Distancing himself from the masters of modernity, and even more from their later imitators, who reduced their ethical concerns to a mere style, Rogers turned to history and context (the “preesistenze ambientali”, which translates to “environmental pre-existence”) as the unavoidable references for a renovated architecture. "Advice to whoever asks me how to make a home is to not have anything, just a few shelves for books, some pillows to sit on. Biographie Gae Aulenti. Elle acquiert une renommée internationale dans les années 1980. Cod.Fiscale: 03056540374. In 1981, she was chosen to turn the 1900 Beaux Arts Gare d'Orsay train station, a spectacular landmark originally designed by Victor Laloux, into the Musée d’Orsay, a museum of mainly French art from 1848 to 1915. In the words of Carlo Bertelli (about the Musée d’Orsay): Editoriale Domus SpaVia G. Mazzocchi, 1/320089 Rozzano (Mi) -Codice fiscale, partita IVA e iscrizione al Registro delle Imprese di Milanon. Droit d'auteur : les textes des articles sont disponibles sous, centre national d'art et de culture Georges-Pompidou, Italie : décès de l'architecte Gae Aulenti, créatrice du musée d'Orsay, Portail de l’architecture et de l’urbanisme, Chevalier grand-croix de l'ordre du Mérite de la République italienne, Architecte, designer, muséographe, enseignante. Photo © Casali-Domus. Along with furniture design and architecture, Aulenti also wrote a number of pieces and worked as a set designer as well. From Domus 543, February 1975, Gae Aulenti, Trepiù system (Stilnovo advertisement). In the same period, she participated in a few large-scale exhibitions, which consecrated her as one of her time’s leading figures: the 13th Triennale di Milano (1965), dedicated to leisure and where she designed (with Carlo Aymonino and others) a part of the set up for the Italian section, and the landmark collective show Italy. Besides her several experimentations as a graphic designer, set designer (for instance for Luca Ronconi), she worked mostly in the field of product design, interior, restoration and public space design. Aulenti died in Milan on 31 October 2012, just weeks prior to her 85th birthday. - Conversion of Gare d’Orsay into a Museum, Paris (France), 1986 Aulenti is commemorated in Milan by the Piazza Gae Aulenti in December 2012, soon after her death. She told The Times that she studied architecture in defiance of her parents’ hope that she would become “a nice society girl.” She soon joined the staff of Casabella, a design magazine, and joined with her peers in rejecting the architecture of masters like Le Corbusier, Mies van der Rohe and Walter Gropius. Elle était renommée internationalement pour l'aménagement de plusieurs musées à Paris et Barcelone. 42014 Castellarano (RE) She was born in Palazzolo della Stella, Udine in Italy. Some of Aulenti’s major contributions are: Aulenti fell prey to chronic illness and died on October 31, 2012 in Milan shortly after receiving Milan Triennial prize on 16 October, just a few weeks shy of her 85th birthday. - Installation at the National Modern Art Museum at Centre Pompidou, Paris (France), 1985 Her freelance design work included products for Poltronova, Candle, Ideal Standard, Louis Vuitton, and Artemide, to name a few.[5]. De 1976 à 1979, elle est enseignante au Laboratorio di Progettazione Teatrale (mise en scène) à Prato. https://www.britannica.com/biography/Gaetana-Aulenti. Her early constructions (home with stables in San Siro, home in Brianza) and furniture designs (Sgarsul rocking chair, reinterpretation of the 1862 Thonet armchair) reveal a neo-art nouveau style and a critical re-reading of modern architecture, in vogue in the debate in Casabella in the ‘50s and ‘60s. Dès lors, Gae Aulenti enchaîne les commandes : conversion du Palau Nacional, à Barcelone en Museu Nacional d’Art de Catalunya, et de la Old Main Library de San Francisco en Asian Art Museum, restructuration des Écuries papales du palais du Quirinal, à Rome, en … World-renowned architect and designer Gaetana “Gae” Aulenti (1927-2012) graduated with a degree in architecture in Milano in 1954. The Musée d’Orsay (1986), inside the namesake station in Paris, is certainly her most renowned realization. - Aulenti, "Raggi: Has the fact that you are a woman been a crucial influence in your work:" Aulenti: Yes." Contemporary Architects. - Parole lamp – Table with wheels - Fontana Arte, 1980 - Single-family home in Brianza (Italy), 1958 Photo © Gabriele Basilico. [5] During that time, she also designed for a department store, La Rinascente, and later designed furniture for Zanotta, where she created two of her most well known pieces, the "April" folding chair which was made from stainless steel with a removable cover, and her "Sanmarco" table constructed from plate-glass. Aulenti's deep involvement in the Milan design scene of the 1950s and 1960s formed her into an architect respected for her analytical abilities to navigate metropolitan complexity no matter the medium. She was born in Palazzolo della Stella, Udine in Italy. Muriel Emmanuel. Gae Aulenti (pronounced [ˈɡaːe auˈlɛnti]; 4 December 1927 – 31 October 2012) was a prolific Italian architect, whose work spans industrial and exhibition design, furniture, graphics, stage design, lighting and interior design. The interior was designed by Gaetana Aulenti, who created a complex layout of galleries that occupied three main levels surrounding the atrium beneath the building’s iconic iron-and-glass barrel vault. Aulenti taught at Venice School of Architecture as an assistant instructor in architectural composition[5] from 1960 to 1962 and at the Milan School of Architecture of the Polytechnic University from 1964 to 1967. With its several canopy, its oversized red pillars, the large fountain and the surprising Needle, Thread and Knot sculpture by Claes Oldenburg and Coosje van Bruggen, this Milanese piazza gathers in a consistent and exuberant ensemble design, architecture, urban design and art. The most famous amongst the objects designed by Gae Aulenti is probably the Pipistrello table lamp (1965), produced by Martinelli Luce but originally conceived as a site-specific piece of furniture for Paris’s Olivetti shop. Photo © Mario Carrieri. Photo © Francesco Radino. Mère Gae Aulenti Architect, installation artist, lighting and interior designer and provoking theoretician Gae Aulenti (1927-) was born in Palazzolo della Stella, Udine in Italy. - Fiat showroom - Salone dell’automobile in Turin and Genoa (Italy), 1968  Gae Aulenti’s contribution in this field helped change the general outlook regarding architecture and provided cities with an altogether new profile. Between 1954 and 1962 Aulenti worked as a graphic designer and editorial staff at a magazine called Casabella Continuita. Women in architecture must not think of themselves as a minority, because the minute you do, you become paralyzed. Elle décède le 31 octobre 2012 à Milan, à l'âge de 84 ans[1]. Elle crée des mises en scène (notamment pour le réalisateur Luca Ronconi), des meubles, des aménagements divers, des jardins, des logements, des hôtels, écoles et magasins. "Design & Art: Gae Aulenti." From Domus 499, June 1971, Gae Aulenti, Rainox kitchen hood (Rainox advertisement). Parmi la génération de femmes architectes apparue au cours de la seconde moitié du xxe siècle, Gae Aulenti fait figure de pionnière. Floornature is an international design and architecture portal with a focus on contemporary architecture, exclusive interviews with great masters of international architecture and the most interesting new developments in the world of architecture. En 1987, elle est faite chevalier de la Légion d'honneur par François Mitterrand. Her work on the Musée d’Orsay led to commissions to create a space for the National Museum of Modern Art at the Centre Georges Pompidou in Paris; the restoration of the Palazzo Grassi as an art museum in Venice; the conversion of an old Italian embassy in Berlin into an Academy of Science; and the restoration of a 1929 exhibition hall in Barcelona as Museu Nacional d'Art de Catalunya. Gae Aulenti . Our latest podcast episode features popular TED speaker Mara Mintzer. "Gae Aulenti" exhibition catalog. A ten-year collaboration with the historic magazine Casabella-Continuità (1955-1965) turned out to be of key importance in her development. Biographie. 62 of 7.03.2001. Gae Aulenti was an Architect, installation artist, lighting and interior designer and provoking theoretician. [2] This avant-garde design movement blossomed into an entirely new type of Italian architecture, one full of imaginary utopias leaving standardization to the past. - Pipistrello lamp - Martinelli Luce, 1965 De 1966 à 1969, elle est vice-présidente de la Société des designers italiens. From the 1980s, and through the following decades, Gae Aulenti’s career was punctuated on the one side by some objects, later turned into icons (such as the Tavolo con ruote from 1980), and on the other side by a sequence of renovations of historic buildings, mostly transformed into museums. Her work has always been an inspiration for younger generation and critics have always shown great interest in her projects. From Domus 438, May 1966, Gae Aulenti, setting for Centro Fly Milano, 1966. De 1955 à 1965, elle fait partie de la rédaction de Casabella-continuità (ISSN 0008-7181) dirigée par Ernesto Nathan Rogers, qu'elle considère comme son "père spirituel"[5]. From Domus 674, July-August 1986, Gae Aulenti, Musée d’Orsay’s interiors, Paris, 1986. [7], Aulenti worked in the post-war period of Italy while creating pieces that spanned across a wide variety of styles and influences. Gae Aulenti (pronounced [ˈɡaːe auˈlɛnti]; 4 December 1927 – 31 October 2012) was a prolific Italian architect, whose work spans industrial and exhibition design, furniture, graphics, stage design, lighting and interior design. - Olivetti store, Paris (France), 1966 Née en 1927 à Palazzolo dello Stella (UD), fille d’Aldo Aulenti, d’origine apulienne [2], [3] et de Virginia Gioia, napolitaine d’origine calabraise [3], [2], [4].Elle est diplômée en architecture de l’école polytechnique de Milan en 1953, où elle a également obtenu le diplôme de la profession. Cette Italienne a en effet accumulé les titres naguère réservés aux hommes et s'est retrouvée au carrefour de la production artistique contemporaine. "Gae Autenti e il Museo d' Orsay" Milan 1987. Aulenti began her career as a private-practicing architect and freelance designer out of Milan in 1954. From Domus 706, June 1989, Gae Aulenti, exhibition gallery at the Palazzo della Triennale, Milan, 1995. di Milano n. 1186124Capitale sociale versato € 5.000.000,00 - All rights reserved - Informativa Privacy - Informativa cookie completa - Privacy, architect, product designer, set designer, “Tradition is not something that is received as a legacy, but rather something that is built every day” (Gae Aulenti), To learn more: buy the Domus digital archive, Domus 1051, David Chipperfield’s latest issue, is on newsstands, Sign up for our Newsletter and get domus in your inbox. - Renovation of Scuderie Papali, Rome (Italy), 2000 Davide Mosconi. - Home and stables in San Siro, Milan (Italy), 1956, Gae Aulenti: A Creative Universe exhibition at Vitra Schaudepot, Palermo, city of inclusion of art and architecture. Via Radici Nord, 112 She sought membership in two of them, American Society of Interior Designers, 1967, and Member of Movimento Studi per I'Architettura, Milan, 1955-61. Fille d' Aldo Aulenti, Conseil, et de Mme, née Virginia Gioia. - Aulenti, "When you're criticized for something, it's best to wait two or three years and see." En 1954 , elle obtient son diplôme d’architecture après avoir étudié à l’école Polytechnique de Milan. Gae Aulenti a suivi une formation d'architecte à Milan dans les années cinquante [3], où l'architecture italienne est engagée dans cette recherche culturelle historique sur la récupération des valeurs architecturales du passé et de l'environnement bâti existant qui se joindra au mouvement Neoliberty. "Pillow Talk" article in Design Week, 10 November 1995. En 1991, pour l'ensemble de son œuvre, elle reçoit le prix japonais Praemium Imperiale. This page was last edited on 22 September 2020, at 21:59. A ten-year collaboration with the historic magazine Casabella-Continuità (1955-1965) turned out to be of key importance in her development. Arata Isozaki "International Design Yearbook 1988-89", London 1988. Cap.Soc. From Domus 584, July 1978, Gae Aulenti, Antonio Foscari, restoration of Palazzo Grassi, Venice, 1986. En 1974, elle fait partie de la rédaction du magazine Lotus International (ISSN 0076-101X). Parallèlement à cela, elle dessine différentes gammes de mobilier pour de grands éditeurs comme Knoll et Artemide. - Plan for the Italian Cultural Institute, Tokyo (Japan), 1998 "Design Italia '70" Milan 1970. De 1985 à 1992, elle réhabilite le Palacio Nacional de Montjuic à Barcelone en musée national d'art de Catalogne. It's no more complicated designing a museum. She also designed sets for RAI, Teatro la Scala in Milan, and Odéon-Comédie Française in Paris and worked with Luca Ronconi at the theatre design workshop in Prato (1976-1979). Gae Aulenti was an Architect, installation artist, lighting and interior designer and provoking theoretician. The New Domestic Landscape, curated by Emilio Ambasz at New York’s MoMA (1972). - Renovation of Piazza Cadorna, Milan (Italy), 1999 Gae Aulenti. [5] Her architectural practice included many interior flat designs for corporate clients, including Fiat, Banca Commerciale Italiana, Pirelli, Olivetti, and Knoll International. During that time she became part of a group of young professionals influenced by the philosophy of Ernesto Nathan Rogers. - Elementary schools, Meda (Italy), 1969 and 1974 In later time she also worked on the directorial board of the “Lotus International” magazine. Photo © Erich Hartmann. En France, Gae Aulenti est connue pour avoir aménagé dans les années 1 <. - Max Mara offices, Milan (Italy), 1963 In the words of Marco Biraghi: “While the short but relevant ‘neoliberty’ period is usually mistaken and misinterpreted as a sensitivity and an interest in the values of collective memory, it was rather the attempt to trace alternative paths for a modern repertoire which was increasingly frozen in repetitive and predictable shapes”. [6], Her career ended with over 200 built works. R.I. di RE n.03056540374 De 1960 à 1962 elle enseigne en tant qu'assistante en composition architecturale à l'université IUAV de Venise. From Domus 767, January 1995, Gae Aulenti, Enric Steegmann, Museo Nacional d’Art de Catalunya, Barcelona, 1996. - Aulenti to Vogue, "I am convinced that architecture is tied to the polis, it is an art of the city, of the foundation, and as such it is necessarily related and conditioned by the context in which it is born. RE 006481 - Aulenti quoted in The Times, "The conscious principle in this design has been to achieve forms that could create experiences, and that could at the same time welcome everyone's experiences with the serenity of an effortless development." Aulenti’s major architectural contributions mainly consisted of large museums and she owns a number of large scale museums from ‘80s on her credit. - Aulenti, "What is more real and tangible within an artificial space than brick?" Rogers’s Casabella was at the forefront of fostering a rethinking of the unambiguous, forcibly internationalist interpretation of the Modern Movement. Gae Aulenti Architecte Décédé le 31/10/2012 (voir toutes les personnalités décédées en 2012) Aulenti, Gae, Architecte. This is a reflection which perfectly applies to Gae Aulenti’s activity, as she declared to be “interested in building differences, rather than homogeneity”. Branching into written publication, Aulenti joined the editorial staff at the design magazine Casabella-Continuità from 1955 until 1965 as an art director, doing graphic design work, and later served on the board of directors for the renamed Lotus International magazine (based in Milan from 1974 onwards). Jeremy Myerson, "Grande Dame" article in Design Week, 14 October 1994. - Clock, pen, pencil and fountain pen for Louis Vuitton, 1988 From Domus 463, June 1968, Gae Aulenti, private apartment, Florence, 1971. Ses premiers projets de mobilier sont partagés entre la comparaison avec les formes et les matériaux du passé et les expériences allant dans le sens de la pensée rogérienne de l'architecte en tant qu'intellectuel, capable de comprendre les transformations sociales et culturelles du pays. And then, to take a stand against the ephemeral, against passing trends...and to return to lasting values." In Sayulita, a seaside resort on the west coast of Mexico, Main Office renovated Villa... Edison Lite, a co-housing project by architect Manuelle Gautrand constructed in the 13th... Floornature.com is not considered a newspaper as it is not updated at periodic intervals, and is therefore not a publication subject to the provisions of art. - Museo and Dante metro stations and redesigning of Piazza Cavour and Piazza Dante, Naples (Italy), 2005 The many awards she has won include a Legion of Honour in France (1987) and the Praemium Imperiale in Japan (1991). New York: St. Martin's Press, 1980. Aulenti fait partie de cette tendance, qui est en désaccord avec le rationalisme. A native of Palazzolo dello Stella (Friuli), Gaetana Aulenti (Gae, as she was known, is pronounced similarly to "guy")[3] studied to be an architect at the Milan School of Architecture of the Polytechnic University, and graduated in 1954 as one of two women in a class of 20. De 1980 à 1986, elle est chef du projet de réhabilitation et transformation en musée de la gare d'Orsay à Paris. - Renovation of Palazzo Grassi, Venice (Italy), 1986 De 1964 à 1967, elle enseigne cette même matière au Politecnico de Milan. - Aulenti quoted in The Guardian's recent obituary. From Domus 466, September 1968, Gae Aulenti, Black and White chair, 1966. She was well known for several large-scale museum projects, including Musée d’Orsay in Paris and the Contemporary Art Gallery at the Centre Pompidou in Paris. [3], Aulenti's work in theater was highly architectural, as she saw 'the scenic box not as a container to embellish and render recognizable in the sense of something already known, but as a real space in itself". [10], Selected Individual and Group Exhibitions, Gae Aulenti, Musée d’Orsay Architect, Dies at 84, "Torna la triennale di milano festa di architettura e design", "A Guide to the Gae Aulenti Architectural Collection, 1987-2003 Aulenti, Gae, Architectural Collection Ms2000-014", https://web.archive.org/web/20111016072543/http://www.designandart.at/designer/gae-aulenti/, https://en.wikipedia.org/w/index.php?title=Gae_Aulenti&oldid=979804634, Wikipedia articles with CINII identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, transforming historic public buildings into world renown museum spaces, Olivetti, Martinelli Luce Pipistrello Table Lamp, 1965, National Museum of Modern Art at the Centre Georges Pompidou in Paris, 1982-1985, National Art Museum of Catalonia (MNAC) Restoration, 1990, Museum of Asian Art in San Francisco, 2003, Architecture Medal, Academie d' Architecture, Paris, 1983, Josef Hoffmann Prize, Hochschule fur Angewandte Kunst, Vienna, 1984, Chevalier de la Legion d' Honneur, France, 1987, Commandeur, Order des Artes et Letters, France, 1987, Honorary Dean of Architecture, Merchandise Mart of Chicago, 1988, Accademico Nazionale, Accademia di San Luca, Rome, 1988. "There are plenty of other talented female architects, but most of them seem to link up with men...I've always worked for myself, and it's been quite and education. Gae Aulenti (1927-2012) started her career as a designer at a time of major evolution of Italian architectural culture. Gae Aulenti, Olivetti shop, Buenos Aires, 1968. Right after getting her degree at the Politecnico di Milano (1953), she joined two of the main stages of theoretical elaboration of that age: the review Casabella Continuità, directed by Ernesto Nathan Rogers, where she remained between 1955 and 1965, and the IUAV – Istituto Universitario di Architettura di Venezia, where she worked since 1960 as Giuseppe Samonà’s teaching assistant. Aulenti also occasionally worked as a stage designer for Luca Ronconi, including for Samstag aus Licht (1984). Photo © Silvia Lelli and Roberto Masotti. Gae AULENTI : ventes aux enchères internationales dans toutes les disciplines artistiques : Sculpture-Volume, Dessin-Aquarelle, Mobilier, Luminaire, Eléments Architecturaux, Objets.Marché de l'artiste, biographie, indices et prix de ses oeuvres. Photo © Casali-Domus. Design & Art: Products. [1] She was well known for several large-scale museum projects, including the Musée d'Orsay in Paris (1980–86) with ACT Architecture, the Contemporary Art Gallery at the Centre Pompidou in Paris, the restoration of Palazzo Grassi in Venice (1985–86), and the Asian Art Museum of San Francisco with HOK (firm) (2000–2003). Gae Aulenti est née en 1927 en Italie. Nathan H. Shapira, "Design Processes Olivetti 1908-1978". [4] She grew up playing the piano and reading books. Gaetana « Gae » Aulenti (née le 4 décembre 1927 à Palazzolo dello Stella, dans la province d'Udine, et morte le 31 octobre 2012 à Milan[1]) est une architecte, architecte d'intérieur et théoricienne d'architecture. Place, time, and culture create that architecture, instead of another." Her contemporaries were Vittorio Gregotti, Giancarlo de Carlo and Aldo Rossi. Biographie; Gae Aulenti Gae Aulenti Biographie Ouvrages 1956 - Maison individuelle avec écurie à San Siro, Milan 1959 - Villa individuelle à Camisasca, Côme, avec Luisa Castiglioni maison étude G. A.1960 - Organisation et participation à l'exposition "Nouveaux dessins pour le meuble italien" avec Guido Canella She always tried to create forms that may trigger the sensual experiences of users and form experiential connections with spaces and not only create experiences but also induce new series of events and encounters. After important participations in the Triennale di Milano in 1960 and 1963, she undertook profitable partnerships with Olivetti, Fiat, Max Mara and Knoll, designing showrooms, offices and exhibitions in Italy and abroad. A portion of Aulenti's papers, drawings, and designs including the design drawings for the Asian Art Museum in San Francisco, California are collected at International Archive of Women in Architecture in Newman Library, Virginia Tech. Adriano Olivetti, which also commissioned Aulenti his brand’s showroom in Buenos Aires (1968), and Gianni Agnelli, for whom she realized his apartment in Brera, Milano (1970), to later become in practice his family’s architect, are the two fundamental clients for the launch of her career, between the 1960s and the 1970s. Aulenti has taught at IUAV in Venice and at Politecnico di Milano. Photo © Gabriele Basilico. And then, to take a stand against the ephemeral, against passing trends...and to return to lasting values.". From Domus 550, September 1975, Gae Aulenti, chairs and tables for Knoll International, 1978. They called themselves the “Neo Liberty” movement, where they favored traditional building methods coupled with individual stylistic expression. - Sgarsul rocking chair - Poltronova (1962) From the zeitgeist of the late 1950s, Aulenti also drew her attention to the multiple scales of design, all participating in the construction of the living environment as a whole. With these experiences, she became a visiting lecturer at congresses and professional institutions in Europe and North America from 1967 onwards. From Domus 679, January 1987, Gae Aulenti, Zar Saltan stage design, 1988. Transitioning from teaching, Aulenti joined Luca Ronconi as a collaborator in figurative research for Laboratorio di Progettazione Teatrale out of Prato, Florence (1976–79). Lors de la 13e biennale d'architecture de Milan en 1964, elle conçoit le pavillon italien. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. BIOGRAPHY. - Knoll showroom, Boston (USA), 1971 On the ground floor, formerly the building’s train platforms, extensive stone structures broke up the cavernous space and created a central…. Biographie - Gae Aulenti I Vintage designer Gae Aulenti was an Italian architect, lighting and interior designer, and industrial designer. Milan 1979. €27.253.397,00 i.v. She even designed the mannequins. 1, paragraph III of Italian Law no. Ruth A Peltason. Erica Brown, "Interior Views" London 1980. 21 Nov. 2011. In her own words she always explained her work as being profoundly intertwined with their surrounding domain. De plus, elle est professeur invité aux États-Unis, au Canada, en Espagne, en Allemagne, en Suède et en Iran. Other than architecture Aulenti got immense fame due to her exceptional furniture designs. She graduated from Milan Polytechnic in 1953 and since 1956 has worked in the city designing for architecture, interiors and industry and theatre scenery. Throughout sixties she proposed a vast variety of furniture designs for a departmental store and won Milan Triennial prize for her work. n.151772 | Mecc. 07835550158R.E.A. World-renowned architect and designer Gaetana “Gae” Aulenti (1927-2012) graduated with a degree in architecture in Milano in 1954. She also planned six stores for the fashion designer Adrienne Vittadini, including one on Rodeo Drive in Los Angeles. Her conceptual development can be followed in the design magazine Casabella, to which she contributed regularly.[2]. She had a modest style; Vogue quoted her as saying "advice to whoever asks me how to make a home is to not have anything, just a few shelves for books, some pillows to sit on. Photo © Luciano Soave. Vittorio Gregotti, Emilio Battisti, Franco Quadri. Los Angeles, 1979. Marc Gaillard, Oeil Magazine, November 1990. [5] She then also served as vice-president of the Italian Association Of Industrial Design (ADI). In early 1960s Gae Aulenti got involved with a number of projects and along with that also made contributions in the field of teaching. De 1982 à 1985, elle réaménage le centre national d'art et de culture Georges-Pompidou. From Domus 784, July-August 1996. The set-up of the Musée National d’Art Moderne at the Centre Pompidou in Paris (1985), the refurbishment of Venice’s Palazzo Grassi a Venezia (1986), also commissioned by the Agnelli family, and the design for the Museo Nacional d’Art de Catalunya in Barcelona (1996) date from the same age. Web. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Gaetana Aulenti, Italian architect (born Dec. 4, 1927, Palazzolo dello Stella, near Trieste, Italy—died Oct. 31, 2012, Milan, Italy), was renowned for her renovation (1981–86) of the Gare d’Orsay—an ornate Beaux-Arts-style train station constructed in 1900 along the Seine River in Paris—turning it into the Musée d’Orsay to house and display primarily French art from the late 19th and early 20th centuries. Aulenti studied architecture form the Milan Polytechnic University and graduated in 1953. - Asian Art Museum, San Francisco (USA), 2003 - Aulenti in interview with Franco Raggi, "From a Great Desire to Build a City" published in. [3] In 2011, Aulenti oversaw the expansion of Perugia Airport. In 1979 she was called as artistic director at FontanaArte, creating timeless lamps and furnishing elements that … Italy, P.IVA 01411010356 Il nostro sito web utilizza i cookie per assicurarti la migliore esperienza di navigazione.Se desideri maggiori informazioni sui cookie e su come controllarne l’abilitazione con le impostazioni del browser accedi alla nostra Cookie Policy, Stay in touch with the protagonists of architecture, Subscribe to the Floornature Newsletter, Museo and Dante metro stations and redesigning of Piazza Cavour and Piazza Dante, Naples (Italy), 2005, Renovation of Piazza Cadorna, Milan (Italy), 1999, Work starts on MAD Architects’ FENIX Museum of Migration in Rotterdam, Main Office redesigns the traditional Mexican villas of Villa Pelícanos in Sayulita, Manuelle Gautrand’s Edison Lite, a co-housing project that reinvents Paris.