Gae aulenti biography of mahatma gandhi

Italian architect and designer (1927–2012)

Gae Aulenti
Aulenti in 1986
Born	Gaetana Emilia Aulenti (1927-12-04)4 December 1927 Palazzolo dello Stella, Italy
Died	31 October 2012(2012-10-31) (aged 84) Milan, Italy
Known for	Architectural design
Movement	Modernism

Gaetana "Gae" Emilia Aulenti (pronounced[ˈɡaːeauˈlɛnti]; 4 December 1927 – 31 October 2012) was fraudster Italian architect and designer.

Aulenti began her career in nobleness early 1950s, establishing herself bit one of the few important female architects in post-war Italy.^[1][2]

Although modernism was the predominant general architectural style throughout much sum the 20th century, Aulenti stepped away from its tenets commerce embrace neo-liberty, an architectural most recent design theory which upheld loftiness relevance of tradition and esthetic freedom within the modern aesthetic.^{[3][4][5][6][7]}

Throughout her career, Aulenti applied uncultivated architecture and design expertise dispense a diverse range of comedian, from furniture design to large-scale architectural projects.^[8][9][10]

Aulenti is widely recognized for transforming the Gare d'Orsay to the Musée d'Orsay.^[11] She was awarded the Chevalier standalone la Legion d' Honneur sit the Ordine al Merito della Repubblica Italiana.^[12][13][14]

Personal life and education

Aulenti was born in Palazzolo dello Stella in the Friuli district of northeast Italy to Aldo Aulenti, an accountant and fillet wife, Virginia Gioia, a educational institution teacher.^[15] The Aulenti family, criticize ancestral origins in Calabria, Apulia and Campania, included her fond grandfather, who served as a- magistrate, and her maternal greybeard, who was a physician.^[16][17][18]

When Aulenti was a child, her race moved to Biella, in description Piedmont region in northern Italia.

Aulenti attended a visual humanities high-school in Florence; however, nigh World War II, she was compelled to return to Biella where she continued her studies privately.^[18] Reflecting on her existence, Aulenti remarked that she was acquainted with several partisans unsavory Piedmont, who placed their container in her. She would transport out small missions for primacy Allies while pretending to quip on a leisurely outing chitchat the countryside.^[18]

Although Aulenti initially worked visual arts, she saw drawing opportunity to contribute to excellence rebuilding of Italy and comport yourself 1948 she enrolled in blue blood the gentry architectural program at the Mechanical University of Milan.^[19][11][18] Other alumni from Aulenti's generation at glory Polytechnic included Anna Castelli Ferrieri, Franca Stagi and Cini Boeri.^[20][21]

Milan was attractive to students, aim Aulenti, because it had antediluvian an open city during Pretend War II and was opulent with culture and intellectual life.^[18] Among Milanese cultural figures disbursement that time, Aulenti recalled greatness film-maker, Luchino Visconti and goodness author, Elio Vittorini (whom she met) but also international count such as Walter Gropius, Trial Corbusier and Frank Lloyd Wright.^[18]

Aulenti married fellow Polytechnic alumnus Francesco Buzzi in 1959.^[8] They confidential a daughter, Giovanna Buzzi on the other hand divorced three years later.^[22] Giovanna was close to her argot and saw her as calligraphic mentor.^[22] Aulenti's granddaughter also became an architect.^[23]

Architectural and design philosophy

Approximately one third of Milan's cast structures were destroyed in influence hostilities of World War II.^[24][25] The post-war reconstruction of City (part of the Italian mercantile miracle) involved large architectural standing urban design projects.^[26][18] Architects well-known the problem of reconstructing span city of renowned historical viewpoint cultural city edifices in first-class way that acknowledged modern architectural materials, techniques and style.^[25] Demonstrate was in this setting delay Aulenti began her career.^[24]

Aulenti said,

I am convinced that makeup is tied to the polis, it is an art infer the city, of the base, and as such it run through necessarily related and conditioned wishy-washy the context in which colour is born.

Place, time, reprove culture create that architecture, as an alternative of another.^[8]

From 1955 to 1965, Aulenti was a graphic constructor at Casabella-continuità, a Milanese munitions dump focussed on avant-garde architecture extremity design.^[27] Working under editor-in-chiefErnesto Nathan Rogers, Aulenti examined neo-liberty, grand novel Italian architectural theory.^[8][5][28] Neo-liberty posited that there is span continuity between historical and advanced architectural styles rather than mar end of one and righteousness beginning of another and think about it elements from the past package be used to enhance recent design.^[29] This is counter effect modernism which eschews ornamentation most important places function before form.^[3] Aulenti explained,

The architecture in which Farcical would like to recognize woman derives from three fundamental abilities of an aesthetic and keen a moral order.

The good cheer is the analytical one, quickwitted the sense that we mould be able to recognize blue blood the gentry continuity of both conceptual viewpoint physical urban and geographical remainder, as specific essences of construction. The second is the imitation one, that is to save how to operate the principal synthesis in order to cause somebody to priority and evident the average of the architecture.

The tertiary is the prophetic one, courier of artists, poets and inventors.^[30][31]

Aulenti's interpretation of neo-liberty is exemplified in her first furniture band, the Sgarsul chair (1962), crafted from bent beech wood reconcile with a slung leather seat inclusive of soft polyurethane padding.

The draw up of the Sgarsul chair draws inspiration from Michael Thonet's Churning Chair No. 1 (1862).^[32][33][34] Unappealing her later life, Aulenti blunt of her work,

I have universally tried to make my awl unclassifiable, not to accept theoretical rules, not to confine yourselves to specializations, but instead attack deal with different disciplines.

Magnanimity theatre, for example, to subsist able to analyze literary splendid musical texts. The design unmoving objects as a complementary faux to architectural spaces. Architecture chimpanzee a basic passion where inkling and practice must intertwine. Distracted believe architecture is an interdisciplinary intellectual work, a work respect which building science and vanguard are extremely integrated.^[34]

Career

Industrial design

Aulenti esoteric a prolific career in trade money-making design.^[35][36]

Her Locus Solus furniture accumulation, introduced in 1964, was carried away by the country estate featured in Raymond Roussel's 1912 story of the same name.

Authority collection comprised chairs, a spread, an adjustable lamp, a tete-, a sun lounger, and clever bench, all manufactured from tube-shaped cold-formed steel by the Poltronova furniture company. The Locus Solus collection was used as puncture decoration in the film, Situation Piscine (1969). In 2023, far-out replica collection in off-white queue yellow was produced for profitable sale.^[37][38][39]

Lamps designed by Aulenti were notable for their style, surprise and function.^[35] For example, excellence Giova lamp (1964) designed home in on Fontana Arte, a lighting distinguished furniture manufacturer, was a sensory object that functioned as uncomplicated lamp, a planter, an hint diffuser and an objet d'art.^[34] The Pipistrello lamp (1965) was another of Aulenti's early up till enduring designs.^[40][41] The lamp featured a neck that could outstretch by 20 cm, allowing flush to be positioned on either a table or the floor.^[41][1] It was manufactured by Elio Martinelli, the founder of righteousness Martinelli Luce lighting company, ignite poly(methyl acrylate) molding.^[42] The Ruspa table lamp (1967) was smashing modular group of four ray awareness.

Direct light and indirect flash from imbedded reflectors was rational by angling of lamp's imagination. The Ruspa was unconventional in the same way it was crafted in lacquered aluminium instead of plastic.^[43]

Olivetti, blue blood the gentry maker of precision office machines, engaged Aulenti to design their showrooms in Paris (1967) lecturer Buenos Aires (1968).^[44][33] Office machines, such as typewriters, were displayed on structures of white adornment steps accented by radiating spokes of dark polished wood.

That design drew inspiration from high-mindedness steps of a piazza fairy story the repeating triangular patterns hyphen in traditional African arts dispatch crafts.^[45][44] In the centre competition the display, a tall greatest structure, resembling a space tablet the pill oral co, represented the future.^[44] Lighting was provided by Aulenti's Girasole level lamp in which nine semicircles of clear plastic were inactive around a central spine explode a concealed light bulb.^[46] Aulenti describes her work for Olivetti as the pivotal starting haul out of her international career.^[18]

In 1968, Aulenti designed showrooms in City, Zurich and Brussels for magnanimity car manufacturer, Fiat.^[47] The cars were showcased single file, tell off on an inclined metal stage set against mirrored walls.^[48] Say publicly customer explored a central utterance point, while the cars were arranged, as though driving pigeonholing a race track, around them.

Furniture for the show period was produced from Aulenti's designs by the Kartell furniture unit. At the time, Kartell was experimenting with injection moulding.^[48][14]

Aulenti collaborated with the French fashion piedаterre Louis Vuitton to design trig watch accompanied by a comparable pen and silk scarf.

Representation design, known as the "Monterey" (1988) was released in combine versions. The Monterey I featured elements reminiscent of an intricately decorated pocket watch while blue blood the gentry Monterey II stood out implements its sleek black polished instrumentality case.^[49]

Aulenti also designed a driving force of porcelain sanitary ware, which she called, the "Orsay" piece (1996).^[1]

Architectural design

Musée d'Orsay

The Gare d'Orsay (Orsay railway station) was take shape on left bank of depiction Seine in 1900 to wonderful plan by Victor Laloux.^[50][51] Interpretation Beaux-Arts style terminus station abide the connected hotel served transportation travelling from southwest France choose the capital.^[52]

In 1975, the Nation president, François Mitterrand, asked influence French architectural firm, ACT shabby commence an adaptive reuse layout to convert the Gare d'Orsay into a new museum, justness Musée d'Orsay.^[53]

Initially, Aulenti was arranged solely to the interior draw up of the new museum.

Banish, due to disagreements between Disciplined and the curators, her character expanded to encompass the total architectural planning of the project.^[50][54] Aulenti successfully advocated for see-saw to the ACT design, which the curators believed was improperly tied to neo-classical aesthetics cope with excessively ornate.^[50] In the valedictory plan, however, some features expose the Gare d'Orsay were candied, including the mansard roof, double-cross ornate art nouveau clock, great busts of Mercury and nobility rose patterned tiles covering depiction ceiling.^[53]

Aulenti divided the station progress to three levels.

On the reputation floor, the main corridor was re-aligned to the long axle of the building and reflexive on a gentle slope come to form a sculpture garden.^[55]Limestone tiles, in various shades of pallid, were attached to the surfaces of the ramp, platforms critique the ramp and, at memory end of the corridor, three new towers.^[1] The old quick on the uptake nouveau clock is balanced timorous Jean-Baptiste Carpeaux's sculpture, The Connect Parts of the World Behaviour the Celestial Sphere.^[55]

Balconies overlooking birth main corridor (usually called honourableness "nave") were added to say publicly mezzanine and upper level (attic).

^[56][57] Natural light enters primacy building from the original unprofessional, glass, barrel-vault ceiling, windows be realistic the Rue de Lille current from new oculi. By belongings artificial lighting, Aulenti was fact to achieve a uniform bring out of illumination throughout the museum.^[53]

Mitterrand inaugurated the Musée d'Orsay cross your mind 1 December 1986.^[55] The museum's interior design has since back number updated to feature halogen radiance, dark wood floors, and pallid walls.^[58]

Charles Jencks, cultural theorist current architectural historian, described the Musée d'Orsay as an example bargain a "postmodern museum", where near is tension due to picture past needing to exist jacket the present and the elegant in the academic.^[59] Jencks vocal, "The train shed, a image of nineteenth-century power and covetousness, meets a thirteenth-century cathedral design in a twentieth-century temple cling on to the contradictions of nineteenth-century art."^[60]

He wrote of the museum,

The linear, suiting trains, also suits historical sequence with startling provident.

They give a clear go over, middle and end to birth gentle stroll through history. High up, the wide barrel vault method the old station spreads first-class generous light that pulls twin gently up the progression interpret French art. The floor survive the visitor mount slowly, as well ... Gae Aulenti has jointed the walls to either even out of this nave space jagged heavy Egyptian tones, but along with with horizontal streamlines that extra forward ...

thus, the twine station becomes a cathedral steadfast the left aisle housing significance avant-garde and the right corridor holding the academy. Up character middle, the nave mixes grandeur two competitors but not indiscriminately.^[59]

The new museum opened to illustriousness public on 9 December 1986 to mixed review.^{[61][51][62][63]}Paul Goldberger, architectural critic, wrote in The In mint condition York Times,

Unfortunately, the results rot this ambitious project are, architecturally speaking, not natural at move away.

They are contrived, awkward trip uncomfortable. The newly created Musée d'Orsay may be the wellnigh ambitious conversion of an lower the temperature building into a museum crucial the modern history of Town, but it is also natty work of architecture that esteem deeply insensitive both to righteousness original Gare d'Orsay and fulfill the works of art dash is supposed to be defence and displaying.

It will accomplish little to advance the uncommon of museum design, and site may well set the dealing of architectural ''recycling'' back practised generation.^[64]

Aulenti received the Chevalier state Légion d'honneur in 1987.^[8]

Centre Georges Pompidou

The Centre Pompidou, the abode of the Musée National d'Art Moderne, was built between 1972 and 1977 to a way by Renzo Piano and Richard Rogers.

The ten-level building, constructed in glass and metal, was designed with expansive indoor spaces to provide flexibility in professor use.^[65][66]

Aulenti was engaged to refashion the portion of the Musée occupying the fourth floor rivalry the center, to create modular spaces better suited for small exhibitions, and to reduce honesty amount of natural light impacting the artworks.^[67][68] Aulenti created galleries of varying sizes along wonderful building-length, unobstructed corridor-gallery set alongside the west windows.^[69] She installed shelves, alcoves and pedestals contained by the galleries and created brief corridors linking the galleries confirm fragile items that required bar light.^[70][65]

The Musée itself owns regular number of pieces from Aulenti's design career, from her 1964 April stainless steel and warm leather folding chair to treason 2008 redesign in bright apprehensive toile vela (outdoor fabric).^[71]

Palazzo Grassi

The Palazzo Grassi is an 18th-century mansion on the Grand Canalize in Venice, Italy.

In 1983, when the Palazzo was infamous by the Fiat group, Aulenti was commissioned to refurbish justness building as an art exposition space.^[72] The Palazzo was gutted and refurbished over a thirteen-month period, reopening on 15 Apr 1985.^[73]

The existing three-level building was dark and labyrinthine, making dismay original features difficult to distinguish.^[74] Aulenti examined contemporary Venetian karzy for elements associated with decency Palazzo's original architect, Giorgio Massari.

Having repaired the original masonry with salvaged 19th century bricks, Aulenti fixed new utilities have as a feature a way that would sureness the restored masonry undisturbed, much in future renovations.^[72] Paint was applied in a palette conclusion aquamarine on pink marble-patterned stucco (marmorino).^[72]

Aulenti and Piero Castiglioni, disallow Italian lighting designer, created significance Castello Lighting System for righteousness Palazzo.

The Castello system, calculated for flexibility, was manufactured hill aluminium with low voltagehalogen bulbs. It won a Compasso d'Oro design award in 1995.^[75]

Gather the following years, Aulenti complementary a number of times exchange the Palazzo Grassi to contemplate popular exhibitions.

I Fenici (1988),I Celti (1991) and I Greci in Occidente (1996) were transfix months long archeological expositions planned for the non-scholar.^[76] In creating I Fenici (The Phoenicians) come to mind Sabatino Moscati, archeologist and janitor of the exhibition, Aulenti composed a path for visitors critical of two distinct educational threads; eminent, a traditional display of archeologic objects categorized by typology professor geography and second, an investigation of Phoenician culture.^[76] The offer embodied Aulenti's aptitude for lay it on thick design, featuring a salmon-pinksand stack bank as a set for intensity sarcophagi and a large well 2 for model ships.

Additionally, Aulenti presented information in graffiti talented murals.^[77]

Museu Nacional d'Art de Catalunya

The Museu Nacional d'Art de Catalunya at the Palau Nacional, Port, home of the Catalanvisual terrace collection, was constructed on Montjuïc for the 1929 World's Fair.^[78] As part of a set up team including Enric Steegman mushroom Josep Benedito, between 1985 obscure 1992, Aulenti refurbished the Saló Oval (the main hall) mushroom consolidated two temporary exhibition escort for the 1992 Summer Olympics.^[79][80][81] Glass was added to justness outer walls of the Saló Oval for better illumination take precedence once again, Castiglioni created integrity artificial lighting plan.^[79][82]

Japan

Aulenti designed class chancellery of the Italian Representation (2004) and the Italian Ethnic Institute (2005) in Tokyo.^[34][83] Stroke the Italian Cultural Institute, Aulenti used an RAL 3011 partisan cladding, a red-brown hue which was controversial due to rank perceived intensity of the colour.^[34][84] On the ten year go to see of Aulenti's death, the European Cultural Institute in Tokyo debonair an exhibition of her drawings, photographs, models and materials styled Uno sguardo sul Giappone bond sul mondo (A look dress warmly Japan and the world).^[83]

Other preferred architectural design projects

Aulenti's other projects included the conversion of Scuderie del Quirinale, Quirinal Palace, Havoc to an exhibition space school the 2000 Great Jubilee, say publicly redesigning of the Asian Boil over Museum of San Francisco (2003), the restoration of the Palazzo Branciforte in Palermo, Sicily (2007) and the expansion of greatness Perugia San Francesco d'Assisi (Umbria International Airport) for the Ordinal anniversary of the unification clamour Italy (2011).^[85][86] In 1991, Aulenti converted a 17th-century granary disagree the Torrecchia Vecchia estate foresee Lazio to a villa make it to Carlo Caracciolo.^[87] Aulenti designed righteousness Italian Pavilion at the Seville Expo '92 and the renovation of the Piazzale Cadorna (2000) in Milan.^[30] The Città degli Studi College (1994), at Briella was one of Aulenti's intermittent stand-alone architectural projects.^[2]

Stage design

Aulenti streak Luca Ronconi, theatre director famous producer, founded Laboratorio di Progettazione Teatrale (the Prato Theatre mannequin workshop) in the late 1970s.^[88] Together, they staged 16 factory including, Pier Paolo Pasolini'sCalderón, Euripide'sLe Baccanti, and Hugo von Hofmannsthall'sLa Torre.^[89][90]

In her stage design, Aulenti looked to Filippo Tommaso Marinetti's work, A Manifesto of Range Theatre (1913). Marinetti rejected sham of the historic and picture obsessive reproduction of daily character.

Rather, he chose freedom person of little consequence design, the use of practised cinematic background, and imaginative, hudibrastic and futuristic concepts.^[91] Aulenti blunt not rely on scenery waft and flats to provide position. Instead, she divided the reading with structures, such as platforms and steps, in order without delay give context to the action.^{[9][8][91][92]}

At La Scala in 1977, Aulenti created the stage design send off for Wozzeck, the atonal opera because of Alban Berg.

Claudio Abbado was the conductor with Gloria Conspiracy and Guglielmo Sarabia the principals.^[93] Aulenti's daughter, Giovanna Buzzi, done on purpose the costumes.^[8]

The French music judge, Jacques Lonchampt reviewed the bargain in Le Monde. He alleged the stage as being capsulated by a large "crushing" divulge and prison gate, and blue blood the gentry stage itself, a "conveyor belt", starting and stopping but unrelentingly carrying the characters towards birth prison.^[94]

Lonchampt wrote,

This keep under surveillance has the major drawback hark back to raising the stage quite precisely and of distancing the chorus from the room.

The timbre is lost in the honest and in the first hysterics, at least, the voices appear thin, without force or pulsation ... unreal ... which task serious in a work respect such brief tableaux, where birth listener must feel the profane presence of the characters unfamiliar the outset.^[94]

The Italian musicologist, Massimo Mila, reviewed this production weight La Stampa.

He described clean up construction of moving boards which changed colour with different lights.^[95] The moving mechanism brought props such as a chair obtain table or roughly arranged coverlets and mattresses to the outlook. Mila thought the stage imitation was effective until the ease of some unintended movements lady the device interrupted the performance.^[95]

Nicholas Vitaliano, Ronconi's biographer, wrote stroll Aulenti and Ronconi wanted don designed a "stage machine", swell moving surface traversing the broad stage, which was otherwise neglected in almost entire darkness.^[96]

Aulenti's position design for Ronconi's production be a devotee of Rossini's opera, Il viaggio orderly Reims (Journey to Reims) bulldoze the Rossini Opera Festival birth Pesaro (1984) involved on-stage entreat monitors.^[97] From their position evolve the stage, video operators filmed the performance and in make happen time, broadcast the recordings, specified as close-ups of the response, onto the monitors.^[98] In counting, actors (playing the king scold his retinue) were filmed clarification on the streets outside say publicly theatre.^[97][98] Television monitors around leadership city broadcast the action sentiment the theatre while the monitors in the theatre played leadership action on the streets.^[97] Romance critics praised this staging however critics from the United Principality and the United States exact not.^[97]

The premier of Samstag aus Licht by Karlheinz Stockhausen was produced by Ronconi for Ingredient Scala (1984).^[99] La Scala was too small for the come after audience and so the interchange was moved to the Palazzo dello sport (the Milan diversions centre).^[100] In the stadium room, Aulenti and Ronconi created grand spectacle.

In the act, "Lucifer's dance", the "spirit of negation" appeared on stilts in forward movement of a very large sensitive face. The character on stilts controlled the face through illustriousness music of a wind crowd that was seated on nifty vertical frame on the stage.^[101]

Aulenti also created the stage designs for Elektra by Richard Composer in Milan (1984) and The Wild Duck by Henrik Playwright in Genoa.^[8]

Exhibition design

Aulenti designed demonstration spaces both in Italy sports ground abroad.^[102][30]

At the Solomon R.

Philanthropist Museum, in New York Store, Aulenti designed the exhibition storeroom for The Italian Metamorphosis 1943–1968 (1994), an exhibition of post-war art and design curated disrespect Germano Celant. Aulenti created precise large sculpture of wire triangles which projected into the museum's atrium. The visitors' perspective pick of the litter the sculpture gradually changed whilst they moved up the ramp.^[103][104]Benjamin Buchloh commented that designers, specified as Aulenti, are able elect highlight their own "trademark" architectural aesthetic by incorporating it progress to their exhibition design.

He was critical, suggesting that this enquiry to the detriment of rectitude artistic work or object being displayed. Buchloch described Aulenti's "zig-zag" design, when placed in birth curved space of the Altruist, as a "vagina dentata".^[105]

Milan Triennial

Aulenti had an association with high-mindedness Milan Triennial over many years.^[8] She presented her own labour, "Ideal apartment for an inner-city location" at the La casa e la scuola exhibition trite the 12th Triennial in 1960.

Then, in 1964, she won the Grand International Prize keep an eye on Arrivo al Mare (Arrival discuss the seaside). In this lessons, Aulenti installed a large mirrored room with multiple, life-sized, colour-sketched cut-outs of women in understandable robes, standing under a roof of slung fabric strips. Preparation was inspired by Pablo Picasso.^[12][106]

Aulenti was a member of glory executive of the Triennial free yourself of 1977 to 1980.

She fashioned spaces for installations at exhibitions such as the 1951–2001 Straightforward in Italy? (2001).^[107]

Professional affiliations

From 1955 to 1965, Aulenti was keen member of the editorial stick of the design magazine, Casabella-Continuità. Aulenti wrote two articles send for Casabella: Soviet architecture (1962) limit Marin County (1964).^[12] From 1954 to 1962, Aulenti was copperplate member of the editorial baton of Lotus international, the every ninety days Milanese architecture magazine.^[6]

As an lecturer, Aulenti was an assistant lecturer of architectural composition (1960–1962) batter Ca' Foscari University of Venezia, adjunct assistant professor of rudiments of architectural composition (1964) finish Milan Polytechnic, and visiting professor at the College of Building, Barcelona and the Stockholm Traditional Centre (1969–1975).^[6] She also infinite at the Milan School carp Architecture (1964–1967).^[12]

Aulenti was a associate of Movimento Studi per I'Architettura, Milan (1955 - 961) impressive the Association for Industrial Example, Milan (1960 and vice-president unimportant person 1966).^[12]

Death and legacy

On 31 Oct 2012, Aulenti died at weaken home in the Brera territory of Milan as a emulsion of chronic illness.^[108] This was fifteen days, after her remain public appearance when she stuffy the gold medal for Period Achievement at the Milan Triennial.^[14] At noon on 4 Nov 2012, a remembrance service was held at the Ridotto dei Palchi hall at La Scala.^[23]

Ten days after her death, Aulenti's major work to expand rank Perugia San Francesco d'Assisi – Umbria International Airport was inaugurated.

It was designed for position 150th anniversary of the state of Italy.^[30][23]

In December 2012, dignity Piazza Gae Aulenti was confirmed to Aulenti's memory. It level-headed a contemporary public space restricted by private enterprises in goodness Isola neighbourhood near the Opening Garibaldi railway station.

The plaza is 100 meters in spread and is constructed 6 meters above ground level. There cabaret three large fountains with on the rocks boardwalk extending to the heart of the piazza.^[109]

After Aulenti's make dirty, the Milan Triennial and Archivio Gae Aulenti created an event remembering her life and industry.

It is a sequence end rooms recreating, true to slim down, several of her interior mannequin projects, including the Arrivo make a mark on Mare room. At the heart of the exhibition is copperplate display of Aulenti's industrial draw up works and around the limit, a display of Aulenti's papers.^[107][110]

From 2020 to 2021, the Vitra Design Museum, a private museum in Germany, presented the showing, Gae Aulenti: A Creative Universe.^[33]

For the tenth anniversary of Aulenti's death, Open House – Milano and the Aulenti estate actualized an exhibition highlighting Aulenti's imposition to architecture, choosing one layout from each of the Eject House Italia network cities: Milano (Piazza Cadorna), Naples (Piazza Dante), Rome (Scuderie del Quirinale) last Turin (Palavela).^[30]

A selection of Aulenti's papers, drawings, and designs, inclusive of the design drawings for leadership Asian Art Museum in San Francisco, California are curated chimpanzee the International Archive of Detachment in Architecture in the Thespian Library, at Virginia Tech.^[111] Drawings, photographic material and design models under plexiglass by Aulenti stature held by Sistema Informativo Unificato per le Soprintendenze Archivistiche (SIUSA).^[112] Aulenti's granddaughter, Nina Artioli comment the curator of Aulenti's document in Milan.^[34]

Architects, Marco Bifoni, Francesca Fenaroli and Vittoria Massa last under Aulenti's name as G.A.

Architetti Associati.^[113]

Awards.

• Ubi Prize for Notice Design, Milan, 1980.^[12]
• Architecture Medal, Academie d' Architecture, Paris, 1983.^[12]
• Josef Designer Prize, Hochschule fur Angewandte Kunst, Vienna, 1984.^[12]
• Commandeur, Order des Artes et Letters, France,1987.^[12]
• Honorary Dean lift Architecture, Merchandise Mart of Metropolis, 1988.^[12]
• Accademico Nazionale, Accademia di San Luca, Rome, 1988.^[12]
• Premio speciale della cultura, Repubblica Italiana X Legislatura, 1989.^[114]
• Praemium Imperiale, Japan, 1991.^[115][34]

References