The territory of the project and its languages

In this article Gianni Contessi recalls the figure of Enzo Frateili, tracing a portrait that highlights the professional and human qualities, the family context in which he was formed and, above all, the cultural connections of this architect from Rome, marked by the disciplinary transversality of a career passed between teaching, conferences and prestigious assignments. Critic, historical and theoretical protagonist of industrial design, Frateili – who considered the design world as a totalizing universe – thus emerge among the key figures of the Italian design culture of the decades of the seventies and eighties of the last century.


This article is only available in Italian.

The critical writings of Anna Maria Fundarò: The roots and identity of industrial design in Sicily

This micro-history analyses the writings of Anna Maria Fundarò, architect and professor of industrial design in Palermo from 1972 to 1999. Preserved in the Damiani-Fundarò archives in Palermo, her extensive scientific production makes it possible to reconstruct the author’s thought, developed between1970 and 1990, about design and its role in the unusual context of Sicily, which is underdeveloped and peripheral with respect to the centres of industrial production and the debate on contemporary issues. The article introduces the figure of Fundarò, sketching out a preliminary intellectual biography and divides her prolific written production into four different typologies. The analysis of her texts reveals a critical body of writings that constitutes the manifesto of her daily work as a design teacher as well as her commitment to issues of urban policy in Palermo. At the same time, it highlights how her thoughts on design, which have yet to be fully explored, constitute a significant contribution at the national level and a milestone in the context of Sicily.

 

The full version of this entry is available only in Italian.

Representations of the industrial product. Triennale di Milano, 1940 – 1964

The article focuses on the images and the representations of industrial design promoted by the Triennale of Milan, through display languages and exhibition techinques. In particular the following exhibitions are considered: the International exhibition of serial production (1940), committed to a philosophical interpretation of the concept of ‘standard‘; the International show of Industrial Design, devoted to a celebration of the context of industrial production; the Italian section (1964), aimed at betraying the excesses of mass consumer society.