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Much furniture was also relatively grotesque (a French variation of the Italian word grottesco), often creating sculpted odd-looking gargoyles and monsters to make these items seem more amusing. [1] Caryatids became popular at the time, and were made out of marble (the rich people used them as legs to their dining tables).
Italian baroque furnishing also had considerable Eastern influences. [4] Venetians, who at the time still held a vast sea empire, often imported rich fabrics and materials from other nations to enrich their furniture with eastern influences. Their furniture was chiefly sumptuous and luxurious, and included rich silks and green and gold lacquer. [4]
This preference for furniture systems led to designs like Additional Living System (1967–1968) and the chairs Tube (1969–1970) and Multi (1970), which could be assembled in various positions to get a great number of sitting positions. They reflect Colombo's main goal, variability. His futuristic designs were integrated micro-living-worlds.
Italian Rococo furniture was usually upholstered with rich and colourful fabrics, such as velvet and silk, and furniture was usually lacquered. [1] Furniture from Piedmont was typically very French in style, Lombardy produced more sober and wooden furnishings, Genoa was known for its rich fabrics and colourful styles, and Venice for its ...
In addition to furniture design, Italy has also set trends for industrial design with the prototype of the light Luminator Bernocchi in 1928. The Moka pot , designed by Alfonso Bialetti , was a ground-breaking design upon its release in 1933, and it continues to be manufactured to this day with few modifications.
Italian Neoclassical furniture was loosely based on that of Louis XVI styles but was made unique by the usage of exaggeratedly shaped backs and necks which were recessed. [1] Armoires, or armadi made by the Venetians were more geometrically shaped than the Rococo ones, but were usually gilded in gold and silver, and had a few intricate details ...
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Between 1938 and 1948, Dal Fabbro achieved recognition in Italy as an exponent of creative contemporary furniture design, designing pieces for private individuals and Milan furniture houses. He participated in the Triennale di Milano competition in 1939 and 1947 and won the Garzanti competition for the standardization of furniture.
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