Gae Aulenti Italian Mid-Century "Oracolo" Floor Lamp for Artemide 1969

The Italian architect and designer Gae Aulenti will forever be best remembered for her work with museums, in particular her 1980–86 renovation of a Beaux Arts Paris train station to create the galleries of the Musée d’Orsay. Aulenti — whose first name, short for Gaetana, is pronounced “guy” — should also be recalled for her tough intellectual spirit and for working steadily when few women found successful architectural careers in postwar Italy.

After she graduated from the Milan Polytechic in 1954, Aulenti opened an architectural office. She also joined the staff of the progressive architectural magazine Casabella, whose editorial line was that the establishment, orthodox modernism of Le Corbusier and the Bauhaus, had outlived it usefulness. When their movement for fresh approaches to architecture and design received a sympathetic hearing, Aulenti found patrons — most prominently Gianni Agnelli, of Fiat, who later employed her to renovate the Palazzo Grassi in Venice for use as an arts exhibition space.

Commissions for showrooms and other corporate spaces brought Aulenti to furniture design. She felt that furniture should never dominate a room. Her chairs and sofas — low-slung, with rounded enameled metal frames and ample seats — and tables, particularly her 1972 marble Jumbo coffee table for Knoll, project solidity and sturdiness. In lighting design, however, Aulenti is bravura.

Each work has a marvelous sculptural presence. Pieces such as her Pipistrello table lamp and Quadrifoglio pendant are a perfect marriage of organically shaped glass and high-tech fixtures. Others have a futuristic elegance — and some even have a touch of personality. Aulenti’s Pileino and La Ruspa table lamps each look almost like little robots. Her lighting pieces are an artful grace note in the career of a woman who believed in strength.

Find vintage Gae Aulenti armchairs, coffee tables and other furniture on 1stDibs.

Italian furniture brand Driade offers modern designs that are joyful, whimsical and slightly mischievous — words that might be used to describe the tree nymph of Greek mythology for which the company is named. Faye Toogood’s chunky, stout Roly Poly armchair and Fabio Novembre’s enigmatic Nemo chair — in which a backrest assumes the form of a human face — are just two examples of Driade’s eclectic furnishings.

Driade was founded in 1968 by brother and sister Enrico and Antonia Astori, and Adelaide Acerbi Astori, Enrico’s wife. Described by the company as a “factory of art,” Driade was focused solely on bringing distinctive and creative seating, case pieces and decorative objects to market in its early years. The brand sought to mass-produce decor and furniture that could also be seen as provocative works of art.

Driade's initial collaborations included Italian designers such as Enzo Mari, Nanda Vigo, Giotto Stoppino and Rodolfo Bonetto, to name a few. In the 1980s, the brand worked with influential and renowned designers from around the globe. In 1984, Driade partnered with French designer Philippe Starck and debuted his iconic Costes armchair during the same year. Projects with architects and furniture designers such as Ron Arad, Toyo Ito, Borek Sipek, Patricia Urquiola and others followed into the 2000s.

Over more than five decades — the company celebrated their 50th anniversary in 2018 — Driade’s fruitful partnerships have culminated in a vast catalog of chairs, sofas, coffee tables and other furnishings for the home and garden that evoke a unique and diverse blend of cultures.

Driade has also garnered international acclaim, winning the Compasso d’Oro award in 1979 and 2001 for Enzo Mari’s Delfira chair and ebony-finished, chipboard-top table, and again in 2008 for Ron Arad’s MT3 rocking armchair.

On 1stDibs, discover a range of vintage and contemporary Driade tables, cabinets, armchairs and other furniture.