- Product:
- Coffee table
- Manufacturer:
- Phillips
- Architonic ID:
- 4104258
- Country:
- United States
- Category:
- Furnishings
- Address
- Telephone
- Website
Key facts
Product description
Glass, maple, and brass, the brass feet stamped "Made in Italy"
58 x 52 x 23 1/4 in. (147.5 x 132.2 x 59 cm)
Literature:
Modern by Singer, DOMUS,
February 1952, pp. 50-51
Giovanni Brino, Carlo Mollino: Architecture as Autobiography, London, 1987, p. 132
Giuliana Gramigna and Paolo Biondi,
Il Design in Italia dell'Arredamento Domestico, Turin, 1999, p. 329
Every so often, the story of design is broken in its steady evolution by the outstanding vision of one individual. Carlo Mollino was just such a character. Multi-talented, unpredictable, inventive, he followed no rules save his own. His work reflects the almost feverish intensity of his imagination and a rich diversity of cultural cross-references. We are reminded in his sweeping lines of the Italian Futurists' love affair with the symbols of speed and dynamic movement - a passion he demonstrated in his activities at the wheel of racing cars or on the ski slopes. Many of his furniture designs echo the anthropomorphic quality of the most elaborately sculpted Art Nouveau, while certain of his forms and the tactile surfaces he exploited exude a Surrealistic eroticism. And in his architectural projects and photo-collages of dreamed structures soaring through the clouds are echoes of the visionary cities of the future, utopian and fantastical, as imagined by poet-architects at the beginning of the century. Mollino assimilated all of these sources, and distant, mystical cultures, as ingredients within the extraordinary objects and images that he conceived with such considerable flair and which today constitute his precious legacy.
58 x 52 x 23 1/4 in. (147.5 x 132.2 x 59 cm)
Literature:
Modern by Singer, DOMUS,
February 1952, pp. 50-51
Giovanni Brino, Carlo Mollino: Architecture as Autobiography, London, 1987, p. 132
Giuliana Gramigna and Paolo Biondi,
Il Design in Italia dell'Arredamento Domestico, Turin, 1999, p. 329
Every so often, the story of design is broken in its steady evolution by the outstanding vision of one individual. Carlo Mollino was just such a character. Multi-talented, unpredictable, inventive, he followed no rules save his own. His work reflects the almost feverish intensity of his imagination and a rich diversity of cultural cross-references. We are reminded in his sweeping lines of the Italian Futurists' love affair with the symbols of speed and dynamic movement - a passion he demonstrated in his activities at the wheel of racing cars or on the ski slopes. Many of his furniture designs echo the anthropomorphic quality of the most elaborately sculpted Art Nouveau, while certain of his forms and the tactile surfaces he exploited exude a Surrealistic eroticism. And in his architectural projects and photo-collages of dreamed structures soaring through the clouds are echoes of the visionary cities of the future, utopian and fantastical, as imagined by poet-architects at the beginning of the century. Mollino assimilated all of these sources, and distant, mystical cultures, as ingredients within the extraordinary objects and images that he conceived with such considerable flair and which today constitute his precious legacy.