Dining Table, Model TL22, in Mahogany by Albini & Helg for Poggi, Italy 1958

Franco Albini was a significant figure in modern Italian design of the twentieth century. His creations are characterized by an aesthetic that can best be described as elegant minima...

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Amazing dining table by Gio Ponti from the early 1940s, Italy. It has a rectangular top in veneered Italian walnut with underneath four tapered fluted legs. A similar striking fluted...

Desk model TL22, designed by Franco Albini and Franca Helg and manufactured by Poggi in 1958. Table completely restored. Wood: walnut. Letteratura: Gramigna G., Repertorio del desig...

Wooden dining table TL22 model by Franco Albini for Poggi 60s. Born in Milan in 1905, Franco Albini is an Italian architect, urban planner and furniture designer, active between the 1930s and 1960s. He studied at the Milan Polytechnic and completed his apprenticeship under the guidance of the architect and designer Gio Ponti, and played a key role in the formulation of the Italian Rationalist movement in the years before the Second World War. Albini works with several well-known mid-century manufacturers, among which Cassina, Arflex, Poggi, Arteluce, Brionvega, and Knoll stand out, and many of his designs are still in production today. He has received many honors for his work, including three Compasso d'Oro. The professional story of the furniture maker Roberto Poggi...

Franco Albini & Franca Helg. Dining table model no. TL22. Manufactured by Poggi, Italy, 1958. Mahogany. Measurements: 180.3 cm x 104.1 cm x 73 H cm. 70.98 in x 40.98 in x 28.74 in. Literature: Giuliana Gramigna, Repertorio 1950/1980, Milan, 1985, p. 123. Franco Albini, was born in 1905 and died in 1977. He spent his childhood and part of his youth in Robbiate in Brianza, where he was born. Albini, as an adolescent moved with his family to Milan. Here he enrolled in the Faculty of Architecture of the Polytechnic and graduated in 1929. He started his professional activity in the studio of Gio Ponti and Emilio Lancia, with whom he collaborated for three years. At the 1929 International Exhibition in Barcelona (where Gio Ponti curated the Italian pavilion and Mies van der Rohe realized that of Germany) and in Paris where, as Franca Helg recounted, he had the opportunity to visit the studio by Le Corbusier. In those three years, the works he carried out are admittedly of the twentieth century imprint. It is the meeting with Edoardo Persico that marked a clear turning point towards rationalism and the approach to the group of editors of "Casabella". The partly ironic and partly very harsh comments of the Neapolitan critic to a series of drawings, made by Albini for the design of some office furniture, caused him a great disturbance. “I spent days of real anguish - Albini recalls - I had to answer all the questions. I also had a fever, a large and long fever. " The meted provoked Albini to openen a professional studio in via Panizza with Renato Camus and Giancarlo Palanti. The group of architects began to deal with public housing by participating in the competition for the Baracca district in San Siro in 1932 and then building the IFACP neighborhoods: Fabio Filzi (1936/38), Gabriele D'Annunzio and Ettore Ponti (1939). During this period, Albini also worked on his first villa (Pestarini), which Giuseppe Pagano, architect and critic of the time, presented as follows: “This coherence, which the superficial rhetoric of fashionable jugglers calls intransigence, and which is instead the basis of understood between the fantasy of art and the reality of the craft, in Franco Albini, it is so rooted that it transforms theory into a moral attitude ". But it is above all in the context of the exhibitions that the Milanese master experienced his compromise between that "rigor and poetic fantasy" of which Pagano speaks, coining the elements that became a recurring theme in his . The opening in 1933 of the new Triennale headquarters in Milan, in the Palazzo dell'Arte, was an important opportunity to express the strong innovative character of rationalist thinking, a gym in which to freely experiment with new materials and new solutions, but above all a "method". "Cultivated as a communication laboratory, the art of setting up was for the rationalists of the first generation what the perspective had been for the architects of humanism: the field open to a hypothesis of space that needed profound reflections before landing the concreteness of the construction site ". Together with Giancarlo Palanti, Albini on the occasion of the V Triennale di Milano set up the steel structure house (with R. Camus, G. Mazzoleni, G. Minoletti and with the coordination of G. Pagano), for which he also designed the 'furniture. At the following Triennale of 1936, Persico dided, together with a group of young designers gathered by Pagano in the previous edition of 1933, Franco Albini took care of the preparations of the home exhibition. The setting up of Stanza per un uomo, at that same Triennale, allows us to understand the acute and ironic approach of Albini, as a man and as a designer: "Celebrating the beauty of mechanics was the imperative to which, for example, the surprising displays by Franco Albini who managed, in the subtle way of a refined and rarefied style, to sublimate their practical content in the metaphysics of daring still lifes: flying objects which marked in the void refined frames and metal intricacies the nodes of a fantastic cartography where industry finally became art free from purpose ". That same year Albini and Romano designed the exhibition of the Ancient Italian Goldsmithery: vertical uprights, simple linear rods, designed the space. A theme, of the "flagpole", seemed to be the center of the evolution of production and the creative process. The concept is reworked over time, with the technique of decomposition and recomposition typical of Albinian design: in the preparation of the Scipione Exhibition and contemporary drawings (1941) the tapered flagpoles, on which the paintings and display cases were hung, are supported by a grid of steel cables; in the Vanzetti stand (1942) they take the V-shape; in the Olivetti shop in Paris (1956) the polished mahogany uprights support the shelves for the display of typewriters and calculators. The flagpole is found, however, also in other areas. In the apartments he designed, it is used as a pivot on which the paintings can be suspended and rotated to allow different points of view, but at the same time as an element capable of dividing the spaces. The Veliero bookcase...

Franco Albini model TL2 desk or dining table for Poggi, Italy, 1950s Franco Albini for Poggi, dining table model TL2, walnut and metal, Italy, 1951. The TL2 table by Franco Alb...

Franco Albini for Poggi, dining table, model TL2, walnut and iron, Italy, 1951. The TL2 table by Franco Albini features a simplistic and sleek design. Executed in darkened walnut wo...

Round table model TL30 with black lacquered metal base and a wooden top. Designed by Franco Albini for Poggi, Pavia in 1950s.   After spending his childhood and part of his youth in Robbiate in Brianza, where he was born in 1905, Franco Albini moved with his family to Milan. Here he enrolled in the Faculty of Architecture of the Polytechnic and graduated in 1929. He starts his professional activity in the studio of Gio Ponti and Emilio Lancia, with whom he collaborates for three years. He probably had his first international contacts here In those three years, the works carried out are admittedly of a twentieth-century imprint. It was the meeting with Edoardo Persico that marked a clear turning point towards rationalism and the rapprochement with the group of editors of “Casabella”. The new phase that that meeting provoked starts with the opening of the first professional studio in via Panizza with Renato Camus and Giancarlo Palanti. The group of architects began to deal with public housing by participating in the competition for the Baracca neighborhood in San Siro in 1932 and then creating the Ifacp neighborhoods: Fabio Filzi (1936/38), Gabriele D’Annunzio and Ettore Ponti (1939). Also in those years Albini worked on his first villa Pestarini. But it is above all in the context of the exhibitions that the Milanese master experiments his compromise between that “rigor and poetic fantasy” coining the elements that will be a recurring theme in all the declinations of his work – architecture, interiors, design pieces . The opening in 1933 of the new headquarters of the Triennale in Milan, in the Palazzo dell’Arte, becomes an important opportunity to express the strong innovative character of rationalist thought, a gym in which to freely experiment with new materials and new solutions, but above all a “method”. Together with Giancarlo Palanti, Albini on the occasion of the V Triennale di Milano sets up the steel structure house, for which he also designs the ‘furniture. At the subsequent Triennale of 1936, marked by the untimely death of Persico, together with a group of young designers gathered by Pagano in the previous edition of 1933, Franco Albini takes care of the preparation of the exhibition of the house, in which the furniture of three types of accommodation. The staging of Stanza per un uomo, at that same Triennale, allows us to understand the acute and ironic approach that is part of Albini, as a man and as a designer: the theme addressed is that of the existenzminimum and the reference of the project is to the fascist myth of the athletic and sporty man, but it is also a way to reflect on low-cost housing, the reduction of surfaces to a minimum and respect for the way of living. In that same year Albini and Romano designed the Ancient Italian Goldsmith’s Exhibition: vertical uprights, simple linear rods, design the space. A theme, that of the “flagpole”, which seems to be the center of the evolution of his production and creative process. The concept is reworked over time, with the technique of decomposition and recomposition typical of Albinian planning: in the setting up of the Scipio Exhibition and of contemporary drawings (1941) the tapered flagpoles, on which the paintings and display cases are hung, are supported by a grid of steel cables; in the Vanzetti stand (1942) they take on the V shape; in the Olivetti store in Paris (1956) the uprights in polished mahogany support the shelves for displaying typewriters and calculators. The reflection on this theme arises from the desire to interpret the architectural space, to read it through the use of a grid, to introduce the third dimension, the vertical one, while maintaining a sense of lightness and transparency. The flagpole is found, however, also in areas other than the exhibition ones. In the apartments he designed, it is used as a pivot on which the paintings can be suspended and rotated to allow different points of view, but at the same time as an element capable of dividing spaces. The Veliero bookcase...