Osvaldo Borsani, ‘a wooden bar cabinet with metal mechanic elements, brass details and glass and fabric linings’, 1950 ca., Design/Decorative Art, Cambi
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a wooden bar cabinet with metal mechanic elements, brass details and glass and fabric linings, 1950 ca.

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About the work
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Cambi

cm 217x63x264; Piano bar: 189x48,5

Glass top decorated with mixed media based on a design by Lucio …

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Osvaldo Borsani
Swiss-Italian, 1911–1985
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Osvaldo Borsani brought modern Italian design to the world’s attention in the post-war period by promoting luxury furnishings influenced by technological innovation; utilizing new modes of production; and integrating industrial materials such as steel and rubber. In 1953 he founded furniture manufacturer Tecno with his brother, Fulgenzio, and introduced the now-iconic P40 reclining chair soon after. Using the same mechanical joint as the P40, the L77 Daybed (1955) is noted for its high degree of flexibility, allowing it to raise, lower, extend, and adjust into hundreds of positions. At the 10th Milan Triennial Exhibition, Borsani launched Tecno’s first collection by ingeniously dispersing its designs in different contexts throughout the site—including an R. Buckminster Fuller geodesic dome—to demonstrate their versatility, exemplifying Borsani’s holistic approach in which the “designer, maker, art director, and distributor merge harmoniously into one,” as he once said.

Lucio Fontana
Italian, Argentine born, 1899–1968
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Throughout his prolific career, Lucio Fontana demonstrated a relentless interest in the relationship between surface and dimensionality. Fontana formulated the theory of Spatialism in a series of manifestos dating from the late 1940s to early 1950s, proposing that matter should be infiltrated by energy in order to generate dimensional, dynamic artistic forms. Fontana implemented this theory in his series Concetto Spaziale (‘spatial concept’), punching holes in the picture plane and slicing through his canvases in order to expose the dimensional space beneath. Fontana’s innovative theories prefigured later developments in environmental art, performance art, and Arte Povera.

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Osvaldo Borsani, ‘a wooden bar cabinet with metal mechanic elements, brass details and glass and fabric linings’, 1950 ca., Design/Decorative Art, Cambi
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About the work
C
Cambi

cm 217x63x264; Piano bar: 189x48,5

Glass top decorated with mixed media based on a design by Lucio Fontana. Archive number Fondazione Lucio Fontana n° 3189/1. One-of-a-kind. From the Borsani heritage. Arredamenti Borsani Prod., Italy

Medium
Osvaldo Borsani
Swiss-Italian, 1911–1985
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Osvaldo Borsani brought modern Italian design to the world’s attention in the post-war period by promoting luxury furnishings influenced by technological innovation; utilizing new modes of production; and integrating industrial materials such as steel and rubber. In 1953 he founded furniture manufacturer Tecno with his brother, Fulgenzio, and introduced the now-iconic P40 reclining chair soon after. Using the same mechanical joint as the P40, the L77 Daybed (1955) is noted for its high degree of flexibility, allowing it to raise, lower, extend, and adjust into hundreds of positions. At the 10th Milan Triennial Exhibition, Borsani launched Tecno’s first collection by ingeniously dispersing its designs in different contexts throughout the site—including an R. Buckminster Fuller geodesic dome—to demonstrate their versatility, exemplifying Borsani’s holistic approach in which the “designer, maker, art director, and distributor merge harmoniously into one,” as he once said.

Lucio Fontana
Italian, Argentine born, 1899–1968
Follow

Throughout his prolific career, Lucio Fontana demonstrated a relentless interest in the relationship between surface and dimensionality. Fontana formulated the theory of Spatialism in a series of manifestos dating from the late 1940s to early 1950s, proposing that matter should be infiltrated by energy in order to generate dimensional, dynamic artistic forms. Fontana implemented this theory in his series Concetto Spaziale (‘spatial concept’), punching holes in the picture plane and slicing through his canvases in order to expose the dimensional space beneath. Fontana’s innovative theories prefigured later developments in environmental art, performance art, and Arte Povera.

a wooden bar cabinet with metal mechanic elements, brass details and glass and fabric linings, 1950 ca.

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