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CASA ARGENTAURUM

E:

caroline@casa-argentaurum.com

caroline@casa-argentaurum.com

E:

caroline@casa-argentaurum.com

T:

+32 (0)477 42 60 62

CASA ARGENTAURUM

E:

caroline@casa-argentaurum.com

T:

+32 (0)477 42 60 62

E:

caroline@casa-argentaurum.com

T:

+32 (0)477 42 60 62

© Casa Argentaurum

All rights reserved.

CLOSE COLLABORATION 1991 - 2017

Andrea Branzi (30th November 1938 - 9th October 2023) architect and designer, born in Florence, where he graduated in 1966, lived and worked in Milan since 1973.


From 1964 to 1974 he was a member of the group Archizoom Associati, the first group of internationally known avant-garde, whose projects are now preserved at the Study Center and Archives of Communication, University of Parma; his dissertation and several projects are kept at the Centre Georges Pompidou in Paris.


In 2018 the Royal Academy of Fine Arts has awarded Rolf Schock Prize of Visual Arts to him. Co-founder of Domus Academy, the first international school graduate design.


Author of several books on the history and theory of design, has curated numerous exhibitions of this sector in Italy and abroad.

In 1994 he received the Compasso d'Oro for his career.

© Andrea Branzi profilo

1991


Andrea Branzi _ Amnesie


A. Branzi: "The title of this exhibition means we can't trust our memories, but we can't rely on total forgetfulness either. The furniture is nearly architecture, invading space like segments of a wider

urban landscape. Objects that can be entered, practicable spaces, micro environments. And like architecture, this furniture is often cold and hard on the outside, but lacquered and velvety within. Resting on these prisms are aluminium and wood vases that give an impression of vibrant rotation-as if they were somehow almost transparent, like ectoplasms or clusters of crazy molecules."

© Andrea Branzi

1991


Andrea Branzi _ Wood & Stones

Courtesy Casa Argentaurum and Studio Andrea Branzi


A. Branzi: “The concept of normality is a goal to reach, a rule to pursue, but not a primordial status from which we have departed. For this reason my projects have arrived to mix into themselves artifice and nature, to make fluid the borders of design and blur the definition of the object.”


“Indefiniteness has become our permanent, durable and definitive condition. Until a few years ago we thought that the crisis of modernity would have produced a short period of crisis, a change, which should have been followed by a new system of certainties. Today, we have discovered that this indefiniteness, started during that period, has become a durable condition, a way of thinking and working, which is destined for a long time to come. Science itself, once guardian of the purest rationality, works today by using indefinite cognitive standards. New systems of logic such as those of Bart Kosko and Lofti Zadeh, are called fuzzy thought, - faded, indefinite floating thought. These are closer to the dimension of the eastern philosophic experiences, such as Shintoism and Zen, rather than to the rigid theorems of western science.”

© Andrea Branzi

1991


Andrea Branzi _ Wood & Stones

Courtesy Casa Argentaurum and Studio Andrea Branzi


A. Branzi: “The concept of normality is a goal to reach, a rule to pursue, but not a primordial status from which we have departed. For this reason my projects have arrived to mix into themselves artifice and nature, to make fluid the borders of design and blur the definition of the object.”


“Indefiniteness has become our permanent, durable and definitive condition. Until a few years ago we thought that the crisis of modernity would have produced a short period of crisis, a change, which should have been followed by a new system of certainties. Today, we have discovered that this indefiniteness, started during that period, has become a durable condition, a way of thinking and working, which is destined for a long time to come. Science itself, once guardian of the purest rationality, works today by using indefinite cognitive standards. New systems of logic such as those of Bart Kosko and Lofti Zadeh, are called fuzzy thought, - faded, indefinite floating thought. These are closer to the dimension of the eastern philosophic experiences, such as Shintoism and Zen, rather than to the rigid theorems of western science.”

© Andrea Branzi

1997


Andrea Branzi _ Silver & Wood

Courtesy Casa Argentaurum and Studio Andrea Branzi


Silver & Wood series in which the elements of the traditional tea service are translated into linear forms with intersections of branches and plant fragments. It is again the purity of the silver weavings of baskets and containers that evoke archaic and symbolic forms, with references to Shaker culture.

© Andrea Branzi

1999


Andrea Branzi _ L'Eta del bronzo


A. Branzi: “Actually the real core of the exhibition doesn't consist in the materials, but in the new performances of the objects : lamps placed high up, in the unexplored spheres of our living rooms, above the ergonomic heights of the floor lamps; jointed glass that can grow and articulate as jasmine corollas or horsetail stems; baskets that can be warped and handled, with an uncertain perimeter and design. A sense of precariousness crosses all these objects, that wave, vibrate, but show with courage that we still don't know all about the ancient and modern materials. Maybe a new Bronze Age can let us discover a different modernity.“

© Andrea Branzi

1999


Andrea Branzi _ L'Eta del bronzo


A. Branzi: “Actually the real core of the exhibition doesn't consist in the materials, but in the new performances of the objects : lamps placed high up, in the unexplored spheres of our living rooms, above the ergonomic heights of the floor lamps; jointed glass that can grow and articulate as jasmine corollas or horsetail stems; baskets that can be warped and handled, with an uncertain perimeter and design. A sense of precariousness crosses all these objects, that wave, vibrate, but show with courage that we still don't know all about the ancient and modern materials. Maybe a new Bronze Age can let us discover a different modernity.“

© Andrea Branzi

1999


Andrea Branzi _ Silver & Gold

Courtesy Casa Argentaurum and Studio Andrea Branzi


A. Branzi: “Civilizations without jewels have never existed“


“Jewels are quite special microcosms; they must be beautiful and precious : their aesthetic qualities must match with chemical and physical qualities. The decoration is part of the metaphysical values of the materials. A nice jewel makes a woman nicer, spiritual, and richer too. This collection of garlands and small acrobats shows the difficult equation among such a different values.“

© Andrea Branzi

1999


Andrea Branzi _ Silver & Gold

Courtesy Casa Argentaurum and Studio Andrea Branzi


A. Branzi: “Civilizations without jewels have never existed“


“Jewels are quite special microcosms; they must be beautiful and precious : their aesthetic qualities must match with chemical and physical qualities. The decoration is part of the metaphysical values of the materials. A nice jewel makes a woman nicer, spiritual, and richer too. This collection of garlands and small acrobats shows the difficult equation among such a different values.“

© Andrea Branzi

2016


Andrea Branzi _ Portali


A. Branzi: “Portali is a collection of 18 white ceramic pieces, conceived as if they were small, identical spaces; inside each of these portals, however, there is a different vase (or a tree trunk). It is therefore a series of micro-spaces, partly repetitive and partly varied, which together create a floral architectural landscape; in fact, rather than a collection of vases, Portali strikes me as an environmental project, the persistence of a simple idea that renews itself in time and space, like a musical measure or staff. As has often been the case for me in recent years, the true focus of my interests is flowers; for their mysterious, fragrant, and colorful presence within human-made spaces. Like the Japanese ikebana around which architecture unfolds, or the tokonoma that gather literature and the most private domestic symbols

into a sort of small niche. I believe that one of the tasks of design is, in fact, to know how to add to the built world not useless decorations, but autonomous spaces, micro-places dedicated to what may seem superfluous, but without which everything becomes useless; space for flowers, for the sacred objects of secular civilizations.“

© Andrea Branzi

2016


Andrea Branzi _ Portali


A. Branzi: “Portali is a collection of 18 white ceramic pieces, conceived as if they were small, identical spaces; inside each of these portals, however, there is a different vase (or a tree trunk). It is therefore a series of micro-spaces, partly repetitive and partly varied, which together create a floral architectural landscape; in fact, rather than a collection of vases, Portali strikes me as an environmental project, the persistence of a simple idea that renews itself in time and space, like a musical measure or staff. As has often been the case for me in recent years, the true focus of my interests is flowers; for their mysterious, fragrant, and colorful presence within human-made spaces. Like the Japanese ikebana around which architecture unfolds, or the tokonoma that gather literature and the most private domestic symbols

into a sort of small niche. I believe that one of the tasks of design is, in fact, to know how to add to the built world not useless decorations, but autonomous spaces, micro-places dedicated to what may seem superfluous, but without which everything becomes useless; space for flowers, for the sacred objects of secular civilizations.“

© Andrea Branzi

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