Marco Zanuso

Written by: Suraj Bundeley.

Marco Zanuso (1916-2001) was an Italian architect who studied in Milan. He was educated during the 1930s. Zanuso was also an industrial designer, whose furniture, television, and other items were widely presented in Italy. Marco Zanuso donated to the Italian design department in the years following World War II.

He was also Professor of Architecture, Design and Town Planning in the Milan Polytechnic University from 1945 to 1986; in 1954 he helped to organize the first post-war Triennale exhibitions in Milan.

He served as the first editor for Domus from 1947 to 1949, and then as well for Casabella, from 1952 to 1956.

One of his most famous designs is the elegant Lady armchair, which won the first prize in the 1951 Milan Triennale. The chair not only encouraged the consolations and attitudes of young men, but also could produce well-produced productivity previously.

Zanuso also found his place in the history of designing as director in Brionvega, where he developed products that have become modern industrial design icons. Doney 14 (1962) was the first Italian-language television that was completely converted, and the LS502 (1964) was a typical battery-made radio made in a good box. Doney television received the prize of Compasso d’Oro in 1962. Continuing their creative co-operation between the 1960s and the 70s, Annos and Capper also organized a limited Siemens Grille call (1965), as well as the most recorded house-to-house products with the Church.

This study will examine the technique, the design of industrial industries, as part of the

process of travel buildings ahead. Specifically he was interested in designing and learning

production methods, to bring this understanding into his design.

Marco Zanuso’s Lady Chair was exhibited at the IX Triennale in 1951, along with a divan by the same company, Arflex, in a small room with a few folding chairs, a table and floor lamp. The Lady Chair had originated as an experiment in the use of foam rubber, and was the first furniture piece to be mass-produced in Italy, in 1947; but the testing of applications for

new materials involved various architects, by 1950.

In the 1960s a new generation of designers began to take shape surrounded by the

generation of Zanuso. Designed for Brionvega by Castigloni brothers; this company has Radiology designed by Richard Sapper and Marco Zanso. In 1964, Zanuso and Sapper proposed a special Algool TV to Brianwega, because the screen is upwards, so it can

be kept silently on the floor without the need for a piece of furniture that is included in it.

During the 1960’s, Zanuso had long-term cooperation with the well-known German designer

Richard Sapper. Zanuso made products with Sapper that featured modern design. Doney 14 (1962) was the first ever Italian television, and received the prize of Compasso d’Oro in 1962.

In between 1945 and 1955, he completed two major projects which he built with artists. They

were buildings and offices in Via Via Sato built in 1947, and located at Via S. Andrea, near

Milan. It was made by Zanuso and artist Roberto Menghi; it was the first of Zanuso’s

architecture projects in the Milan to be finalized in 1950, and it is often referred to as the first

building, or one of the first, which was completed in Milan after the War.

Zanuso’s Selection revealed several types of items of daily use, such as a sewing machine,

Marcello Nizzoli for Necchi, a typewriter press machine, and a machine installer by

Marcello Nizzoli, for Olivetti 1950. The Ballocco selection has shown products from Arflex,

Zanuso’s Lady Chair and Diwan, Botletti with sewing machines; Olives with journalists and ads.cHe explained his intentions to identify “the content of past days “ and to show the possibilitiescof “today’s good”. The big difference were opposite between Zanuso’s and Ballocco, that Ballocco show off the color and state; On the opposite, Zanuso did attention on the nature of the objects apart from the colorful area, so the concept of one observers of his exhibition, against to the “romantic”, the Italian design was a “classic”.

This excellence was ignored by many Italian architects who were also noted industrial

designers, including Marco Zanuso. Industrial design had its own section at the Milan Triennale from the mid-1950s onward.