7th Edition

The 7th edition of Triennale Design Museum was dedicated to the theme of ‘Italian Design Beyond The Crises,’ focusing on three crucial moments in the history of Italian design—1930s’ autarky, 1970s’ austerity, and contemporary self-production.

Conceived by Silvana Annicchiarico—director of the museum from 2007 to 2018—and curated by Beppe Finessi—editor-in-chief of Inventario magazine—the exhibition promoted the idea that difficulties and constraints imposed by economical crises stimulate experimentation and creativity in design.

Exhibit and Graphic Design

The design of the exhibition was developed by French designer Philippe Nigro (1975), who revisited the museum’s spaces in an original way by playing with the contrasts full-empty and complete-incomplete.

The visual communication was designed under the direction of graphic design master Italo Lupi (1934) and—beyond exhibition graphics—included advertisements, posters, flyers, catalogue, tram liveries, leaflets, and more.

The Exhibition Path

The exhibition illustrated an unsung story of Italian design and craftsmanship, enriched by more than 650 works made by some of the most important authors.

The list of the designers exhibited included many of the greatest masters of Italian architecture, design, and styling such as Gio Ponti, Franco Albini, Carlo Mollino, Salvatore Ferragamo, Piero Fornasetti, Ettore Sottsass, Enzo Mari, and many others.

The objects were displayed in chronological order, starting from a small room dedicated to Fortunato Depero. While the “strada novissima”—a pathway that was entirely painted in white—was the major section featuring monographic rooms on both sides.

The Set-Up

The stage design was characterised by poor materials that were evocative of both autarky and self-production, arranged in such a way to form “a urban scenario made of façades, curtains, and perspectives” (Silvana Annicchiarico).

Before the pathway, came a large room that housed a selection of the most representative objects of the three periods, mixed together and framed by elegant structures made of steel.

The exhibition was visited by nearly 200.000 visitors and was published by major national and international newspapers—The New York Times, Repubblica, Il Giornale, il Post—and magazines—Artribune, Domus, Doppiozero, Living, Klat, Il Giornale dell’Arte, etc.

—Nicola-Matteo Munari