Postmodern Vintage Black Metal Armchairs Mario Botta Italy 1985, Set of Six

Postmodern vintage table lamp by Mario Bott in black and white color from plastic and metal circa 1986, Italy. An iconic table lamp, model Shogun, designed by Mario Botta for Artemid...

Postmodern six ( 6 ) dining chairs designed and manufactured circa 1980, Italy. These dining chairs show a construct of sleek metal, while the seat and the back were made of natural...

Modern black and white vintage floor lamp from lacquered metal designed by Mario Botta and executed by Artemide Italy (labeled). The Floor Lamp consists of white and black enameled tubular steel and enameled aluminum. The condition is very good. The floor lamp features a foot switch and one socket Edison 27 while both perforated lamp shades are adjustable. One of the famed product designs by Mario Botta is the Shogun lamp...

Postmodern white vintage metal wall light or sconce model Shogun by Mario Botta and executed by Artemide, Milano, Italy. A gorgeous sconce o...

Modern vintage floor lamp designed by Mario Botta 1980s for Artemide Italy from ivory and black striped aluminum and tubular steel. The gorgeous construction shows geometric element...

An Italian vintage set of two red lacquered beech dining chairs from the 1970s. The beechwood frame is red brown lacquered and shows minor signs of age, while the seat and back are new covered with green speckled textile fabric. So the overall condition is very good. The set of two vintage dining...

Three 'Seconda' chairs designed by the famous architect Mario Botta for the Italian firm Alias, model 602. All three are painted black both in the structure and in the seat, they bea...

Three 'Seconda' chairs designed by the famous architect Mario Botta for the Italian firm Alias, model 602. All 4 are painted black both in the structure and in the seat, they bear ...

Mario Botta, set of 4 "Seconda" Armchairs produced by Alias, Italy 1982. Structure with armrests in gray powder-coated steel, black seat in perforated steel sheet. Backrest made up...

Quinta 605 chair, Italian postmodern, in metal by Mario Botta for Alias 1980 Quinta 605 armchair with seat and back composed of two sheets of microperforated, bent metal, black lacqu...

Price per SKU Chair model 605 also known as Quinta by the Italian designer Mario Botta, Black lacquered steel structure, seat and back in black perforated sheet steel. We have n...

Set of six 605 Quinta chairs with a black steel rod frame seat and back in bent perforated sheet metal. Designed by Mario Botta for Alias in 1985 (This chair is no longer in production). The Quinta chair it's an architecture you can sit on, this design clearly shows the inspiration of iconic designer as Le Corbusier, Louis Kahn, and Carlo Scarpa, an exemplary of this iconic chair is also exhibited at the Museum of Modern Art. Mario Botta was born in 1943 in Mendrisio. After working as an apprentice draughtsman for the Lugano-based architect Tita Carloni, he moved first to Milan and then to Venice, where he enrolled at the department of Architecture at the IUAV. He completed his degree in 1969 with a thesis tutored by Carlo Scarpa – after having met Le Corbusier and Louis Kahn, who were later to be sources of inspiration – and returned to Switzerland to open his own professional firm, which at the time dealt mainly with detached family private homes. These included the villas in Riva San Vitale (1971-1973), Ligornetto (1975-1976) and Morbio Superiore (1982-1983), in which Botta treated the theme of the home as a refuge, which protects and reassures its inhabitants. These were buildings with a character that was ironic and, in a certain sense, monumental, obtained for example (in the case of Morbio) through rigorous symmetrical compositions and a particular use of raw concrete blocks set in a linear pattern and alternated with strips of silvered brick which, on the contrary, were set at 45 degrees. Partially dug into the hillside, the villa was also characterised by a theme which was particularly dear to Botta and which had already been explored in Riva San Vitale; the net distinction between solids and voids, the latter appearing to have been dug out of the building. Between 1980 and 1990, Botta associated with artists and intellectuals from all walks of life and took numerous long trips abroad. Together with Gabriele Basilico and Edoardo Sanguinetti, he published “La Casa Rotonda”, and he became friends with Max Huber, Nicki de Saint Phalle, Dante Isella, Harld Szeemann, Robert Frank and Alberto Flammer. In 1986, the MoMA in New York dedicated a solo exhibition to his work, and the Swiss architect received his first contracts for public buildings and from abroad, debuting with the Cultural Centre in Chambéry (1984-1987). In Japan, on a challenging triangular lot of only one hundred and sixty square metres, a space which remained from the opening of a new highway, Botta built a small building which, with its clarity and strength of image, attempted to stand out in the midst of the chaos that surrounded it, thanks to a thick masonry curtain raised on the main façade, in which slabs of grey marble are crossed with horizontal fissures which erode the angles and cancel the perception of the number of floors which make up the museum. The church of Mongo, on the other hand, was the first step in a long series of places of worship, including designs for the churches of Pordenone (1987-1992) and Sartiana (1987-1995), for the cathedral of Evry (1988-1995), for the basilica of Santa Maria degli Angeli on Mont Tamaro (1990-1996, for the Giovanni XXII church in Seriate (1994-2000) and for the Cymbalista synagogue in Tel Aviv (1996-1998). In each of these, light plays a predominant role as a prime generator of space and a measure for the definition of time that passes with the various phases of the day, the months and the seasons. Light is, however, the main symbolic element, representing through its variations the uneasiness of humankind in the face of divine perfection. In this same period, the scheduling for the construction of a new School of Architecture, the Mendrisio Academy, took place. Inaugurated in 1996, it offered an alternative approach to teaching in contrast to the Swiss University system, in which an important role is played by humanistic subjects and by a copious group of well-known international professors: from Rykwert to Benevolo, Burkhart, Campos Baeza, Dal Co, Frampton, Mendes da Rocha...