EVENTS & FAIRS

At the time of the Salone del Mobile 2018, Luigi Caccia Dominioni (1913- 2016) returns to the highlight in his beloved metropolis, Milan, with an exhibition at the Umanitaria promoted by B&B Italia to show his cultural heritage.

The busines has not too long ago signed a license settlement for the exclusive manufacturing and distribution of a number of his unique iconic items, together with among the most emblematic merchandise within the historical past of Italian design: the Catilina chair (within the low, small and stool variations); the armchairs ABCD (with its couch extension), Toro (with its ottoman model), Nonaro (along with the couch and chair with armrests) and Chinotto; the Cilindro ottoman; the Cavalletto, Fasce Cromate and Fascia Specchiata tables and small tables; and the lamps Lampada Poltrona, Base Ghisa, Monachella, and Imbuto.

Luigi Caccia Dominioni was born in Milan on 7 December 1913 in a gorgeous house in front of the Basilica di S. Ambrogio, which marked his entry as an architect within the postwar period in Milan. Together with his reserved aristocratic temperament, he was an epitome of essentially the most genuine Milanese persona: quiet and hard-working, the kind of individual who thought of work to be civil service, to be carried out every single day without the need for recognition between the solitude of his drafting desk and the organised confusion of the construction website. His felt at house among the many masons, artisans and development foremen whom he thought of to be companions on the identical journey. He was a nobleman with a easy coronary heart and pure magnificence, and was very able in reworking the Milanese dialect into a global language, comprehensible by anybody because of a visible and spatial language that seems common, as well as for the elegance of his solutions.

Caccia Dominioni obtained his degree from the Milan Polytechnic University in 1936, as the town was growing and aspiring to be fashionable and measure itself towards the rest of Europe, although without shedding the stubborn, proud faith in a perfect “Milanese identification”. This was truly a claim to a place: to belong to a particular place and a tradition that naturally mixed pragmatic action with elegance, manifested by way of giant and small scale initiatives that communicated without interruption from the inside towards the outside of the structure.

If Milan started to emerge as the capital of design at that moment in time, it was due to architects like Luigi Caccia Dominioni and Gio Ponti, who realised that the truest intimate essence of what was going to develop into industrial art was the result of cautious planning and unbiased design of objects that had been used every single day. It was no accident that Ponti was among the many first to recognise Caccia Dominioni as a trend-setter for style sooner or later: his unique style known as “Caccia style” for this very purpose. Ponti wrote, Caccia Dominioni doesn’t furnish houses. Alternatively, he “interprets them and expresses their character”, giving “a worth (of environment or space) to the sequence of rooms”.

When design was nonetheless a speculation not based mostly on an genuine industrial actuality, Caccia understood its simultaneous polyhedral and unitary nature, and didn’t scale back his work to simply designing objects and furniture. Rather, he highlighted potential inspirations of behaviours. Chairs and armchairs like Catilina, for instance, or Chinotto, with their construction and proportions, make it doable to mix enjoyable comfort with a poised position of the body, an illustration of the virtually didactic worth of a piece of furniture in teaching virtuous behaviour.

In spite of everything, the starting line was by no means the abstract formulation of useful design, however quite the personal desire to offer solutions to calls for high quality within the house, also destined to confer dignity to middle-class life in a metropolis that was on its way to turning into the epicentre of the Italian miracle. As Pier Carlo Santini wrote in a pointed remark, “civil” architecture loved “acceptance in the measure in which the public is able to think of the ideal home in terms of attainable aspirations”.

Thus, we are able to see that it’s the precise value of this strategy to design that B&B Italia intends to protect and unfold via this initiative. The huge production ensuing from Caccia Dominioni’s design journey is, actually, a legacy that has taken on the traits of what we all know as “modern classics”, and B&B Italia means to guard it with a tribute, a remembrance of the architect and his timeless work.