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Ettore Sottsass
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Ettore Sottsass (14 September 1917 – 31 December 2007) was an Italian architect and designer of the late 20th century. His body of designs included furniture, jewellery, glass, lighting and office machine design.
Sottsass was born on 14 September 1917 in Innsbruck, Austria, and grew up in Milan, where his father was an architect.
He was educated at the Politecnico di Torino in Turin and graduated in 1939 with a degree in architecture. He served in the Italian military and spent much of World War II in a concentration camp in Yugoslavia. After returning home in 1948, he set up his own architectural and industrial design studio in Milan.
Ettore Sottsass and Fernanda Pivano at their home in Milan in 1969
In 1949 Sottsass married Fernanda Pivano, a writer, journalist, translator and critic. They divorced in 1970, and in 1976 Sottsass married Barbara Radice, an art critic.[1]
Typewriter Valentine (1969)
Knoll Mandarin Chair Ettore Sottsass
In 1956, Ettore Sottsass began working as a design consultant for Olivetti, designing office equipment, typewriters, and furniture. Sottsass was hired by Adriano Olivetti, the founder, to work alongside his son, Roberto. There Sottsass made his name as a designer who, through colour, form and styling, managed to bring office equipment into the realm of popular culture.[2] Sottsass, Mario Tchou, and Roberto Olivetti won the prestigious 1960 Compasso d’Oro with the Elea 9003, the first Italian mainframe computer. In 1968, the Royal College of Art in London granted Sottsass an honorary doctoral degree.[3]
Throughout the 1960s, Sottsass travelled in the US and India and designed more products for Olivetti, culminating in the bright red plastic portable Valentine typewriter in 1970, which became a fashion accessory.[2] Sotsass described the Valentine as "a brio among typewriters." Compared with the typical drab typewriters of the day, the Valentine was more of a design statement item than an office machine.
While continuing to design for Olivetti in the 1960s, Sottsass developed a range of objects which were expressions of his personal experiences traveling in the United States and India.[4] These objects included large altar-like ceramic sculptures and his "Superboxes", radical sculptural gestures presented within a context of consumer product, as conceptual statement.[5] Covered in bold and colorful, simulated custom laminates, they were precursors to Memphis, a movement which came more than a decade later.[6] Around this time, Sottsass said: "I didn’t want to do any more consumerist products, because it was clear that the consumerist attitude was quite dangerous."[7][8] The feeling that his creativity was being stifled by corporate work is documented in his 1973 essay "When I was a Very Small Boy".[9] As a result, his work from the late 60s to the 70s was defined by experimental collaborations with younger designers such as Superstudio and Archizoom Associati,[10] and association with the Radical movement, culminating in the foundation of Memphis at the turn of the decade.
Whilst the Memphis movement in the eighties attracted enormous attention around the world for its energy and flamboyance, Ettore Sottsass was simultaneously assembling a major design consultancy which he named Sottsass Associati. The studio was established in 1980 and gave the possibility to build architecture on a substantial scale as well as to design for large international industries.
Sottsass Associati, primarily an architectural practice, also designed elaborate stores and showrooms for Esprit, identities for Alessi, exhibitions, interiors, consumer electronics in Japan and furniture of all kinds.
The studio was based on the cultural guidance of Ettore Sottsass and the work was conducted by the talent and energy of its associates. Over the years the associates came and went often to open their own studios, these were young architects and designers which included:
Johanna Grawunder, Marco Zanini, Matteo Thun, Aldo Cibic,
Marco Susani, James Irvine, Mike Ryan, Gerry Taylor, Christoph Radl, Mario Milizia and Christopher Redfern.
Sottsass Associati are presently based in London and Milan and continue to sustain the work, philosophy and culture of the studio.
http://www.sottsass.it/
Sottsass was born on 14 September 1917 in Innsbruck, Austria, and grew up in Milan, where his father was an architect.
He was educated at the Politecnico di Torino in Turin and graduated in 1939 with a degree in architecture. He served in the Italian military and spent much of World War II in a concentration camp in Yugoslavia. After returning home in 1948, he set up his own architectural and industrial design studio in Milan.
Ettore Sottsass and Fernanda Pivano at their home in Milan in 1969
In 1949 Sottsass married Fernanda Pivano, a writer, journalist, translator and critic. They divorced in 1970, and in 1976 Sottsass married Barbara Radice, an art critic.[1]
Typewriter Valentine (1969)
Knoll Mandarin Chair Ettore Sottsass
In 1956, Ettore Sottsass began working as a design consultant for Olivetti, designing office equipment, typewriters, and furniture. Sottsass was hired by Adriano Olivetti, the founder, to work alongside his son, Roberto. There Sottsass made his name as a designer who, through colour, form and styling, managed to bring office equipment into the realm of popular culture.[2] Sottsass, Mario Tchou, and Roberto Olivetti won the prestigious 1960 Compasso d’Oro with the Elea 9003, the first Italian mainframe computer. In 1968, the Royal College of Art in London granted Sottsass an honorary doctoral degree.[3]
Throughout the 1960s, Sottsass travelled in the US and India and designed more products for Olivetti, culminating in the bright red plastic portable Valentine typewriter in 1970, which became a fashion accessory.[2] Sotsass described the Valentine as "a brio among typewriters." Compared with the typical drab typewriters of the day, the Valentine was more of a design statement item than an office machine.
While continuing to design for Olivetti in the 1960s, Sottsass developed a range of objects which were expressions of his personal experiences traveling in the United States and India.[4] These objects included large altar-like ceramic sculptures and his "Superboxes", radical sculptural gestures presented within a context of consumer product, as conceptual statement.[5] Covered in bold and colorful, simulated custom laminates, they were precursors to Memphis, a movement which came more than a decade later.[6] Around this time, Sottsass said: "I didn’t want to do any more consumerist products, because it was clear that the consumerist attitude was quite dangerous."[7][8] The feeling that his creativity was being stifled by corporate work is documented in his 1973 essay "When I was a Very Small Boy".[9] As a result, his work from the late 60s to the 70s was defined by experimental collaborations with younger designers such as Superstudio and Archizoom Associati,[10] and association with the Radical movement, culminating in the foundation of Memphis at the turn of the decade.
Whilst the Memphis movement in the eighties attracted enormous attention around the world for its energy and flamboyance, Ettore Sottsass was simultaneously assembling a major design consultancy which he named Sottsass Associati. The studio was established in 1980 and gave the possibility to build architecture on a substantial scale as well as to design for large international industries.
Sottsass Associati, primarily an architectural practice, also designed elaborate stores and showrooms for Esprit, identities for Alessi, exhibitions, interiors, consumer electronics in Japan and furniture of all kinds.
The studio was based on the cultural guidance of Ettore Sottsass and the work was conducted by the talent and energy of its associates. Over the years the associates came and went often to open their own studios, these were young architects and designers which included:
Johanna Grawunder, Marco Zanini, Matteo Thun, Aldo Cibic,
Marco Susani, James Irvine, Mike Ryan, Gerry Taylor, Christoph Radl, Mario Milizia and Christopher Redfern.
Sottsass Associati are presently based in London and Milan and continue to sustain the work, philosophy and culture of the studio.
http://www.sottsass.it/