Angelo Mangiarotti Sculptural Dining Table with Carlo De Carli Dining Chairs

A modern Renaissance man, Italian designer Carlo de Carli wove his personal philosophy into his furniture creations. He believed that furniture should suit human movement and the surrounding environment, and each piece was made not only with an eye to form but also for everyday practicality. In today’s interiors, vintage de Carli furniture captures the extraordinary essence of Italian mid-century modernism.

Carlo de Carli was born in Milan in 1910. He studied at the Polytechnic University of Milan and developed an interest in design, architecture, writing and philosophy. After graduating in 1934, he worked under revered Italian architect and designer Gio Ponti. Shortly afterward, de Carli opened a studio with furniture maker Renato Angeli. In 1940, he began a relationship with the Milan Triennial design and art museum, where he eventually joined the board of directors.

Most of de Carli's furniture and architectural works came to fruition between the 1940s and 1970s. His architectural projects included the Church of Saint Ildefonso and the Via dei Giardini 7 building in Milan. However, de Carli is best known for his chair and table designs.

What sets de Carli’s chairs and other seating apart from those of other designers is that they are made to be lived in. As a result, his comfortable, functional and inviting designs earned the attention of leading Italian furniture companies like Cassina, Singer & Sons, Tecno and GUBI, and he played a significant role in 20th-century Italian furniture design.

In 1954, de Carli was awarded the Compasso d’Oro for his Cassina Model 683 chair. In 1957, he also won a Grand Prix at the Milan Triennial exhibition for a chair he designed for Tecno. Still committed to his academic pursuits, de Carli served as dean of the architecture faculty at the Polytechnic University of Milan from 1963 to 1968. He continued teaching until 1986 and continued writing until his death in 1999. His most important writings were published in a book titled Architettura, Spazio Primario.

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Italian architect, designer, teacher and urban planner Angelo Mangiarotti was a leading light in the international design community from the 1960s onward. While he was an adherent of the rationalist principles of purity of line and simplicity of construction, he sought to imbue his designs for coffee tables, dining chairs, sconces and other furnishings with a sense of character and lightness of spirit that was often lacking in late-20th-century modernist architecture and design. 

Born in Milan, Mangiarotti studied architecture at Milan Polytechnic, graduating in 1948. Five years later, he won a visiting professorship at the Illinois Institute of Technology — beginning a peripatetic academic career that would see him teaching in numerous Italian institutions as well as in schools as far afield as Hawaii and Australia. He worked with Bauhaus eminences Ludwig Mies van der Rohe and met such greats as Frank Lloyd Wright and Walter Gropius. He returned to Italy in 1955 and would go on to work on numerous industrial, residential, commercial and civic projects in his home country, most notably a group of six railway stations in Milan.

As a designer, Mangiarotti and the development of his career embodies the evolution of modernism in the latter decades of the 20th century. In the late 1950s and early ’60s, after early experiments in plywood furniture and one-piece foam-core seating — including the 1110 lounge chair for Cassina — Mangiarotti began to design using more classic materials, from delicate, curvaceous blown-glass table lamps for Artemide to chandeliers with crystal links for Vistosi.

In 1971, Mangiarotti introduced what became his signature designs: a series of tables in marble and other stones that featured “gravity joints,” their legs held in place by the weight of the tabletop. Tables in his Eros collection have muscular proportions that anticipate the robust, overscaled lines of postmodern works that would appear 10 years later: His Eccentrico table, for example, is a striking assemblage in marble featuring a top that is cantilevered dramatically on a canted columnar base. 

But simplicity and practicality were consistently the primary watchwords of Mangiarotti’s designs. The purity and elegance of the objects he created offer a graceful counterpoint to a traditional decor, yet they have a singular sculptural presence that allows them to stand out powerfully in a modern interior.

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