Italy: The New Domestic Landscape  

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Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.
Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.

Italy: The New Domestic Landscape[1] (1972) was an exhibition of Italian design held at the New York Museum of Modern Art. It ran from May 26 to September 11.

The Museum commissioned twelve environments especially for the exhibition, covering two modes of contemporary living; permanent home and the mobile home, using 180 objects produced in Italy during the decade by more than 100 designers, including examples of product design, furniture, lighting, appliances, flatware and china.



Moma also commissioned Gruppo Strum three pamphlets, called 'fotoromanzi' (picture-stories) which were distributed to the public free of charge. The titles were "The Struggle for Housing", "Utopia" and "The Mediatory City."

The first issue was called "The Struggle for Housing"[2] and featured “fictional articles on issues of architecture and Italian society from the perspectives of capitalists, workers, students, activists and architects.”

The other two in the series were titled "Utopia" and 'The Mediatory City'. All three are available at[3].

Superstudio's film

Supersurface: an Alternative Model for Life on the Earth is a film made by Superstudio for the occasion of the exhibition.


The expo was accompanied by Italy: the new domestic landscape;: Achievements and problems of Italian design (1972), a catalogue that explored sociocultural implications of Italian product design "environments". It featured contributions by Giulio Carlo Argan, Manfredo Tafuri , Paolo Portoghesi, and Vittorio Gregotti.


Its epigraph cited the domestication passage from Le petit prince.

Table of contents

CONTENTS PREFACE /11 ACKNOWLEDGMENTS /13 INTRODUCTION, by Emilio Ambasz /19 OBJECTS Objects selected for their formal and technical means /25 Objects selected for their sociocultural implications /93 Objects selected for their implications of more flexible patterns of use and arrangement /111 ENVIRONMENTS Introduction /1 37 Design Program /1 39 Design as postulation: Gae Aulenti /1 50 Ettore Sottsass, Jr /1 60 Joe Colombo /1 70 Alberto Rosselli /180 Marco Zanuso and Richard Sapper /190 Mario Bellini /200 Design as commentary: Gaetano Pesce /212 Counterdesign as postulation: Ugo La Pietra /224 Archizoom /232 Superstudio /240 Gruppo Strum /252 Enzo Mari /262 Winners of the competition for young designers: Gianantonio Mari /268 Group 9999 /276 HISTORICAL ARTICLES Introduction /285 Art Nouveau in Italy, by Paolo Portoghesi /287 The Futurist Construction of the Universe, by Maurizio Fagiolo dell'Arco /293 The Beginning of Modern Research, 1930-1940, by Leonardo Benevolo /302 Italian Design 1945-1971, by Vittorio Gregotti /315 CRITICAL ARTICLES Introduction /343 Italian Design in Relation to Social and Economic Planning, by Ruggero Cominotti /345 Housing Policy and the Goals of Design in Italy, by Italo Insolera /352 Ideological Development in the Thought and Imagery of Italian Design, by Giulio Carlo Argan /358 The Land of Good Design, by Alessandro Mendini /370 Radical Architecture, by Germano Celant /380 Design and Technological Utopia, by Manfredo Tafuri /388 A Design for New Behaviors, by Filiberto Menna /405 SUMMARY, by Emilio Ambasz /419 CREDITS /424


The expo/book popularized the terms 'radical architecture' and 'radical design'. The term was coined by Germano Celant in his essay "Radical Architecture". The term 'radical' was found 49 times in the book.

See also

See also

Unless indicated otherwise, the text in this article is either based on Wikipedia article "Italy: The New Domestic Landscape" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on original research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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