EXHIBITION

During this intense 5-day event dedicated to the world of interior design and architecture at a global level, will be organized exhibitions that embrace different themes related to the world of design.

The two main contents will be:

BEST ITALIAN INTERIOR DESIGN

The Best Italian Interior Design project was born from an editorial initiative published by Publicomm, Publishing House of PLATFORM Architecture and Design, aimed at giving international visibility to the design capacity of Italian architects and interior designers. The initiative consists of a 350-page volume that brings together a selection of 84 interior design projects carried out in Italy and abroad by Italian designers, divided into retail, private house, workspace, hotel & leisure, restaurant & bar, art & culture and yacht categories.

The selection of projects was then translated into an Exhibition consisting of 30 three-sided Totems displaying all the projects in alphabetical order.
The exhibition, designed by Angelo Dadda, was designed to give maximum prominence to the content on display, namely the 84 interior design projects. A setting that, in compliance with what should be the mission of the exhibition design, wants to be a simple aesthetic composition at the service of the contents, without ever prevailing over them.

WHEN
25th – 29th February 2020

WHERE
Moore Elastika Building

AMERICAN JOURNEY 1949-1950
BRUNO MORASSUTTI

Edited by Giulio Barazzetta and Angelo Maggi
Produced by IUAV with Bruno Morassutti Project

In February of 1949 Bruno Morassutti (1920-2008), three years after graduating at IUAV, left Italy towards the United States in order to attend the Taliesin Fellowship: an apprenticeship program given by Frank Lloyd Wright at his two residences of study.
His stay at Taliesin East in Wisconsin lasts from May to September 1949. From October of the same year to March 1950 the young architect follows Wright’s community in Taliesin West in Arizona.
As Morassutti will later recount, this experience stimulates in him a strong tendency to look forward by resizing his notions of an historical past. During the stay Morassutti takes direct vision of Wright’s oeuvres from various periods of his activity and photographs them with the aid of a camera loaded with colour film. The visual report covers with few images also works of other architects present in the American territory in those years.
Visual representation of architecture in colour was more than an analytical tool. Nearly four hundred slides (framed in cardboard) countersign the outcome of this precious photographic campaign. These early outstanding colour images were displayed at IUAV and at many other Italian universities classes allowing architectural students to fully appreciate Wright’s remarkable and unseen design.
Even Carlo Scarpa will visually enhance his lecturing with the same slides and will keep them on a permanent loan. The slides were returned to Morassutti only after Scarpa’s death in 1978.
Among the important ‘returns’ of Morassutti’s experience at Taliesin and the meeting with his master, one cannot fail to highlight the role these images have had in the Italian architectural press. These were: the Casabella memorial issue (number 227) devoted to Frank Lloyd Wright, Domus 305 with Morassutti’s reportage on Johnson Wax Laboratories’ construction site, Domus 356 where Morassutti writes the architect’s obituary. In this tribute article the author takes charge of Wright’s legacy symbolising it with Taliesin East’s mill and in doing so he delivers his teaching at the architecture of our present time.
This exhibition is the rewarding collaboration between IUAV and Antonella, Valentina Morassutti and Sebastiano Rech Morassutti who carefully kept their father slides in the family archives. The photographs here shown are mostly unpublished and printed for the first time. Only a few had appeared printed in black and white in Domus and Casabella.
All together they represent the result of a careful cleaning and restoration completed by the Venetian photographer Francesco Barasciutti who has not only saved them from the decay caused by the constant light exposure inside projectors, but he has been able to give new birth to the original colours revealing to the spectator unusual details and above all the different tonalities of the materials adopted by Wright and other architects (like Soleri and Aalto) of Morasutti’s American journey.