De Pas, D'Urbino and Lomazzi: the playful design of the Pop years

The history of vintage and contemporary design is littered with collaborations built as a duo or even a trio. This is precisely the case with Italian architects and designers Jonathan De Pas, Donato D'Urbino and Paolo Lomazzi. The 3 of them embodied the golden age of Italian design in the 60s and 70s, as part of the anti-design movement. Their architecture and design studio designed iconic pieces of furniture that have become symbols of pop culture. This article looks back at their career and their creations, which can be found in the collections of some of the world's most famous museums. The history of vintage and contemporary design is punctuated by collaborations built as a duo, or even a trio. This is precisely the case for Italian architects and designers Jonathan De Pas, Donato D'Urbino and Paolo Lomazzi. The 3 of them embodied the golden age of Italian design in the 60s and 70s, as part of the anti-design movement. Their architecture and design studio designed iconic pieces of furniture that have become symbols of pop culture. This article looks back at their career and their creations, which can be found in the collections of some of the world's most famous museums. View of the De Pas, D'Urbino, Lomazzi exhibition organised as part of Design Days 2013 in Geneva by Arcadia, specialists in Italian design. arcadiameubles.ch View of the De Pas, D'Urbino, Lomazzi exhibition organised as part of Design Days 2013 in Geneva by Arcadia, a specialist in Italian design. arcadiameubles.ch Jonathan De Pas (1932-1991), Donato D'Urbino (1935) and Paolo Lomazzi (1936) met on the benches of the Milan Polytechnic in Italy. Immediately after graduating, they founded their own studio, De Pas, D'Urbino & Lomazzi, in 1966. While this article focuses on their work in the world of furniture, the trio of architects launched their activities in building design (industrial and residential), urban development and industrial design. Jonathan De Pas (1932-1991), Donato D'Urbino (1935) and Paolo Lomazzi (1936) met on the benches of the Milan Polytechnic in Italy. Immediately after graduating, they founded their own studio, De Pas, D'Urbino & Lomazzi, in 1966. While this article focuses on their work in the world of furniture, the trio of architects launched their activities in building design (industrial and residential), urban development and industrial design. From left to right: Jonathan De Pas, Donato D'Urbino & Paolo Lomazzi. zanotta.com From left to right: Jonathan De Pas, Donato D'Urbino & Paolo Lomazzi. © zanotta.com But it was their furniture pieces, developed mainly in the early 60s and up to the end of the 70s, that made them famous, with designs that are still celebrated around the world today. Take, for example, the famous giant baseball glove that doubles as a sofa, named Joe after the famous American baseball player Joe DiMaggio. A unique creation that places the trio at the heart of the expression of popular culture in art and design. But it was their pieces of furniture, developed mainly in the early 60s and up to the end of the 70s, that created their reputation, with designs that are still celebrated around the world today. Take, for example, the famous giant baseball glove that doubles as a sofa, named Joe after the famous American baseball player Joe DiMaggio. A unique creation that places the trio at the heart of the expression of popular culture in art and design. Joe armchair, designed by De Pas, D'Urbino & Lomazzi (1968-1970). A seat inspired by the poetry of Pop Art. An iconic piece published by Poltronova. poltronova.it Joe armchair, designed by De Pas, D'Urbino & Lomazzi (1968-1970). A seat inspired by the poetry of Pop Art. An iconic piece published by Poltronova. poltronova.it At the time, the famous baseball glove was made from moulded polyurethane foam, illustrating the ability of the 3 designers to explore new materials and techniques. For many baby-boomers, the Joe armchair was the expression of a relaxed and playful lifestyle, in tune with the gaiety of the 60s. At the time, the famous baseball glove was made from moulded polyurethane foam, illustrating the 3 designers' ability to explore new materials and techniques. For many baby-boomers, the Joe armchair was the expression of a relaxed, playful lifestyle, in tune with the gaiety of the 60s. Another cult piece, highly representative of the creative energy of Italian design in the 1960s, is the famous transparent Blow armchair, designed in 1967. It was, no less, the 1st inflatable to be mass-produced and to become an international success! De Pas, D'Urbino and Lomazzi, like other designers of their generation, exploited the potential of plastic and its derivatives to create original organic shapes. Another cult piece, highly representative of the creative energy of Italian design in the 1960s, is the famous transparent Blow armchair, designed in 1967. It was, no less, the 1st inflatable to be mass-produced and to become an international success! De Pas, D'Urbino and Lomazzi, like other designers of their generation, exploited the potential of plastic and its derivatives to create original organic shapes. Advertisement for the Blow inflatable plastic armchair, designed by De Pas, D'Urbino & Lomazzi , 1967. Blow epitomises the spirit of the sixties: comfort, originality and pop colour! Advertising for the Blow inflatable plastic armchair, designed by De Pas, D'Urbino & Lomazzi , 1967. Blow epitomises the spirit of the sixties: comfort, originality and pop colours! pamono.co.uk Blow inflatable armchairs in transparent PVC, designed by De Pas, D'Urbino & Lomazzi , 1967. Light, colourful, playful and disposable, a creation in the image of sixties "pop" design... © lejournaldelamaison Blow inflatable armchairs in transparent PVC, design by De Pas, D'Urbino & Lomazzi , 1967. Light, colourful, playful and disposable, a creation in the image of the "pop" design of the sixties... © lejournaldelamaison Why do these creations make a lasting impression? Because they were the expression of an era when designers were turning their backs on the minimalist, uncluttered European design inherited from the Bauhaus and its architectural translation, the International Style. It was a time of pop colours; values were changing, and with them the concept of interior living. In this sense, De Pas, D'Urbino and Lomazzi embodied a new kind of design, in the wake of what was then known as anti-design. Why did these designs make such a lasting impression? Because they were the expression of an era when designers were turning their backs on the minimalist, uncluttered European design inherited from the Bauhaus and its architectural translation, the International Style. It was a time of pop colours; values were changing, and with them the concept of interior living. In this sense, De Pas, D'Urbino and Lomazzi embodied a new design in the movement of what was then called anti-design. Straccio armchair in ivory leather, designed by De Pas, D'Urbino and Lomazzi for Zanotta, 1973. Another iconic piece from the trio. The more massive "leather" translation of the Blow armchair? Straccio armchair in ivory leather, designed by De Pas, D'Urbino and Lomazzi for Zanotta, 1973. Another iconic piece from the trio. The more massive "leather" translation of the Blow armchair? Straccio armchair in ivory leather, designed by De Pas, D'Urbino and Lomazzi for Zanotta, 1968. Straccio armchair in ivory leather, designed by De Pas, D'Urbino and Lomazzi for Zanotta, 1968. What are the promoters of anti-design calling for? Anti-design emerged in Italy in the 1960s as a reaction to the wise, uncluttered design mentioned above. Intellectually, the pioneers of anti-design wanted to put the social and cultural potential of design back at the heart of creation, which in their view was disappearing in favour of a design focused above all on the functionality of furniture. Aesthetically, this translates into the use of symbols of popular culture and consumer society, a common feature of Pop Art at the time, which was booming. What were the promoters of anti-design calling for? Anti-design emerged in Italy in the 1960s as a reaction to the wise, uncluttered design mentioned above. Intellectually, the pioneers of anti-design wanted to put the social and cultural potential of design back at the heart of creation, which in their view was disappearing in favour of a design focused above all on the functionality of furniture. Aesthetically, this resulted in the use of symbols of popular culture and consumer society, a common feature of Pop Art at the time, which was booming. Sciangai coat rack, designed by De Pas, D'Urbino and Lomazzi for Zanotta, 1973. Another iconic piece by the trio of designers inspired by the Mikado game: playful, simple, effective and, for once, made of solid wood! archiproducts.com Sciangai coat rack, designed by De Pas, D'Urbino and Lomazzi for Zanotta, 1973. Another iconic piece by the trio of designers inspired by the Mikado game: playful, simple, effective and, for once, in solid wood! archiproducts.com Fante adjustable table lamp, designed by De Pas, D'Urbino & Lomazzi for Stilnovo, 1978. A more classic and refined design, but still playful, since the reflector placed at the top of the bulb, similar to a wide-brimmed hat, allows the light to be directed at will and gives rise to multiple combinations and lighting effects. archiproducts.com Fante adjustable table lamp, designed by De Pas, D'Urbino & Lomazzi for Stilnovo, 1978. A more classic and refined design, but still playful, since the reflector placed at the top of the bulb, similar to a wide-brimmed hat, allows the light to be directed at will, giving rise to a multitude of combinations and lighting effects. archiproducts.com As well as putting an end to black, white and grey colours and a design marked by orthogonal lines, these designers created colourful furniture and objects with original, sometimes eccentric shapes - made possible by the development of the plastics industry - and the use of new materials such as synthetic textiles and Formica, verging on a kitsch style that prefigured the postmodern design of the Memphis movement of the 1980s. An important point: while classic design used durable materials such as wood, anti-design set itself up as the champion of the ephemeral and the disposable. As well as putting an end to black, white and grey colours and a design marked by orthogonal lines, these designers created colourful furniture and objects, with original and sometimes eccentric shapes - made possible by the development of the plastics industry - and the use of new materials such as synthetic textiles and formica, verging on a kitsch style that prefigured the postmodern design of the Memphis movement of the 80s. An important point: while classic design uses durable materials such as wood, anti-design champions the ephemeral and the disposable. 2 other creations perfectly embody the explosion of this new design. Firstly, the Chica children's chair, also known as the Junior, for which De Pas, D'Urbino and Lomazzi presented a striking prototype at the no less remarkable "Italy: The New Domestic Landscape" exhibition, held at MoMA in 1972, which revealed the genius of Italian design to the world. The exhibition showcased an anti-conformist, anti-establishment design style, revealing pieces of furniture characterised by flexibility and modularity, such as the Chica chair and the famous Sacco bag. 2 other creations perfectly embody the explosion of this new design. Firstly, the Chica children's chair, also known as the Junior, for which De Pas, D'Urbino and Lomazzi presented a striking prototype at the no less remarkable "Italy: The New Domestic Landscape" exhibition, held at MoMA in 1972, which revealed the genius of Italian design to the world. The exhibition showcased an anti-conformist, anti-establishment design style, revealing pieces of furniture characterised by flexibility and modularity, such as the Chica chair and the famous Sacco bag. ABS plastic stacking chairs for children, Chica model, designed by De Pas, D'Urbino, Lomazzi & Giorgio DeCurso, 1971. An ingenious modular system of plastic components that can be assembled in different ways to create seats, tables and play structures. moma.org ABS plastic stacking chairs for children, Chica model, De Pas, D'Urbino, Lomazzi & Giorgio DeCurso design, 1971. An ingenious modular system of plastic components that can be assembled in different ways to create seats, tables and play structures. © moma.org Sacco chair, 1968. Design: Gatti, Paolini & Teodoro © artdesigntendance.com Sacco chair, 1968. Design: Gatti, Paolini & Teodoro. © artdesigntendance.com The Galeotta armchair, created in 1968, is another example of the period's need for modular, light, playful and transformable furniture. Made entirely from polyurethane foam with differentiated density, the seat has no supporting frame or internal mechanisms. It is made up of 3 geometric blocks with an irregular profile to create 3 different configurations. The Galeotta armchair, created in 1968, is another creation that reflects the need of the time for modular, light, playful and transformable furniture. Made entirely from polyurethane foam with differentiated density, the seat has no supporting frame or internal mechanisms. It is made up of 3 geometric blocks with an irregular profile to create 3 different configurations. For those with a passion for the history of design, De Pas, D'Urbino and Lomazzi have been able to translate new ideas into "pop" furniture that is both playful and high quality. Some experts believe that they were able to marry the ideas of radical design - more political and experimental than the anti-design style - with real life, much to the delight of vintage design aficionados! For those with a passion for the history of design, De Pas, D'Urbino and Lomazzi were able to translate new ideas into "pop" and playful furniture, but always of the highest quality. Some experts consider that they were able to marry the ideas of radical design - more political and experimental than the anti-design style - with real life, much to the delight of vintage design aficionados! François BOUTARD François BOUTARD

De Pas, D'Urbino and Lomazzi: the playful design of the Pop years

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