Massimo Vignelli Pendent Lamp for Venini
About the Item
- Creator:Massimo Vignelli (Artist)
- Dimensions:Height: 14 in (35.56 cm)Width: 5.5 in (13.97 cm)Depth: 5.5 in (13.97 cm)
- Power Source:Hardwired
- Voltage:110-150v
- Lampshade:Included
- Style:Mid-Century Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1960's
- Condition:Rewired. Wear consistent with age and use.
- Seller Location:San Francisco, CA
- Reference Number:1stDibs: LU812540158672
Massimo Vignelli
Massimo Vignelli and Lella Vignelli are legendary names in branding and were prolific creators of home furnishings, products and interiors. The duo’s modernist furniture collaborations, which span 50 years, have also left a profound mark on design and wider visual culture. Furniture created by the couple is often labeled as Massimo Vignelli’s alone, though he fought to have Lella recognized for her work, even throwing away magazines that neglected to give her due credit.
As Massimo wrote of their lifelong collaboration in his book Designed By: Lella Vignelli: “It is not holding a pencil with four hands that makes a partnership; it is sharing the creative act and exercising creative criticism which is reflected in the end result.”
After meeting in Italy, Lella (1934–2016) and Massimo began working together in 1961 and a decade later formed Vignelli Associates in New York. A self-described “information architect,” Massimo was committed to streamlining complex ideas into clear, visually arresting forms. (Witness the graphic identity that he cocreated with Bob Noorda for the New York City Transit Authority as well as his influential 1972 subway map.) The Vignellis’ most recognizable piece, for example, may be the Handkerchief chair, a stackable office chair made of compression-molded plastic that has the look of a cloth floating in air. It was created for Knoll in 1983 after they designed the brand’s logo.
Evidence of the couple’s influence can also be found in their Saratoga line (1964), the first collection of lacquered furniture, which helped herald in the trendy “glossy” look of the decade (and beyond). When the Vignellis created the Poltrona Frau Interview chair in 1988 for an Italian television station, it became widely sought after, “which goes to show you the power of the TV media,” the couple once said. Much like their elemental graphic designs, the Kono (1984) and Pisa tables (1985) — both created for Casigliani — cull the form of the table down to geometric shapes.
Many of the Vignellis’ designs are considered modern masterpieces and are included in the collection of the Museum of Modern Art in New York and other important institutions.
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