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For the entire post-war period Giorgetti continues re-elaborating and realising versions typical of the classic repertoire, always paying attention to the quality of the item. This expertise and the derived craftsmanship are the springboard allowing the company to integrate itself into a more contemporary and European landscape.

Regardless of what happens within Giorgetti, in which the goods are still partly linked to the tradition and the classic creation, in the artworld of the Fifties, many changes take place: for instance, artistic adventures defined “informal” spread, because of their abstract matrix, an outcome of the refusal of the idea of shape. Another tendency is the Spatialism, art movement based on Lucio Fontana with the Manifiesto blanco (White Manifesto), drafted in Buenos Aires in 1946 and associated with the famous cuts and holes of the artist. His aim is to reinvent the art itself by simply attributing it a dynamic character and a measurement that goes beyond time and space, emblem of the potential of the society towards a fresh cultural creation and advancement.

In the world of the contemporary architecture, it’s with Le Corbusier and F.L. Wright and with the Functionalism (fad dating back before the Great War, however, that takes on particular importance in the first half of the XX century) that the spaces deprive themselves of any ornamental shape, to become characterised by essential, geometric lines. In Italy, among the main characters of the architecture is Giò Ponti, that, in collaboration with F. L. Nervi, realises the Pirelli Tower in Milan in 1958. This arrangement, the most significant of the architect, is among the most appreciated skyscrapers worldwide, thanks to the features of a crystal pane that soars into the architectonic space of the heavens.