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#ettoresottsass medias

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Ettore Sottsass  Textile Design  Silk #ettoresottsass #textile #fabric #scarf #silk  #sourcematerial #design  #metbreuer #exhibition
Ettore Sottsass  Offering to Shiva, 1964  Ceramic #ettoresottsass #offering #shiva  #sourcematerial #design #ceramic #sculpture #metbreuer #exhibition
Ettore Sottsass Lapislazzuli Teapot  Ceramic #ettoresottsass #lapislazzuli #teapot #sourcematerial #design #ceramic #sculpture #metbreuer #exhibition
@metbreuer #ettoresottsass the ringleader of innovative Memphis collective 🌹
@metbreuer #ettoresottsass  the ringleader of innovative Memphis collective 🌹
#Repost @friedman_benda
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Sottsass Superboxes in all their glory at 'Ettore Sottsass: Design Radical.' On view at the @metbreuer through October 8th, 2017.
#EttoreSottsass #Sottsass #Art #Design #ItalianDesign #MetBreuer #NYC #MuseumTuesday
Not a big fan of the Sottsass/Memphis aesthetic, but there were a few nice moves in the show #EttoreSottsass #FrankStella
Bookshelf or 😺tower? Either way. Fabulous. #ettoresottsass #designradical @metbreuer #bookcase #modernart #nyc #museumhopping #artanddesign #metbreuer #memphis
Kuramata Shiro, Glass Chair, 1976. Laminated glass chair that the genius Japanese designer Kuramata designed in 1976, creating an ultimate concept for living in a contemporary entourage. Visual lightness and emphasize only in the straight lines, was a design milestone in the late 70's, when Kuramata was very close to Ettore Sottsas. The glass elements of the chair, are attached using an innovative ultraviolet hardening adhesive. Kuramata's visionary design for the contemporary world was inspired in the Kubrick' movie "2001: A Space Odyssey". This chair is currently part of the extraordinary exhibition of Ettore Sottsas which is taking place in the Museum Brauer Met in NY. "Heart of Glass" of Blondie was trapped in the corners of this masterpiece. #shirokuramata #contemporary design #themet #contemporaryfurniture #metbrauer #ettoresottsass #newyorkexhibitions #chairdesign #glasschairs #heartofglass #blondieband #themetbrauer
Kuramata Shiro, Glass Chair, 1976. Laminated glass chair that the genius Japanese designer Kuramata designed in 1976, creating an ultimate concept for living in a contemporary entourage. Visual lightness and emphasize only in the straight lines, was a design milestone in the late 70's, when Kuramata was very close to Ettore Sottsas. The glass elements of the chair, are attached using an innovative ultraviolet hardening adhesive. Kuramata's visionary design for the contemporary world was inspired in the Kubrick' movie "2001: A Space Odyssey". This chair is currently part of the extraordinary exhibition of Ettore Sottsas which is taking place in the Museum Brauer Met in NY. "Heart of Glass" of Blondie was trapped in the corners of this masterpiece. #shirokuramata  #contemporary  design #themet  #contemporaryfurniture  #metbrauer  #ettoresottsass  #newyorkexhibitions  #chairdesign  #glasschairs  #heartofglass  #blondieband  #themetbrauer 
'Memphis Milano in London' | folded poster published by the Conran Foundation in association with Boilerhouse Project | Victoria & Albert Museum | 100 x 35 cm | 1982 
#memphismilano #memphis #memphisdesign #ettoresottsass #sottsass #alessandromendini #matteothun #aldocibic #nathaliedupasquier #georgesowden #marcozanini #barbararadice #micheledelucchi #andreabranzi #gerardtaylor #eclecticostudio
From last night's visit to #metbreuer... #EttoreSottsass totems. #sottsass #postmodern #design #pomo #postmodernism  @joeposch
Carlton Cupboard, Ettore Sottsass; Exhibition De Jaren 80, Noordbrabants Museum. #jaren80 #dejaren80 #doemdenkersenpositivos #noordbrabantsmuseum #denbosch #shertogenbosch #carltoncupboard #ettoresottsass #80s #1980s
#Repost @jay_gorney
Two person exhibition of Ettore Sottsass and Peter Halley at Jay Gorney Modern Art, 1995 #ettoresottsass #peterhalley #JGMA #jaygorneymodernart #sottsassceramics
Architect and designer Ettore Sottsass’ (1917-2007) iconic Memphis designs include the Ashoka Lamp, Carlton Room Divider and Tahiti Lamp.  All were designed in 1981, exhibited by the Memphis group and manufactured by https://www.memphis-milano.com/ .

The Milan-based architecture and design group Memphis was established by Ettore Sottsass in 1981. Memphis rejected the restraint and ‘good-taste’ of functionally derived design, instead producing works with a sense of fun and provocation characterized by geometric forms.  The Milan-based architecture and design group Memphis was established by Ettore Sottsass in 1981. Memphis rejected the restraint and ‘good-taste’ of functionally derived design, instead producing works with a sense of fun and provocation characterized by geometric forms and contrasting. The group, which produced and exhibited furniture and design objects, annually from 1981 until 1988, included Michael Graves, Andrea Branzi, Matteo Thun, Marco Zanini and Marco Zanuso. The Memphis colour palette often featured saturated colours: #red #orange #yellow #green #blue contrasted with a small range of tints plus #black #white and speckled #grey
Architect and designer Ettore Sottsass’ (1917-2007) iconic Memphis designs include the Ashoka Lamp, Carlton Room Divider and Tahiti Lamp. All were designed in 1981, exhibited by the Memphis group and manufactured by https://www.memphis-milano.com/ . The Milan-based architecture and design group Memphis was established by Ettore Sottsass in 1981. Memphis rejected the restraint and ‘good-taste’ of functionally derived design, instead producing works with a sense of fun and provocation characterized by geometric forms. The Milan-based architecture and design group Memphis was established by Ettore Sottsass in 1981. Memphis rejected the restraint and ‘good-taste’ of functionally derived design, instead producing works with a sense of fun and provocation characterized by geometric forms and contrasting. The group, which produced and exhibited furniture and design objects, annually from 1981 until 1988, included Michael Graves, Andrea Branzi, Matteo Thun, Marco Zanini and Marco Zanuso. The Memphis colour palette often featured saturated colours: #red  #orange  #yellow  #green  #blue  contrasted with a small range of tints plus #black  #white  and speckled #grey 
Last month I had a transatlantic chat with @metmuseum curator Christian Larsen, about the Ettore Sottsass exhibition at The Met Breuer, and why postmodernism is more than historic pastiche. ✏️ on @anothermagazine
Last month I had a transatlantic chat with @metmuseum curator Christian Larsen, about the Ettore Sottsass exhibition at The Met Breuer, and why postmodernism is more than historic pastiche. ✏️ on @anothermagazine
Colorado Teapot by #MarcoZanini
Inspiration: #EttoreSottsass ?
#utopianyt #designmuseo
Che fossi stata anche bella, non lo sapevo mica #nanda #fernandapivano #ettoresottsass #voglioesserecosì #nowordsenough #memphis #radical #valentine
Ads and photos of the Valentine Olivetti typewriter designed by Ettore Sottsass! #ettoresottsass #brigettebardot #themetbreuer #miltonglasser
Color pallet inspiration at the Ettore Sottsass exhibit. •  #ettoresottsass #designradical #metbreuermuseum #metbreuer #picoftheday #pictureoftheday #nyc
Ettore Sottsass' atypical tuscan villa Casa Cei 🏠#ettoresottsass #memphis #postmodernism #toscana
#ettoresottsass ❤️ #nyc @metbreuer
#ettoresottsass ❤️ #nyc @metbreuer
Need on this gray NY day. 
rg @studioolivergustav

#ettoresottsass #ultrafragola
Architettura monumentale | Ettore Sottsass. Drawing for the exhibition 'Architettura attenuata. 24 disegni di Ettore Sottsass'. #architecturaldrawing #exhibition #ettoresottsass.
Sottsass' House | 2A+P/A. 2A+P/A imagined that the original drawing, made at Sottsass's vacation home on the island of Filicudi, represented an island house with a view of the sea. #architecturaldrawing #ettoresottsass.
Sottsass' House | 2A+P/A. 2A+P/A imagined that the original drawing, made at Sottsass's vacation home on the island of Filicudi, represented an island house with a view of the sea. #architecturaldrawing  #ettoresottsass .
Sottsass' House | 2A+P/A. 2A+P/A imagined that the original drawing, made at Sottsass's vacation home on the island of Filicudi, represented an island house with a view of the sea. #architecturaldrawing #ettoresottsass.
Sottsass' House | 2A+P/A. 2A+P/A imagined that the original drawing, made at Sottsass's vacation home on the island of Filicudi, represented an island house with a view of the sea. #architecturaldrawing  #ettoresottsass .
Ettore Sottsass's dramatic postmodern vanity.  Vanity table topped with crystal mirror and Alpi veneer frame.  Shelf and base in aniline-varnished wood with goldplated cylindrical elements.
Ettore Sottsass's dramatic postmodern vanity.  Vanity table topped with crystal mirror and Alpi veneer frame.  Shelf and base in aniline-varnished wood with goldplated cylindrical elements.
Not so casual decadence 💅🏼 Ettore Sottsass via @bukowskis #ettoresottsass #slowe #casualdecadence #sloweinteriors
Alessandro Mendini | 5. Throughout his working life, Alessandro Mendini has combined design and architecture with writing and editing. During the 1970s, he championed Radical Design as editor of Casabella and Modo, and in 1979 he moved to the Italian design journal Domus bringing in Ettore Sottsass as creative director. Together they plunged Domus into the theoretical debate on post-modernism. I discovered design in Mendini’s early issues of Domus, which I found in the faculty library as an art history student. Mendini perceived design as being at the intersection of so many things I loved: art, literature,politics,  philosophy, fashion, technology and pop culture. I am very lucky to have been introduced to design in that way, and Mendini’s eclectic, polemical and inclusive vision has influenced me ever since. He created a scintillating editorial mix of highbrow and lowbrow for Domus, which was unusual at the time, especially in the scholarly world of architectural publishing. Another innovations was to splash photographs of architects and designers on the cover, often shot against surreal backdrops. Mendini left Domus in 1985, but returned in 2010 to edit it for a year before Joseph Grima took over as editor. His second editorship was as studiedly quiet, calm and dignified as the first was audacious. He chose a suitably sober typeface Futura for all of his issues, whose covers were delicate portraits drawn by the Italian illustrator Lorenzo Mattiotti. "At this point I am interested in thinking more deeply about the future, beauty and quality,” Mendini said at the time. “He’s incredibly pleasant to work with, radiating calm and tranquillity,” recalled Grima. “He’s also incredibly sharp, one of the most intelligent people I’ve ever worked with, and so open. There’s always a twinkle in his eye." #design #architecture #alessandromendini #ettoresottsass #casabella #domus @josephgrima #lorenzomattotti #futura #twinklyeyes
Alessandro Mendini | 5. Throughout his working life, Alessandro Mendini has combined design and architecture with writing and editing. During the 1970s, he championed Radical Design as editor of Casabella and Modo, and in 1979 he moved to the Italian design journal Domus bringing in Ettore Sottsass as creative director. Together they plunged Domus into the theoretical debate on post-modernism. I discovered design in Mendini’s early issues of Domus, which I found in the faculty library as an art history student. Mendini perceived design as being at the intersection of so many things I loved: art, literature,politics, philosophy, fashion, technology and pop culture. I am very lucky to have been introduced to design in that way, and Mendini’s eclectic, polemical and inclusive vision has influenced me ever since. He created a scintillating editorial mix of highbrow and lowbrow for Domus, which was unusual at the time, especially in the scholarly world of architectural publishing. Another innovations was to splash photographs of architects and designers on the cover, often shot against surreal backdrops. Mendini left Domus in 1985, but returned in 2010 to edit it for a year before Joseph Grima took over as editor. His second editorship was as studiedly quiet, calm and dignified as the first was audacious. He chose a suitably sober typeface Futura for all of his issues, whose covers were delicate portraits drawn by the Italian illustrator Lorenzo Mattiotti. "At this point I am interested in thinking more deeply about the future, beauty and quality,” Mendini said at the time. “He’s incredibly pleasant to work with, radiating calm and tranquillity,” recalled Grima. “He’s also incredibly sharp, one of the most intelligent people I’ve ever worked with, and so open. There’s always a twinkle in his eye." #design  #architecture  #alessandromendini  #ettoresottsass  #casabella  #domus  @josephgrima #lorenzomattotti  #futura  #twinklyeyes 
Loved seeing colorful furniture creations by the architect, designer, and trailblazer in post-modernism, Ettore Sottsass (1917-2007)  #themet #themetbreuer #ettoresottsass #design #architecture #italian #art #furniture #postmodern #words #nyc #museum #newyork
Friday inspiration - an exceptional exhibition on life and work of Ettore Sottsass, at the MET Breuer. See more of Frank's travels in NYC and LA @einsteinsdreams #throwback #inspiration #EttoreSottsass #METBreuer #vivavia #via
#tbt to Ettore Sottsass's 70th birthday - celebrated with longtime friend Shiro Kuramata. 👬✨
#EttoreSottsass #Sottsass #ShiroKuramata #Kuramata #Art #Design #Photography #Throwback #1987
Found this little beauty via Pinterest 😍 #etruscomirror #ettoresottsass #thesimplethings
Our #sotsass #shiva fertility idol is making the cascading plants go wild. 🌿🍃🌱
Our #sotsass  #shiva  fertility idol is making the cascading plants go wild. 🌿🍃🌱
@ettoresottsass exhibit at The Met Breuer ♥️♥️♥️
@ettoresottsass exhibit at The Met Breuer ♥️♥️♥️
First time at @themetbreuer yesterday. Definitely worth it if you love Memphis @ettoresottsass  or brutalist architecture 😍😍😍
First time at @themetbreuer yesterday. Definitely worth it if you love Memphis @ettoresottsass or brutalist architecture 😍😍😍