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Gae Aulenti

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Gae Aulenti
Aulenti in 1986
Born
Gaetana Emilia Aulenti

(1927-12-04)4 December 1927
Palazzolo dello Stella, Italy
Died31 October 2012(2012-10-31) (aged 84)
Milan, Italy
Known forArchitectural design
MovementModernism

Gaetana "Gae" Emilia Aulenti (pronounced [ˈɡaːe auˈlɛnti]; 4 December 1927 – 31 October 2012) was an Italian architect and designer based in Milan. Aulenti was one of the few prominent female architects in post-war Italy.[1][2] She is known for her transformation of the Gare d'Orsay to the Musée d'Orsay.[3]

Although Aulenti was a proponent of modernism, in her time working under Ernesto Nathan Rogers, at Casabella-Continuità, a quarterly architecture magazine, she embraced the neo-liberty movement. This was a controversial reflection on modernism, which argued for an ongoing place for tradition and history in design, for recognising artistic merit and, for freedom of design within the modern aesthetic.[4][5][6]

Aulenti's philosophy was that any one trending aesthetic, including modernism, should not be pursued at all costs. That is, she advocated for an holistic approach to architectural design. She believed that a project could not proceed without a deep understanding of the foundation the building in its historical era, its place in the art of a city and its functionality, all combining effortlessly to create a dynamic yet serene space for the people.[7][8]

Through her decades long career, Aulenti used her architecture and design skills in different professional forums ranging from, for example, furniture design to major architectural transformation.[1] She is her lauded for her artistic yet intellectual architectural stance; her determination while working in a male dominated industry; her depth of knowledge of history, music and art; her understanding of materials, light, design history and trends; and her ability to define a space for both experience and functionality.[9][10][7]

Aulenti was awarded the Chevalier de la Legion d' Honneur and in 1995, she was awarded the Order of Merit of the Italian Republic.[11][12][13]

Early life and education

[edit]
A panorama of a northern Italian town
Biella

Aulenti, was born in Palazzolo dello Stella in the Friuli region in the northeast region of Italy to Aldo Aulenti, an accountant and his wife, a school teacher. The Aulenti family, with origins in Calabria and Apulia, included doctors, lawyers and clergy.[14][15]

When Aulenti was a child, her family moved to Biella, in the Piedmont region in northern Italy. In her teens, Aulenti lived under the Nazi occupation of Northern Italy during World War II. During the war, Aulenti continued her education in Turin and Florence.[16] Her views were influenced by those of the partisans (partigiani).[15]

In 1953, Aulenti completed a diploma in architecture at the Polytechnic University of Milan. There were two female students in her class of 20 students.[17][3] Anna Castelli Ferrieri and Cini Boeri were enrolled at the Polytechnic in Aulenti's time.

On graduating, Aulenti opened her first design studio in a room in her apartment on Via Cesariono in Milan.[18][19][15] She moved her studio to Via dell’ Annunciata 7 in 1965. This was a rented house where Aulenti created the ambiance of the salon. In 1974, Aulenti created her last studio in a small building on Piazza San Marco. Aulenti connected her studio to a larger building on Via Fiori Oscuri which became Aulenti's private residence.[15]

Aulenti married her classmate, Francesco Buzzi and had a daughter, Giovanna Buzzi, who is a costume designer.[20] The couple divorced when Giovanna was three years of age. Giovanna said she was close to her mother and saw her as a mentor due to her strength, curiosity, intelligence, openness and hard work.[20]

Career

[edit]

Industrial design

[edit]
Pipstrello lamp designed for Martinelli Luce (1965)
An outdoor furniture set in orange, red and white circular geometric design
"Locus solus" garden set for Poltronova, 1964

Aulenti had a prolific career in Industrial design. Her works contributed to the international dominance of modern Italian design.[21][22]

One of Aulenti's early but lasting designs is the Pipistrello lamp (1965). The lamp was manufactured by Elio Martinelli, the founder of the Martinelli Luce lighting company, using methacrylate copolymer molding.[23] Another design for Martinelli Luce was the La Ruspa lamp (the bull-dozer) of 1967.[22][24] In 2024, the La Ruspa lamps in white, yellow, grey and cream, sold for tens of thousands of US dollars in high-end, vintage shops.[25][26]

Aulenti was commissioned by Olivetti, a maker of small precision office machines, to design their show rooms in Paris (1967) and Buenos Aires (1968).[27] In Paris, Aulenti used the concept of the piazza, with its steps and levels as an architectonic device. The machines were displayed on a central inverted cone of white laminate with spokes of polished wood. All the surfaces around the central display were red, giving the feeling of being in a capsule and representing the future.[28]

During the 1960s, Aulenti also designed exhibition spaces and showrooms in Turin, Zurich, and Brussels for the car manufacturer, Fiat. For these projects, Aulenti created inclined and mirrored platforms. For the furniture in the showrooms, she collaborated with the Kartell furniture company who were experimenting with plastic injection moulding.[29]

Aulenti's Locus Solus (1964) was named after the Raymond Roussel 1914 novel set at a country estate. It includes chairs, a table, adjustable lamp, sofa, sun lounger, and bench manufactured. Aulenti collaborated with design students from a Pistoia art school giving reference to the bentwood furniture of Michael Thonet in tubular steel. The collection was manufactured by the Poltronova furniture company. The collection was used in the 1969 film La Piscine. A replica collection in off-white and yellow, was produced for sale in 2023.[30][31][32]

Aulenti collaborated with the American modern furniture design and manufacturing company, Knoll in the late 1960s and 1970s. The first design was the "jumbo table", in Carrara marble. The second was a full furniture set presented as "The Aulenti Collection" in 1976. It included a lounge, side chairs and, high and low tables.[33]

Aulenti's projects reached beyond furniture design. For example, she collaborated with the French fashion house, Louis Vuitton, to design a watch with a matching pen and silk scarf. The design is known as the "Monterey" (1988). There were two versions. The Monterey I design was reminiscent of a elaborately decorated pocket watch with multiple functions. The Monterey II was notable for its black, polished ceramic case.[34]

Architectural design

[edit]

Musée d'Orsay

[edit]
Gare d'Orsay
Musée d'Orsay

The Gare d'Orsay (Orsay railway station) was built in 1900 in the beaux-arts style. Its stone exterior was designed to blend with surrounding 19th century buildings. By 1939, the station's rail technology was outdated and the station was limited to local trains.[35] In the 1960s, plans were made to demolish the station but in 1971, Georges Pompidou (then president of France) intervened and in 1973, the station was made a national monument.[35]

In 1980, the French government engaged the architectural firm, ACT to redesign the station building for use as a new museum, the Musée d'Orsay, which would house art works created between 1848 and 1914. Aulenti won a competition to complete the new museum's interior design. However, discord between ACT and the curators led Aulenti to have a role in both the architectural plan and in fulfilling the vision and functional requirements of the curators.[35][36]

Aulenti succeeding in arguing for alterations to the ACT design, which the curators felt was excessively beholden to the neo-classical style and overly ornate. Aulenti said,

I viewed the station as a place, a terrain where I could put a new architecture in place. The station was, of course, a historical monument, but it does not deserve all the respect given it when it is said that it is a perfect, original, and coherent expression of a past that we must revere. Orsay is basically a box.[35]

Aulenti's design allows visitors to move along the long axis of the building, entering galleries on either side. She used limestone of varying shades throughout, blended it over the surfaces of a long ramp, platforms and at one end, two towers. The interior is lit by both natural and artificial light.[36] The new museum opened to the public on 9 December 1986 to mixed review.[37][38][39][40] Paul Goldberger wrote in The New York Times,

Unfortunately, the results of this ambitious project are, architecturally speaking, not natural at all. They are contrived, awkward and uncomfortable. The newly created Musee d'Orsay may be the most ambitious conversion of an old building into a museum in the modern history of Paris, but it is also a work of architecture that is deeply insensitive both to the original Gare d'Orsay and to the works of art it is supposed to be protecting and displaying. It will do little to advance the art of museum design, and it may well set the business of architectural ''recycling'' back a generation.[41]

Aulenti received the Chevalier de Legion d'Honneur, conferred by the president of the Republic of France, François Mitterrand in 1987 for her contribution.[1]

Centre Georges Pompidou

[edit]
Interior Centre Georges Pompidou, 2008

The Centre Pompidou was built between 1972 and 1977 to a plan by architects Renzo Piano and Richard Rogers. It was designed with wide open indoor spaces to provide flexibility to host a range of cultural installations and events.[42] It is a ten level building constructed of glass and metal and houses the collection of the Musée National d'Art Moderne.[43]

Aulenti was commissioned to redesign the main fourth floor to reduce the amount of natural light striking the art works which increased their rate of degradation.[44] She was also asked to provide smaller permanent galleries. Aulenti created galleries of varying sizes, arranged in a chronological order, along a building-length, unobstructed corridor gallery set beside the west windows. She installed shelves, alcoves and pedestals ready for the curators' use. She also created some small linking corridors between galleries for additional works, small collections and works, for example fragile documents, requiring low light exposure.[45][42][46]

Palazzo Grassi

[edit]
Palazzo Grassi, Venice

The Palazzo Grassi is a mansion on the Grand Canal in Venice. It was built in the 16th century and has since had many owners and undergone many changes. Aulenti's involvement came in 1983 when the palazzo was owned by the Fiat group. Aulenti was commissioned to refurbish the palazzo as an art exhibition space.[47]

The building has two floors and an attic built around a central courtyard in a trapezoidal shape. In 1983, the building presented a dark, convoluted layout and no clear indication of what were original features.[48]

Aulenti searched for historical features of the original architect, Giorgio Massari (1687–1766) in contemporaneous buildings. The original masonry was repaired with salvaged 19th century bricks. New utilities were concealed but not placed inside the masonry so that the original components would not be disturbed. The floors and windows onto the courtyard were reinforced. Paint was applied in a palette of Aquamarine on pink marble patterned stucco (marmorino).[47]

The building was gutted and refurbished over a thirteen month period. It opened on 15 April 1985.[49]

Other selected projects

[edit]

After completing the Musée d'Orsay, Aulenti's commissions continued in Italy and abroad. For example, Carlo Caracciolo, an Italian nobleman who, in 1991, engaged Aulenti to convert a 17th century granary to a villa at the Torrecchia Vecchia estate in Lazio.[50]

Saló Oval, Museu Nacional d'Art de Catalunya (2022)

Aulenti's next major project was refurbishment of the Museu Nacional d'Art de Catalunya in Barcelona for presentation at the 1992 Summer Olympics. The original Palau Nacional was built on Montjuïc for the 1929 World's Fair. Its saló oval, is a 5,000 square meter festival hall.[51] The 1992 renovation was to make a home for the national collection including 10th century frescos.[52] Aulenti and her team on the project added escalators and terraces to ease access to the building; glass was added to outer walls to increase the light within; and, in the great hall, a structure of white metal steps was inserted to mark out spaces for a bookstore and cafeteria.[52]

Aulenti designed the conversion of the Scuderie del Quirinale (papal stables) at the Quirinal Palace, the official residence of the president of Italy in Rome, to an exhibition building for the 2000 Great Jubilee and for future touring art exhibitions.[53] Aulenti used techniques similar to those in previous conversions. For example, she constructed hardboard walls for for a surface to hang works of art. This left space to conceal utilities, such as air-conditioning, so that the original structure remained intact. Aulenti also increased the availability of natural light and the flexibility of artificial lighting.[1]

The Asian Art Museum of San Francisco in 2003, the Italian cultural institute in Tokyo in 2005, the Palazzo Branciforte (Palermo cultural centre) in 2007 and the Perugia San Francesco d'Assisi (Umbria International Airport) for the 150th anniversary of the unification of Italy in 2011 were further commissions.[54][55]

Stage and costume design

[edit]

Aulenti began her theatre work in the late 1970s, collaborating with the theatre director, Luca Ronconi at the Prato Theatre design workshop.[56] Together, they staged 16 productions.[57]

Aulenti's stage designs were highly architectural, evocative and innovative.[58] She makes design reference to the futurist, Filippo Tommaso Marinetti's work, A Manifesto of Variety Theatre (1913). Marinetti rejected imitation of the historic and obsessive reproduction of daily life. Rather, he chose freedom in design, the use of a cinematic background, and imaginative, satiric and futuristic concepts. Her work moved stage design forward from a system relying on scenery canvas and flats to provide perspective, to one where the open space of the stage is divided by structures such as platforms, to give context to the action.[9][1][59]

In 1984, Aulenti created on-stage screens for the staging of Journey to Reims, an opera by Gioachino Rossini. The opera was directed and produced by Luca Ronconi at the Rossini Opera Festival in Pesaro. In this work, video operators filmed the performers then, in real time, projected the recordings onto Aulenti's screens. The videos included close ups of the singers (so that even the back row audience might be more involved in the experience). They also included videos of a royal procession previous filmed live on the street. This video led directly to the performers entering in procession onto the stage, which was notable in its time.[60]

Other stage designs by Aulenti include, The Wild Duck by Henrik Ibsen in Genoa and Wozzeck by Alban Berg in Milan, both in 1977, the premier of Samstag aus Licht by Karlheinz Stockhausen in 1984 in Milan, and Elektra by Richard Strauss in 1984 in Milan.

Exhibition

[edit]

Aulenti designed exhibition spaces in Italy and abroad. These included Futurismo and Futurismi (1986), I Fenici (1988), I Celti (1991), I Greci in Occidente (1996) and Da Puvis de Chavannes a Matisse e Picasso and Verso l'Arte Moderna (2002) at Palazzo Grassi.[61][16]

At the Solomon R. Guggenheim Museum, in New York City, Aulenti designed space for the The Italian Metamorphosis 1943–1968 (1994), an exhibition of post-war art and design curated by Germano Celant. Aulenti created a large sculpture of wire triangles which projected into the museum's central space. The visitors' perspective gradually changed as they walked up the ramp.[62][63] Benjamin Buchloh commented that designers, such as Aulenti, are able to highlight their own "trademark" architectural aesthetic by incorporating it into their display design. He was critical that this is to the detriment of the artistic work or object being exhibited. Buchloch described Aulenti's "zig-zag" design when placed in the curved space of the Guggenheim, as a "vagina dentata."[64]

The first comprehensive exhibition of Aulenti's own works was at Milan’s Padiglione d’Arte Contemporanea, in 1976, organised by fellow architect and friend, Vittorio Gregotti (1927–2020).[9]

Milan Triennial

[edit]
Rocking chair, Locus solus collection.

Aulenti had an association with the Milan Triennial over many years.[1]

Aulenti presented her own work, including an "ideal apartment for an urban location" at the La casa e la scuola exhibition at the 12th Triennial in 1960.

Then, in 1964, she won the Grand International Prize for Arrivo al Mare (Arrival at the Seaside). Aulenti installed a large mirrored room with multiple, life-sized, colour-sketched cut-outs of women in simple robes standing under a ceiling of slung fabric strips. It was inspired by Pablo Picasso.[11][65]

Thonet's Rocking Chair No.1.

Aulenti's 1962 furniture piece, Sgarsul (street-urchin) produced by Poltronova, is part of the Triennial's permanent collection. It is a rocking chair made in bent beech wood with a slung leather seat made comfortable with soft polyurethane. It represents the Neo-Liberty movement with reference to Thonet's Rocking Chair No.1. of 1862. Aulenti's design is also used in the Locus solus rocking chair.[66]

Aulenti was a member of the executive of the Triennial from 1977 to 1980. She designed spaces for installations at exhibitions such as the 1951–2001 Made in Italy? (2001).[67]

Professional affiliations

[edit]
Issues of Cassabella-Continuità magazine

From 1955 to 1965, Aulenti was a member of the editorial staff of the design magazine, Casabella-Continuità. Aulenti wrote two articles for Casabella: Soviet architecture (1962) and Marin County (1964).[11] From 1954 to 1962, Aulenti was a member of the editorial staff of Lotus international, the quarterly Milanese architecture magazine.[5]

As an educator, Aulenti was an assistant professor of architectural composition (1960–1962) at Ca' Foscari University of Venice, adjunct assistant professor of elements of architectural composition (1964) at Milan Polytechnic, and visiting lecturer at the College of Architecture, Barcelona and the Stockholm Cultural Centre (1969–1975).[5] She also taught at the Milan School of Architecture (1964–1967).[11]

Aulenti was a member of Movimento Studi per I'Architettura, Milan (1955–1961) and the Association for Industrial Design, Milan (1960 and vice-president in 1966).[11]

Death and legacy

[edit]
Plaque of dedication at the Piazza Gae Aulenti, Milan

On 31 October 2012, Aulenti died in at her home in Milan as a result of chronic illness.[68] Fifteen days prior, she had made her last public appearance when she received the Gold Medal for Lifetime Achievement at the Milan Triennial.[13]

In December 2012, the Piazza Gae Aulenti was dedicated to Aulenti's memory. It is a contemporary public space surrounded by private enterprises in the Isola neighbourhood near the Porta Garibaldi railway station. The piazza is 100 meters in diameter and is constructed 6 meters above ground level. There are three large fountains with a boardwalk extending to the centre of the piazza.[69]

After Aulenti's death, the Milan Triennial and Archivio Gae Aulenti created an exhibition of her life and work. It is a sequence of rooms recreating several of her interior design projects, including the Arrivo al Mare room. At the centre of the exhibition is a display of Aulenti's industrial design works and around the perimeter, a display of Aulenti's papers.[67][70]

A portion of Aulenti's papers, drawings, and designs, including the design drawings for the Asian Art Museum in San Francisco, California are curated at the International Archive of Women in Architecture in the Newman Library, at Virginia Tech.[71]

Awards

[edit]
  • Ubi Prize for Stage Design, Milan, (1980).[11]
  • Architecture Medal, Academie d' Architecture, Paris (1983).[11]
  • Josef Hoffmann Prize, Hochschule fur Angewandte Kunst, Vienna (1984).[11]
  • Commandeur, Order des Artes et Letters, France (1987).[11]
  • Honorary Dean of Architecture, Merchandise Mart of Chicago (1988).[11]
  • Accademico Nazionale, Accademia di San Luca, Rome (1988).[11]
  • Premio speciale della cultura, Repubblica italiana X Legislatura (1989).[72]
  • Praemium Imperiale (1991).[73]

See also

[edit]

Two episode podcast hosted by Alice Rawsthorn for the Gae Aulenti (1927–2012) exhibition and magazine at the Milan Triennale Design Museum. (20 June 2024).[74]

References

[edit]
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  69. ^ Massetti, Enrico (2015-08-21). Milan. Lulu.com. ISBN 978-1-329-49693-4.
  70. ^ Todd, Laura M. (2024-05-31). "Pioneering designer Gae Aulenti's illustrious career is celebrated in a new Milan retrospective". wallpaper.com. Retrieved 2024-09-09.
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  73. ^ "Gae Aulenti | The official website of the Praemium Imperiale". 高松宮殿下記念世界文化賞. Retrieved 2024-09-02.
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Further reading

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  • Emmanuel, Muriel (1980). Contemporary Architects. New York: St. Martin's Press. p. 53. ISBN 0-312-16635-4. NA680.C625.
  • Fiell, Charlotte; Fiell, Peter (2005). Design of the 20th Century (25th anniversary ed.). Köln: Taschen. pp. 74–75. ISBN 9783822840788. OCLC 809539744.
  • Peltason, Ruth A. (1991). 100 Contemporary Architects. New York: Harry N. Abrams, Inc. p. 24. ISBN 0-8109-3661-5. NA2700.L26.
  • "Gae Aulenti". Design & Art. Archived from the original on 16 October 2011.
  • Davide Mosconi. "Design Italia '70" Milan 1970.
  • Nathan H. Shapira, "Design Processes Olivetti 1908–1978". Los Angeles, 1979.
  • Vittorio Gregotti, Emilio Battisti, Franco Quadri. "Gae Aulenti" exhibition catalog. Milan 1979.
  • Erica Brown, "Interior Views" London 1980
  • Eric Larrabee, Massimo Vignelli, "Knoll Design", New York 1981.
  • "Gae Autenti e il Museo d' Orsay" Milan 1987.
  • Arata Isozaki "International Design Yearbook 1988–89", London 1988.
  • Marc Gaillard, Oeil Magazine, November 1990.
  • Jeremy Myerson, "Grande Dame" article in Design Week, 14 October 1994.
  • "Pillow Talk" article in Design Week, 10 November 1995.
  • "Gae Aulenti : Weekend House for Mrs. Brion, San Michele, Italy, 1974." GA Houses, no. 171 (July 1, 2020): 67–69.
  • Rykwert, Joseph, 1926–. "Gae Aulenti’s Milan." Architectural Digest 47, no. 1 (January 1, 1990): 92–97.
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