She had a modest style; Vogue quoted her as saying "advice to whoever asks me how to make a home is to not have anything, just a few shelves for books, some pillows to sit on. She sought membership in two of them, American Society of Interior Designers, 1967, and Member of Movimento Studi per I'Architettura, Milan, 1955-61. It was the first time for an industrial building to be restored to host such an important museum, and being Gae Aulenti’s most important experimental project, it worked out beautifully: every year millions of visitors pack into the Musée d’Orsay for an immersion into the world of the impressionists. [5] During that time, she also designed for a department store, La Rinascente, and later designed furniture for Zanotta, where she created two of her most well known pieces, the "April" folding chair which was made from stainless steel with a removable cover, and her "Sanmarco" table constructed from plate-glass. "It is a kind of Dantesque nightmare," agreed Building Design." During her almost 20 years in that company, she introduced some emblematic pieces and a new intuitive design style that goes straight from the idea to the development of the prototype. Ruth A Peltason. - Aulenti in interview with Franco Raggi, "From a Great Desire to Build a City" published in. From Leclere , Gae Aulenti, Orsay, Low table (1976), Metal and plastic Mon 5 Nov 2012 16.22 GMT In 1981, she was chosen to turn the 1900 Beaux Arts Gare d'Orsay train station, a spectacular landmark originally designed by Victor Laloux, into the Musée d’Orsay, a museum of mainly French art from 1848 to 1915. But Gaetana Aulenti was one of a kind. She even designed the mannequins. Aulenti was one of the few women working in architecture and design in postwar Italy and her talents found a vast range of outlets, from showrooms for Fiat and Olivetti to sets for La Scala, the opera house in Milan, to private villas for the rich. First published on Mon 5 Nov 2012 16.22 GMT. Such a combination was perhaps a necessary weapon in such a male-dominated profession. Davide Mosconi. Aulenti was one of the few women designing in the postwar period in Italy, where Italian designers sought to make meaningful connections to production principles beyond Italy. Agnelli became a close friend and later commissioned her to renovate the Palazzo Grassi in Venice as an exhibition space, and to build a ski lodge in St Moritz. - Aulenti, "What is more real and tangible within an artificial space than brick?" And then, to take a stand against the ephemeral, against passing trends...and to return to lasting values." In San Francisco, she transformed the city’s Beaux Art Main Library into a museum of Asian art. 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With echoes of buttresses and primal pitched-roof forms, they reveal a taste for references to preclassical architecture and a sense of elementary construction. Aulenti said she managed to get her way with tough construction crews by making them think of her as their mother "whom they must please", and she had an equally commanding approach to working with existing buildings by revered architects. 100 Contemporary Architects. ", • Gaetana Aulenti, architect and designer, born 4 December 1927; died 31 October 2012, Available for everyone, funded by readers. Aulenti taught at Venice School of Architecture as an assistant instructor in architectural composition[5] from 1960 to 1962 and at the Milan School of Architecture of the Polytechnic University from 1964 to 1967. Gae Aulenti (pronounced [ˈɡaːe auˈlɛnti]; 4 December 1927 – 31 October 2012) was a prolific Italian architect, whose work spans industrial and exhibition design, furniture, graphics, stage design, lighting and interior design. Gae Aulenti, the Italian architect of the Musée d'Orsay in Paris and a prolific designer of furniture, lighting and theatre sets, has died aged 84. It's no more complicated designing a museum. Mesures - largeur 86 cm X profondeur 86 cm X hauteur 42 cm. It is most important to never create the problem. Her conceptual development can be followed in the design magazine Casabella, to which she contributed regularly.[2]. The architect converted and redesigned the Beaux Arts Gare d’Orsay Paris train station, creating an exhibiting central aisle under a dramatic glass ceiling.. The architect had to deal with the legacy of a Rationalist architectural style and a Fascist mentality, that openly condemned any kind of female emancipation, promoting instead a poetry of masculinity and minimalism. She also planned six stores for the fashion designer Adrienne Vittadini, including one on Rodeo Drive in Los Angeles. Jeremy Myerson, "Grande Dame" article in Design Week, 14 October 1994. Los Angeles, 1979. [3], Aulenti's work in theater was highly architectural, as she saw 'the scenic box not as a container to embellish and render recognizable in the sense of something already known, but as a real space in itself". Her work on the Musée d’Orsay led to commissions to create a space for the National Museum of Modern Art at the Centre Georges Pompidou in Paris; the restoration of the Palazzo Grassi as an art museum in Venice; the conversion of an old Italian embassy in Berlin into an Academy of Science; and the restoration of a 1929 exhibition hall in Barcelona as Museu Nacional d'Art de Catalunya. - Aulenti, "Raggi: Has the fact that you are a woman been a crucial influence in your work:" Aulenti: Yes." Aulenti died in Milan on 31 October 2012, just weeks prior to her 85th birthday. Eric Larrabee, Massimo Vignelli, "Knoll Design", New York 1981. Reacting against the dominance of modernism and the monotonous legacy of the Bauhaus, it argued for a revival of local building traditions and individual expression – something that Aulenti pursued in all aspects of her life, as a fierce opponent of fashion: "The moment it's loudly announced that red is in fashion," she once told Women's Wear Daily, "I want to dress in green.". With these experiences, she became a visiting lecturer at congresses and professional institutions in Europe and North America from 1967 onwards. ^ L'adieu à Gae Aulenti, « l'architecture Mme, en la République, 1 Novembre de 2012. ^ Histoire de la lumière - Biographie architecte italien Gae Aulenti, sur lightitaly.it. One of her most famous pieces, a coffee table in the form of a thick square of glass supported on four black casters, is in the collection of the Museum of Modern Art in New York. Nathan H. Shapira, "Design Processes Olivetti 1908-1978". 21 Nov. 2011. Her defiant disposition was evident from the beginning.

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