Eugenio Gerli | |
---|---|
![]() | |
Born | |
Died | 2 October 2013 Milan, Italy | (aged 90)
Nationality | Italian and British |
Alma mater | Liceo Classico A. Manzoni Politecnico di Milano |
Occupation | Architect |
Awards | XIII Triennale di Milano [ it] Gold Medal (1964) |
Design |
Rima P75 Butterfly table T92 P 28 Tecno Jamaica B106 Graphis System PS142 Clamis |
Eugenio Gerli (15 July 1923 – 2 October 2013) was an Italian architect and designer. In an intense working life spanning more than six decades, Eugenio Gerli explored many different areas of his profession. He built villas, apartment blocks, office blocks, factories, banks and stores, and also restored historic buildings. He often completed his works with custom-made interiors and furniture.This diverse range of projects inspired his industrial design and today many have become icons, like the S83 chair, the PS 142 armchair Clamis, the Jamaica cabinet and the Graphis System. [1] [2]
Eugenio Cesare Gerli was born on 15 July 1923 in Milan; [3] his father Guido ( London 1892 - Milan 1987) was an English businessman. His mother Luciana Chiesa was the daughter of Eugenio Chiesa (Milan, 18 November 1863 - Giverny, 22 June 1930).
Eugenio Chiesa, Republican Member of Parliament, from 1922 was firmly opposed to fascism. [4] This caused the family all sort of difficulties, culminating in the exile of Eugenio Chiesa in 1926 [5] and the arrest of Guido, later deported to various concentration camps in Italy. [6]
Eugenio married Marta Somarè daughter of art critic Enrico Somarè [ it] and granddaughter of painter Cesare Tallone, forebear of a great family of artists including the painter Guido Tallone, the editor and typographer Alberto Tallone [ it] and pianoforte builder Cesare Augusto Tallone [ it].
After an initial two years at the Department of Engineering [3] Eugenio switched to studying Architecture at the Milan Politecnico under Piero Portaluppi and Gio Ponti, both leading architects and designers. (graduated in 1949)
Eugenio Gerli integrated his spatial ideas with innovative solutions for custom-made designed interiors. This philosophy, together with his early studies in engineering, helped him in the development of models for industrial design [7] [8]
His early work was influenced by the works of Frank Lloyd Wright, Alvar Aalto and Charles Eames .
Eugenio Gerli also loved to create a strong bond between Architecture and visual arts, collaborating with artists like Arnaldo Pomodoro, Lucio Fontana, Blasco Mentor, Pietro Cascella, Guido Somarè. [7] [9] [10]
The Exhibition at the Milan Triennale dedicated to Osvaldo Borsani (held from 16 May 2018- to 16 September 2018, designed by Lord Norman Foster and Tommaso Fantoni) included sixteen works of Architecture and Design by Eugenio Gerli. This paid homage to Gerli's work and represented an important contribution to the rediscovery of this "forgotten Master" (Marco Romanelli). [11] [12]
Eugenio's sons Enrico and Guido, both Architects, joined their father in the Studio in 1977 and worked together on all projects. [13] [14] [15] [16]
Although Eugenio believed he was first and foremost an architect, today, he is remembered primarily for his furniture design. Some of his projects have become design classics and stand in some of the world's most important collections, including the Triennale di Milano, the Centre Pompidou, [54] the MAD Musée des Arts Décoratifs located in the Palais du Louvre's western wing and the Stedelijk Museum in Amsterdam. [55]
As a student, he started experimenting with the use of plywood. He took part in an exhibition at Fede Cheti [56] with an all-plywood chair with three legs. [57] [58]
In 1949, he founded a workshop named "Forma" for the series production of experimental prototypes. [59] [60] [15] [61] [62]
In 1950–52, he worked in collaboration with Mario Cristiani in Cardiological Clinic Villa Adele in Laveno- Mombello, [63] to design general layout and specific technical furniture: adjustable beds and reclining armchairs for medical applications. [17]
From 1952 to 1954, in addition to projects with plywood and "traditional" materials, he began researching and experimenting with a special resin-structured felt. [64] [65] [66] [15]
In 1954, four models "Forma" either in felt or plywood were presented at the X Triennale [ it] in the section put on by Franco Albini. In 2007, two of the models were selected for the permanent Triennale Collection. [67] [68] [69] [8] [57] [59] [70] [31] [15] [14] [58]
From 1954 to 1956 designed innovative seats for Padua firm Rima [23] including:
In 1957, he started a long collaboration with Tecno S.p.A. designing many classical "icons" like the famous GRAPHIS, the " Copernican Revolution" a complete modular system for offices, the small Armchair PS142 Clamis, made of two specular twin bodies, [13] the circular Armchair P28, the Chair S83, the " Butterfly" extendable Table T92, the nut-shell Cocktail Cabinet Jamaica. [13]
Leonardo Sinisgalli: "...col trionfo dei contorsionisti, Borsani e Gerli impongono uno spettacolo classico, l'equilibrio su una corda tirata. Spesso la fantasia deve servire a scarnire non ad accumulare: la fantasia non fa traboccare il liquido quando ha riempito il bicchiere. Perché ci sono tanti brutti oggetti al mondo? Perché i calcoli non sono giusti e le briglie dell'invenzione non sono in mano agli esperti. Né troppo tese né troppo molli le tiene l'auriga a Delphi".
e si arricchirà di rapporti importanti, in particolar modo quello con Eugenio Gerli, ennesimo maestro dimenticato, con cui, a quattro mani, disegnerà altri pezzi superbi.
pag.18...arriva nel 1968 la rivoluzione copernicana con il Sistema Graphis, che sembra uscita da un'opera di arte programmata: due angolari di lamiera che sorreggono, come un trilite il piano di lavoro, il tutto di un colore assolutamente inedito nel mondo dell'ufficio: il bianco. Un progetto assoluto...
designed by Eugenio Gerli. The model was originally designed for RIMA, but in 1957 Gerli start a long-term collaboration with Tecno and introduced among others the revised version of the P28.
Abstract: An assembly of modular elements for making up pieces of furniture is disclosed, which essentially comprises at least two angularly shaped uprights and a planar element, all of these modular elements being assembled by means of ledges and selftapping screws. A filing cabinet can also be provided and removably connected to the piece of furniture if desired.
Eugenio Gerli | |
---|---|
![]() | |
Born | |
Died | 2 October 2013 Milan, Italy | (aged 90)
Nationality | Italian and British |
Alma mater | Liceo Classico A. Manzoni Politecnico di Milano |
Occupation | Architect |
Awards | XIII Triennale di Milano [ it] Gold Medal (1964) |
Design |
Rima P75 Butterfly table T92 P 28 Tecno Jamaica B106 Graphis System PS142 Clamis |
Eugenio Gerli (15 July 1923 – 2 October 2013) was an Italian architect and designer. In an intense working life spanning more than six decades, Eugenio Gerli explored many different areas of his profession. He built villas, apartment blocks, office blocks, factories, banks and stores, and also restored historic buildings. He often completed his works with custom-made interiors and furniture.This diverse range of projects inspired his industrial design and today many have become icons, like the S83 chair, the PS 142 armchair Clamis, the Jamaica cabinet and the Graphis System. [1] [2]
Eugenio Cesare Gerli was born on 15 July 1923 in Milan; [3] his father Guido ( London 1892 - Milan 1987) was an English businessman. His mother Luciana Chiesa was the daughter of Eugenio Chiesa (Milan, 18 November 1863 - Giverny, 22 June 1930).
Eugenio Chiesa, Republican Member of Parliament, from 1922 was firmly opposed to fascism. [4] This caused the family all sort of difficulties, culminating in the exile of Eugenio Chiesa in 1926 [5] and the arrest of Guido, later deported to various concentration camps in Italy. [6]
Eugenio married Marta Somarè daughter of art critic Enrico Somarè [ it] and granddaughter of painter Cesare Tallone, forebear of a great family of artists including the painter Guido Tallone, the editor and typographer Alberto Tallone [ it] and pianoforte builder Cesare Augusto Tallone [ it].
After an initial two years at the Department of Engineering [3] Eugenio switched to studying Architecture at the Milan Politecnico under Piero Portaluppi and Gio Ponti, both leading architects and designers. (graduated in 1949)
Eugenio Gerli integrated his spatial ideas with innovative solutions for custom-made designed interiors. This philosophy, together with his early studies in engineering, helped him in the development of models for industrial design [7] [8]
His early work was influenced by the works of Frank Lloyd Wright, Alvar Aalto and Charles Eames .
Eugenio Gerli also loved to create a strong bond between Architecture and visual arts, collaborating with artists like Arnaldo Pomodoro, Lucio Fontana, Blasco Mentor, Pietro Cascella, Guido Somarè. [7] [9] [10]
The Exhibition at the Milan Triennale dedicated to Osvaldo Borsani (held from 16 May 2018- to 16 September 2018, designed by Lord Norman Foster and Tommaso Fantoni) included sixteen works of Architecture and Design by Eugenio Gerli. This paid homage to Gerli's work and represented an important contribution to the rediscovery of this "forgotten Master" (Marco Romanelli). [11] [12]
Eugenio's sons Enrico and Guido, both Architects, joined their father in the Studio in 1977 and worked together on all projects. [13] [14] [15] [16]
Although Eugenio believed he was first and foremost an architect, today, he is remembered primarily for his furniture design. Some of his projects have become design classics and stand in some of the world's most important collections, including the Triennale di Milano, the Centre Pompidou, [54] the MAD Musée des Arts Décoratifs located in the Palais du Louvre's western wing and the Stedelijk Museum in Amsterdam. [55]
As a student, he started experimenting with the use of plywood. He took part in an exhibition at Fede Cheti [56] with an all-plywood chair with three legs. [57] [58]
In 1949, he founded a workshop named "Forma" for the series production of experimental prototypes. [59] [60] [15] [61] [62]
In 1950–52, he worked in collaboration with Mario Cristiani in Cardiological Clinic Villa Adele in Laveno- Mombello, [63] to design general layout and specific technical furniture: adjustable beds and reclining armchairs for medical applications. [17]
From 1952 to 1954, in addition to projects with plywood and "traditional" materials, he began researching and experimenting with a special resin-structured felt. [64] [65] [66] [15]
In 1954, four models "Forma" either in felt or plywood were presented at the X Triennale [ it] in the section put on by Franco Albini. In 2007, two of the models were selected for the permanent Triennale Collection. [67] [68] [69] [8] [57] [59] [70] [31] [15] [14] [58]
From 1954 to 1956 designed innovative seats for Padua firm Rima [23] including:
In 1957, he started a long collaboration with Tecno S.p.A. designing many classical "icons" like the famous GRAPHIS, the " Copernican Revolution" a complete modular system for offices, the small Armchair PS142 Clamis, made of two specular twin bodies, [13] the circular Armchair P28, the Chair S83, the " Butterfly" extendable Table T92, the nut-shell Cocktail Cabinet Jamaica. [13]
Leonardo Sinisgalli: "...col trionfo dei contorsionisti, Borsani e Gerli impongono uno spettacolo classico, l'equilibrio su una corda tirata. Spesso la fantasia deve servire a scarnire non ad accumulare: la fantasia non fa traboccare il liquido quando ha riempito il bicchiere. Perché ci sono tanti brutti oggetti al mondo? Perché i calcoli non sono giusti e le briglie dell'invenzione non sono in mano agli esperti. Né troppo tese né troppo molli le tiene l'auriga a Delphi".
e si arricchirà di rapporti importanti, in particolar modo quello con Eugenio Gerli, ennesimo maestro dimenticato, con cui, a quattro mani, disegnerà altri pezzi superbi.
pag.18...arriva nel 1968 la rivoluzione copernicana con il Sistema Graphis, che sembra uscita da un'opera di arte programmata: due angolari di lamiera che sorreggono, come un trilite il piano di lavoro, il tutto di un colore assolutamente inedito nel mondo dell'ufficio: il bianco. Un progetto assoluto...
designed by Eugenio Gerli. The model was originally designed for RIMA, but in 1957 Gerli start a long-term collaboration with Tecno and introduced among others the revised version of the P28.
Abstract: An assembly of modular elements for making up pieces of furniture is disclosed, which essentially comprises at least two angularly shaped uprights and a planar element, all of these modular elements being assembled by means of ledges and selftapping screws. A filing cabinet can also be provided and removably connected to the piece of furniture if desired.