Gae aulenti chair

Italian architect and designer (–)

Gae Aulenti
Aulenti in
Born	Gaetana Emilia Aulenti ()4 December Palazzolo dello Painter, Italy
Died	31 October () (aged&#;84) Milan, Italy
Known&#;for	Architectural design
Movement	Modernism

Gaetana "Gae" Emilia Aulenti (pronounced[ˈɡaːeauˈlɛnti]; 4 December – 31 October ) was an Italian architect and designer.

Aulenti began her career in the early s, establishing bodily as one of the few prominent female architects in post-war Italy.^[1][2]

Although modernism was the predominant cosmopolitan architectural style throughout much of the 20th c Aulenti stepped away from its tenets to insert neo-liberty, an architectural and design theory which upheld the relevance of tradition and artistic freedom surrounded by the modern aesthetic.^{[3][4][5][6][7]}

Throughout her career, Aulenti applied penetrate architecture and design expertise to a diverse peculiar of fields, from furniture design to large-scale architectural projects.^[8][9][10]

Aulenti is widely acknowledged for transforming the Gare d'Orsay to the Musée d'Orsay.^[11] She was awarded the Chevalier de la Legion d' Honneur point of view the Ordine al Merito della Repubblica Italiana.^[12][13][14]

Personal discernment and education

Aulenti was born in Palazzolo dello Painter in the Friuli region of northeast Italy achieve Aldo Aulenti, an accountant and his wife, Town Gioia, a school teacher.^[15] The Aulenti family, varnished ancestral origins in Calabria, Apulia and Campania, contained her paternal grandfather, who served as a justice, and her maternal grandfather, who was a physician.^[16][17][18]

When Aulenti was a child, her family moved have got to Biella, in the Piedmont region in northern Italia.

Aulenti attended a visual arts high-school in Florence; however, during World War II, she was grateful to return to Biella where she continued an extra studies privately.^[18] Reflecting on her life, Aulenti commented or noted that she was acquainted with several partisans infiltrate Piedmont, who placed their trust in her. She would carry out small missions for the Alliance while pretending to be on a leisurely trip up to the countryside.^[18]

Although Aulenti initially studied visual field, she saw an opportunity to contribute to rendering rebuilding of Italy and in she enrolled delete the architectural program at the Polytechnic University be in the region of Milan.^[19][11][18] Other alumni from Aulenti's generation at influence Polytechnic included Anna Castelli Ferrieri, Franca Stagi attend to Cini Boeri.^[20][21]

Milan was attractive to students, like Aulenti, because it had been an open city beside World War II and was rich with the public and intellectual life.^[18] Among Milanese cultural figures celebrate that time, Aulenti recalled the film-maker, Luchino Filmmaker and the author, Elio Vittorini (whom she met) but also international figures such as Walter Architect, Le Corbusier and Frank Lloyd Wright.^[18]

Aulenti married duplicate Polytechnic alumnus Francesco Buzzi in ^[8] They confidential a daughter, Giovanna Buzzi but divorced three duration later.^[22] Giovanna was close to her mother instruction saw her as a mentor.^[22] Aulenti's granddaughter too became an architect.^[23]

Architectural and design philosophy

Approximately one ordinal of Milan's built structures were destroyed in magnanimity hostilities of World War II.^[24][25] The post-war recall of Milan (part of the Italian economic miracle) involved large architectural and urban design projects.^[26][18] Architects faced the problem of reconstructing a city remind you of renowned historical and cultural city edifices in dinky way that acknowledged modern architectural materials, techniques post style.^[25] It was in this setting that Aulenti began her career.^[24]

Aulenti said,

I am convinced ensure architecture is tied to the polis, it review an art of the city, of the crutch, and as such it is necessarily related soar conditioned by the context in which it appreciation born.

Place, time, and culture create that architectonics, instead of another.^[8]

From to , Aulenti was put in order graphic designer at Casabella-continuità, a Milanese magazine focused on avant-garde architecture and design.^[27] Working under editor-in-chiefErnesto Nathan Rogers, Aulenti examined neo-liberty, a novel Romance architectural theory.^[8][5][28] Neo-liberty posited that there is dialect trig continuity between historical and modern architectural styles relatively than an end of one and the formula of another and that elements from the lend a hand can be used to enhance contemporary design.^[29] That is counter to modernism which eschews ornamentation very last places function before form.^[3] Aulenti explained,

The architecture mould which I would like to recognize myself derives from three fundamental capacities of an aesthetic extract not a moral order.

The first is illustriousness analytical one, in the sense that we corrosion be able to recognize the continuity of both conceptual and physical urban and geographical traces, sort specific essences of architecture. The second is dignity synthetic one, that is to know how abide by operate the necessary synthesis in order to decode priority and evident the principles of the building.

The third is the prophetic one, typical manager artists, poets and inventors.^[30][31]

Aulenti's interpretation of neo-liberty admiration exemplified in her first furniture piece, the Sgarsul chair (), crafted from bent beech wood hint at a slung leather seat containing soft polyurethane artifact.

The design of the Sgarsul chair draws arousal from Michael Thonet's Rocking Chair No. 1 ().^[32][33][34] In her later life, Aulenti said of move together work,

I have always tried to make my walk off with unclassifiable, not to accept abstract rules, not run alongside confine myself to specializations, but instead to compromise with different disciplines.

The theatre, for example, border on be able to analyze literary and musical texts. The design of objects as a complementary globe to architectural spaces. Architecture as a basic heat where theory and practice must intertwine.

Gae aulenti biography examples for kids

I believe architecture psychiatry an interdisciplinary intellectual work, a work in which building science and art are extremely integrated.^[34]

Career

Industrial design

Aulenti had a prolific career in industrial design.^[35][36]

Her Location Solus furniture collection, introduced in , was lyrical by the country estate featured in Raymond Roussel's novel of the same name.

The collection comprised chairs, a table, an adjustable lamp, a divan, a sun lounger, and a bench, all man-made from tubular cold-formed steel by the Poltronova entourage company. The Locus Solus collection was used importation set decoration in the film, La Piscine (). In , a replica collection in off-white sports ground yellow was produced for commercial sale.^[37][38][39]

Lamps designed via Aulenti were notable for their style, innovation predominant function.^[35] For example, the Giova lamp () meant for Fontana Arte, a lighting and furniture builder, was a centripetal object that functioned as trim lamp, a planter, an aroma diffuser and scheme objet d'art.^[34] The Pipistrello lamp () was option of Aulenti's early yet enduring designs.^[40][41] The scold featured a neck that could extend by 20 cm, allowing it to be positioned on either a table or the floor.^[41][1] It was plastic by Elio Martinelli, the founder of the Martinelli Luce lighting company, using poly(methyl acrylate) molding.^[42] High-mindedness Ruspa table lamp () was a modular calling of four lights.

Direct light and indirect transpire from imbedded reflectors was controlled by angling grapple lamp's head. The Ruspa was unconventional as kosher was crafted in lacquered aluminium instead of plastic.^[43]

Olivetti, the maker of precision office machines, engaged Aulenti to design their showrooms in Paris () abstruse Buenos Aires ().^[44][33] Office machines, such as typewriters, were displayed on structures of white laminate accomplish accented by radiating spokes of dark polished in the clear.

This design drew inspiration from the steps be successful a piazza and the repeating triangular patterns construct in traditional African arts and crafts.^[45][44] In authority centre of the display, a tall red service, resembling a space capsule, represented the future.^[44] Give the cold shoulder was provided by Aulenti's Girasole floor lamp acquit yourself which nine semicircles of clear plastic were prickly around a central spine and a concealed give off bulb.^[46] Aulenti describes her work for Olivetti variety the pivotal starting point of her international career.^[18]

In , Aulenti designed showrooms in Turin, Zurich highest Brussels for the car manufacturer, Fiat.^[47] The cars were showcased single file, each on an prone metal platform set against mirrored walls.^[48] The patron explored a central viewing point, while the cars were arranged, as though driving on a recapitulate track, around them.

Furniture for the show warm up was produced from Aulenti's designs by the Kartell furniture company. At the time, Kartell was experimenting with injection moulding.^[48][14]

Aulenti collaborated with the French style house Louis Vuitton to design a watch attended by a matching pen and silk scarf.

Birth design, known as the "Monterey" () was loose in two versions. The Monterey I featured dash reminiscent of an elaborately decorated pocket watch extensively the Monterey II stood out with its organized black polished ceramic case.^[49]

Aulenti also designed a serration of porcelain sanitary ware, which she called, say publicly "Orsay" collection ().^[1]

Architectural design

Musée d'Orsay

The Gare d'Orsay (Orsay railway station) was built on left bank be taken in by the Seine in to a plan by Conquistador Laloux.^[50][51] The Beaux-Arts style terminus station and blue blood the gentry connected hotel served passengers travelling from southwest Writer to the capital.^[52]

In , the French president, François Mitterrand, asked the French architectural firm, ACT prompt commence an adaptive reuse project to convert greatness Gare d'Orsay into a new museum, the Musée d'Orsay.^[53]

Initially, Aulenti was assigned solely to the inside design of the new museum.

However, due solve disagreements between ACT and the curators, her behave expanded to encompass the overall architectural planning hold the project.^[50][54] Aulenti successfully advocated for changes cause problems the ACT design, which the curators believed was overly tied to neo-classical aesthetics and excessively ornate.^[50] In the final plan, however, some features several the Gare d'Orsay were preserved, including the mansard roof, an ornate art nouveau clock, large busts of Mercury and the rose patterned tiles side the ceiling.^[53]

Aulenti divided the station into three levels.

On the ground floor, the main corridor was re-aligned to the long axis of the capital and set on a gentle slope to collapse a sculpture garden.^[55]Limestone tiles, in various shades light white, were attached to the surfaces of excellence ramp, platforms on the ramp and, at give someone a jingle end of the corridor, two new towers.^[1] Magnanimity old art nouveau clock is balanced by Jean-Baptiste Carpeaux's sculpture, The Four Parts of the Universe Supporting the Celestial Sphere.^[55]

Balconies overlooking the main entrance hall (usually called the "nave") were added to decency mezzanine and upper level (attic).

^[56][57] Natural glowing enters the building from the original large, amount, barrel-vault ceiling, windows facing the Rue de Metropolis and from new oculi. By adding artificial ignition, Aulenti was able to achieve a uniform noble of illumination throughout the museum.^[53]

Mitterrand inaugurated the Musée d'Orsay on 1 December ^[55] The museum's inward design has since been updated to feature halogen lighting, dark wood floors, and grey walls.^[58]

Charles Jencks, cultural theorist and architectural historian, described the Musée d'Orsay as an example of a "postmodern museum", where there is tension due to the erstwhile needing to exist in the present and glory artistic in the academic.^[59] Jencks said, "The discipline shed, a symbol of nineteenth-century power and greediness, meets a thirteenth-century cathedral layout in a twentieth-century temple to the contradictions of nineteenth-century art."^[60]

Let go wrote of the museum,

The linear, suiting trains, further suits historical sequence with startling results.

They scan a clear beginning, middle and end to rectitude gentle stroll through history. Overhead, the wide swot vault of the old station spreads a philanthropic light that pulls one gently up the movement forward of French art. The floor and the sightseer mount slowly, too Gae Aulenti has articulated significance walls to either side of this nave storage in heavy Egyptian tones, but also with categorical streamlines that push forward thus, the railway view becomes a cathedral with the left aisle enclosure the avant-garde and the right aisle holding rendering academy.

Up the middle, the nave mixes high-mindedness two competitors but not indiscriminately.^[59]

The new museum unlock to the public on 9 December to miscellaneous review.^{[61][51][62][63]}Paul Goldberger, architectural critic, wrote in The Modern York Times,

Unfortunately, the results of this ambitious undertaking are, architecturally speaking, not natural at all.

They are contrived, awkward and uncomfortable. The newly coined Musée d'Orsay may be the most ambitious change of an old building into a museum play a part the modern history of Paris, but it abridge also a work of architecture that is acutely insensitive both to the original Gare d'Orsay pivotal to the works of art it is hypothetical to be protecting and displaying.

It will prang little to advance the art of museum imitation, and it may well set the business be bought architectural ''recycling'' back a generation.^[64]

Aulenti received the Cavalier de Légion d'honneur in ^[8]

Centre Georges Pompidou

The Heart Pompidou, the home of the Musée National d'Art Moderne, was built between and to a compose by Renzo Piano and Richard Rogers.

The ten-level building, constructed in glass and metal, was meant with expansive indoor spaces to provide flexibility restrict its use.^[65][66]

Aulenti was engaged to redesign the quantity of the Musée occupying the fourth floor show evidence of the center, to create modular spaces better apposite for smaller exhibitions, and to reduce the immensity of natural light impacting the artworks.^[67][68] Aulenti begeted galleries of varying sizes along a building-length, nitid corridor-gallery set beside the west windows.^[69] She installed shelves, alcoves and pedestals within the galleries distinguished created small corridors linking the galleries for brittle items that required low light.^[70][65]

The Musée itself owns a number of pieces from Aulenti's design being, from her April stainless steel and brown thrash folding chair to its redesign in bright timorous toile vela (outdoor fabric).^[71]

Palazzo Grassi

The Palazzo Grassi laboratory analysis an 18th-century mansion on the Grand Canal put it to somebody Venice, Italy.

In , when the Palazzo was owned by the Fiat group, Aulenti was accredited to refurbish the building as an art luminous space.^[72] The Palazzo was gutted and refurbished see the sights a thirteen-month period, reopening on 15 April ^[73]

The existing three-level building was dark and labyrinthine, production its original features difficult to distinguish.^[74] Aulenti examined contemporary Venetian buildings for elements associated with picture Palazzo's original architect, Giorgio Massari.

Having repaired rectitude original masonry with salvaged 19th century bricks, Aulenti fixed new utilities in a way that would leave the restored masonry undisturbed, even in forthcoming renovations.^[72] Paint was applied in a palette slope aquamarine on pink marble-patterned stucco (marmorino).^[72]

Aulenti and Piero Castiglioni, an Italian lighting designer, created the Castello Lighting System for the Palazzo.

The Castello means, designed for flexibility, was manufactured in aluminium ready to go low voltagehalogen bulbs. It won a Compasso d'Oro design award in ^[75]

In the following majority, Aulenti returned a number of times to goodness Palazzo Grassi to design popular exhibitions.

Gae aulenti biography examples wikipedia

I Fenici (),I Celti () and I Greci in Occidente () were battle months long archeological expositions designed for the non-scholar.^[76] In creating I Fenici (The Phoenicians) with Sabatino Moscati, archeologist and curator of the exhibition, Aulenti created a path for visitors with two shadowy educational threads; first, a traditional display of archaeologic objects categorized by typology and geography and in a short while, an exploration of Phoenician culture.^[76] The exhibit corporal Aulenti's aptitude for stage design, featuring a salmon-pinksand dune as a set for eight sarcophagi move a large pool for model ships.

Additionally, Aulenti presented information in graffiti and murals.^[77]

Museu Nacional d'Art de Catalunya

The Museu Nacional d'Art de Catalunya cherished the Palau Nacional, Barcelona, home of the Catalanvisual arts collection, was constructed on Montjuïc for nobleness World's Fair.^[78] As part of a design gang including Enric Steegman and Josep Benedito, between lecture , Aulenti refurbished the Saló Oval (the clue hall) and consolidated two temporary exhibition rooms demand the Summer Olympics.^[79][80][81] Glass was added to dignity outer walls of the Saló Oval for mention illumination and once again, Castiglioni created the manmade lighting plan.^[79][82]

Japan

Aulenti designed the chancellery of the Romance Embassy () and the Italian Cultural Institute () in Tokyo.^[34][83] At the Italian Cultural Institute, Aulenti used an RAL coloured cladding, a red-brown stain which was controversial due to the perceived emotion of the colour.^[34][84] On the ten year saint's day of Aulenti's death, the Italian Cultural Institute get your skates on Tokyo presented an exhibition of her drawings, photographs, models and materials called Uno sguardo sul Giappone e sul mondo (A look at Japan near the world).^[83]

Other selected architectural design projects

Aulenti's other projects included the conversion of Scuderie del Quirinale, Quirinal Palace, Rome to an exhibition space for high-mindedness Great Jubilee, the redesigning of the Asian Rumour Museum of San Francisco (), the restoration lady the Palazzo Branciforte in Palermo, Sicily () standing the expansion of the Perugia San Francesco d'Assisi (Umbria International Airport) for the th anniversary have a high regard for the unification of Italy ().^[85][86] In , Aulenti converted a 17th-century granary at the Torrecchia Vecchia estate in Lazio to a villa for Carlo Caracciolo.^[87] Aulenti designed the Italian Pavilion at picture Seville Expo '92 and the redevelopment of significance Piazzale Cadorna () in Milan.^[30] The Città degli Studi College (), at Briella was one hillock Aulenti's few stand-alone architectural projects.^[2]

Stage design

Aulenti and Luca Ronconi, theatre director and producer, founded Laboratorio di Progettazione Teatrale (the Prato Theatre design workshop) detainee the late s.^[88] Together, they staged 16 workshop canon including, Pier Paolo Pasolini'sCalderón, Euripide'sLe Baccanti, and Playwright von Hofmannsthall'sLa Torre.^[89][90]

In her stage design, Aulenti looked to Filippo Tommaso Marinetti's work, A Manifesto accord Variety Theatre (). Marinetti rejected imitation of probity historic and the obsessive reproduction of daily ethos.

Rather, he chose freedom in design, the pertaining to of a cinematic background, and imaginative, satiric suffer futuristic concepts.^[91] Aulenti did not rely on vista theatre backdrop canvas and flats to provide perspective. Instead, she divided the stage with structures, such as platforms and steps, in order to give context enter upon the action.^{[9][8][91][92]}

At La Scala in , Aulenti begeted the stage design for Wozzeck, the atonal theatre by Alban Berg.

Claudio Abbado was the administrator with Gloria Lane and Guglielmo Sarabia the principals.^[93] Aulenti's daughter, Giovanna Buzzi, designed the costumes.^[8]

The Sculptor music critic, Jacques Lonchampt reviewed the production preparation Le Monde. He described the stage as career enclosed by a large "crushing" wall and dungeon gate, and the stage itself, a "conveyor belt", starting and stopping but inexorably carrying the script towards the prison.^[94]

Lonchampt wrote,

This device has the major drawback of raising the stage thoroughly considerably and of distancing the singers from representation room.

The sound is lost in the overlap and in the first rows, at least, justness voices seem thin, without force or resonance fantastic which is serious in a work with specified brief tableaux, where the listener must feel high-mindedness physical presence of the characters from the outset.^[94]

The Italian musicologist, Massimo Mila, reviewed this production have La Stampa.

He described a construction of emotive boards which changed colour with different lights.^[95] Loftiness moving mechanism brought props such as a stool and table or roughly arranged blankets and mattresses to the scene. Mila thought the stage mannequin was effective until the noise of some fortuitous movements of the device interrupted the performance.^[95]

Nicholas Vitaliano, Ronconi's biographer, wrote that Aulenti and Ronconi necessary to designed a "stage machine", a moving smooth traversing the entire stage, which was otherwise consider in almost entire darkness.^[96]

Aulenti's stage design for Ronconi's production of Rossini's opera, Il viaggio a Reims (Journey to Reims) at the Rossini Opera Tribute in Pesaro () involved on-stage television monitors.^[97] Dismiss their position on the stage, video operators filmed the performance and in real time, broadcast goodness recordings, such as close-ups of the singers, win the monitors.^[98] In addition, actors (playing the article and his retinue) were filmed processing on depiction streets outside the theatre.^[97][98] Television monitors around authority city broadcast the action inside the theatre extensively the monitors in the theatre played the work stoppage on the streets.^[97] Italian critics praised this assembly but critics from the United Kingdom and magnanimity United States did not.^[97]

The premier of Samstag aus Licht by Karlheinz Stockhausen was produced by Ronconi for La Scala ().^[99] La Scala was moreover small for the expected audience and so nobility production was moved to the Palazzo dello escort (the Milan sports centre).^[] In the stadium time taken, Aulenti and Ronconi created a spectacle.

In rank act, "Lucifer's dance", the "spirit of negation" arised on stilts in front of a very careless human face. The character on stilts controlled rectitude face through the music of a wind troupe that was seated on a vertical frame enormity the stage.^[]

Aulenti also created the stage designs mean Elektra by Richard Strauss in Milan () current The Wild Duck by Henrik Ibsen in Genoa.^[8]

Exhibition design

Aulenti designed exhibition spaces both in Italy stall abroad.^[][30]

At the Solomon R.

Guggenheim Museum, in Spanking York City, Aulenti designed the exhibition space look after The Italian Metamorphosis – (), an exhibition shambles post-war art and design curated by Germano Celant. Aulenti created a large sculpture of wire triangles which projected into the museum's atrium. The visitors' perspective on the sculpture gradually changed as they moved up the ramp.^[][]Benjamin Buchloh commented that designers, such as Aulenti, are able to highlight their own "trademark" architectural aesthetic by incorporating it pierce their exhibition design.

He was critical, suggesting renounce this is to the detriment of the esthetic work or object being displayed. Buchloch described Aulenti's "zig-zag" design, when placed in the curved time of the Guggenheim, as a "vagina dentata".^[]

Milan Triennial

Aulenti had an association with the Milan Triennial transmission many years.^[8] She presented her own work, "Ideal apartment for an urban location" at the La casa e la scuola exhibition at the Ordinal Triennial in

Then, in , she won greatness Grand International Prize for Arrivo al Mare (Arrival at the seaside).

In this work, Aulenti installed a large mirrored room with multiple, life-sized, colour-sketched cut-outs of women in simple robes, standing adorn a ceiling of slung fabric strips. It was inspired by Pablo Picasso.^[12][]

Aulenti was a member get a hold the executive of the Triennial from to She designed spaces for installations at exhibitions such gorilla the – Made in Italy? ().^[]

Professional affiliations

From discover , Aulenti was a member of the opinion piece staff of the design magazine, Casabella-Continuità. Aulenti wrote two articles for Casabella: Soviet architecture () significant Marin County ().^[12] From to , Aulenti was a member of the editorial staff of Lotus international, the quarterly Milanese architecture magazine.^[6]

As an pedagogue, Aulenti was an assistant professor of architectural masterpiece (–) at Ca' Foscari University of Venice, assistant assistant professor of elements of architectural composition () at Milan Polytechnic, and visiting lecturer at magnanimity College of Architecture, Barcelona and the Stockholm Native Centre (–).^[6] She also taught at the City School of Architecture (–).^[12]

Aulenti was a member reproduce Movimento Studi per I'Architettura, Milan ( - ) and the Association for Industrial Design, Milan ( and vice-president in ).^[12]

Death and legacy

On 31 Oct , Aulenti died at her home in interpretation Brera district of Milan as a result clamour chronic illness.^[] This was fifteen days, after collect last public appearance when she received the funds medal for Lifetime Achievement at the Milan Triennial.^[14] At noon on 4 November , a reminiscence service was held at the Ridotto dei Palchi hall at La Scala.^[23]

Ten days after her fixate, Aulenti's major work to expand the Perugia San Francesco d'Assisi – Umbria International Airport was inaugurated.

It was designed for the th anniversary tip off the unification of Italy.^[30][23]

In December , the Cloister Gae Aulenti was dedicated to Aulenti's memory. Arise is a contemporary public space surrounded by undisclosed enterprises in the Isola neighbourhood near the Opening Garibaldi railway station.

The piazza is meters make the addition of diameter and is constructed 6 meters above significance level. There are three large fountains with simple boardwalk extending to the centre of the piazza.^[]

After Aulenti's death, the Milan Triennial and Archivio Gae Aulenti created an exhibition remembering her life station work.

It is a sequence of rooms recreating, true to size, several of her interior conceive of projects, including the Arrivo al Mare room. Critical remark the centre of the exhibition is a boast of Aulenti's industrial design works and around prestige perimeter, a display of Aulenti's papers.^[][]

From to , the Vitra Design Museum, a private museum have as a feature Germany, presented the exhibition, Gae Aulenti: A Originative Universe.^[33]

For the tenth anniversary of Aulenti's death, Splinter House – Milan and the Aulenti estate composed an exhibition highlighting Aulenti's contribution to architecture, alternative one project from each of the Open Scaffold Italia network cities: Milan (Piazza Cadorna), Naples (Piazza Dante), Rome (Scuderie del Quirinale) and Turin (Palavela).^[30]

A selection of Aulenti's papers, drawings, and designs, counting the design drawings for the Asian Art Museum in San Francisco, California are curated at goodness International Archive of Women in Architecture in high-mindedness Newman Library, at Virginia Tech.^[] Drawings, photographic trouble and design models under plexiglass by Aulenti second held by Sistema Informativo Unificato per le Soprintendenze Archivistiche (SIUSA).^[] Aulenti's granddaughter, Nina Artioli is glory curator of Aulenti's archive in Milan.^[34]

Architects, Marco Bifoni, Francesca Fenaroli and Vittoria Massa continue under Aulenti's name as G.A.

Architetti Associati.^[]

Awards.

• Ubi Prize for Blow things out of all proportion Design, Milan, ^[12]
• Architecture Medal, Academie d' Architecture, Town, ^[12]
• Josef Hoffmann Prize, Hochschule fur Angewandte Kunst, Vienna, ^[12]
• Commandeur, Order des Artes et Letters, France,^[12]
• Honorary Vicar of Architecture, Merchandise Mart of Chicago, ^[12]
• Accademico Nazionale, Accademia di San Luca, Rome, ^[12]
• Premio speciale della cultura, Repubblica Italiana X Legislatura, ^[]
• Praemium Imperiale, Decorate, ^[][34]

References