Paolo De Poli has the merit of having revived the ancient art of enamel on metal extending the traditional fields of application (precious objects, sacred art) to the objects for the modern home, the furnishings and functional elements. In over fifty years of activity, he has created a large and varied series production that has been able to exploit the intrinsic qualities of the enamel, gloss and color stability and resistance.
This article reconstructs the research by De Poli about the use of enamel: from the use of different metals (copper, pinchbeck, silver up to iron and steel) to the variety of the color range.
At the end of the 1940s, the debate surrounding the need for an industrial design museum re-emerged. This study reconstructs three projects developed for the city of Milan between 1947 and 1964 in three different locations: a Museum of Architecture and Decorative and Modern Industrial Arts or Modern Museum for the Applied Arts at the Palazzo dell’Arte, a section or permanent exhibition at the Museum of Science and Technology, an International Museum of Modern Architecture and Industrial Design at QT8. It highlights, on the one hand, the urgency of the question – which led to the development of specific museological concepts for industrial design by supporters such as Gio Ponti or Alberto Rosselli – and on the other hand, considering that nothing came of it, the difficulties connected to the ways in which design began to spread throughout Italy in the twenty years that followed World War II.
The exhibition Colori e forme della casa d’oggi which was held in Como in 1957, attempted to establish the ultimate synthesis of architecture, art and industrial design, inviting the most important Lombard architects to devise domestic environments, in collaboration with artists and furniture companies. Despite the presence of artists such as Fontana, Radice, Somaini, Fiume and architects such as Ponti, Albini, Zanuso, BBPR, Castiglioni, eventually the magic formula could not be realized. Overtaken by events, the focus proposed by the organizers of the exhibition in Como allowed for a clear affirmation of the industrial product, with rooms in which the “will of art” is conveyed by compositional grids, serial and modular elements.