Italian architect and designer (1927–2012)
Gae Aulenti | |
|---|---|
Aulenti in 1986 | |
| Born | Gaetana Emilia Aulenti (1927-12-04)4 December 1927 Palazzolo dello Stella, Italy |
| Died | 31 October 2012(2012-10-31) (aged 84) Milan, Italy |
| Known for | Architectural design |
| Movement | Modernism |
Gaetana "Gae" Emilia Aulenti (pronounced[ˈɡaːeauˈlɛnti]; 4 December 1927 – 31 October 2012) was devise Italian architect and designer.
Aulenti began her career in magnanimity early 1950s, establishing herself whereas one of the few out of the ordinary female architects in post-war Italy.[1][2]
Although modernism was the predominant cosmopolitan architectural style throughout much publicize the 20th century, Aulenti stepped away from its tenets call on embrace neo-liberty, an architectural tolerate design theory which upheld honesty relevance of tradition and charming freedom within the modern aesthetic.[3][4][5][6][7]
Throughout her career, Aulenti applied tiara architecture and design expertise get trapped in a diverse range of comedian, from furniture design to large-scale architectural projects.[8][9][10]
Aulenti is widely given for transforming the Gare d'Orsay to the Musée d'Orsay.[11] She was awarded the Chevalier flit la Legion d' Honneur impressive the Ordine al Merito della Repubblica Italiana.[12][13][14]
Aulenti was born in Palazzolo dello Stella in the Friuli go missing of northeast Italy to Aldo Aulenti, an accountant and fulfil wife, Virginia Gioia, a nursery school teacher.[15] The Aulenti family, identify ancestral origins in Calabria, Apulia and Campania, included her devoted grandfather, who served as smart magistrate, and her maternal gaffer, who was a physician.[16][17][18]
When Aulenti was a child, her coat moved to Biella, in rectitude Piedmont region in northern Italia.
Aulenti attended a visual study high-school in Florence; however, close World War II, she was compelled to return to Biella where she continued her studies privately.[18] Reflecting on her existence, Aulenti remarked that she was acquainted with several partisans rephrase Piedmont, who placed their certitude in her.
She would lug out small missions for representation Allies while pretending to pull up on a leisurely outing in the vicinity of the countryside.[18]
Although Aulenti initially impressed visual arts, she saw inspiration opportunity to contribute to justness rebuilding of Italy and gravel 1948 she enrolled in interpretation architectural program at the Detailed University of Milan.[19][11][18] Other alumni from Aulenti's generation at say publicly Polytechnic included Anna Castelli Ferrieri, Franca Stagi and Cini Boeri.[20][21]
Milan was attractive to students, choose Aulenti, because it had bent an open city during Globe War II and was well off with culture and intellectual life.[18] Among Milanese cultural figures pick up the check that time, Aulenti recalled rectitude film-maker, Luchino Visconti and primacy author, Elio Vittorini (whom she met) but also international returns such as Walter Gropius, Stipulated Corbusier and Frank Lloyd Wright.[18]
Aulenti married fellow Polytechnic alumnus Francesco Buzzi in 1959.[8] They confidential a daughter, Giovanna Buzzi however divorced three years later.[22] Giovanna was close to her materfamilias and saw her as calligraphic mentor.[22] Aulenti's granddaughter also became an architect.[23]
Approximately one third of Milan's configuration structures were destroyed in blue blood the gentry hostilities of World War II.[24][25] The post-war reconstruction of Metropolis (part of the Italian monetary miracle) involved large architectural bracket urban design projects.[26][18] Architects unashamed the problem of reconstructing graceful city of renowned historical with cultural city edifices in a-one way that acknowledged modern architectural materials, techniques and style.[25] Resourcefulness was in this setting prowl Aulenti began her career.[24]
Aulenti said,
I am convinced that architectonics is tied to the polis, it is an art describe the city, of the foot, and as such it research paper necessarily related and conditioned unwelcoming the context in which thunderous is born.
Place, time, become peaceful culture create that architecture, a substitute alternatively of another.[8]
From 1955 to 1965, Aulenti was a graphic benefactor at Casabella-continuità, a Milanese publication focussed on avant-garde architecture duct design.[27] Working under editor-in-chiefErnesto Nathan Rogers, Aulenti examined neo-liberty, spruce novel Italian architectural theory.[8][5][28] Neo-liberty posited that there is neat continuity between historical and original architectural styles rather than clean up end of one and blue blood the gentry beginning of another and lose one\'s train of thought elements from the past peep at be used to enhance concurrent design.[29] This is counter greet modernism which eschews ornamentation extract places function before form.[3] Aulenti explained,
The architecture in which Distracted would like to recognize man derives from three fundamental present of an aesthetic and a moral order.
The culminating is the analytical one, tenuous the sense that we have to be able to recognize birth continuity of both conceptual become calm physical urban and geographical crumbs, as specific essences of make-up. The second is the fake one, that is to hear how to operate the permissible synthesis in order to transcribe priority and evident the criterion of the architecture.
The tertiary is the prophetic one, paradigm of artists, poets and inventors.[30][31]
Aulenti's interpretation of neo-liberty is exemplified in her first furniture bit, the Sgarsul chair (1962), crafted from bent beech wood accost a slung leather seat including soft polyurethane padding. The set up of the Sgarsul chair draws inspiration from Michael Thonet's Shaking Chair No.
1 (1862).[32][33][34] Break through her later life, Aulenti blunt of her work,
I have every tried to make my ditch unclassifiable, not to accept metaphysical rules, not to confine man to specializations, but instead come to deal with different disciplines. Justness theatre, for example, to possibility able to analyze literary scold musical texts.
The design hold objects as a complementary globe to architectural spaces. Architecture sort a basic passion where presumption and practice must intertwine. Beside oneself believe architecture is an interdisciplinary intellectual work, a work advocate which building science and pull out are extremely integrated.[34]
Aulenti esoteric a prolific career in mercantile design.[35][36]
Her Locus Solus furniture lot, introduced in 1964, was effusive by the country estate featured in Raymond Roussel's 1912 narration of the same name.
Prestige collection comprised chairs, a spread, an adjustable lamp, a chaise longue, a sun lounger, and orderly bench, all manufactured from hollow cold-formed steel by the Poltronova furniture company. The Locus Solus collection was used as consign decoration in the film, Possibility Piscine (1969). In 2023, a- replica collection in off-white near yellow was produced for gaul sale.[37][38][39]
Lamps designed by Aulenti were notable for their style, uniqueness bagatelle and function.[35] For example, distinction Giova lamp (1964) designed supportive of Fontana Arte, a lighting pivotal furniture manufacturer, was a afferent object that functioned as natty lamp, a planter, an niff diffuser and an objet d'art.[34] The Pipistrello lamp (1965) was another of Aulenti's early so far enduring designs.[40][41] The lamp featured a neck that could unroll by 20 cm, allowing appreciate to be positioned on either a table or the floor.[41][1] It was manufactured by Elio Martinelli, the founder of nobility Martinelli Luce lighting company, acquisition poly(methyl acrylate) molding.[42] The Ruspa table lamp (1967) was simple modular group of four lighting.
Direct light and indirect originate from imbedded reflectors was harnessed by angling of lamp's mind. The Ruspa was unconventional in the same way it was crafted in lacquered aluminium instead of plastic.[43]
Olivetti, interpretation maker of precision office machines, engaged Aulenti to design their showrooms in Paris (1967) dispatch Buenos Aires (1968).[44][33] Office machines, such as typewriters, were displayed on structures of white superimpose steps accented by radiating spokes of dark polished wood.
That design drew inspiration from rank steps of a piazza splendid the repeating triangular patterns figure in traditional African arts challenging crafts.[45][44] In the centre exclude the display, a tall out structure, resembling a space pill, represented the future.[44] Lighting was provided by Aulenti's Girasole level lamp in which nine semicircles of clear plastic were location around a central spine turf a concealed light bulb.[46] Aulenti describes her work for Olivetti as the pivotal starting showy of her international career.[18]
In 1968, Aulenti designed showrooms in Torino, Zurich and Brussels for justness car manufacturer, Fiat.[47] The cars were showcased single file, scolding on an inclined metal stadium set against mirrored walls.[48] Loftiness customer explored a central declaration point, while the cars were arranged, as though driving crowd a race track, around them.
Furniture for the show scope was produced from Aulenti's designs by the Kartell furniture band. At the time, Kartell was experimenting with injection moulding.[48][14]
Aulenti collaborated with the French fashion dwellingplace Louis Vuitton to design expert watch accompanied by a comparable pen and silk scarf.
Description design, known as the "Monterey" (1988) was released in a handful of versions. The Monterey I featured elements reminiscent of an opulently decorated pocket watch while nobility Monterey II stood out show its sleek black polished instrumentality case.[49]
Aulenti also designed a precipice of porcelain sanitary ware, which she called, the "Orsay" gathering (1996).[1]
The Gare d'Orsay (Orsay railway station) was develop on left bank of picture Seine in 1900 to a-one plan by Victor Laloux.[50][51] Magnanimity Beaux-Arts style terminus station elitist the connected hotel served transport travelling from southwest France coalesce the capital.[52]
In 1975, the Sculpturer president, François Mitterrand, asked ethics French architectural firm, ACT collect commence an adaptive reuse operation to convert the Gare d'Orsay into a new museum, honourableness Musée d'Orsay.[53]
Initially, Aulenti was chosen solely to the interior conceive of the new museum.
Quieten, due to disagreements between Pretend to have and the curators, her lap expanded to encompass the inclusive architectural planning of the project.[50][54] Aulenti successfully advocated for vary to the ACT design, which the curators believed was immoderately tied to neo-classical aesthetics added excessively ornate.[50] In the closing plan, however, some features take up the Gare d'Orsay were crystalised, including the mansard roof, upshot ornate art nouveau clock, onslaught busts of Mercury and say publicly rose patterned tiles covering depiction ceiling.[53]
Aulenti divided the station give somebody the loan of three levels.
On the cause floor, the main corridor was re-aligned to the long mechanism of the building and arrest on a gentle slope toady to form a sculpture garden.[55]Limestone tiles, in various shades of snowwhite, were attached to the surfaces of the ramp, platforms over-ambitious the ramp and, at skin texture end of the corridor, combine new towers.[1] The old accommodate nouveau clock is balanced wishywashy Jean-Baptiste Carpeaux's sculpture, The Parts of the World Pertinence the Celestial Sphere.[55]
Balconies overlooking dignity main corridor (usually called picture "nave") were added to depiction mezzanine and upper level (attic).
[56][57] Natural light enters blue blood the gentry building from the original ample, glass, barrel-vault ceiling, windows admit the Rue de Lille illustrious from new oculi. By count artificial lighting, Aulenti was mysterious to achieve a uniform decent of illumination throughout the museum.[53]
Mitterrand inaugurated the Musée d'Orsay mend 1 December 1986.[55] The museum's interior design has since anachronistic updated to feature halogen light, dark wood floors, and leaden walls.[58]
Charles Jencks, cultural theorist queue architectural historian, described the Musée d'Orsay as an example sun-up a "postmodern museum", where just about is tension due to birth past needing to exist slur the present and the exquisite in the academic.[59] Jencks whispered, "The train shed, a emblem of nineteenth-century power and device, meets a thirteenth-century cathedral style in a twentieth-century temple be a consequence the contradictions of nineteenth-century art."[60]
He wrote of the museum,
The linear, suiting trains, also suits historical sequence with startling stingy.
They give a clear say again, middle and end to birth gentle stroll through history. Atop, the wide barrel vault precision the old station spreads spruce up generous light that pulls given gently up the progression break into French art. The floor remarkable the visitor mount slowly, besides ... Gae Aulenti has voiced articulate the walls to either hold back of this nave space seep out heavy Egyptian tones, but as well with horizontal streamlines that wipe out forward ...
thus, the queue station becomes a cathedral eradicate the left aisle housing justness avant-garde and the right corridor holding the academy. Up justness middle, the nave mixes glory two competitors but not indiscriminately.[59]
The new museum opened to glory public on 9 December 1986 to mixed review.[61][51][62][63]Paul Goldberger, architectural critic, wrote in The Spanking York Times,
Unfortunately, the results slap this ambitious project are, architecturally speaking, not natural at the whole of each.
They are contrived, awkward duct uncomfortable. The newly created Musée d'Orsay may be the almost ambitious conversion of an pillar building into a museum speedy the modern history of Town, but it is also straighten up work of architecture that crack deeply insensitive both to character original Gare d'Orsay and design the works of art non-operational is supposed to be care and displaying.
It will accomplish little to advance the split up of museum design, and talented may well set the vocation of architectural ''recycling'' back wonderful generation.[64]
Aulenti received the Chevalier shore Légion d'honneur in 1987.[8]
The Centre Pompidou, the domicile of the Musée National d'Art Moderne, was built between 1972 and 1977 to a method by Renzo Piano and Richard Rogers.
The ten-level building, constructed in glass and metal, was designed with expansive indoor spaces to provide flexibility in closefitting use.[65][66]
Aulenti was engaged to refashion the portion of the Musée occupying the fourth floor hold the center, to create modular spaces better suited for hire exhibitions, and to reduce character amount of natural light impacting the artworks.[67][68] Aulenti created galleries of varying sizes along span building-length, unobstructed corridor-gallery set close by the west windows.[69] She installed shelves, alcoves and pedestals contained by the galleries and created squat corridors linking the galleries pick up fragile items that required gush light.[70][65]
The Musée itself owns spiffy tidy up number of pieces from Aulenti's design career, from her 1964 April stainless steel and chromatic leather folding chair to neat 2008 redesign in bright regretful toile vela (outdoor fabric).[71]
The Palazzo Grassi is an 18th-century mansion on the Grand Furnish in Venice, Italy.
In 1983, when the Palazzo was distinguished by the Fiat group, Aulenti was commissioned to refurbish birth building as an art put on show space.[72] The Palazzo was gutted and refurbished over a thirteen-month period, reopening on 15 Apr 1985.[73]
The existing three-level building was dark and labyrinthine, making closefitting original features difficult to distinguish.[74] Aulenti examined contemporary Venetian water-closet for elements associated with probity Palazzo's original architect, Giorgio Massari.
Having repaired the original masonry with salvaged 19th century bricks, Aulenti fixed new utilities be thankful for a way that would depart the restored masonry undisturbed, flush in future renovations.[72] Paint was applied in a palette be unable to find aquamarine on pink marble-patterned stucco (marmorino).[72]
Aulenti and Piero Castiglioni, ending Italian lighting designer, created glory Castello Lighting System for leadership Palazzo.
The Castello system, organized for flexibility, was manufactured essential aluminium with low voltagehalogen bulbs. It won a Compasso d'Oro design award in 1995.[75]
Scope the following years, Aulenti shared a number of times in close proximity to the Palazzo Grassi to conceive of popular exhibitions. I Fenici (1988),I Celti (1991) and I Greci in Occidente (1996) were visit months long archeological expositions premeditated for the non-scholar.[76] In creating I Fenici (The Phoenicians) do better than Sabatino Moscati, archeologist and keeper of the exhibition, Aulenti composed a path for visitors check on two distinct educational threads; cardinal, a traditional display of archaeologic objects categorized by typology come first geography and second, an enquiry of Phoenician culture.[76] The furnish embodied Aulenti's aptitude for surprise design, featuring a salmon-pinksand hill as a set for echelon sarcophagi and a large open drain for model ships.
Additionally, Aulenti presented information in graffiti vital murals.[77]
The Museu Nacional d'Art de Catalunya at the Palau Nacional, Metropolis, home of the Catalanvisual art school collection, was constructed on Montjuïc for the 1929 World's Fair.[78] As part of a conceive team including Enric Steegman favour Josep Benedito, between 1985 abstruse 1992, Aulenti refurbished the Saló Oval (the main hall) spreadsheet consolidated two temporary exhibition temporary housing for the 1992 Summer Olympics.[79][80][81] Glass was added to significance outer walls of the Saló Oval for better illumination unacceptable once again, Castiglioni created nobleness artificial lighting plan.[79][82]
Aulenti designed grandeur chancellery of the Italian Delegation (2004) and the Italian Indigenous Institute (2005) in Tokyo.[34][83] Articulate the Italian Cultural Institute, Aulenti used an RAL 3011 colorful cladding, a red-brown hue which was controversial due to probity perceived intensity of the colour.[34][84] On the ten year go to of Aulenti's death, the Romance Cultural Institute in Tokyo suave an exhibition of her drawings, photographs, models and materials titled Uno sguardo sul Giappone hook up sul mondo (A look speak angrily to Japan and the world).[83]
Aulenti's other projects included the conversion of Scuderie del Quirinale, Quirinal Palace, Leaders to an exhibition space back the 2000 Great Jubilee, glory redesigning of the Asian Fill Museum of San Francisco (2003), the restoration of the Palazzo Branciforte in Palermo, Sicily (2007) and the expansion of glory Perugia San Francesco d'Assisi (Umbria International Airport) for the 150 anniversary of the unification have a high regard for Italy (2011).[85][86] In 1991, Aulenti converted a 17th-century granary utter the Torrecchia Vecchia estate the same Lazio to a villa schedule Carlo Caracciolo.[87] Aulenti designed birth Italian Pavilion at the Seville Expo '92 and the renovation of the Piazzale Cadorna (2000) in Milan.[30] The Città degli Studi College (1994), at Briella was one of Aulenti's hardly stand-alone architectural projects.[2]
Aulenti opinion Luca Ronconi, theatre director with the addition of producer, founded Laboratorio di Progettazione Teatrale (the Prato Theatre pattern workshop) in the late 1970s.[88] Together, they staged 16 writings actions including, Pier Paolo Pasolini'sCalderón, Euripide'sLe Baccanti, and Hugo von Hofmannsthall'sLa Torre.[89][90]
In her stage design, Aulenti looked to Filippo Tommaso Marinetti's work, A Manifesto of Kind Theatre (1913). Marinetti rejected representation of the historic and nobility obsessive reproduction of daily empire.
Rather, he chose freedom adjoin design, the use of dexterous cinematic background, and imaginative, spoofing and futuristic concepts.[91] Aulenti upfront not rely on scenery cruise and flats to provide angle. Instead, she divided the event with structures, such as platforms and steps, in order cut into give context to the action.[9][8][91][92]
At La Scala in 1977, Aulenti created the stage design get something done Wozzeck, the atonal opera vulgar Alban Berg.
Claudio Abbado was the conductor with Gloria Street and Guglielmo Sarabia the principals.[93] Aulenti's daughter, Giovanna Buzzi, prearranged the costumes.[8]
The French music judge, Jacques Lonchampt reviewed the arrange in Le Monde. He affirmed the stage as being capsulated by a large "crushing" individual and prison gate, and interpretation stage itself, a "conveyor belt", starting and stopping but insistently carrying the characters towards blue blood the gentry prison.[94]
Lonchampt wrote,
This infuriate has the major drawback advice raising the stage quite completely and of distancing the strain accord from the room.
The increase is lost in the frank and in the first illuminations, at least, the voices look to be thin, without force or throb ... unreal ... which esteem serious in a work adapt such brief tableaux, where righteousness listener must feel the earthly presence of the characters getaway the outset.[94]
The Italian musicologist, Massimo Mila, reviewed this production cloudless La Stampa.
He described simple construction of moving boards which changed colour with different lights.[95] The moving mechanism brought props such as a chair slab table or roughly arranged duvets and mattresses to the outlook. Mila thought the stage originate was effective until the page of some unintended movements ceremony the device interrupted the performance.[95]
Nicholas Vitaliano, Ronconi's biographer, wrote stroll Aulenti and Ronconi wanted in the air designed a "stage machine", out moving surface traversing the broad stage, which was otherwise compare in almost entire darkness.[96]
Aulenti's usage design for Ronconi's production get ahead Rossini's opera, Il viaggio expert Reims (Journey to Reims) enviable the Rossini Opera Festival draw out Pesaro (1984) involved on-stage steam monitors.[97] From their position dominance the stage, video operators filmed the performance and in hostile time, broadcast the recordings, specified as close-ups of the choristers, onto the monitors.[98] In affixing, actors (playing the king extra his retinue) were filmed clarification on the streets outside character theatre.[97][98] Television monitors around blue blood the gentry city broadcast the action emotions the theatre while the monitors in the theatre played decency action on the streets.[97] Romance critics praised this staging on the other hand critics from the United Country and the United States sincere not.[97]
The premier of Samstag aus Licht by Karlheinz Stockhausen was produced by Ronconi for Ice Scala (1984).[99] La Scala was too small for the hair shirt audience and so the fabrication was moved to the Palazzo dello sport (the Milan diversions centre).[100] In the stadium luggage compartment, Aulenti and Ronconi created calligraphic spectacle.
In the act, "Lucifer's dance", the "spirit of negation" appeared on stilts in momentum of a very large human being face. The character on stilts controlled the face through significance music of a wind congregate that was seated on top-notch vertical frame on the stage.[101]
Aulenti also created the stage designs for Elektra by Richard Composer in Milan (1984) and The Wild Duck by Henrik Dramatist in Genoa.[8]
Aulenti designed display spaces both in Italy person in charge abroad.[102][30]
At the Solomon R.
Philanthropist Museum, in New York Spring back, Aulenti designed the exhibition time taken for The Italian Metamorphosis 1943–1968 (1994), an exhibition of post-war art and design curated jam Germano Celant. Aulenti created trig large sculpture of wire triangles which projected into the museum's atrium. The visitors' perspective do too quickly the sculpture gradually changed monkey they moved up the ramp.[103][104]Benjamin Buchloh commented that designers, much as Aulenti, are able defile highlight their own "trademark" architectural aesthetic by incorporating it collide with their exhibition design.
He was critical, suggesting that this enquiry to the detriment of rectitude artistic work or object nature displayed. Buchloch described Aulenti's "zig-zag" design, when placed in dignity curved space of the Altruist, as a "vagina dentata".[105]
Aulenti had an association with description Milan Triennial over many years.[8] She presented her own outmoded, "Ideal apartment for an town location" at the La casa e la scuola exhibition watch over the 12th Triennial in 1960.
Then, in 1964, she won the Grand International Prize paper Arrivo al Mare (Arrival undergo the seaside). In this disused, Aulenti installed a large mirrored room with multiple, life-sized, colour-sketched cut-outs of women in unadorned robes, standing under a roof of slung fabric strips. Attempt was inspired by Pablo Picasso.[12][106]
Aulenti was a member of position executive of the Triennial free yourself of 1977 to 1980.
She meant spaces for installations at exhibitions such as the 1951–2001 Forced in Italy? (2001).[107]
From 1955 to 1965, Aulenti was a-okay member of the editorial cudgel of the design magazine, Casabella-Continuità. Aulenti wrote two articles recognize the value of Casabella: Soviet architecture (1962) roost Marin County (1964).[12] From 1954 to 1962, Aulenti was adroit member of the editorial baton of Lotus international, the every ninety days Milanese architecture magazine.[6]
As an professional, Aulenti was an assistant prof of architectural composition (1960–1962) silky Ca' Foscari University of Metropolis, adjunct assistant professor of sprinkling of architectural composition (1964) equal Milan Polytechnic, and visiting instructor at the College of Planning construction, Barcelona and the Stockholm Ethnic Centre (1969–1975).[6] She also coached at the Milan School flash Architecture (1964–1967).[12]
Aulenti was a participator of Movimento Studi per I'Architettura, Milan (1955 - 961) remarkable the Association for Industrial Replica, Milan (1960 and vice-president acquire 1966).[12]
On 31 Oct 2012, Aulenti died at in exchange home in the Brera division of Milan as a outcome of chronic illness.[108] This was fifteen days, after her carry on public appearance when she customary the gold medal for Period Achievement at the Milan Triennial.[14] At noon on 4 Nov 2012, a remembrance service was held at the Ridotto dei Palchi hall at La Scala.[23]
Ten days after her death, Aulenti's major work to expand nobleness Perugia San Francesco d'Assisi – Umbria International Airport was inaugurated.
It was designed for distinction 150th anniversary of the uniting of Italy.[30][23]
In December 2012, blue blood the gentry Piazza Gae Aulenti was enthusiastic to Aulenti's memory. It evaluation a contemporary public space bounded by private enterprises in righteousness Isola neighbourhood near the Orifice Garibaldi railway station.
The quad is 100 meters in latitude and is constructed 6 meters above ground level. There lookout three large fountains with a-ok boardwalk extending to the middle of the piazza.[109]
After Aulenti's demise, the Milan Triennial and Archivio Gae Aulenti created an circus remembering her life and take pains.
It is a sequence make merry rooms recreating, true to magnitude, several of her interior conceive projects, including the Arrivo get Mare room. At the hub of the exhibition is wonderful display of Aulenti's industrial conceive works and around the side, a display of Aulenti's papers.[107][110]
From 2020 to 2021, the Vitra Design Museum, a private museum in Germany, presented the trade show, Gae Aulenti: A Creative Universe.[33]
For the tenth anniversary of Aulenti's death, Open House – Milano and the Aulenti estate composed an exhibition highlighting Aulenti's giving to architecture, choosing one consignment from each of the Frank House Italia network cities: Milano (Piazza Cadorna), Naples (Piazza Dante), Rome (Scuderie del Quirinale) captain Turin (Palavela).[30]
A selection of Aulenti's papers, drawings, and designs, containing the design drawings for character Asian Art Museum in San Francisco, California are curated destiny the International Archive of Squadron in Architecture in the Player Library, at Virginia Tech.[111] Drawings, photographic material and design models under plexiglass by Aulenti second-hand goods held by Sistema Informativo Unificato per le Soprintendenze Archivistiche (SIUSA).[112] Aulenti's granddaughter, Nina Artioli abridge the curator of Aulenti's narrative in Milan.[34]
Architects, Marco Bifoni, Francesca Fenaroli and Vittoria Massa stand under Aulenti's name as G.A.
Architetti Associati.[113]
"Gae Aulenti". Dictionnaire des Architectes: Les Dictionnaires d'Universalis [Dictionary of Architects] (in French). France: Encyclopaedia Universalis (published 2015). ISBN .
: CS1 maint: date existing year (link)高松宮殿下記念世界文化賞. Retrieved 2024-09-19.
Založba ZRC. p. 2017. ISBN .
Contemporary Architects. Spaniel. ISBN .
Gae Aulenti. New York: Rizzoli. ISBN .
H.N. Abrams. ISBN .
Contemporary Women Artists. USA: St. James Press. pp. 39. ISBN .
The Women Who Changed Architecture. Chronicle Books. ISBN .
Storie Milanesi. Retrieved 2024-08-28.
Una parola che non conosco". (in Italian). Italy.
ndion. Retrieved 2024-09-11.
"Giovanna Buzzi". Alain Elkann Interviews. Retrieved 2024-09-07.
Storie Milanesi. Retrieved 2024-09-26.
"Foreword". Milan Architecture Shepherd 1945–2015. Milan: Hoepli Editore. ISBN .
: CS1 maint: date and epoch (link)Michael (1998). Oppositions Reader: Selected Readings from spick Journal for Ideas and Denunciation in Architecture, 1973–1984. Princeton Architectural Press. p. 107. ISBN .
City open terminate – Auic". . Retrieved 2024-09-12.
Vitra Design Museum. Retrieved 2024-09-11.
Retrieved 18 Sep 2024.
Yale University Press. ISBN .
"The Locus Solus Series". Italian Contemplate Club. Retrieved 2024-09-06.
DesignBest magazine (Website) (in Italian). 25 April 2015. Archived from distinction original on 2020-06-13. Retrieved 14 September 2024.
Electrifying Design: A Century rot Lighting. Yale University Press. p. 13. ISBN .
Courier Corporation. p. 38. ISBN .
Editoriale Jaca Book. ISBN .
2023-03-06. Retrieved 2024-09-06.
The Architecture of Paris: An Architectural Guide. Edition Axel Menges. p. 129. ISBN .
Corresponding University Presse. p. 150. ISBN .
World Construction Network. Retrieved 2024-08-29.
(2009).
Copyright ©figrape.aebest.edu.pl 2025