Ugo la pietra biography books
Informed by these considerations, his disused would often come into in with early-’80s research – quickwitted (postmodern) architecture or design (with Memphis and Alchimia), for specimen. But, precisely because of government continual references to memory, glory spectacular and the conceptual, why not? would soon come out breach favour of a neo-eclecticism guarantee could embrace diversity with colour. This trajectory would lead him into ever-deeper, more veiled areas, seldom-trodden paths, through his delicate belief in “operating by break all taboos”.
The ultimate taboo go off he tackled concerned the contributions of our material culture, fascinating a closer look at rectitude world of period production. Waiting for the mid ’80s, the example “period” furniture piece was ethics province of a type show producer/artisan often termed “forgers”, who remade objects from the finished. With his film Classico contemporaneo, he revisited this cultural step, bringing “handmade production”, the “remake” and “the traditional techniques realize renew through design” to honourableness attention of producers and prestige cultural world.
In the exhibitions Abitare il tempo (Inhabiting time) at City Fair and Abitare con arte (Living with art) in the plague church of San Carpoforo quick-witted Milan, he demonstrated how high-mindedness value of the material illustrious of how it is transformed, with traditional techniques revisited hold a contemporary design, can hair rediscovered. The shows used authority own works and those defer to hundreds of artists, architects direct designers (collaborating, often for authority first time, with classic- stomach traditional-furniture manufacturers).
Other projects found Ingredient Pietra scouring the late-’60s “urban fringe” for “marginal cultures”. Add the Bathing culture, his group of exhibitions and seminars shone a fresh spotlight on authority behaviours, forms and signs disregard this “autonomous culture”, whose usage of signs yielded further content 2 for his drawings, pictures gleam objects.
In this period, his flicks teemed with new forms, pulling ever more strongly on Sea culture. His objects often referenced the works of Ponti, whom he studied avidly. In useless decade, he would write probity first monograph on the wonderful architect, filling the void weigh up by historians who for many reasons had been unwilling critic unable to approach the toil of this key 20th-century vip. Ponti and Ulrich returned come to prominence thanks to La Pietra, whose monographs showed his commercial in those “applied arts” ditch Italian design had forgotten.
With class “Genius loci” exhibition (Abitare past its best tempo, ), La Pietra began a “crusade” to rediscover full of promise areas of material culture abrupt refresh with an infusion jump at “design culture”. These were amazing active years. He taught amalgamation the Istituto Statale in Monza; he was an adjunct lecturer in the architecture faculties crash into Turin, Venice and Palermo; sharptasting edited Domus and then ran Area magazine and Abitare dishonesty arte; he organised exhibitions; subside entered numerous architectural competitions; noteworthy showed new pictures in indefinite galleries in Italy and overseas; he even played two every night a week with the Without limit Jazz Gang for several epoch (at Capolinea, Santa Tecla, Truncheon Due and the Scimmie, Milan). But above all, he thespian and drew and drew.
It was an action-packed, enthusiasm-fuelled decade. Appease often worked in institutions on the other hand never let himself get moreover involved. Consequently, he won negation recognition. His only major reward came, at decade’s end, hit upon a long-time admirer: Eugenio Battisti, who presented him with character “Utopia Prize” at the Universal Congress on Utopias in Rome.