born the chair Mies, the sofa
Safari and the Sanremo Lamp of the Archizoom Associates, the Sofo sofa and the Superstudio Luxor series,
The E + gray furniture of So + sass. Poltronova also collaborates with Gae Aulen & Giovanni Michelucci,
Angelo MangiaroC, Elena and Massimo Vignelli, Paolo Portoghesi and Ar & s & Max Ernst, Mario Ceroli,
Gino Maro +, Ugo Nespolo and Gianni Ruffi. Me + together, in a single catalog, is the novelty and the strength
Office: at a time when design is still seen as a unitary culture,
Catalog instead Poltronova ago or individual prodo strongly dear erizza & +, each with its
History to tell. "
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"When, in 1972, Emilio Ambasz organizes" Italy: The New Domes & c Landscape ", a great show
On Italian design at MOMA in New York, Poltronova takes part in a selection of ben 11 oggeC
Of its production, presenting itself as a phenomenon of great impetus + and, and conquering, too
On the international scene, due recognition. Poltronova is a Tuscan company: starting
By a great tradition and keeping it as a strong point it is a place of
Research and experimentation of new forms, new materials, new languages. Today in the catalog
Of the company are featured timeless, icons of Italian design in the world, such as
Joe's gloves, ironic and horrific, out of De Pas, D'Urbino and Lomazzi in 1971 with
Innovation materials & technologies. Thanks to its primacy in the production of dear experimental and e
To the guarantee of the names that collaborated and collaborate with you, Poltronova is a landmark
For those who are approaching with curiosity and interest in the phenomenon of Italian design. Since 2002 the new
The company's property cooperates with the protagonists of this story, to be able to represent,
Together, the contemporary world. In 2005, the Poltronova Studies Center, the center of
Research and documentation: the history and experience of the company are the starting point for
The elaboration of new scenarios. The CSP plays an intense didaCca aCvita, collaborating with schools and
Italian and foreign universities for windswepts and promote the importance of experimentation that
Dear + has erred the Poltronova aCity for over 50 years. An integral part of the Study Center is the Archive
Historical Poltronova, which collects drawings, photographs, catalogs and progeCs from the company's birth
until today. So Poltronova, directed to the production of its furniture
Historical collection, is flanked by the Research Center for Archive Editions & Events. "
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Sottsass is artistic director

Of Poltronova
Chipboard wood
Laminated
plastic
VIDEO
Ettore Sottsass Jr., Superbox, Poltronova, 1966
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Ettore Sottsass Jr., One Bedroom, 1965
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Ettore Sottsass, I Like Sex, 1966
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Ettore Sottsass, Ultra-straw Mirror, Poltronova (fiberglass), 1968-70
Ettore Sottsass, Elledue Bed, Poltronova (fiberglass), 1968-70
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"Domus", n. 475, 1969
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Superstudio, Pumpkin
Like the pumpkin
Magic, for
Cinderella and her
Family, this
Armchair "Bazaar". IS
A seat
Modular with
Resin body
Reinforced polyester
With glass fibers, a
Double curvature,
With ribs;
The imboCtura is in
Expanded polyurethane,
Rives & in fabric
acrylic.
Two versions: body

White and fabric
Castor brown,
Black body and fabric
Blonde beaver.
Diameter, 290 cm.
Weight, 24 kg the "fe + a".
Superstudio, Bazaar Armchair, 1970
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Superstudio, Sofo, Poltronova, 1968 (The first unstructured sofa made up of a cut of polyurethane cube)
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Archizoom, Safari Sofa, Poltronova 1968
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Archizoom, Lamp Sanremo
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Superstudio, Olook, lamp a

Metal suspension, production
Design Center, Poltronova, 1968
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Ephemeral dimension of furnishings
De Pas, D'Urbino, Lomazzi, Blow, Zanotta 1967
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Michael Webb, Cushicle
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De Pas, D'Urbino, Lomazzi, Joe, Poltron, 1970
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G. Ruffi, La Cova, Poltronova, 1973
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Gaetano Pesce, Sunset in New York, Cassina, 1975
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Polyurethane foam
Injected flexible, coated
From elastic material
Gaetano Pesce, Serie Up, B & B, 1969
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40 Filled with balls of
Expanded polystyrene ad
high resistence
Freedom in use and in

Concept of the object
Franco Teodoro, Cesare Paolini, Piero Gatti, Armchair (or better, "seat") Sacco, Zanotta, 1968
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Polyurethane is no longer used as a padding but as a material

Able to take on an autonomous image
Strum Group, Pratone, Gufram 1970
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Studio 65, Bocca, Gufram 1971
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Exhibition on Studio 65 at GAM in Turin (2015-2016)
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"Domus", n. 481, 1969
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"However, for us the flood

He also wanted to say "end of
Rationality ": the irrational was
I came into this

Rigorous, geometric city,

Perfect, and had it
Completely upset,
Replacing the marbles and the
Stones a liquid floor, in
Where monuments floated
isolated "
Cristiano Toraldo of France,
Interview in The Secret Life of

Continuous Monument, Quodlibet,
Macerata 2015, p. 95
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Superstudio, Continuous Monument, 1969
UTOPIA CRITICA
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VIDEO
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Walter De Maria, Las Vegas Piece, Tula Desert, Nevada, 1969
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Page 51 Superstudio, Continuous Monument, Regards from Coketown,

1969
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Stanley Kubrick's 2001: A Space Odyssey, 1968
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Casabella, n. 378, 1973
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Rem Koolhaas, Exodus, or the Volunteer Prisoners of the Architetcure, 1972
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Superstudio, Stories of Superstudio, Life, 1971-73
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Superstudio, Stories of Superstudio, Love, 1971-73
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Superstudio, Stories of Superstudio, Education, 1971-73
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Superstudio, Stories of the Superstudio, Ceremony, 1971-73
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Superstudio, Supersuperficie, 1971 "Concentrations like the
Woodstock festival there
Show the possibility of one
"Urban" life without
Demonstrate the possibilities of Emergency structures
A life without architectures, Three-dimensional support "
Cities and consumer goods Superstudio
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Superstudio, Stories of the Superstudio, Death, 1971-73
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"Measure" Furniture Set, 1971. Abet Print Laminate
Page 64 Superstudio: from the histogram catalog the Measure series
In those years then it became very clear that to continue to design furniture,
Objects and similar housewarming decorations was not the solution to the problems
Of living and not even of those of life and at least served to save themselves
the soul.
It also became clear how no cosmetics or beatification was enough to
Remedy the damage of time, man's mistakes, and the bestiality of architecture. The
The problem then was to get more and more out of these activities
Design, perhaps adopting the least effort technique in a process

Reductive general. Prepare a catalog of three-dimensional diagrams not
Continue a catalog of architectural histograms with reference to a grid
Transportable in different areas or scales for the construction of a serene and natural environment
Motionless in which you finally recognize yourself.
From the catalog of histograms were subsequently generated effortlessly
objects, furniture, environments, architectures.

But we do not care much about these things, and there is never much
imported. The surface of these histograms was homogeneous and isotropic: each
Spatial problem and any sensitivity problem being thoroughly grounded

removed.
Histograms were also called "Tombs of Architects".
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Superstudio, Quartet Tables, Zanotta, 1971
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Superstudio, Quartet Table

07 - Pop Radical 2

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2017/8/22 Luigi Caccia Dominioni (1913-2016)

Luigi Caccia Dominioni (1913-2016)

Richard Hamilton, Manifesto for the

Andy Warhol, Campbell's Soup Cans, 1962

Pop and Radical design

• Contamination with art

• Politics and controversy

• Criticism of rationalism and product logic

• No production but self-production, or

"Practice" (exhibitions, performances, publications)

• Beautiful design / Counter-design

• Products NOT thought of as homogeneous parts of a

"Our opposition is not against some small ones

"... to overcome the disciplinary discourse of design,

That is, the recomposition of contradictions a

Formal level, destroying precisely this

Level the usual image of the product, denying

The giving of a formal fairness capable of

Satisfy in the obsolete terms of "good taste" "

F. Ray, Radical Story, "Casabella", 386, 1973

Archizoom and Superstudio, Superarchitecture, 1966

Eat in the bedroom. It started in

Cristiano Toraldo of France, in The Interview

Sottsass is artistic director

Ettore Sottsass Jr., Superbox, Poltronova, 1966

Ettore Sottsass, Ultra-straw Mirror, Poltronova (fiberglass), 1968-70

Ettore Sottsass, Elledue Bed, Poltronova (fiberglass), 1968-70

"Domus", n. 475, 1969

Two versions: body

Superstudio, Bazaar Armchair, 1970

Archizoom, Safari Sofa, Poltronova 1968

Superstudio, Olook, lamp a

De Pas, D'Urbino, Lomazzi, Blow, Zanotta 1967

Michael Webb, Cushicle

De Pas, D'Urbino, Lomazzi, Joe, Poltron, 1970

G. Ruffi, La Cova, Poltronova, 1973

Gaetano Pesce, Sunset in New York, Cassina, 1975

Gaetano Pesce, Serie Up, B & B, 1969

Freedom in use and in

Polyurethane is no longer used as a padding but as a material

Strum Group, Pratone, Gufram 1970

"Domus", n. 481, 1969

"However, for us the flood

Rationality ": the irrational was

I came into this

Rigorous, geometric city,

Replacing the marbles and the

Stones a liquid floor, in

Where monuments floated

Cristiano Toraldo of France,

Interview in The Secret Life of

Page 51 Superstudio, Continuous Monument, Regards from Coketown,

Stanley Kubrick's 2001: A Space Odyssey, 1968

Casabella, n. 378, 1973

Rem Koolhaas, Exodus, or the Volunteer Prisoners of the Architetcure, 1972

Superstudio, Stories of the Superstudio, Death, 1971-73

Page 64 Superstudio: from the histogram catalog the Measure series

It also became clear how no cosmetics or beatification was enough to

Design, perhaps adopting the least effort technique in a process

Continue a catalog of architectural histograms with reference to a grid

Motionless in which you finally recognize yourself.

From the catalog of histograms were subsequently generated effortlessly

objects, furniture, environments, architectures.