JOE COLOMBO: THE ARCHITECT WHO PUT ITALIAN DESIGN ON THE MAP

24 May

Joe Colombo: The Beginnings

Born in Milan in 1930, Joe Colombo quickly established himself as a pioneering figure in the transformation of Italian art and industry during the mid-20th century. His curiosity for technology and futurism led him to the design world, where he could explore his creative abilities and enthusiasm. Colombo’s early education at the Academy of Fine Arts and the Faculty of Architecture shaped his artistic perception. He became a part of the Nuclear Art movement, creating avant-garde paintings and sculptures that broke free from traditional boundaries. Free and anthropomorphic forms, solid volumes, and perforated surfaces characterized his works. These elements would later serve as the aesthetic foundation for his future designs. In addition to creating art, Colombo also displayed a knack for designing innovative spaces and television kiosks. Despite distancing himself from these early works later in his career, they laid the groundwork for his future achievements in design.

Joe Colombo: Transitioning to Architecture and Interior Design

In 1956, Colombo completed his first significant architectural project, a condominium in Milan. However, the passing of his father, Giuseppe, in 1959 marked a turning point in his career. He took over his father’s electrical equipment company, merging his love for art with industry. In 1961, Colombo opened his first studio in Milan, focusing on architecture and interior design. His innovative solutions were a testament to his creative genius. Often designing mountain refuges and hotels, inspired by his passion for skiing, his designs for the interiors of the Pontinental hotel in Sardinia earned him the IN-Arch prize in 1964. The internally illuminated ceiling adorned with perspex prisms was a striking example of his innovative use of new plastic materials.

Joe Colombo Design: Revolutionizing Furniture

Colombo’s collaboration with his brother Gianni resulted in the creation of the Acrilica lamp in 1962. This was a classic example of how Colombo’s passion for architecture and sculpture influenced his furniture design. He began designing furniture elements possible to reproduce in multiple copies, which evolved into playful games of volumes and colors over time. Colombo believed that spaces should adapt to changing habits and times. He envisioned dynamic spaces instead of static ones, incorporating what he called the fourth dimension: time. This concept intrigued him, and he explored it further in his lectures and writings. Colombo divulged his vision of linking interiors to the discourse in an interview. He imagined habitats as transformable entities, adjusting to the current needs of the inhabitants. This allowed for a smaller overall volume that felt larger to live in. To achieve this, Colombo emphasized the need for practical and dynamic furniture that prioritized functionality, transformation, and mobility. He advocated abandoning the symbolism of traditional furniture. He also stressed the importance of studying objects for mass production, simplifying the design process, and considering the choice of materials. For Colombo, stylism took a backseat to functional aspects of creativity.

Joe Colombo’s Vision for Shop and Booth Setups

Joe Colombo’s innovative concepts extended to the spaces where his furniture designs were showcased – the shops and exhibition booths. He treated these public spaces as dynamic entities, requiring the same adaptability he advocated in his furniture designs. His work for exhibitions like Eurodomus and Salone del Mobile exemplified this approach. The stands he designed went beyond static displays; they were dynamic environments that engaged visitors and conveyed the visionary concept behind the products. Colombo’s design for the Stilnovo lamp stand manifested his evolving ideas. The stand embraced modularity, allowing flexibility and adaptation to different settings and products. This concept was further explored in the Hoechst stand at the Düsseldorf plastics fair. Colombo fashioned a display machine resembling a pinball machine, skillfully guiding visitors and offering them a tactile and interactive experience. The same principles guided Colombo’s shop designs. For instance, the Lella Sport shop featured a suspended tunnel for clothing storage and revolving compasses for salespeople, catering to both aesthetics and practicality. Another groundbreaking example was the Foto-Cine Continental shop, where he adorned the ceiling with small silvered hemispherical sheets that reflected and multiplied light. The products were showcased in transparent domes, creating a visually captivating display that emphasized the functionality of the space. These designs exemplify Colombo’s commitment to creating practical, adaptable, and aesthetically captivating spaces.

Joe Colombo: A Frenzied Pursuit of Interest and Innovation

With his vibrant red beard, sparkling eyes, and pipe in hand, Joe Colombo was a fervent man. His wide-ranging interests led him to explore everything in his path, from skiing and automobiles to mechanics. Colombo conceptualized ski bindings, car gear shifts, and car designs, though they remained unrealized. In 1971, he ventured into designing a professional camera and a caravan. Colombo’s dedication focused on research regarding materials, living spaces, and mass production. His recent design endeavors aimed to provide global solutions, emphasizing prefabrication and skilled production. He moved away from objectivist design associated with prestigious cultural products, delving into experimental research and projecting his vision into the future. These ideas were grounded in rigorous theoretical studies and innovative production technologies. Through his experiments, research, and passions, Colombo made astute observations about the future of design and industry. He expressed concerns about design fully assimilating with industry, hindering its evolution and leading to stagnation. Furthermore, he introduced the concept of ‘anti-design,’ rejecting the objectivity of products and advocating for systems and habitable structures. Additionally, he believed that pure research was the only way to achieve this alternative discourse. Consumed by our consumer society, he recognized the inevitability of design being confined to applied research alone.

Joe Colombo: The Futurist Designer

Joe Colombo, the visionary designer, was widely recognized as the “creator of the future environment” for his unequivocal insights into the potential of audiovisual processes. He foresaw the feasibility of studying and working from home, the obsolescence of megalopolises, and the transformation of traditional families into smaller, affinity-formed groups. Despite the challenges posed by the limited modern industrial production in Italy then, Colombo fearlessly pushed the boundaries with his futuristic furniture proposals, ultimately creating iconic international design pieces. Other manufacturers quickly followed suit, embracing innovation and establishing new companies. Colombo’s unwavering determination to overcome setbacks led him to collaborate with new manufacturers and pursue numerous contracts. Regrettably, his untimely demise curtailed the realization of many groundbreaking projects. Nevertheless, his prolific and diverse body of work garnered him countless awards.

Joe Colombo: The Method Behind the Vision

Joe Colombo’s design approach may have appeared improvisational, but it was a rapid synthesis of his formal, functional, and technical knowledge. Through the use of powerful imagery, he skillfully explored and conveyed ideas. Initially uncertain, his stroke grew more confident with time. Between 1963 and 1965, he ingeniously merged his passion for kinetic art with form and function. Colombo offered multiple solutions for each problem, presenting them to clients or reserving them for future developments. His exceptional memory and talent for reassembling objects into innovative forms with new meanings resulted in truly sculptural designs. He adapted his creations based on the properties of materials and functional requirements, meticulously studying and optimizing each design. When necessary, he swiftly discarded sketches to create new ones. Despite his absence, detailed drawings and collaborative efforts ensured the seamless completion of projects. Colombo’s holistic approach transformed objects into something extraordinary. His intuitive and exploratory designs pushed the boundaries, revolutionizing living spaces. While his dream was to encapsulate function in monolithic units, the diverse functions created new monolithic designs. The dynamic and cyclical nature of his process was evident.

Joe Colombo: The Production Process

Joe Colombo created three fundamental groups in his production: objects and appliances, systems and series, and polyfunctional monoblocks. “Objects” are unique pieces that emerged from extensive research on material usage, including notable creations like the Acrilica lamp (1962) and the Elda armchair (1963). Particular objects, such as the Minilamp and the Calice lighthouse tower, were purposefully designed to address specific functional needs. In the initial phase, Joe Colombo’s focus revolved around creating unpublished unique pieces like cutlery and wristwatches. On the other hand, “Systems” comprise elements that can be assembled to form diverse objects, while “monoblocks” integrate multiple functions seamlessly. Colombo’s remarkable ability to connect ideas is evident, and he viewed himself as a collaborator striving to design products most practically and objectively possible.

The Integral Future Habitat: Joe Colombo’s Vision

Joe Colombo’s proposals and production exude exuberance, grounded in profound intellectual research. He approached design and furnishing experiences with a critical eye, considering their historical influences and technological validity. Colombo championed new forms by combining innovative materials and recognizing the problem-solving opportunities they presented. He believed that designers should not remain detached from technological advancements. Colombo developed a theory that architects would evolve into urban planners or designers, addressing contemporary problems on a global social scale. He envisioned a new way of living that broke free from traditional approaches, driven by audiovisual communications, technological advancements, and rejecting consumerism. His habitat proposals called for a radical transformation of society, deviating from conventional norms. His architectural design methodology incorporated studies of ecology, psychology, ergonomics, and other disciplines centered around the contemporary human experience. Moreover, his ambition was to offer autonomous, adaptable, and programmable equipment that could function in any present or future space. The relationship between space and time was the fundamental parameter for all his research. Colombo proposed comprehensive solutions for the future habitat, advocating for a coordinated, planned, and programmed structure that embraced technological and scientific progress. Regrettably, on July 30, 1971, Joe Colombo passed away from a heart attack. However, his design legacy endures, primarily due to his emphasis on freedom. His work presciently anticipated concepts that are now commonplace, such as the interactive relationship between humans and the equipment in their living spaces, the adaptability and transformation of inhabited areas, and the reduction of urban mobility through telecommunications. Beyond technology, functionality, and innovation, his projects possess a distinctive aesthetic quality that transcends time, rendering them eternal symbols of our era.

Joe Colombo: A Legacy in Design

In conclusion, Joe Colombo saw design as the tool to bring inventions to life, incorporating elements of culture, synthesis, and color. His legacy in the design world continues to inspire, reminding us that design is not just about aesthetics but also about creating functional and transformative spaces. His approach to design, particularly his emphasis on functionality, transformation, and mobility, set new standards in the industry. Joe Colombo’s unique journey from painting and sculpture to architecture and design, his visionary approach to space and time, and his innovative use of materials have left an indelible mark on the design world. His works continue to inspire designers across the globe, reminding us that design is not just about aesthetics but also about creating functional and transformative spaces. His impact on the design world is a testament to his creative genius and forward-thinking approach.

SOURCE:

https://www.italiandesignclub.com/2023/11/15/joe-colombo-a-visionary-of-design-and-futurism/

https://www.architecturaldigest.com/story/discover-the-story-behind-joe-colombos-beloved-elda-chair

https://collectibledry.com/art-design/joe-colombo-design-visionary/

https://gubi.com/en/us/designers/joe-colombo

https://designwanted.com/joe-colombo-multichair-design-icon/

https://www.design-museum.de/en/exhibitions/detailpages/joe-colombo.html

Betina Menescal