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Rare Ignazio Gardella for Azucena Early Set of Ten ‘R63’ Armchairs
About the Item
Ignazio Gardella for Azucena, set of ten armchairs, model P10 / R63, faux leather, nickel-plated brass, Italy, design 1963
A rare set of armchairs by Milanese architect Ignazio Gardella and produced under Azucena, the R63 design holds a special place in postwar Italian furniture history. The design was originally conceived for the dining room of the Cavalieri-Hilton hotel (1961-1963). The fact that this particular set includes ten matching pieces makes it especially noteworthy. At first glance, the chair feels both classical and experimental. The most immediately arresting feature is the backrest: broad and vertical, it culminates in a winged headrest that evokes the silhouette of a bergère chair, though here stripped of ornament and reduced to a bold, abstract gesture.
The armrests follow this same ethos of simplification. Their soft, outward flare echoes the wings of the headrest and connects the upper structure to the more grounded presence of the legs. The burgundy red upholstery, which extends uniformly over the seat, arms, back, and even the legs, creates a sense of unity that blurs the distinctions between structural elements. The covering doesn’t simply wrap the structure but cuts and bends in precise ways, like tailored clothing, lending the whole object a sartorial sharpness. The detailing at the seams is minimal, almost invisible, yet clearly the result of a refined design and fabrication process. The legs are particularly intriguing. Though quite slender and tapered, they retain a sense of sturdiness. Their slight outward splay introduces a dynamic touch that complements the overall round-contoured character of the chair. Square nickel-plated feet support the legs in a dignified and discreet manner.
Biography
Ignazio Gardella, a pivotal figure in 20th-century Italian architecture, was born on March 30, 1905, in Milan. He came from a Genoese lineage of engineers and architects, with his father, Arnaldo Gardella, playing a significant role in shaping his early exposure to the discipline. After completing his studies at Liceo Classico Berchet, he pursued civil engineering at the Polytechnic University of Milan. Even before obtaining his degree in 1928, he had already begun working in his father’s studio alongside Luigi Martini. However, after his father’s passing that same year, Gardella decided to chart his own path, distancing himself from the early 20th-century stylistic influences that characterized Martini’s work.
During his university years, Gardella formed connections with some of Italy’s most promising young architects, including Franco Albini, Giovanni Romano, Lodovico Belgiojoso, Gian Luigi Banfi, Enrico Peressutti, and Ernesto Nathan Rogers. These friendships fueled his engagement with contemporary architectural discourse. In 1930, he embarked on a formative journey through Germany, visiting Düsseldorf, Munich, Nuremberg, and Frankfurt – experiences that deepened his understanding of modernist design principles.
By the mid-1930s, Gardella had become an active participant in Milan’s rationalist movement, contributing to discussions spearheaded by the influential magazine “Casabella”, under the leadership of Giuseppe Pagano and Edoardo Persico. His involvement extended to major architectural events, such as the 6th Milan Triennale (1936) and urban planning initiatives like Milano Verde (1938) and the Piano A.R. (1943–1945). A 1939 trip to Scandinavia, where he met Alvar Aalto, Gunnar Asplund, and Sven Markelius, with whom he maintained a lasting friendship.
Gardella’s work from the 1930s demonstrated a commitment to rationalist principles, exemplified in the Tuberculosis Dispensary and Prophylaxis Laboratory in Alessandria (1933–1939). During the postwar reconstruction era, he emerged as a leading intellectual and designer, co-founding the Movement for the Study of Architecture (MSA) in 1947. His teaching career at IUAV, spanning from 1949 to 1975, influenced generations of architects, and his involvement with CIAM (International Congresses of Modern Architecture) placed him at the center of global architectural discourse.
The 1950s and 1960s marked the peak of Gardella’s architectural production characterized by rationalist rigor. This includes the Pavilion of Contemporary Art (PAC) in Milan (1947–1954), the House in Zattere in Venice (1953–1959), and the Olivetti Canteen and Auditorium in Ivrea (1953–1959). His work extended into urban planning, notably in the Metanopoli district, and later into significant public projects, including the Lambrate Railway Station in Milan (1983–2001) and the Faculty of Architecture in Genoa (1975–1989).
As his reputation grew, Gardella became one of the most widely published Italian architects of his time. Gardella’s contributions were widely recognized: he received the Olivetti Award for Architecture (1955), the Golden Lion for Lifetime Achievement at the Venice Architecture Biennale (1996), and the Gold Medal of the President of the Republic for Merit in Science and Culture. His influence extended beyond Italy, with a visiting professorship at Harvard University in 1986, where his monographic exhibition and essay, “The Last Fifty Years of Italian Architecture. Reflected in the eye of an architect”, cemented his intellectual legacy.
In his later years, Gardella remained active in architectural restoration. His work was honored in major exhibitions across Europe, and in 1995, his House in Zattere became the first modern building in Italy to receive official artistic protection – marking the first time that a modern building constructed less than fifty years prior received such recognition. Gardella worked until his final days, passing away on March 15, 1999, in his family home in Oleggio. His legacy continues to inspire architects worldwide.
Initially conceived for the dining room of the Cavalieri-Hilton hotel in Rome, the R63 armchair by Milanese architect Ignazio Gardella owes its strong personality to the decisive shape of the backrest — with a winged headrest recalling a bergère — and the sartorial cut of the cover that extends uniformly over the legs, creating a continuous, refined effect.
Initially conceived for the dining room of the Cavalieri-Hilton hotel in Rome, R63 is strongly characterized by the profile of the backrest, which almost seems to be a simplification of the shapes of a bergère. Another interesting detail is the upholstery that completely covers the legs, combining these slender supports and the seat and backrest into one, for a continuous effect with a sartorial cut.
Please note that we advise reupholstery before use. This item contains threadbare upholstery with loose seams and small stains. Reupholstery can be done before shipping by our experienced craftspeople in our own in-house restoration atelier. With high attention for the original, they make sure every piece contains its value and is ready for the many years to come. We kindly ask you to contact our design experts for further information about the endless possibilities our restoration and upholstery atelier has to offer. Of course, a locally organized reupholstery is possible as well.
- Creator:Azucena (Manufacturer),Ignazio Gardella (Designer)
- Dimensions:Height: 35.44 in (90 cm)Width: 24.02 in (61 cm)Depth: 25.6 in (65 cm)Seat Height: 17.33 in (44 cm)
- Sold As:Set of 10
- Style:Mid-Century Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1960s
- Condition:Wear consistent with age and use. Every item Morentz offers is checked by our team of 30 craftspeople in our in-house workshop. Special restoration or reupholstery requests can be done. Check ‘About the item’ or ask our design specialists for detailed information on the condition.
- Seller Location:Waalwijk, NL
- Reference Number:Seller: 501169901stDibs: LU933145344512
Azucena
Vintage Azucena furniture is elegant and inviting — the esteemed mid-century Milanese manufacturer’s wall lights, armchairs and side tables, which are marked by simple symmetry and thoughtfully contrasting materials, can likely be found in the living rooms of design lovers all over Italy.
Azucena was founded in 1947 by three leading figures of 20th-century Italian architecture: Luigi Caccia Dominioni, Ignazio Gardella and Corrado Corradi Dell’Acqua. The trio initially established Azucena in order to furnish the interiors of buildings they’d designed but found a robust business opportunity in manufacturing individual pieces from those collections for postwar consumers. And as the company founders borrowed the brand name from a conniving character in the Giuseppe Verd opera Il Trovatore, it is appropriate, then, that the furniture for which Azucena is known is practical but exudes a hint of playfulness.
The best of Italian modernism combines cheekiness and bold functionality with provocative and thoughtful design, and Azucena is deeply rooted in that tradition. While its brass-and-walnut mid-century-modern-era dining tables and stackable coffee tables — created by the likes of Dell’Acqua and Vico Magistretti — are exceptionally unobtrusive in small spaces and framed in clean lines, Dominioni designed chunky, enveloping armchairs during the 1970s upholstered in striking red fabric.
Among Azucena's most successful and iconic designs is also Dominioni's most famous piece of furniture: the minimalist Catalina chair. After it debuted at the Milan Triennial in 1957, the Catalina chair, with its generously curving enameled steel frame and plush leather cushion, became an instant sensation. Dominioni’s other enduring designs for Azucena include the Monachella lamp, the ABCD armchair and the versatile Cilindro ottoman.
Italian furniture manufacturer B&B Italia acquired Azucena in 2018 and has reissued a number of designs from the legendary brand’s portfolio, such as the Imbuto lamp, the Catalina armchair and the Cavalletto table.
On 1stDibs, find vintage Azucena lighting, tables, seating and more.
About the Seller
4.9
Established in 2006, Morentz has a team of approximately 55 restorers, upholsterers, interior advisers and art historians, making it a gallery, workshop and upholstery studio, all in one. Every day, a carefully selected array of 20th-century furniture arrives from all over the world at the firm’s warehouse, where the team thoroughly examines each piece to determine what, if any, work needs to be done. Whether that means new upholstery or a complete restoration, Morentz's aim is always to honor the designer’s intention while fulfilling the wishes of the client. The team is up to any challenge, from restoring a single piece to its original glory to furnishing a large-scale hotel project.
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- ShippingRetrieving quote...Shipping from: Waalwijk, Netherlands
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