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Who of you remembers Diamond, Patricia Urquiola’s table for Molteni&C? The table that got itself talked about for the expressive energy given to it by its bent, spiky leg, seemingly the result of a force contorting around itself. It was new, a simple top and strongly expressive legs, somewhere between rational minimalism and expressionist energy, in a way that brought to mind Gaudì.
Urquiola has taken the leg and made it much bigger with a play on scale reminiscent of certain Oldenburg-style pop experiments. In this case however, she isn’t trying to provoke reflection on objects through a superobject: the change in scale here means change in meaning and function. The super-leg leans to one side, is hollow and can be entered. Created by Molteni, it was the entrance to the exhibition of Urquiola’s work in Verona, part of the 2006 Abitare il tempo show.
Today it stands in the park surrounding Molteni’s headquarters at Giussano, near Milano; it consists of an ascent and descent that seem to finish nowhere but really lead to a window over the surrounding greenery, as in certain Ambasz archirtecture. Entering it means taking an architectural promenade all the way to the top, where there is a viewing area, with chairs and chaises-longues.
The glass was decorated by Urquiola with geometric patterns on shades of white and silver, through which to admire the surrounding park. Opposite, in the foreground, is Nicola Gallizia’s precise, rationalist house with its central patio, completely furnished by Molteni (incorporating, obviously, the famous Diamond table).
To celebrate 90 years of Molteni&C, Rizzoli New York has published Molteni Mondo – An Italian Design Story, a book that is on sale worldwide from September 2024.
The mural is an art form that engages directly with space.
The article illustrates the approach and significance of the 18th Venice Architecture Biennale, with a special focus on the women architects who exhibited their works as part of The Laboratory of the Future.
