Italian designer and architect
Gae Aulenti (born December 4, 1927, Palazzolo dello Stella, Italy–died December 31, 2012, Milan, Italy). Gae (or Gai) Aulenti was a prominent postwar Italian designer and architect who lent her fluid approach to media and material to some of the most important architectural and interior designs of the late 20th century. Born in Udine in 1927, Aulenti attended Politecnico di Milano in the mid 1950s and established her design practice in the same city shortly after graduation. She rose to prominence while serving as the art director for Casabella, a leading avant-garde architectural journal of the era. It was during these early years that Aulenti’s unique design philosophy emerged, one that centered on the ultimate freedom of the designer from the limitations of practice to a singular medium. read more
Rather than selecting one style and imposing it upon a space, Gae Aulenti believed instead that the space and its inhabitants should inform the design around them. What resulted was a body of work that spanned all realms. From smaller furnishings designs to her larger architectural projects later in the century, Aulenti defined her style as one that was untethered to a specific aesthetic or method. This novelty resulted in her rapid creative recognition and success, a point echoed in the bevy of international exhibitions that showcased her work between the 1960s and 1970s.
In 1979, Gae Aulenti became the artistic director of Fontana Arte, one of the premier Italian makers and marketers of furniture and lighting, and revitalized the company by centering it back on glass making and collaborating with the most important Italian designers of the time, such as Pier Giacomo Castiglioni, Pierlugi Cerri, Daniela Puppa (Prima Signora, lamp, 1992), Franco Raggi (Velo lamp, 1989), Umberto Riva (Metafora lamp, 1980), and Renzo Piano (Teso furnishing systems). During her tenure at Fontana Arte, she also designed, with Pier Giacomo Castiglioni, the popular Parola lamp in 1980.
During her prolific design career, she created important furnishings, such as the Sgarsul rocking chair (1962) and the Locus Solus chair (1963) for Poltronova; the April folding chair (1964) and the Sanmarco table (1984) for Zanotta; the Giova lamp (1964), the Tour table (1993), and the Tavolo con Ruote table (1980) for Fontana Arte; the Pipistrello table lamp for Martinelli (1966); and the Pileino lamp for Artemide (1972).
Over the following decades, Gae Aulenti gained acclaim for the sheer versatility of her designs, but it was her larger-scale projects in the 1980s that secured her status as a preeminent architect and designer. Between 1982 and 1986, for example, Aulenti contributed to the evolution of Paris’ Musée D’Orsay from an industrial train station into a contemporary and functional art museum with a unique personality within the Parisian museum environment. During that same period, she also led crucial renovations at the nearby Centre Pompidou (1980–1985). The following decade, Aulenti’s talents reenvisioned the Florentine Santa Maria Novella train station (1990) as well as the Scuderie del Quirinale in Rome (1999). Aulenti was celebrated in her lifetime for her contributions to the fields of architecture and design by renowned institutions around the globe. In addition to being awarded the designation of Chevalier de la Légion d’Honneur, Aulenti was the recipient of the Knight Grand Cross of the Order of Merit of the Italian Republic and was also elected as an Honorary Member of the American Institute of Architects before her death at the age of 85.
Last updated: February 22, 2019
For additional information on Gae Aulenti, please visit:
“Gae Aulenti,” FontanaArte.
Oliver Wainwright, “Gae Aulenti obituary.” The Guardian, 5 November 2012.
Walter Smith, “Aulenti, Gai.” Oxford Art Online – Grove Art Online.