Compasso d’oro Carrier Award

Graduated in Architecture in 1939 in Milan, he was editor of Casabella from 1953 to 1956 and collaborated with Arflex, Necchi and Borletti. From 1959 he started designing televisions (Doney, 1962) and radios (Cubo, 1964) with Richard Sapper for Brionvega. In 1964 he began collaborating with Kartell and Siemens and designed the Grillo telephone (1967) with Sapper. His projects include the Olivetti complexes in Argentina and Brazil (1961), the Necchi plants in Pavia (1961) and the Piccolo Teatro in Milan (1978). In 1956 he participated in the foundation of ADI, of which he was president from 1966 to 1969. He was awarded six Compasso d ‘Oro in addition to his Career Award.
 

JUSTIFICATION
One of the great masters of industrial design and one of the most convinced and capable animators of design culture in the last fifty years

Graduated in Architecture in Venice (1948), he made his debut in his father’s Valle Architetti studio, continuing the business. In 1951 he studied at the Harvard Graduate School of Design. Back in Italy, he collaborated with Solari designing numbered display clocks and information signboards for airports (1957-1963). He then worked for Zanussi and taught at various universities in Europe, the USA and South Africa. His architectural projects include the Zanussi headquarters in Pordenone (1961), the Banca Commerciale Italiana in New York (1981) and the renovation of the Olympia Theatre in Paris (1996). He was awarded two Compasso d ‘Oro in addition to his career award.

JUSTIFICATION
For having opened up new perspectives regarding the design of complex industrial assets, through the organizational renewal of the design process, especially in large companies thereby achieving excellent design results

For having contributed most to the inauguration and development of an entire expressive season in which, characterized by a singular and considerable critical-polemical commitment, he has extended the horizons of design to include often essential factors of the complexity of life that he has previously brought to light.

Founded in 1954 thanks to the foresight and courage of Nino Di Salvatore Italy’s  first independent design school had leading figures of Italian industrial design as its teachers, training thousands of Italian and foreign professionals and, through them, also influencing the opening of new schools in various countries around the world.

For the ability – expressed in the course of a lifetime and which is the paradigm of the “complete” designer – to constantly deal with the most diverse themes of product design and image with a high level of quality and suggestion.

For having been able to simultaneously confer continuity and innovativeness of purpose and quality to the process of car design begun by his father and recently culminated with the appearance of the ethical dimension in the most advanced research. Furthermore, for having contributed most to the image of  Italy through Ferrari design and for having been able to develop a different direction in the destination of design skills in less common areas.

In recognition of the value of a legacy that has illuminated Italian culture, first with Adriano and Roberto Olivetti and in more recent years, with validly participating in the difficult and complex development of the culture of information technology. The Award is also intended to signal and encourage Olivetti’s convinced dedication to the development of new IT-telematic opportunities that are initiating epochal changes in culture and society.

Graduated in Amsterdam in 1950, and working in Milan since 1956, he became art director of Pirelli in 1961 and, from 1963 to 1964, artistic consultant at La Rinascente. He founded Unimark International (1965) with Gregorietti and Vignelli, designing the signage of the New York, San Paolo and Milan Undergrounds He worked for publishing houses (Vallecchi, Sansoni, Feltrinelli), and designed the corporate identities of AGIP, Dreher, Chiari & Forti and Mitsubishi. Winner of three Compasso d ‘Oro in addition to his Career Award, he designed the coordinated image of ADI and the ADI Design Index brand (1999).

For having been in sixty years of work as a designer and artist one of the most extraordinary examples of sensitive intelligence, critical humour, humanity in design and above all the happy overcoming of every barrier to creativity.

Among the leading figures of Italian furniture culture, it has been able to present an offer of products designed with constant dignity, safe quality and a broad vision of the cultural context.

Graduated in architecture in Milan in 1948, he collaborated on the preparation of the VIII and IX Triennale. Visiting professor at the Illinois Institute of Technology (1953-54), he designed, among other things, the Cavalletti system (Agape, 1953), the Lesbo and Saffo lamps (Artemide, 1967) and the Tre 3 chair (Skipper, 1978). In the 1960s he taught at the Higher Institute of Industrial Design in Venice, then at the faculties of Architecture in Palermo and Florence, then at the Milan Polytechnic, where in 2002 he received an honorary degree

In 1935 he was among the promoters of the Concrete Art movement in Argentina and in Germany in 1954 he was one of the founders of the Hochschule fur Gestatung in Ulm, where he taught until 1965, moving on to Princeton University until 1970. In 1967 he moved to Italy where in 1971 he was one of the founders of the DAMS course at the University of Bologna and, at the Milan Polytechnic, he coordinated the first Italian degree course in Industrial Design, then going on to contribute to the development of the Design courses at the IUAV University of Venice. Author of numerous essays, he was editor of Casabella magazine from 1979 to 1983.

JUSTIFICATION
For having illustrated the culture of industrial design through an entire life of studies and work and exercising an intellectual charm that constantly accompanied the development of Industrial Design at an international level. While the illuminating studies (both early and recent) from his vast  oeuvre into material culture have been highlighted, mention should be made of his intense didactic activity which, masterfully expressed at the Hochschule fur Gestaltung in Ulm / Donau (1954-66) and then in Italy, went on to culminate in the recent establishment of the Industrial Design Course at the Politecnico di Milano.

He was one of the founders of the Movimento Studi Architettura (Architecture Studies Movement) and actively involved in post-war reconstruction including houses, office buildings, hotels and cinemas. His most significant buildings include the Department of Biosciences at the University of Milan (1978), the Tanmoto house in Tokyo (1985) and the Famagosta depot for the Milan Underground (1989). As a designer, among other things he created for Artemide (the Eclisse lamp in 1967, the Selene chair in 1982), Cassina (the Maralunga sofa in 1973) and Oluce (the Atollo lamp in 1977). He received three Compasso d ‘Oro in addition to his career award.

JUSTIFICATION
For his complete body of work and in particular for his entirely personal research conducted into the field of furniture, the results of which are often so surprising as to make the variation indistinguishable from radical innovation.

Developed thanks to Sergio Gandini’s pragmatism with and for industrial design, Flos has been able to successfully adopt an advanced policy of exploration, building a coherent range of products that testifies how the same business objectives can be translated into cultural factors.

The constant attention to front page issues ranging from the humanization of technologies to the exploration of links between design and fashion and from reflections on the sociology of design to design management and service design, the quality of teaching and editorial achievements all go to make Domus Academy a leading factor in the new reputation of Italian design knowhow.

In memory of its founder Dino Boffi and in recognition of the constant quest quality, ergonomics and integration in the home which, with the design and construction of kitchens, have often marked the history of the sector at an international level.

For a well-expressed contribution to the culture of furniture, the often advanced use of materials and technologies, together withh the design skills of Ernesto Gismondi, and for the overall quality of production and image.