Marco Zanuso for Poggi Dining Table in Walnut

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...

Afra & Tobia Scarpa for Maxalto, 'Artona' dining table, walnut, walnut burl, lacquered wood, brass, ebony, Italy, 1975/1979 This table was designed by Afra & Tobia Scarpa within th...

Giotto Stoppino for Bernini, 'Maia' dining table, walnut and chromed metal, Italy, 1960s Round dining table by Giotto Stoppino. The walnut tabletop shows a warm, honey colored grain...

Angelo Mangiarotti for Skipper, dining table ‘Eros’, Marquina marble, 1971 This sculptural table by Angelo Mangiarotti is a skilful example of postmodern design. The table is execut...

Giuseppe Rivadossi for Officina Rivadossi, dining table, pine, Italy, 1980s Giuseppe Rivadossi once again proves his great eye for materialization and technicality this table is exe...

Angelo Mangiarotti for Skipper, dining table ‘M1’, Calacatta marble, 1969 This sculptural table by Angelo Mangiarotti is a skilful example of postmodern design. The strikingly patte...

Midcentury table model TL 58 designed by Marco Zanuso for Poggi Italy, 1970 Bibl.: Giuliana Gramigna Repertorio del Design Italiano1950-2000 Allemandi 2011 pag. 224

TL59; dining table; round; bronze; glass; Smoked glass; Afra & Tobia Scarpa; Poggi; 1975; Italy; Italian Design; Post-Modern; This remarkable round dining table is designed by A...

Mid-Century Modern Italian "Marcuso" dining or center chrome and glass table by Marco Zanuso for Zanotta.

Marco Zanuso (1916-2001) A large and striking modernist dining table by Marco Zanuso, in polished walnut. With architectural double X-legs and a beautiful two-tone top, the pure, st...

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...

Dining table by Marco Zanuso for Zanotta, Italy, 1970s.