{"id":19613,"date":"2023-12-13T09:00:00","date_gmt":"2023-12-13T08:00:00","guid":{"rendered":"https:\/\/areademo.beculture.it\/?p=19613"},"modified":"2024-03-11T12:40:03","modified_gmt":"2024-03-11T11:40:03","slug":"9-award-winning-objects-from-compasso-doro-you-didnt-know-you-had","status":"publish","type":"post","link":"https:\/\/areademo.beculture.it\/en\/9-award-winning-objects-from-compasso-doro-you-didnt-know-you-had\/","title":{"rendered":"Compasso d’Oro: discover the iconic and acclaimed objects you might unknowingly own"},"content":{"rendered":"\n

Italian design, celebrated for its influence on the culture of home furnishings and industrial products<\/strong>, has etched a place of pride in our modern history. 
It’s globally recognized and revered, thanks to a serendipitous fusion of visionary creativity and savvy entrepreneurship. This legacy is embodied in the Compasso d’Oro award<\/strong>, the most venerable and prestigious accolades in design, dating back to 1954. Initiated by La Rinascente department stores and currently curated by the ADI – Association for Industrial Design, these awards spotlight excellence in aesthetic, functional, and practical design. 
Our selection highlights 9 of the most beloved<\/strong> and widespread items from the extensive catalog of over 350 annual awardees – pieces of exceptional design that you might just find your own.<\/p>\n\n\n\n

9 everyday items that are Compasso d\u2019Oro winners<\/h2>\n\n\n\n

Spanning 5,000 square meters, Milan’s ADI Design Museum<\/a> is home to a collection of Compasso d\u2019Oro award-winning designs. This exhibit traces the journey of Italian design, showcasing a range of applications, many of which are surprisingly commonplace in our daily lives.<\/p>\n\n\n\n

1. Lettera 22<\/em> portable typewriter<\/h3>\n\n\n\n

The legendary Lettera 22<\/em>, <\/strong>designed by Marcello Nizzoli for Olivetti, <\/strong>rightfully earned its place among Compasso d\u2019Oro winners. Produced in over 2 million units from 1950 to the mid-60s, the Lettera 22<\/em> set the standard for portable typewriters both in Italy and internationally. 
This successor to the MP1 model was engineered for ultimate portability, <\/strong>cleverly integrating the keyboard and roller within its compact body, <\/strong>only leaving the knob and a slimmed-down line spacing lever on the outside.
Despite its reduced size, the Lettera 22 didn’t compromise on functionality. Its construction boasted durable materials and precision hammers, ensuring both robustness and a user-friendly experience. <\/p>\n\n\n\n

Innovative design choices were made to minimize weight and size, such as the omission of the 1 and 0 keys, substitutable by the letters i and o. Special features were also thoughtfully included, like the automatic ink ribbon reversal, a tabulation key, and the capability to type in black, red, or stencil mode for mimeograph printing.
The Lettera 22<\/em>‘s enduring global acclaim – underscored by its exhibition at New York’s MoMA – stems not only from its design but also from adept marketing campaigns <\/strong>and a resonant name that naturally extends the Italian alphabet.<\/p>\n\n\n\n

In 1954, the ADI recognized Olivetti’s exceptional overall contribution, citing it as a paragon of stylistic consistency <\/strong>across all facets of production, from the graphic and promotional efforts to the architectural design of their stores, factories, homes, and customer services.<\/p>\n\n\n\n

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Lettera 22<\/em>, ADI Design Museum <\/figcaption><\/figure>\n\n\n\n

2. Mirella<\/em> sewing machine<\/h3>\n\n\n\n

The Mirella<\/em> sewing machine, another brainchild of the adept and prolific Marcello Nizzoli, <\/strong>is a notable icon in the sewing world. 
Crafted for Necchi, <\/strong>a historic sewing machine company from Pavia, Mirella<\/em> secured its second Compasso d\u2019Oro in 1957. <\/strong>Nizzoli’s brilliance shone through as he first created the Supernova<\/em> and then refined its technical features with the Mirella<\/em>. Celebrated with the \u201cGran Premio\u201d at the 11th Triennale in Milan and showcased in the MoMA in New York, the Mirella<\/em> impressed the jury with its efficiency and shape. The latter, \u201cinspired by contemporary non-figurative sculpture <\/strong>[\u2026] reveals the importance of this exemplary synergy between industry and designer\u201d, maintaining \u201ca true technological character\u201d. Its expansive work base, <\/strong>seamlessly melded with the machine’s body, highlights a commitment to design and practicality, hallmarks of both designer\u2019s and company\u2019s legacy. <\/p>\n\n\n\n

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Mirella<\/em>, ADI Design Museum<\/figcaption><\/figure>\n\n\n\n

3. Fiat 500<\/em> automobile<\/h3>\n\n\n\n

Succeeding the celebrated Fiat 500 Topolino<\/em>, the New Fiat 500 <\/strong>emerged in 1957, crafted to be Italy’s first car for the masses during the post-war economic boom. Engineer Dante Giacosa<\/strong>‘s vision was to create a car that not only served the working class of Italy but also stood as a beacon of Italian design on the international stage – a goal he achieved admirably. The New Fiat 500 became an emblem of Made in Italy design, <\/strong>hailed for its innovative features and accessibility.
Giacosa’s design was a blend of aesthetic charm and practical ingenuity. The car’s compact, minimalistic design, measuring less than 3 meters in length, <\/strong>housed a robust four-stroke, two-cylinder engine with an air-cooling system, offering power and efficiency within its small frame. The use of a retractable fabric roof <\/strong>– a cost-saving choice – added a touch of luxury previously unseen in such an affordable car.
Despite its small size, the Fiat 500 boasted a surprisingly spacious interior, a crucial detail for ensuring its popularity among families.
Equally important was the selling price.<\/p>\n\n\n\n

The initial release, however, nearly stumbled <\/strong>– certified for just two passengers and priced close to its larger cousin, the Fiat 600. This prompted a quick pivot to a more advanced, four-seater model at a lower price point, giving rise to the “Cinquino.” This variant thrived, evolving through series until 1975 and earning a spot at the MoMA.
Giacosa’s Fiat 500 was more than just a car; it was an emblem of accessible luxury and a milestone in design, as acknowledged by the Compasso d\u2019Oro Award in 1959, which celebrated its “important stage on the road towards a new genuine expressiveness of technique<\/strong>“.<\/p>\n\n\n\n

4. Eclisse<\/em> table lamp<\/h3>\n\n\n\n

The Eclisse<\/em> lamp, a creation of the architect and designer from Milan Vico Magistretti for Artemide\u00ae, stands the test of time, remaining in production since its inception in 1966 and capturing the Compasso d\u2019Oro shortly thereafter. 
Ernesto Gismondi, Artemide\u00ae\u2019s founder, commissioned a lamp that offered more than the binary on\/off functionality, seeking to enhance light control <\/strong>in the bedroom space.
Magistretti\u2019s stroke of genius occurred in transit; his initial vision took form on a mere subway ticket, laying the groundwork for what would become a hallmark of function and form. <\/p>\n\n\n\n

The Eclisse<\/em>, with its three spherical caps – a base and two semi-circular shades, one stationary and one adjustable – embodies the idea of a blind lantern described in Victor Hugo’s Les Mis\u00e9rables<\/em>, allowing users to modulate light exposure <\/strong>with a simple maneuver.
Originally crafted in aluminum for its suitability to mass production, it presented a tactile challenge – the heat from the bulb made the metal too hot to touch. A design pivot introduced a plastic ring, <\/strong>enabling safe and comfortable adjustments.
\u201cThe Commission\u201d, reads the ADI website, \u201cbelieves that the object presented has the dual quality of high design-aesthetic value and potential mass distribution. It also highlights the novelty of the technical solution, which, with a simple rotating screen movement, adjusts the intensity of the light emitted\u201d.
The Eclisse<\/em> is also part of the permanent collection at MoMA.<\/p>\n\n\n\n

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Eclisse<\/em>, ADI Design Museum<\/figcaption><\/figure>\n\n\n\n

5. Parentesi<\/em> lamp<\/h3>\n\n\n\n

In 1979, the 11th Compasso d\u2019Oro awoke from a nine-year hiatus, honoring 42 innovative designs out of 180 contenders. Among these stood the Parentesi<\/em> lamp, produced by Flos <\/strong>since 1971 and still available for purchase today. 
The creators are among the most renowned: Achille Castiglioni and Pio Manz\u00f9, <\/strong>and the story behind it is even more remarkable since the two designers never met.
Manz\u00f9, known for his automotive designs including the Fiat 127, died prematurely at the age of 30 in 1969. Achille Castiglioni discovered the lamp project in Manz\u00f9’s archives and with the blessing of his widow, chose to refine it.<\/p>\n\n\n\n

\u201cI replaced the rod (envisioned by Manz\u00f9) with a metal cord, which, by being diverted, creates friction and allows the lamp to stay in position without the need for any screws\u201d, Castiglioni would later recall. Aptly named Parentesi<\/em>, Italian for “parenthesis”, the lamp features a tubular bracket <\/strong>that lets the light component glide along a taut steel cable, anchored from ceiling to floor. The design is as intuitive as it is ingenious, with a ceiling rose to fasten the cable above and a rubberized base below as a stabilizing counterweight.
Beyond its adjustable nature, Parentesi<\/em>‘s appeal lies in its minimalist and enduring design, a testament of inclusive and widespread design <\/strong>that even influences its packaging. Presented as a DIY kit complete with a carrying handle, it embodies a design that’s as accessible as it is sophisticated.<\/p>\n\n\n\n

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Parentesi<\/em>, ADI Design Museum<\/figcaption><\/figure>\n\n\n\n

6. Habitat<\/em> switches and sockets<\/h3>\n\n\n\n

\u201cI want anyone who owns a switch to have a first-class design object\u201d. This quote is from Achille Castiglioni and aligns seamlessly with the Compasso d\u2019Oro ’79 winner for inclusive and universal design. 
The award recognized the Habitat<\/em> <\/strong>series’ first 45 mm modular switch, <\/strong>a line of switches and sockets crafted by Andries Van Onck and Hiroko Takeda <\/strong>for AVE, an esteemed name in the Italian electrical industry.<\/p>\n\n\n\n

The Habitat<\/em> series exemplifies how meticulous design and functionality can elevate the most overlooked items in our homes. These switches and sockets, while commonplace, are pivotal to contemporary living. 
The design work by Van Onck and Takeda showcases that even daily, repetitive tasks can be revolutionized.<\/p>\n\n\n\n

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Habitat<\/em>, ADI Design Museum<\/figcaption><\/figure>\n\n\n\n

7. Tratto Clip<\/em> and Tratto Pen<\/em> marker pens<\/h3>\n\n\n\n

Not just a simple pen, but a writing revolution, <\/strong>the Tratto Pen<\/em> and Tratto Clip<\/em> were awarded in the Compasso d\u2019Oro\u2019s 11th edition. Marco Del Corno, the visionary behind Design Group Italia<\/strong>, joined forces with FILA Fabbrica Italiana Lapis ed Affini <\/strong>to bring this innovative product to life. 
A Japanese patent, familiar to the company, inspired its design: a hardy synthetic tip through which water-based ink flows cleanly, free from drips and smudges, enabling writing from even the most unconventional of angles.<\/p>\n\n\n\n

Attention to detail didn\u2019t end with the ink flow; the pen\u2019s design, including a cap <\/strong>with 7 teeth for a firm grip and to prevent rolling, along with holes at the cap’s end that allow air to pass through in case a child accidentally swallows it.
Leading a series of derivative products, the Tratto Clip<\/em> included, the marker pen enjoyed an astounding debut, with 4 million units flying off the shelves in the first week <\/strong>of spring ’76. Its appeal reached the likes of Alessandro Mendini, the renowned Italian architect and artist. 
Furthermore, few are aware that during the sad days of his kidnapping, the politician and former Prime Minister Aldo More received a Tratto Pen<\/em>, which allowed him to write some of his letters even while lying down.  <\/p>\n\n\n\n

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Tratto Pen<\/em> and Tratto Clip<\/em>, ADI Design Museum<\/figcaption><\/figure>\n\n\n\n

8. Mobil<\/em> drawer units<\/h3>\n\n\n\n

In the post second war era, Kartell, <\/strong>under Giulio Castelli’s visionary leadership, began a profound exploration of plastic, culminating in 1999 with the distinction of being the first to craft furniture with polycarbonate. 
Prior to this landmark achievement, the company had already garnered acclaim, including the prestigious Compasso d\u2019Oro in 1994 – one of 9 they now boast – for the Mobil <\/em><\/strong>drawer-container system, a collaboration between Antonio Citterio and Glen Oliver L\u00f6w.<\/strong> <\/p>\n\n\n\n

Kartell, at that time, was delving into the domestic sphere while also branching into office space design. Mobil<\/em> epitomizes this transition, earning praise for injecting a refreshing, innovative style into workspaces. Its versatile and spirited design <\/strong>effortlessly transitioned into residential settings, presaging today’s seamless integration of home and office interiors. The ADI Jury praised Mobil<\/em>‘s design, particularly noting the \u201cexemplary interplay of the metallic structure and the vibrant, translucent plastic drawers\u201d.<\/p>\n\n\n\n

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Mobil<\/em>, ADI Design Museum<\/figcaption><\/figure>\n\n\n\n

9. Sacco<\/em> armchair<\/h3>\n\n\n\n

The Sacco<\/em> by Zanotta, <\/strong>a piece that transcends the conventional, was honored with the Compasso d\u2019Oro for lifetime product achievement in 2020, a testament to over fifty years of enduring allure in Italian design.
Perhaps prototyped even before it was designed, it became famous shortly after its launch. Let\u2019s take it step by step.
It\u2019s 1968, and three architects from Turin, Piero Gatti, Cesare Paolini, and Franco Teodoro, <\/strong>approach Aurelio Zanotta\u2019s office with an idea. Or a bag. Made of jute, it mimics those filled with leaves and chestnuts used by farmers to sit on in the fields. The inception of Sacco<\/em> was not just a bag but a philosophy of seating – relaxed, formless, and accommodating to the sitter’s desire for comfort without constraints.
Zanotta seized upon the concept, pioneering the use of materials that would suit mass production while maintaining the essence of Sacco<\/em>‘s design: expanded polystyrene beads <\/strong>for the filling and durable polyester for the cover.<\/p>\n\n\n\n

Dubbed nonconformist, nomadic, playful, and democratic, the Sacco<\/em> armchair has graced countless spaces, from the quintessential Italian home to the prestigious halls of the Triennale Design Museum in Milan and the Victoria & Albert Museum in London. Its cultural impact is such that it has appeared in the world of Peanuts and on the silver screen in the Italian comedy Fracchia la Belva Umana<\/em>.\u201cA typological innovation in the upholstered furniture sector, it represents over time the freedom from conventional styles of use\u201d<\/strong>: this is the Jury\u2019s motivation, which recognized the full value of an armchair that, despite breaking the mold of classic seating, will never go out of style.<\/p>\n\n\n