Ceramic design: a mutual attraction

wp:paragraph In 2017, Italian ceramics specialist Bitossi decided to commission Nathalie Du Pasquier, a member of the 80s design movement Memphis, to design its new collection. The aim: to create pieces that shake up the codes of ceramics. Proof of the interest shown by a historic ceramics manufacturer (1921) in the creative power of a renowned designer. Designers are drawn to the very special work of ceramics, just as the world of design uses this age-old art to enhance interiors and create aesthetic pieces that reflect an atmosphere or mood. We are going to look at the close links between design and ceramics through the work of the famous Italian glassmaker Venini, or the fabulous project to furnish the Parco Dei Principi hotel in the early 1960s. In 2017, the Italian ceramics specialist Bitossi decided to entrust Nathalie Du Pasquier, a member of the 80s design movement Memphis, with the design of its new collection. The aim: to create pieces that shake up the codes of ceramics. Proof of the interest shown by a historic ceramics manufacturer (1921) in the creative power of a renowned designer. Designers are drawn to the very special work of ceramics, just as the world of design uses this age-old art to enhance interiors and create aesthetic pieces that reflect an atmosphere or mood. We'll be looking at these close links between design and ceramics through the work of the famous Italian glassmaker Venini, and the fabulous project to furnish the Parco Dei Principi hotel in the early 1960s. /wp:paragraph wp:image {"align": "center", "id":12924, "sizeSlug": "large", "linkDestination": "none"} Ceramic designs for Bitossi, Nathalie Du Pasquier, 2018 Ceramic designs for Bitossi, Nathalie Du Pasquier, 2018 © Livingspace /wp:image wp:paragraph Indeed, if there is one glassmaker from Murano - the island with the historic tradition of glassblowing - who very quickly understood the value of collaborating with designers and architects, it is the highly reputed Venini company, founded in 1921. From the 1930s onwards, in order to establish its reputation and produce artistic pieces and collections, the directors of Venini called on designers from all over the world to infuse - one might be tempted to say "blow" - creativity and originality into their production. - creativity and originality into their production. Indeed, if there is one glassmaker from Murano - the island with the longest tradition of glassblowing - who very quickly understood the benefits of working with designers and architects, it is the highly reputed Venini company, founded in 1921. From the 1930s onwards, in order to establish its reputation and produce artistic pieces and collections, the directors of Venini called on designers from all over the world to infuse - one might be tempted to say "blow" - creativity and originality into their production. - At Venini, the Italian architect and designer Carlo Scarpa (1906-1978) did not come from a traditional glassmaking background. In the traditional glassworks of Murano, know-how is often passed down from generation to generation, between members of the same family. Scarpa first became artistic advisor to the Cappellin glassworks. He then joined Venini in 1932, before becoming artistic director, a position he held until 1946. At Venini, the Italian architect and designer Carlo Scarpa (1906-1978) did not come from a traditional glassmaking background. In the traditional glassworks of Murano, know-how is often passed down from generation to generation, between members of the same family. Scarpa first became artistic advisor to the Cappellin glassworks. He then joined Venini in 1932, before becoming artistic director, a position he held until 1946. /wp:paragraph wp:image {"align": "center", "id":12926, "sizeSlug": "large", "linkDestination": "none"} Vase from the Sommersi series, designed by Carlo Scarpa for Venini, circa 1934. Small oval vase in blue sommerso glass with air bubbles and gold leaf inclusions. Vase from the Sommersi series, designed by Carlo Scarpa for Venini, circa 1934. Small oval vase in blue sommerso glass with air bubbles and gold leaf inclusions. Cambiaste /wp:image wp:image {"align": "center", "id":12927, "sizeSlug": "large", "linkDestination": "none"} Vase from the Incisi series, Vase from the Incisi series, design by Carlo Scarpa for Venini, circa 1940. Two-tone cylindrical iridato glass vase, entirely decorated with engraved waves. Carlo Scarpa design for Venini, circa 1940. Two-tone cylindrical iridato glass vase, entirely decorated with engraved waves. Cambiaste /wp:image wp:image {"align": "center", "id":12928, "sizeSlug": "large", "linkDestination": "none"} Coppa del serpente, design Carlo Scarpa for Venini, circa 1940. A glass bowl, murrine (coloured patterns) black, coral and white polished with a stylised snake decoration. Coppa del serpente, Carlo Scarpa design for Venini, circa 1940. A glass bowl, murrine (coloured motifs) black, coral and white polished with a stylised snake decoration. © Cambiaste /wp:image wp:paragraph Venini quickly acquired an international reputation that went hand in hand with the renaissance of Murano glass. In the second half of the 20th century, the glassworks attracted foreign designers such as Tyra Lundgren, Ken Scott and Tappio Wirkkala. The greatest Italian designers also flocked to La Fornace, including Fulvio Binaconi, Tomaso Buzzi, Franco Albini, Piero Fornasetti, Alessandro Mendini and Gae Aulenti. Venini quickly acquired an international reputation that went hand in hand with the renaissance of Murano glass. In the second half of the twentieth century, the glassworks attracted foreign designers such as Tyra Lundgren, Ken Scott and Tappio Wirkkala. The greatest Italian designers also flocked to La Fornace, including Fulvio Binaconi, Tomaso Buzzi, Franco Albini, Piero Fornasetti, Alessandro Mendini, Gae Aulenti, etc. /wp:paragraph wp:image {"align": "center", "id":12929, "sizeSlug": "large", "linkDestination": "none"} Vase from the Pezzati series, designed by Fulvio Bianconi for Venini, circa 1950. Glass vase with multicoloured Paris-type tessera, asymmetrical shape with a protruding tip and irregular edges. Vase from the Pezzati series, designed by Fulvio Bianconi for Venini, circa 1950. Glass vase with multicoloured Paris-type tessera, asymmetrical shape with a protruding tip and irregular edges. Cambiaste /wp:image wp:image {"align": "center", "id":12930, "sizeSlug": "large", "linkDestination": "none"} Decorated plate, "murrine" technique, design: Tapio Wirkkala for Venini, circa 1968. Decorated plate, "murrine" technique, design: Tapio Wirkkala for Venini, circa 1968. Cambiaste /wp:image wp:image {"align": "center", "id":12931, "sizeSlug": "large", "linkDestination": "none"} Mirror in glass and lithography on wood, design by Piero Fornasetti for Venini, 1950. Mirror in glass and lithography on wood, design by Piero Fornasetti for Venini, 1950. © Incollect /wp:image wp:image {"align": "center", "id":12932, "sizeSlug": "large", "linkDestination": "none"} Mirror in glass and lithography on wood, design by Piero Fornasetti for Venini, detail, 1950. Mirror in glass and lithography on wood, design by Piero Fornasetti for Venini, detail, 1950. © Maison Rapin /wp:image wp:image {"align": "center", "id":12933, "sizeSlug": "large", "linkDestination": "none"} Pair of suspension lamps, Model No. 4023. Design Franco Albini for Venini, 1955 Pair of suspension lamps, Model No. 4023. Design Franco Albini for Venini, 1955 . /wp:image wp:paragraph If designers respond favourably to the sirens of the great Murano glass houses, the art of ceramics can also be put to use in a design and furnishing project. An historic example of this model is the work of one of the masters of Italian architecture, Gio Ponti (1891-1979), to transform and fit out the Hotel Parco dei Principi, located on the Gulf of Naples, in Sorrento. While designers may respond favourably to the siren calls of the great glass houses of Murano, the art of ceramics can also be put to good use in a design and furnishing project. An historic example of this model is the work of one of the masters of Italian architecture, Gio Ponti (1891-1979), to transform and fit out the Hotel Parco dei Principi, located on the Gulf of Naples, in Sorrento. /wp:paragraph wp:image {"align": "center", "id":12934, "sizeSlug": "large", "linkDestination": "none"} Portrait of Gio Ponti Portrait of Gio Ponti © kibodio /wp:image wp:image {"align": "center", "id":12935, "sizeSlug": "large", "linkDestination": "none"} View of the sea from the Hotel Parco dei Principi in Sorrento. View of the sea from the Hotel Parco dei Principi in Sorrento. Hotel Parco dei Principi in Sorrento Hotel Parco dei Principi in Sorrento /wp:image wp:paragraph In 1960, Gio Ponti was commissioned to transform a former dacha into a hotel. Located on a cliff overlooking the sea, the setting was superb: the azure waters of the Amalfi Coast and the dolce vita. The great Italian architect pulled off a masterstroke by building a palace of dazzling whiteness, expressing his taste for modern radicalism through architecture that celebrates the right angle. In 1960, Gio Ponti was commissioned to transform a former dacha into a hotel. Situated on a cliff overlooking the sea, the setting was superb: the azure waters of the Amalfi coast and the dolce vita. The great Italian architect achieved a master stroke by building a palace of dazzling whiteness, expressing his taste for modern radicalism through architecture that celebrates the right angle. /wp:paragraph wp:image {"align": "center", "id":12937, "sizeSlug": "large", "linkDestination": "none"} Main façade of the Hotel Parco dei Principi Main façade of the Hotel Parco dei Principi in Sorrento. in Sorrento. Hotel Parco dei Principi in Sorrento Hotel Parco dei Principi in Sorrento /wp:image wp:paragraph Another great achievement, and this is what interests us here, is the way in which Gio Ponti laid out the interior of the palace. For this project, the architect used the aesthetic qualities of ceramics. He designed 30 different models of ceramic tiles for the bedroom floors. He says: "I did a hotel in Sorrento and, although it wasn't necessary, I decided that each of its 100 rooms should have a different floor. So I made 30 different models, each of which could be used to produce 2, 3 or even 4 combinations of the same floor. I made a hotel in Sorrento and, although it wasn't necessary, I decided that each of its 100 rooms should have a different floor. So I made 30 different models, each of which could be used to produce 2, 3 or even 4 combinations". /wp:paragraph wp:paragraph These 20 cm by 20 cm tiles, which have gone down in design history (they're known as "Ponti Blue"), convey the beauty of the place. The designs are blue, sky and white, reflecting the azure blue of the sea and the sometimes blinding luminosity of southern Italy. The motifs are geometries in space, stylised floral motifs, dynamic carpets of leaves... Gio Ponti had his famous tiles manufactured in collaboration with Ceramica D'Agostino of Salerno. The hotel is truly a total work of art, with an exceptional unity of colour. The 20 cm by 20 cm tiles, which have gone down in design history as "Ponti Blue", reflect the beauty of the surroundings. The designs are blue, sky and white, reflecting the azure blue of the sea and the sometimes blinding luminosity of southern Italy. The motifs are geometries in space, stylised floral motifs, dynamic carpets of leaves... Gio Ponti had his famous tiles manufactured in collaboration with Ceramica D'Agostino of Salerno. The hotel is truly a total work of art, with an exceptional chromatic unity. /wp:paragraph wp:image {"align": "center", "id":12939, "sizeSlug": "large", "linkDestination": "none"} View of the interior of the Hotel Parco dei Principi, Sorrento. Interior view of the Hotel Parco dei Principi, Sorrento. Ponti's decoration and fittings have been preserved, and the hotel is still welcoming Ponti's decoration and fittings have been preserved, and the hotel is still welcoming . ÅKE E:SON LINDMAN © ÅKE E:SON LINDMAN /wp:image wp:image {"align": "center", "id":12940, "sizeSlug": "large", "linkDestination": "none"} View inside the Hotel Parco dei Principi, Sorrento. View of the interior of the Hotel Parco dei Principi, Sorrento. Today, Ceramica Francesco de Maio in Vetri has the rights to produce the famous tiles designed by Gio Ponti. Today, Ceramica Francesco de Maio in Vetri has the rights to produce the famous tiles designed by Gio Ponti. ÅKE E:SON LINDMAN © ÅKE E:SON LINDMAN /wp:image wp:image {"align": "center", "id":12941, "sizeSlug": "large", "linkDestination": "none"} View inside the Hotel Parco dei Principi, Sorrento. Interior view of the Hotel Parco dei Principi, Sorrento. ÅKE E:SON LINDMAN © ÅKE E:SON LINDMAN /wp:image wp:image {"align": "center", "id":12942, "sizeSlug": "large", "linkDestination": "none"} View inside the Hotel Parco dei Principi, Sorrento. View of the interior of the Hotel Parco dei Principi, Sorrento. Another floor motif designed by Gio Ponti in a room. Another floor motif designed by Gio Ponti in a bedroom. ÅKE E:SON LINDMAN © ÅKE E:SON LINDMAN /wp:image wp:image {"align": "center", "id":12943, "sizeSlug": "large", "linkDestination": "none"} View of the interior of the Hotel Parco dei Principi, Sorrento. Gio Ponti found a means of expression in ceramics. Here, ceramic pebbles reminiscent of cave walls adorn the walls of the hotel's lobby. View of the interior of the Hotel Parco dei Principi, Sorrento. Gio Ponti found a means of expression in ceramics. Here, ceramic pebbles reminiscent of cave walls adorn the walls of the hotel's reception area. © divisare © divisare /wp:image wp:paragraph Ceramics represented a field of experimentation for Gio Ponti. Long before he designed the transformation of the Hotel Parco dei Principi, the architect had been artistic director of 2 factories owned by Richard Ginori since 1923. One specialised in pottery, the other in the production of fine porcelain. In particular, Gio Ponti succeeded in modernising ceramic production, creating a system of families of pieces and thus dusting off old-fashioned tastes in shapes and motifs inherited from the eighteenth and nineteenth centuries. For Gio Ponti, ceramics represented a field for experimentation. Long before he designed the transformation of the Hotel Parco dei Principi, the architect had been artistic director of 2 factories owned by Richard Ginori since 1923. One specialised in pottery, the other in the production of fine porcelain. In particular, Gio Ponti succeeded in modernising ceramic production, creating a system of families of pieces and thus dusting off old-fashioned tastes in shapes and motifs inherited from the 18th and 19th centuries. /wp:paragraph wp:image {"align": "center", "id":12944, "sizeSlug": "large", "linkDestination": "none"} Vase with lid "La Conversazione Classica", design by Gio Ponti for Richard Ginori, 1929. Polychrome porcelain. La Conversazione Classica" vase with lid, designed by Gio Ponti for Richard Ginori, 1929. Polychrome porcelain. © kibodio © kibodio /wp:image wp:paragraph Like Gio Ponti, another leading figure in twentieth-century Italian design renewed the art of ceramics, developing a new aesthetic language at different times. His name: Ettore Sottsass (1917-2007), the genial Italian designer who dabbled in everything. Sottsass began using ceramics in his work in the 1960s. Like Gio Ponti, another eminent figure in twentieth-century Italian design renewed the art of ceramics, developing a new aesthetic language at different times. His name: Ettore Sottsass (1917-2007), the genial Italian designer who dabbled in everything. In the 1960s, Sottsass began using ceramics in his work. /wp:paragraph wp:image {"align": "center", "id":12945, "sizeSlug": "large", "linkDestination": "none"} Ceramics of Darkness series, design by Ettore Sottsass, 1963. In the early 1960s, Sottsass travelled to India and returned to Italy very ill. He even saw himself dying. This experience inspired this series, hence its name. A mystical way of exorcising his demons... Céramiques des Ténèbres series, designed by Ettore Sottsass, 1963. In the early 1960s, Sottsass travelled to India and returned to Italy very ill. He even saw himself dying. This experience inspired this series, hence its name. A mystical way of exorcising his demons... Céramiques des Ténèbres series, designed by Ettore Sottsass, 1963. In the early 1960s, Sottsass travelled to India and returned to Italy very ill. He even saw himself dying. This experience inspired this series, hence its name. A mystical way of exorcising his demons... /wp:image wp:image {"align": "center", "id":12946, "sizeSlug": "large", "linkDestination": "none"} Ceramics in the form of totem poles created by Ettore Sottsass, 1980s. At the height of his "Memphis" period, Sottsass mixed materials in his pieces: polychrome ceramics and laminated wood. An explosive mix of genres and colours. The figure of the totem refers to the designer's mystical questions. Not surprising, given the African inspirations of the Memphis movement. Totem pole ceramics by Ettore Sottsass, 1980s. At the height of the Memphis period, Sottsass mixed materials in his pieces: polychrome ceramics and laminated wood. An explosive mix of genres and colours. The figure of the totem refers to the designer's mystical questions. This is not surprising when you consider the African inspirations of the Memphis movement. © wildbirdscollective © wildbirdscollective /wp:image wp:paragraph He finds a field of expression in which he applies the traditional techniques of Italian pottery to his vision as a contemporary architect. The objects he creates even go so far as to represent his moods and philosophical questions. According to Pierre Staudenmeyer, gallery owner and specialist in contemporary decorative arts: "Ceramics is the common thread running through Sotssass's work. Proof that the world of design and the world of ceramics are inextricably linked... /wp:paragraph wp:paragraph {"align": "right"} François Boutard François Boutard /wp:paragraph

Ceramic design: a mutual attraction

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