Poltronova
Mies
The Mies armchair was born in 1969 from the idea of using a strip of para rubber or India rubber —strong, elastic materials— as a seat. The structure, a triangle in chrome—plated metal, brings out the purity of the silhouette. The headrest and footrest-lamp cushions are in ponyskin. The name emphasizes the similarity of the structure to the projects of Mies van der Rohe, as a tribute to the great master who died that same year. With its rigorous geometric design, the Mies armchair sums up the philosophy of Archizoom Associati, leading figures of the Italian Radical movement starting in the second half of the 1960s.
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Poltronova
In the 1960s, in a region such as Tuscany which produced literally nothing in the field of design, Poltronova had all the best on its team: not just Ettore Sottsass, who was its art director, but Gae Aulenti, Paolo Portoghesi, Giovanni Michelucci, Angelo Mangiarotti, the Archizoom and Superstudio groups, De Pas-D’Urbino-Lomazzi; not just the mentors, but also the leading exponents of New Design who were then called radicals…
The Centro Studi Poltronova was created in 2005 for two reasons: to archive important documents associated with the original Poltronova Company, and also to make some of its more iconic furniture and lighting pieces available in the marketplace.
Archizoom Associati
Archizoom Associati was founded in Florence in 1966 by Andrea Branzi, Gilberto Corretti, Paolo Deganello and Massimo Morozzi, later joined by Dario and Lucia Bartolini. With Superstudio it staged the Superarchitettura exhibition in Pistoia that December, and its No-Stop City project made it a leading voice of Radical architecture until the group dissolved in 1974.
For Poltronova it designed the frameless Superonda sofa of 1967, the Safari sofa and the Mies armchair of 1969, held by MoMA, as well as the Farfalla pattern, which inspired the Tappeto Farfalla, Tappeto Prato and Tappeto Cielo rugs.
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