Category: Weekly posts_2016

The Alessi Factory is owned by the Alessi family, and they create and produce household appliances and utensils. They model their work after a variety of styles, but the key components are functionality and aesthetic.

From the 1990s-onward, Alessi products have become associated with the “designer” world. That means, they take ordinary products and tools and execute them at “high design”. Such as the Juicy Salif that created much controversy. Besides its odd shape, many questioned its’ functionality – many thought it was produced more as a design object rather than a functional tool to actually be used.

The firm began as a small workshop, and it was founded in 1921 by Giovanni Alessi. The company started with wooden or metal materials for general household objects. Alessi started with producing a wide range of tableware items in nickel, chromium and silver-plated brass. Over the years they have changed the materials they use to keep the products at a high quality but within a budget-friendly range.

The company also incorporates 100+ artists with over 200+ projects constantly in progress. The projects vary from revamping the older models to creating completely unique products; each unique to the artist(s) – much like Alessi himself.

This week we walked countless steps throughout the city, however, the majority of the walking took place throughout various museums and exhibitions within Milan. One of these exhibitions was held at the Palazzo Reale and featured works primarily from Umberto Boccioni, an influential Italian artist who helped shaped the style of the Futurism Movement in the early 1900s.

While the exhibit displayed various pieces of Boccioni’s work, the ones in which movement were more noticeable seemed to catch my attention the most. His work all conveyed emotional connections and stories, however, the movement that was captured within his later pieces (more futuristic) seemed heavier in emotional response and comprehension. Although I admired all of the pieces, I was captivated and intrigued by one particular painting and sculpture on display at this exhibit.

‘The City Rises’ (1910) is a painting by Boccioni that captures the movement and growth of a modern city during the time period. And although dark and full of movement, there seems to be an appreciation of the direction the city is taking and an encouragement of continuing to support the modern city. There seems to be a horse that is uncontrollable within the environment and the people are working together to reclaim order, which can be seen as struggle to achieve a greater end goal, as well as a shift in levels of importance between nature/ animals and futuristics visions of the urban environment.

The second piece of work that intrigued me the most was the iconic sculpture, Unique Forms in Continuity of Space (1913). This bronze sculpture of a man, who seems to be of machine-like qualities, exemplifies the movement that many of Boccioni’s paintings had captured. Although made of metal and full of well-defined sculptural lines, this sculpture seems to be capturing movement in a second of time with a fluidity incomparable to that of the two-dimensional paintings. Although this piece was created a few years later than the painting, ‘The City Rises’, I believe there is a similar notion of wanting to continue moving forward and exploring the possibilities for the modern world.

Having the opportunity to visit the Alessi museum today was an absolutely wonderful experience. As one of the handful of students in this group who posses no prior knowledge about the inner workings of design, it was lovely to see the process and intensive commitment involved in creating beautiful pieces. My favorite piece we saw today was most definitely the tea pot set made out of metal. I was absolutely in love with the story our guide told us, she described how Alessi specifically created this set in order to impress his future father in law. I also admired how many of the household items Alessi created all seem to deviate from the standard norm of what typical household products should look like (including the tea pot set). Each item had a certain charm and individuality that just seemed to enhace their use through their physical beauty. On a separate note, the town of Omega was also incredibly stunning. The contrast of the beauty of the household items as well as the stunning alps within the town just seemed to be a dreamlike experience. It almost makes one wonder if natural elements played some small role in the creation of these designs even through their contemporary style. Even the addition of the waterfall in the entrance seems to hint at this possibility.

Upon our arrival in Milano, I was not confident in where my attention would be focused. Being primarily interested in architecture and the urban environment, I felt that may attention could be focused on an array of things in the city. However, one of the first things that caught my eye was the various forms and patterns of ground covering throughout the city.

Milan is obviously a very historic and artistic city, which I believe encourages the array of ground coverage and flooring that I have observed thus far. The first eye-catcher, in my opinion, was at The Duomo and Galleria adjacent. The patterns are simple and geometrical, not extravagant or bright, but they seem to add an appreciated element around and within these spaces in my personal opinion.

I was hesitant to be completely focused on flooring and ground coverage throughout the duration of our trip for the sketchbook assignment, however, after more exploration around Milan, I felt assured in my decision. The flooring found on the ground floor of the main Triennale event was more extravagant and slightly more colorful, yet it too had a primary element of geometry and spacial definition. This flooring has been one of the less geometrical flooring patterns that I have come across, however, it utilized the same mosaic tiling that can be seen throughout the city and its surroundings.

So far, my sketchbook is an array of geometric patterns and mostly neutral colors, however, I believe the consistency within the array is an important observation that has been documented. Although many flooring patterns have had similar structures/ designs, each space is unique and intriguing for their own reasons. I hope to continue my observations across the city and its surroundings over the next two weeks to further document unique patterns and consistencies throughout the city.

 

For my sketch book, I have been drawing and detailing the numerous lights within the Milan. From the contemporary lights installed with museum and stores, to the draped chandeliers found within Villas, Milan serves as an incredible canvas to the multitude of lights hidden within the city. One of my favorite pieces that we have seen so far is the Stunning chandelier that was the centerpiece of the La Scala theater near the Duomo. This chandelier was massive, and is also perfectly suited to be placed within the theater. Complemented by the lavish interior, the crystals and glass formations were enhanced by the gold detailing within. In my sketch, something I noticed while recreating this ornate piece (this was also a theme I noticed while drawing other chandeliers), was that how the effect of making the chandelier look proportionally impossible is the purpose of creating an ornate piece dedicated to lighting.

In Villa Necchi, there was an abundance of lighting that offered a variety of juxtapositions between the stereotypical grandiose chandelier as well as more contemporary versions of a chandelier as well. Regardless, these pieces each possessed the quality of seeming almost weightless, an impossibility that results in the magnificent result of being awe stricken by floating crystals illuminated by light. In the Villa, there was a definite contrast between the crystalized chandeliers and the versions of chandelier that are focused more on metal adaptations of the same form. Regardless, these pieces each had the same effect within a room; achieving the feeling of being apart of the weightless appearance of the chandelier. The most unique piece within the villa was a chandelier that appeared to be modeled after some sort of sea plant. It seemed tentacle like, and was perhaps formed using glass or crystal. An interesting effect occurs due to the concentration of the light bulb within the chandelier, drawing central attention to the base of the fixture and slowly dimming out the effect towards the ends. Interestingly enough, others thought that this chandelier bared no similarity to sea weed, and instead saw a different type of flower in its appearance.

In a nutshell, fascism is the political form of government which is most closely tied to the infamous Italian dictator, Benito Mussolini whose reign stretched during WWII. It is believed that the word for this type of government is derived from the Latin word Fasces, which means “unit”. In ancient Rome, Fasces was most closely related to the idea of an axe surrounded by rods. The symbolism of the unity and power behind Fasces is an ideology that can be seen throughout a multitude of ancient and contemporary Italian media. In Gaetano Prevati’s Chariot of the Sun, these references can be identified within various motifs within his piece.

Of course, as all totalitarian rulers do, art is exclusively used in its various and specific forms of style and imagery as a tool to express ideas of absolute power. This piece by Prevati is a perfect example of this, demonstrating not only the literal imagery of power and control, but also using mythology in order to emphasize a divine characteristic and the “necessity” of absolute power. A direct reference to the myth of Helios can be found in this painting, specifically through the use of the image of the chariots and the use of golden color in order to highlight a sun like quality to the piece. Through this, the major theme that can be seen is the correlation between unity and power; while one wields the reign, the group is able to glide forward through the total control of one individual. Summing the very essence of the ideology that drives the purpose of fascism.

Similarly, Elasticity by Umberto Boccioni possesses similar elements to Chariot of the Sun. Through using cubist form, Boccioni creates a variety of shapes and patterns that also reference the sense of unity and power. Similarly, to a Rorschach test, every individual is able to conceptually pick out a unique feature from this painting. For me, I immediately recognized patterns that could be related to images of sails on ship as well as images of what appears to be laborers working on a field. Regardless of what image one picks out from the entire piece, there is one common theme laced throughout; that everything within the painting is strictly controlled. Everything within the piece is incredibly similar, only deviating between the use of lines and color throughout. In terms of unity, the coherence of color and shape are a direct reference to this regardless of individualistic forms. In turn, this directly creates the reference to power; everything within the image is strictly controlled through its boundaries of lines and curves.

This weekend was quite the adventure! My roommates and I decided to to take an overnight trip to Venice. We had absolutely no idea that Venice was so huge, so when we booked our air b&b we tried to just book a place in an area that looked central to everything. Well, when we got off the train in Santa Lucia, we discovered the place we were staying was on a completely different island called Cavalino Treporti. It took two fares to get to Cavallino. I was freaking out because I had no idea where we were going and I had wanted to experience the touristy parts of Venice, such as taking a ride taking a ride in a gondola or walking around St. Mark’s plaza. That did not happen. After around two hours of sitting in a fare we finally made it to Cavallino, but we were still nowhere close to our air b&b. We thought we would try and walk towards the general area of where we were staying. After 30 minutes of walking and still not being where we needed to be, we broke down and asked for help from someone who worked at a convenience store nearby. She had never even heard of the street of where we were staying. Thankfully, we got in contact with the owner of the house were were staying in and she gave us explicit instructions and were finally able to find her. I would say the entire trek to get to where we were staying probably took around five hours. I was exhausted and it was the first time I wished I was back home in Texas. I just wanted my parents to tell me what to do and where to go. We rested for a little while and then decided to try and salvage the rest of the night by going out to eat at a really nice restaurant called Trattoria Laguna. Trattoria Laguna was incredible! I ordered a pizza with salmon on it, and I tried mussels for the first time, so that was interesting! The entire time we were looking out at the water and it was incredible. The chef asked us where we were from and when we said “Texas” he laughed so hard and asked us how on earth did we find Cavallino. Cavallino is not a tourist town and is very low key. It may not have been the exact part of Venice I wanted to see, but it was very unique to see how Italian life really is. My attitude quickly changed back to being thrilled to be in Italy. I absolutely love it here and I am glad that we were able to experience something different this weekend!

I was always told how busy New Yorkers are or how fit Austinites seem to be, but I’ve never experienced the level of busy or fit that seems to be buzzing deep in Milano. Milan has the same feel almost as a New Yorker with individuals rushing around every corner and the most active individuals I’ve ever seen jogging or walking dogs and staying fit. Their lifestyle would seem to be unhealthy with lots of carbs in their diet and many meals (second meal, entree, etc.), but they are all so small and fit it’s amazing. I’m also shocked by the level of interaction I’ve had with Milano’s people. I’ve lived in Austin five years, but I was never asked as many questions as I was when I was walking around Milan. Every turn someone is speaking to me in Italian and pointing in some direction. In each case, I’m not only confused but also almost sad that I can’t lend my voice to them or help them in any way I can.

So far, Milan has been a shocking but delightful experience. The people here seem to be welcoming and I haven’t in any way felt like I wasn’t treated fairly, even though I’m an American. The one bit of experience that I feel I don’t quite enjoy is my lack of voice. I feel that even simple tasks of ordering food have become a giant game of hand signals and prayers that the person in front of me speaks English. I honestly wish I knew Italian. I think that would make this entire journey a thousand percent more enjoyable and enriching if I could really appreciate and speak to the people in their own language. Even though this is a minor setback, I’m thankful for the CA’s that have been extremely helpful and are constantly watching and making sure we find our way. Without their help, I think I would have ended up lost or ordering something I shouldn’t have at a restaurant.

Even through all these different culture norms and newfound experiences, I think the most enriching has been seeing the different structures that are present throughout the city. In just Milan’s backyard is the Duomo and the Last Supper, enriching products of history that will forever enrich and bring value to this magnificent place. I think back to my hometown and even Austin and can’t find anything near as beautiful or as timeless as these structures and the art present in Milan. I love the technology that is present in Austin and the ever present start-up culture, but I can’t help but find a deep respect for what’s present in Milan and how it’s survived the test of time. I hope that by the end of this trip I can understand how large the world really is and how small Austin and my hometown seem to be in the expanse of it.

It’s amazing that a city so robust, so full of energy and so completely different than the US has made me feel right at home. In one week, I have enjoyed a rollercoaster of emotions from happiness to exhaustion to invigorating peace. The fabric of the city has ignited a wonderful texture into my life. Culture differences, yes, of course. Communication barriers? Definitely. Wayfinding difficulties? Always. But somehow, I have found solace and liberty within these boundaries. These experiences have made me embrace the Italian Spirit—in a state of struggle, beauty arises. The contradictions of the city have taken over the monotonous. The blending of the old and new, the ugly and the beautiful, the unfinished with the polished unexpectedly creates a landscape that could only happen organically over a long period of time. The materials of the past become more beautiful as they sit next to new. The Duomo, for example, stands grand next to a shopping mall and above an underground transportation system. Though, they all have different functions, they all fit in nicely together, while the congestion of the city only adds a melodic motion to theterrain. The realization that all these fragments are but harmonious music notes adding rhythm to the city makes me love the city even more.

I am overwhelmed by how much information we have covered and processed in one week—from Divisionists to Fascism to Futurists back to art nouveau. Most of it I didn’t know, some I did. Either way, it has made me appreciate art history and architecture even more, but also made me appreciate the present. Feeling a paradox of my so-called privileged life. Got me thinking … could I have been a great designer in those times? … if I were a working class dreamer? … if I did not have access to a certain amount of wealth? This also got me thinking, these past moments and fragments in time have generated our current state of affairs. Although, most architects and designers were being critical of certain aesthetics and political movements, they were not aware of the environmental impact of their products. They were, however, embracing the small businessman, the craft maker, the hand-work designer and local materials, which reflect the current movement across the globe. Milan did not have to shift in production thinking because they were already locally-minded, they have done so for hundreds of years. Those were and are Milan’s blood vessels. In contrast, the United States has just now (in the last few decades) started reconsidering the art of small.

Visually, the city, is full of beautiful textures.

Point A: Cadorna Station <-> Point B: La Scala (E.T.A. 20 mins.)

We are in the process of creating a powerpoint showcasing the panoramic view of the intersections, then details focusing on the footwear of everyone we pass; also, we focused on the architectural structure and how it changes between each location.

For example, closer to La Scala, the buildings become older and more gothic-themed, and the people on the streets and on bikes are better dressed than those near Cadorna. Most likely, these are people who work in the older, more prestigious buildings near La Scala, and the ones near Cadorna are travelers or work in the shops in and around the city, so they have less reasons to “dress-up”.

The walk is roughly 15-20 minutes, and it’s quite lovely. The streets are nicely shaded, and the shops that line the walkway are intriguing. There are, however, less lovely areas on this walk. For example, there are quite a few areas of construction and a few instances of homelessness. 

The focus is primarily on the social aspect such as how do the people we pass change between locations (shoes and attire, for instance), how does the sidewalk and building facades change, is it walker friendly, etc.?