Tavolo Con Ruote Low Table with Glass Top by Gae Aulenti for Fontana Arte For Sale
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Tavolo Con Ruote Low Table with Glass Top by Gae Aulenti for Fontana Arte

About

An Industrial trolley used at the Fontana Arte plant to transport glass: This was the object that inspired Gae Aulenti to design her Tavolo con Ruote. This icon low table is a specimen of intuitive design that skips the drawing board stage and goes straight from the idea of an everyday item to the prototype stage. As shown art: 2745 51.2” × 51.2” × 9.8”. Also available in the following dimensions: 2652 55.1” × 27.5” × 9.8”, 2744 47.2” × 47.2” × 9.8”, 2653 59.1” × 59.1” × 9.8”, 2746 59.1” × 39.4” × 9.8”, 2744/S4 39.4” × 39.4” × 9.8”, 2744/S5 43.3” × 43.3” × 9.8”.

Additional Options

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Details

  • Creator
    Fontana Arte (Manufacturer), Gae Aulenti (Designer)
  • Production type
    Current Production
  • Production time
    It will take 3-4 weeks to make this piece
  • Condition
    Excellent.
  • Dimensions

    H 9.85 in. x W 51.19 in. x D 51.19 in.

    H 25 cm x W 130 cm x D 130 cm

  • Seller location
    New York, NY
  • Reference number
    LU163926266143

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About Gae Aulenti (Designer)

The Italian architect and designer Gae Aulenti will forever be best remembered for her work with museums, in particular her 1980-86 renovation of a Beaux Arts Paris train station to create the galleries of the Musée d’Orsay. Aulenti — whose first name, short for Gaetana, is pronounced “guy” — should also be recalled for her tough intellectual spirit and for working steadily when few women found successful architectural careers in postwar Italy.

     After she graduated from the Milan Polytechic in 1954, Aulenti opened an architectural office. She also joined the staff of the progressive architectural magazine Casabella, whose editorial line was that the establishment, orthodox modernism of Le Corbusier and the Bauhaus, had outlived it usefulness. When their movement for fresh approaches to architecture and design received a sympathetic hearing, Aulenti found patrons — most prominently Gianni Agnelli, of Fiat, who later employed her to renovate the Palazzo Grassi in Venice for use as an arts exhibition space.

     Commissions for showrooms and other corporate spaces brought Aulenti to furniture design. She felt that furniture should never dominate a room. Her chairs and sofas — low-slung, with rounded enameled metal frames and ample seats — and tables, particularly her 1972 marble “Jumbo” coffee table for Knoll, project solidity and sturdiness. In lighting design, however, Aulenti is bravura. Each work has a marvelous sculptural presence. Pieces such as her “Pipistrello” table lamp and “Quadrifoglio” pendant are a perfect marriage of organically-shaped glass and high-tech fixtures. Others have a futuristic elegance—and some even have a touch of personality. Aulenti’s “Pileino” and “La Ruspa” table lamps each look almost like little robots. Her lighting pieces are an artful grace note in the career of a woman who believed in strength.

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