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Franco Albini
Franco Albini
Franco Albini was born in 1905 in Robbiate (Como). He moved with his family to Milan, he attended the Polytechnic of Milan, where he graduated in 1929 and began his professional career in the study by Bridges and Lancia.
After the first achievements of twentieth-century mark in all living areas, a conversation with Edoardo Persico, became a recurring motif nell'aneddotica albiniana, determines its "conversion "to rationalism and the approach to the group of editors of Casabella.
In 1931 he opened his first studio in Milan with Renato Camus and Giancarlo Palanti and began to work on housing for the district for participating in our cabin at San Siro (1932) and then making the quarters dell'Ifacp: Fabio Filzi (1936-38 ), Gabriele D'Annunzio and Ettore Ponti (1939). Membership of the design method of inspiration gropiusiana, is evident in the clarity of the open, with buildings spaced and aligned along the axis solar thermal stereometric and in the brightness of the volumes that make up a solar array and sanitation as opposed to growth without rules of the existing city. An alternative development model that in the years before and during the war, was consolidated with the major urban projects drawn up with the band CIAM Italian and looking to the future post-war "Milano Verde ", the "Four satellite cities"and the AR plan .
The European influence is also reflected in the first house built himself Albini: The Semi Pestarini (1938), Pagano up widely by Casabella.
Called by Pagano, Albini had started his career in 1933 at the V Triennale di Milano, since fertile ground for experimentation, with the steel frame house in collaboration with the Pagano and others. During the thirties and composition at the Triennale temporary pavilions at the Milan Fair and other fairs are the gyms that allow him to experiment with new solutions, exploring in some cases articulated massing curves (as in the Pavilion at the Fiera del Levante Ina, 1934 ) And, more often, Cartesian spaces ordered by geometric grids, metal frames and translucent panels made of glass or fabric (as in Ina Pavilion at the Trade Fair in Milan and the Levant, 1935). From these experiments, mature, early forties, the dual character of the search for Albini: first experiments on the display system into series production, the other amazing inventions such as the ceiling hole, with strong tones in the two plastic fittings of Montecatini pavilion at the Trade Fair in Milan in 1940.
The exhibition of Scipio, opened in Milan, at the Pinacoteca di Brera, in March 1941 is the archetype of display solutions for the works of art constantly shooting and depth in later works. After the war, the range of professional interests of Albini grows in relation to the opportunities offered by the reconstruction, while the study is enriched with new expertise and design sensitivity with the combination of Franca Helg in 1952.
Research continues on the popular residence, using a process of composition analysis, generates structured buildings, which underline the autonomy volume of stairs, columns and links to accommodations. Examples are buildings in the district for the IACP Mangiagalli in Milan (1950-52, with Gardella), house for workers in Incis Vialba, Milan (1951-53) and the House of Gres for employees of the Company to Colognola, Bergamo ( 1954-56), but traces of this procedure are also observed in many other buildings from the Hotel-Pirovano Refuge in Cervinia (1948-52) to the design of the villa Olivetti in Ivrea (1955-58). It is especially evident in the articles of furniture such as chair Adriana (version 1951), the chair Luisa (1955) the chair Three Pieces (1959).
Albini shares the renewed interest in tradition - one of the main themes of Italian architecture in the postwar period - but taking it as part of a working method that involves the need to set rules, the tradition is therefore not a priori which follow, but an element of individual and collective consciousness, the interpretation of values recognized. The tradition - a heritage to be reinterpreted to create a "new tradition" - becomes a common thread that links interventions in different periods and environments such as hotel-Pirovano Refuge in Cervinia, which revisits the constructive ways of the alpine Valle d'Aosta, l ' Ina office building in Parma (1950-54), which alludes to the texture of the facade to the examples of Romanesque architecture in the city and the Rinascente in Rome (1957-61), where she performed under the corrugated iron structure and dynamics of panels are a unique example that relies on the scanning of Renaissance palaces, is the trend of the nearby walls of Aurelian. To some extent, even the new municipal offices in Genoa (1950-63) with the two bodies on the hill sloping recall the type of Genoese palaces looking for an "airy shape, almost like a garden of Babylon."
Albini leaves its mark in a few Italian cities, particularly Milan only belatedly, the city where he works, entrusted to him, along with the chart Bob Noorda, a prestigious post: the layout of the stations of the Milan Metro Line 1 (1962-63). His election is the city of Genoa instead, which gives him the opportunity to speak with continuity at various scales: from the planning (preparation of detailed plans for the neighborhood of the Angels, 1946, and Piccapietra, 1950, preparation of land-use plan in 1948) to that building (the aforementioned municipal offices, but also the renewal - the will of Caterina Marcenaro - the municipal museums of Palazzo Bianco, 1949-51, and the Red Palace, 1952-62, and the creation of the new museum Treasure of San Lorenzo, 1952-56). Since 1963, the study of Albini, they enter in 1962 and Antonio Piva Marco Albini in 1965, also plans to restore as a new museum of the convent of St. Augustine in the center.
The museums of Albini - with those of BBPR, Gardella and shoes, among the finest examples of Italian post-war museum design - innovate deeply display techniques and equipment pursuing an educational conception of the museum, but at the same time integrate ancient and modern , becoming themselves to "works of art in itself." In these real interior architecture manifests itself in the mastery of Albini create emotional spaces - where every single detail, with studied precision, contributing to the objective - whether they express a depletion of elements suspended in the atmosphere as White Palace, whether you refer to archetypes far as San Lorenzo.
In the last part of Albini is detected in a crystallization of language composition formulas have already been tried. This appears in the performance of the structural components of the museum of St. Augustine, the "manner" composition of the facades of the Baths "Luigi Zoia" in Salsomaggiore (1964-70) and, especially, the Office of Snam in San Donato Milanese (1969-74 ) characterized, the latter from hypertrophic marcapiano moldings.
Even in higher education, which takes the first after 1949 in Venice (with the brackets of one year in Turin) and then in Milan, Albini forward the principles that underpin his work as an architect: the need for a thorough analysis of problems and continuous monitoring and justifying their choices.
The most recent criticism has sought to clarify the role played by Albini in postwar architectural culture. Of course her being so stingy with stubbornly theoretical reasons on their work, as well as memories and lived on the seasons, has not facilitated this work, the natural reserve of the character, combined with a detachment to everything that did not belong to the concreteness of trade, have pushed to put him in a secluded location and relative isolation from the more heated cultural debate.
The apparent Albini's aphasia should not overshadow the fact that his works are to take on the role of a demo text. The scarcity of theoretical documents does not, in fact, need to identify and introduce the waiver program contents to their work.
Demonstration of the value of its architecture Albini was also well aware enough to say, during a debate on contemporary Italian art, held at the MSA in the summer of 1959: "For us, the educational value is in our works, and it's through our works that we spread ideas rather than by ourselves .... " Then, are the works of Albini to make a point of reference for all those who do not identify themselves in the position "historicist" that is affirmed in the group of "Casabella-continuity", a responsibility that Albini proves once again try to take as interventions, and even an attempt to establish a new association, which he made during the debate preceding the closing of the MSA in 1961. It then outlines a profile of an albino otherwise engaged, rather than in solitary retreat in the study design to attend to its interests.
During his career he has received three Golden Compasses as recognition of his work as a designer: remember the chair produced in 1952 by Florence Arflex, Poggi for the rocking chair in 1956. In 1964 he designed a television set for Brionvega exhibited at the Milan Triennale. Famous are the handles Agate and Amber - the organic form and ergonomic - designed for Olivari in collaboration with Franca Helg, many also produced lamps Arteluce.
He died in Milan in 1977.
PRODUCTION
1936 - "Room for a man"- for the VI Triennale in Milan.
1938 - Prototype of a portable radio
1939 - First library in tensistruttura
1949 - Prototype chair Luisa
1950 - "Margherita" chair Bonacina - "TL2" table with tripod support, Poggi
1951 - "TL3" removable table, Poggi
1955 - "Luisa" chair
1956 - "PS 16" Chaise-longue,
1957 - Library uprights to the ceiling, Poggi
1962 - Project for the Milan Metro Line 1
1967 - "Belief" mobile designed with Franca Helg
1968 - "Sirrah" lamp, with Franca Helg and Antonio Piva
AWARDS
IV Triennale di Monza
1930 - Diploma of Honor for furniture designs
V Triennale di Milano
1933 - Gold Medal, for projects and models of furniture, with G. Palanti
Golden Compass
1955 - Luisa chair
1958 - Grand National Prize "The Rinascente - Golden Compass"
1964 - Rinascente - Golden Compass, to the underground stations in Milan (with Franca Helg)
1957 - Olivetti Prize for Architecture
IN-ARCH
1961 - Emilia Romagna Home Zambelli honorable mention in Forlì (with Franca Helg).
1963 - Lazio for department stores La Rinascente in Rome (with Franca Helg).
1965 - Domosic the greek-roman museum project in Alexandria, Egypt (with Franca Helg).
1965 - For the municipal offices in Genoa
1971 - "Alfa Gold" Provided by the entity for the Provincial Tourism Events in Milan
1976 - Gold Medal of the City of Milan
Franco Albini
Franco Albini was born in 1905 in Robbiate (Como). He moved with his family to Milan, he attended the Polytechnic of Milan, where he graduated in 1929 and began his professional career in the study by Bridges and Lancia.
After the first achievements of twentieth-century mark in all living areas, a conversation with Edoardo Persico, became a recurring motif nell'aneddotica albiniana, determines its "conversion "to rationalism and the approach to the group of editors of Casabella.
In 1931 he opened his first studio in Milan with Renato Camus and Giancarlo Palanti and began to work on housing for the district for participating in our cabin at San Siro (1932) and then making the quarters dell'Ifacp: Fabio Filzi (1936-38 ), Gabriele D'Annunzio and Ettore Ponti (1939). Membership of the design method of inspiration gropiusiana, is evident in the clarity of the open, with buildings spaced and aligned along the axis solar thermal stereometric and in the brightness of the volumes that make up a solar array and sanitation as opposed to growth without rules of the existing city. An alternative development model that in the years before and during the war, was consolidated with the major urban projects drawn up with the band CIAM Italian and looking to the future post-war "Milano Verde ", the "Four satellite cities"and the AR plan .
The European influence is also reflected in the first house built himself Albini: The Semi Pestarini (1938), Pagano up widely by Casabella.
Called by Pagano, Albini had started his career in 1933 at the V Triennale di Milano, since fertile ground for experimentation, with the steel frame house in collaboration with the Pagano and others. During the thirties and composition at the Triennale temporary pavilions at the Milan Fair and other fairs are the gyms that allow him to experiment with new solutions, exploring in some cases articulated massing curves (as in the Pavilion at the Fiera del Levante Ina, 1934 ) And, more often, Cartesian spaces ordered by geometric grids, metal frames and translucent panels made of glass or fabric (as in Ina Pavilion at the Trade Fair in Milan and the Levant, 1935). From these experiments, mature, early forties, the dual character of the search for Albini: first experiments on the display system into series production, the other amazing inventions such as the ceiling hole, with strong tones in the two plastic fittings of Montecatini pavilion at the Trade Fair in Milan in 1940.
The exhibition of Scipio, opened in Milan, at the Pinacoteca di Brera, in March 1941 is the archetype of display solutions for the works of art constantly shooting and depth in later works. After the war, the range of professional interests of Albini grows in relation to the opportunities offered by the reconstruction, while the study is enriched with new expertise and design sensitivity with the combination of Franca Helg in 1952.
Research continues on the popular residence, using a process of composition analysis, generates structured buildings, which underline the autonomy volume of stairs, columns and links to accommodations. Examples are buildings in the district for the IACP Mangiagalli in Milan (1950-52, with Gardella), house for workers in Incis Vialba, Milan (1951-53) and the House of Gres for employees of the Company to Colognola, Bergamo ( 1954-56), but traces of this procedure are also observed in many other buildings from the Hotel-Pirovano Refuge in Cervinia (1948-52) to the design of the villa Olivetti in Ivrea (1955-58). It is especially evident in the articles of furniture such as chair Adriana (version 1951), the chair Luisa (1955) the chair Three Pieces (1959).
Albini shares the renewed interest in tradition - one of the main themes of Italian architecture in the postwar period - but taking it as part of a working method that involves the need to set rules, the tradition is therefore not a priori which follow, but an element of individual and collective consciousness, the interpretation of values recognized. The tradition - a heritage to be reinterpreted to create a "new tradition" - becomes a common thread that links interventions in different periods and environments such as hotel-Pirovano Refuge in Cervinia, which revisits the constructive ways of the alpine Valle d'Aosta, l ' Ina office building in Parma (1950-54), which alludes to the texture of the facade to the examples of Romanesque architecture in the city and the Rinascente in Rome (1957-61), where she performed under the corrugated iron structure and dynamics of panels are a unique example that relies on the scanning of Renaissance palaces, is the trend of the nearby walls of Aurelian. To some extent, even the new municipal offices in Genoa (1950-63) with the two bodies on the hill sloping recall the type of Genoese palaces looking for an "airy shape, almost like a garden of Babylon."
Albini leaves its mark in a few Italian cities, particularly Milan only belatedly, the city where he works, entrusted to him, along with the chart Bob Noorda, a prestigious post: the layout of the stations of the Milan Metro Line 1 (1962-63). His election is the city of Genoa instead, which gives him the opportunity to speak with continuity at various scales: from the planning (preparation of detailed plans for the neighborhood of the Angels, 1946, and Piccapietra, 1950, preparation of land-use plan in 1948) to that building (the aforementioned municipal offices, but also the renewal - the will of Caterina Marcenaro - the municipal museums of Palazzo Bianco, 1949-51, and the Red Palace, 1952-62, and the creation of the new museum Treasure of San Lorenzo, 1952-56). Since 1963, the study of Albini, they enter in 1962 and Antonio Piva Marco Albini in 1965, also plans to restore as a new museum of the convent of St. Augustine in the center.
The museums of Albini - with those of BBPR, Gardella and shoes, among the finest examples of Italian post-war museum design - innovate deeply display techniques and equipment pursuing an educational conception of the museum, but at the same time integrate ancient and modern , becoming themselves to "works of art in itself." In these real interior architecture manifests itself in the mastery of Albini create emotional spaces - where every single detail, with studied precision, contributing to the objective - whether they express a depletion of elements suspended in the atmosphere as White Palace, whether you refer to archetypes far as San Lorenzo.
In the last part of Albini is detected in a crystallization of language composition formulas have already been tried. This appears in the performance of the structural components of the museum of St. Augustine, the "manner" composition of the facades of the Baths "Luigi Zoia" in Salsomaggiore (1964-70) and, especially, the Office of Snam in San Donato Milanese (1969-74 ) characterized, the latter from hypertrophic marcapiano moldings.
Even in higher education, which takes the first after 1949 in Venice (with the brackets of one year in Turin) and then in Milan, Albini forward the principles that underpin his work as an architect: the need for a thorough analysis of problems and continuous monitoring and justifying their choices.
The most recent criticism has sought to clarify the role played by Albini in postwar architectural culture. Of course her being so stingy with stubbornly theoretical reasons on their work, as well as memories and lived on the seasons, has not facilitated this work, the natural reserve of the character, combined with a detachment to everything that did not belong to the concreteness of trade, have pushed to put him in a secluded location and relative isolation from the more heated cultural debate.
The apparent Albini's aphasia should not overshadow the fact that his works are to take on the role of a demo text. The scarcity of theoretical documents does not, in fact, need to identify and introduce the waiver program contents to their work.
Demonstration of the value of its architecture Albini was also well aware enough to say, during a debate on contemporary Italian art, held at the MSA in the summer of 1959: "For us, the educational value is in our works, and it's through our works that we spread ideas rather than by ourselves .... " Then, are the works of Albini to make a point of reference for all those who do not identify themselves in the position "historicist" that is affirmed in the group of "Casabella-continuity", a responsibility that Albini proves once again try to take as interventions, and even an attempt to establish a new association, which he made during the debate preceding the closing of the MSA in 1961. It then outlines a profile of an albino otherwise engaged, rather than in solitary retreat in the study design to attend to its interests.
During his career he has received three Golden Compasses as recognition of his work as a designer: remember the chair produced in 1952 by Florence Arflex, Poggi for the rocking chair in 1956. In 1964 he designed a television set for Brionvega exhibited at the Milan Triennale. Famous are the handles Agate and Amber - the organic form and ergonomic - designed for Olivari in collaboration with Franca Helg, many also produced lamps Arteluce.
He died in Milan in 1977.
PRODUCTION
1936 - "Room for a man"- for the VI Triennale in Milan.
1938 - Prototype of a portable radio
1939 - First library in tensistruttura
1949 - Prototype chair Luisa
1950 - "Margherita" chair Bonacina - "TL2" table with tripod support, Poggi
1951 - "TL3" removable table, Poggi
1955 - "Luisa" chair
1956 - "PS 16" Chaise-longue,
1957 - Library uprights to the ceiling, Poggi
1962 - Project for the Milan Metro Line 1
1967 - "Belief" mobile designed with Franca Helg
1968 - "Sirrah" lamp, with Franca Helg and Antonio Piva
AWARDS
IV Triennale di Monza
1930 - Diploma of Honor for furniture designs
V Triennale di Milano
1933 - Gold Medal, for projects and models of furniture, with G. Palanti
Golden Compass
1955 - Luisa chair
1958 - Grand National Prize "The Rinascente - Golden Compass"
1964 - Rinascente - Golden Compass, to the underground stations in Milan (with Franca Helg)
1957 - Olivetti Prize for Architecture
IN-ARCH
1961 - Emilia Romagna Home Zambelli honorable mention in Forlì (with Franca Helg).
1963 - Lazio for department stores La Rinascente in Rome (with Franca Helg).
1965 - Domosic the greek-roman museum project in Alexandria, Egypt (with Franca Helg).
1965 - For the municipal offices in Genoa
1971 - "Alfa Gold" Provided by the entity for the Provincial Tourism Events in Milan
1976 - Gold Medal of the City of Milan
Franco Albini's products
