Andrea branzi interiors

ANDREA BRANZI INTERIORS

FRIEDMAN BENDA 515 WEST 26TH STREET NEW YORK NY 10001

INTERIORS

Design culture has long remained linked to twentieth century codifications and the myth of the industrialization of human space; codifications that were based on geometries and materials functional for mass production.

In the twenty-first century this dogma has begun to show cracks, and the difference between mass-produced objects and unique pieces, between machine made items and handmade artefacts, is not so important — what matters is their ability to create an emotion, without any fear of commingling with art and nature.

The loneliness of contemporary design, isolated from the creative activities that surround it, is a mindset that must be broken; new aesthetics, new materials, and an entirely new dramaturgy are pressing to renew the human habitat.

Classical Modernity has remained indifferent to the tragic events that have marked the twentieth century: two world wars, mass exterminations, atomic conflicts, the great left-wing and right-wing dictatorships; this indifference to Real History in favor of the History of Discipline must now be left behind.

According to tradition, the difference between art and design is that art cannot be touched, while design is meant to deal only with functional mass-produced objects; when these conventions are obeyed, the human habitat is impoverished and shies away from new experiences.

Interiors seeks to overcome these limitations by using art for its application possibilities, and design to create artistic objects. The twenty-first century teaches us that in the world of design the restrictions imposed by tradition must be overcome, following the transformations that characterize our society, where boundaries are blurred and everything is intermingling and expanding.

Objects have always been “living” presences in the human habitat; presences with which, since the dawn of time, we have established complex relationships of a psychological, symbolic, and poetic nature: in this sense, objects are never just simple tools, they are fragments of an anthropological universe, a universe at the same time material and immaterial, functional and superfluous, about which we still know very little.

Design objects are the result of the artistic use of technology, and the technical use of art, and for this reason they are always mysterious presences, sometimes indispensable and sometimes unnecessary; yet in the history of the world no two design objects have ever been identical.

In our product-oriented civilization, the ungovernable flow of industrial objects, so transferable, so exportable, so transient, has transformed our cities into virtually boundless areas of exchanges, information, and trade.

It is safe to say that if in the past the city could be defined as a stage for architecture, it is now a “personal computer every twenty square meters.”

Our space is crisscrossed by a stream of relationships produced by the seven billion people inhabiting the planet, each one representing an exception, a variant, a personality that affirms its exclusivity through the objects it chooses to be surrounded with.

For this reason, objects have become a presence that is sacred because it is linked to the sacredness of man: they continue to live beyond the scope and time of their daily use. They have no knowledge of the night because in the night they survive, unmoving, unchanging, alive even after their own death.

Andrea Branzi Milan, 2016

INTERIORS

La cultura del progetto è rimasta a lungo legata ai codici del XX secolo e al mito dell’industrializzazione dello spazio umano; codici che facevano riferimento a geometrie e a materiali funzionali alla produzione di serie.

Nel XXI secolo questo dogma comincia a incrinarsi e la differenza tra oggetti di serie e oggetti unici, fatti a macchina o fatti a mano, non è così importante; ciò che conta è la loro capacità di creare una emozione, senza timore di contaminarsi con la natura e con l’arte.

La solitudine del progetto contemporaneo, lontano dalle attività creative che lo circondano, deve essere interrotta; nuove estetiche, nuove drammaturgie, nuovi materiali, premono per rinnovare l’habitat umano.

La Modernità Classica è rimasta indifferente ai tragici eventi che hanno segnato il XX secolo: due Guerre Mondiali, lo sterminio di massa, i conflitti atomici, le grandi dittature di destra e di sinistra; questa indifferenza verso la Storia Reale a favore della Storia della Disciplina, oggi deve essere superata.

Secondo la tradizione la differenza tra l’Arte e il Design consiste nel fatto che è proibito toccare l’Arte, mentre il Design deve occuparsi soltanto di oggetti funzionali e prodotti in serie; secondo queste convenzioni l’habitat umano si impoverisce e rinuncia a affrontare nuove esperienze.

Interiors cerca di superare questi limiti e usa l’Arte per le sue possibilità d’uso, e il Design per realizzare oggetti artistici. Il XXI secolo ci insegna che nel mondo del progetto i limiti della tradizione devono essere superati, seguendo quelle trasformazioni che caratterizzano la nostra società, dove tutto si contamina e si espande.

Gli oggetti sono sempre state presenze “vive” dell’habitat umano; presenze con cui, da sempre, noi stabiliamo relazioni complesse, psicologiche, simboliche, poetiche: in questo senso gli oggetti non sono mai semplici strumenti, ma frammenti di un universo antropologico, materiale e immateriale, funzionale o superfluo, di cui ancora sappiamo poco.

Gli oggetti di design nascono dall’uso artistico della tecnologia, e dall’uso tecnico dell’arte, e per questo motivo essi sono sempre presenze misteriose, a volte indispensabili e a volte inutili; ma nella storia del mondo non sono mai esistiti due oggetti di design uguali tra di loro.

Nella nostra Civiltà Merceologica il flusso ingovernabile degli oggetti industriali, così trasferibili, esportabili, provvisori, hanno trasformato le nostre città in territori illimitati di scambi, informazioni, commerci. Possiamo dire che se un tempo la città poteva essere definita come il teatro dell’architettura, oggi essa è costituita da “un p.c. ogni 20mq.”

Il nostro spazio è attraversato da un flusso di relazioni, prodotte dai sette miliardi di persone che abitano il nostro pianeta, ognuna di queste rappresenta una eccezione, una variante, una personalità che afferma la propria unicità attraverso la selezione degli oggetti che la circondano.

Per questo motivo gli oggetti sono diventati una presenza sacra perché legata alla sacralità dell’uomo: essi continuano a vivere oltre i tempi del loro uso quotidiano. Non conoscono la notte perchè nella notte sopravvivono immobili a se stessi.

Andrea Branzi Milano, 2016

“Utopia” Sculptural Bookcase, Andrea Branzi with Alchimia, 1980

“Adalberto Libera” Bookcase, Andrea Branzi with Alchimia, 1979

“Animali Domestici” Bench, 1985

Installation view: Pleased to meet you. 50 ans de création, Musée des Arts Décoratifs, Bordeaux, 2014 - 2015

Installation view: Trees & Stones, Friedman Benda, New York, 2012

Installation view: Open Enclosures, Fondation Cartier, Paris, 2008

PLANKS

Plank Cabinet 1, 2014 Patinated and polished aluminum, wood and spray paint 63 x 110.25 x 13.75 inches 160 x 280 x 34.9 cm Edition of 12 13

Plank Cabinet 2, 2014 Patinated and polished aluminum, wood and spray paint 70.75 x 94.5 x 13.75 inches 180 x 240 x 35 cm Edition of 12 15

Plank Cabinet 3, 2014 Patinated and polished aluminum, wood and spray paint 70.75 x 86.5 x 13.75 inches 180 x 220 x 35 cm Edition of 12 17

Plank Cabinet 4, 2014 Patinated and polished aluminum, wood and spray paint 67 x 94.5 x 13.75 inches 170 x 240 x 35 cm Edition of 12 19

Plank Cabinet 5, 2014 Patinated and polished aluminum, patinated bronze, wood and spray paint 63.25 x 110.25 x 13.75 inches 161 x 280 x 35 cm Edition of 12 21

Plank Cabinet 6, 2015 Patinated and polished aluminum, wood and spray paint 63 x 94.5 x 17.75 inches 160 x 240 x 45.1 cm Edition of 12 23

Plank Cabinet 7, 2014 Patinated and polished aluminum, polished bronze, wood and spray paint 63 x 110.5 x 17.75 inches 160 x 280 x 45.1 cm Edition of 12 25

Plank Cabinet 8, 2014 Patinated and polished aluminum, wood and spray paint 63.25 x 110.25 x 19.75 inches 161 x 280 x 50 cm Edition of 12 27

Top: Plank Cabinet 12A, 2014 Patinated aluminum, wood and spray paint 19.75 x 39.25 x 13.75 inches 50 x 100 x 35 cm Edition of 12 Bottom: Plank Cabinet 12C, 2014 Patinated aluminum, wood and spray paint 19.75 x 78.75 x 13.75 inches 50 x 200 x 35 cm Edition of 12 29

Plank Cabinet 12B, 2014 Patinated aluminum, wood and spray paint 19.75 x 59 x 13.75 inches 50 x 150 x 35 cm Edition of 12 31

LAMPS

Lamp, 2014 Japanese rice paper, bamboo, marble 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12 35

Lamp, 2014 Japanese rice paper, bamboo, marble 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12 37

Lamp, 2014 Japanese rice paper, bamboo, marble 84 x 49 x 49 inches 213.4 x 124.5 x 124.5 cm Edition of 12 39

Lamp, 2014 Japanese rice paper, aluminum 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12 41

Lamp, 2014 Japanese rice paper, aluminum 104.5 x 24 x 24 inches 265.4 x 61 x 61 cm Edition of 12 43

Lamp, 2014 Japanese rice paper, bamboo, marble 104.5 x 24 x 24 inches 265.4 x 61 x 61 cm Edition of 12 45

TREES

Tree 1, 2010 Wood and patinated aluminum 39.37 x 47.24 x 10.63 inches 100 x 120 x 27 cm Edition of 12 49

Tree 1B, 2011 Wood and patinated aluminum 68 x 150 x 23.5 inches 172.7 x 381 x 59.7 cm Edition of 12 51

Tree 2, 2010 Wood and patinated aluminum 39.37 x 47.24 x 10.63 inches 100 x 120 x 27 cm Edition of 12 53

Tree 3, 2010 Wood and patinated aluminum 31.5 x 64.96 x 10.63 inches 80 x 165 x 27 cm Edition of 12 55

Tree 4, 2010 Wood and patinated aluminum 43.31 x 98.43 x 10.63 inches 110 x 250 x 27 cm Edition of 12 57

Tree 5, 2010 Wood and polished aluminum 118.11 x 78.74 x 10.63 inches 300 x 200 x 27 cm Edition of 12 59

Tree 5, 2010 Wood and patinated aluminum 118.11 x 78.74 x 10.63 inches 300 x 200 x 27 cm Edition of 12 61

Tree 6, 2010 Wood and polished aluminum 78.74 x 78.74 x 10.63 inches 200 x 200 x 27 cm Edition of 12 63

Tree 6B, 2011 Wood and patinated aluminum 53.15 x 118.11 x 15.75 inches 135 x 300 x 40 cm Edition of 12 65

Tree 7, 2010 Wood and polished aluminum 78.74 x 78.74 x 10.63 inches 200 x 200 x 27 cm Edition of 12 67

Tree 8, 2010 Wood and patinated aluminum 80.71 x 55.12 x 13.78 inches 205 x 140 x 35 cm Edition of 12 69

Tree 9, 2010 Wood and patinated aluminum 99.21 x 55.12 x 13.78 inches 252 x 140 x 35 cm Edition of 12 71

Tree 9B, 2011 Wood and patinated aluminum 65 x 142 x 15.75 inches 165.1 x 360.7 x 40 cm Edition of 12 73

STONES

Stones 2A, 2011 Stones and patinated aluminum 47.24 x 55.12 x 10.63 inches 120 x 140 x 27 cm Edition of 12 77

Stones 7A, 2011 Stones and patinated aluminum 88 x 118 x 15.75 inches 223.5 x 299.7 x 40 cm Edition of 12 79

LIST OF WORKS

Plank Cabinet 1, 2014 Patinated and polished aluminum, wood and spray paint 63 x 110.25x 13.75 inches 160 x 280 x 34.9 cm Edition of 12

Plank Cabinet 2, 2014 Patinated and polished aluminum, wood and spray paint 70.75 x 94.5x 13.75 inches 180 x 240 x 35 cm Edition of 12

Plank Cabinet 3, 2014 Patinated and polished aluminum, wood and spray paint 70.75 x 86.5x 13.75 inches 180 x 220 x 35 cm Edition of 12

Plank Cabinet 4, 2014 Patinated and polished aluminum, wood and spray paint 67 x 94.5 x 13.75 inches 170 x 240 x 35 cm Edition of 12

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Plank Cabinet 5, 2014 Patinated and polished aluminum, patinated bronze, wood and spray paint 63.25 x 110.25 x 13.75 inches 161 x 280 x 35 cm Edition of 12

Plank Cabinet 6, 2015 Patinated and polished aluminum, wood and spray paint 63 x 94.5 x 17.75 inches 160 x 240 x 45.1 cm Edition of 12

Plank Cabinet 7, 2014 Patinated and polished aluminum, polished bronze, wood and spray paint 63 x 110.5 x 17.75 inches 160 x 280 x 45.1 cm Edition of 12

Plank Cabinet 8, 2014 Patinated and polished aluminum, wood and spray paint 63.25 x 110.25 x 19.75 inches 161 x 280 x 50 cm Edition of 12

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Plank Cabinet 12B, 2014 Patinated aluminum, wood and spray paint 19.75 x 59 x 13.75 inches 50 x 150 x 35 cm Edition of 12

Lamp, 2014 Japanese rice paper, bamboo, marble 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12

Lamp, 2014 Japanese rice paper, bamboo, marble 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12

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Page 35

Page 37

Top: Plank Cabinet 12A, 2014 Patinated aluminum, wood and spray paint 19.75 x 39.25 x 13.75 inches 50 x 100 x 35 cm Edition of 12 Bottom: Plank Cabinet 12C, 2014 Patinated aluminum, wood and spray paint 19.75 x 78.75 x 13.75 inches 50 x 200 x 35 cm Edition of 12 Page 29

Lamp, 2014 Japanese rice paper, bamboo, marble 84 x 49 x 49 inches 213.4 x 124.5 x 124.5 cm Edition of 12

Lamp, 2014 Japanese rice paper, aluminum 88 x 29.75 x 29.75 inches 223.5 x 75.6 x 75.6 cm Edition of 12

Lamp, 2014 Japanese rice paper, aluminum 104.5 x 24 x 24 inches 265.4 x 61 x 61 cm Edition of 12

Lamp, 2014 Japanese rice paper, bamboo, marble 104.5 x 24 x 24 inches 265.4 x 61 x 61 cm Edition of 12

Page 39

Page 41

Page 43

Page 45

Tree 1, 2010 Wood and patinated aluminum 39.37 x 47.24 x 10.63 inches 100 x 120 x 27 cm Edition of 12

Tree 1B, 2011 Wood and patinated aluminum 68 x 150 x 23.5 inches 172.7 x 381 x 59.7 cm Edition of 12

Tree 2, 2010 Wood and patinated aluminum 39.37 x 47.24 x 10.63 inches 100 x 120 x 27 cm Edition of 12

Tree 3, 2010 Wood and patinated aluminum 31.5 x 64.96 x 10.63 inches 80 x 165 x 27 cm Edition of 12

Page 49

Page 51

Page 53

Page 55

Tree 4, 2010 Wood and patinated aluminum 43.31 x 98.43 x 10.63 inches 110 x 250 x 27 cm Edition of 12

Tree 5, 2010 Wood and polished aluminum 118.11 x 78.74 x 10.63 inches 300 x 200 x 27 cm Edition of 12

Tree 5, 2010 Wood and patinated aluminum 118.11 x 78.74 x 10.63 inches 300 x 200 x 27 cm Edition of 12

Tree 6, 2010 Wood and polished aluminum 78.74 x 78.74 x 10.63 inches 200 x 200 x 27 cm Edition of 12

Page 57

Page 59

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Page 63

Tree 6B, 2011 Wood and patinated aluminum 53.15 x 118.11 x 15.75 inches 135 x 300 x 40 cm Edition of 12

Tree 7, 2010 Wood and polished aluminum 78.74 x 78.74 x 10.63 inches 200 x 200 x 27 cm Edition of 12

Tree 8, 2010 Wood and patinated aluminum 80.71 x 55.12 x 13.78 inches 205 x 140 x 35 cm Edition of 12

Tree 9, 2010 Wood and patinated aluminum 99.21 x 55.12 x 13.78 inches 252 x 140 x 35 cm Edition of 12

Page 65

Page 67

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Page 71

Tree 9B, 2011 Wood and patinated aluminum 65 x 142 x 15.75 inches 165.1 x 360.7 x 40 cm Edition of 12

Stones 2A, 2011 Stones and patinated aluminum 47.24 x 55.12 x 10.63 inches 120 x 140 x 27 cm Edition of 12

Stones 7A, 2011 Stones and patinated aluminum 88 x 118 x 15.75 inches 223.5 x 299.7 x 40 cm Edition of 12

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ANDREA BRANZI Present

Lives and works in Milan, Italy Professor of industrial design at the Politecnico di Milano University, Milan, Italy

2008

Named an Honorary Royal Designer in the United Kingdom

1996

Director of Italian design exhibition at Milan Triennial

1991-1995

Guest professor at universities of Palermo and Milan

1988

Awarded first prize, International Competition for Development of the Berlin Wall Area

1987

Awarded second Compasso d’oro for individual body of work

1983

Co-founder of the Domus Academy, Milan, Italy

1982

Opens his own studio in Milan

1979

Awarded Compasso d’oro, with Massimo Morozzi and Clino Trini Castelli

1974

Archizoom Associati disbands

1973

Relocates to Milan

1966

Degree from Florence School of Architecture, Florence, Italy Started working in the fields of industrial and research design

1964

Founded Archizoom Associati with Paolo Deganello, Massimo Morozzi and Gilberto Coretti

1938

Born, Florence, Italy

SELECT SOLO EXHIBITIONS 2017

Centre Pompidou, Paris

2016

Andrea Branzi: Interiors, Friedman Benda, New York, NY

2014-2015

Andrea Branzi: Pleased to meet you. 50 ans de création. Musée des Arts décoratifs, Bordeaux, France

2013

Oggeti, Territori, Volatili, Isabella Bortolozzi, Berlin, Germany

2012

Andrea Branzi: Trees & Stones, Friedman Benda, New York, NY The Ceramics of Andrea Branzi, Trienniale Design Café, Milan, Italy Objects and Territories. deSingel International Arts Campus and Vlaams Architectuurinstituut, Antwerp, Belgium Andrea Branzi: Trees, Carpenters Workshop Gallery, Paris, France

2009-2010

Grandi Legni, Azzedine Alaia Gallery, Paris, France

2008

Open Enclosures, Fondation Cartier, Paris, France

2000

Objects and Territories, Cultural Center Scharpoord, Knokke; Architecture Society of Brussels, Belgium

Età del Bronzo, Design Gallery Milan, Italy 1999

Centro per l’arte contemporanea in Ceramica, Modena, Italy

1998

Passaggi, Design Gallery Milano, Milan, Italy Silver and Gold, Argentaurum Gallery, Museum of Arts and Crafts, Ghent, Belgium

1997

Fuzzy Design, Design Gallery Milano, Milan, Italy Wood & Stones, Argentaurum Gallery at Galleria Seno, Milan, Italy

1996

Wireless, Design Gallery Milano, Milan, Italy Wood & Stones, Argentaurum Gallery, Knokke, Belgium

1994

Archivi militanti, Galleria Colombari, Milan, Italy Galleria Niccoli, Parma, Italy Showroom Erregi, Parma, Italy

1992

Luoghi, Design Gallery Milano, Milan, Italy

1991

Musée des Arts Décoratifs, Montreal, Canada

Amnesie, Design Gallery Milan, Italy Gallery Objecte, Munich, Germany 1989

Fort Asperen, Holland

1988

Centre Cayc, Buenos Aires, Argentina Musée des Arts Dècoratifs, Paris, France Tokyo Design Agency, Tokyo, Japan

1986

Il grande tappeto ibrido, Installation, Musée Saint Pierre, Lyon, France Case a Pianta Centrale, Documenta, Kassel, Germany

1985

Exhibition products designed for Memphis at Seibu Department Store, Tokyo, Japan

1982

Mussolini’s Bathroom, Installation at Centro Domus, Milan, Italy

1978

Interno urbanistico, Palazzo dei Diamanti, Ferrara, Italy 1 Museo d’Arte Moderna di Modena, Italy

1972

Come e fatto il cappotto di Gogol, film, with Archizoom Associati. Italy

1969

RAI Stand, with Archizoom Associati. Fiera dell’Elettronica, Rome, Italy Vestirsi e facile film, with Archizoom Associati. Italy

1968

Gazebo e stance vuote, with Archizoom Associati. Mana Art Market Gallery, Rome, Italy

1967

Superarchitettura, with Archizoom Associati. Galleria Comunale, Modena, Italy Centro di cospirazione eclettica, with Archizoom Associati. Installation at Poltronova, Pistoia, and 14th Triennale di Milano, Milan, Italy

1966

Superarchitettura, with Archizoom Associati. Galleria Jolly, Pistoia, Italy Musée des Arts Dècoratifs, Paris, France Tokyo Design Agency, Tokyo, Japan

1986

Il grande tappeto ibrido, Installation, Musée Saint Pierre, Lyon, France Case a Pianta Centrale, Documenta, Kassel, Germany

1985

Exhibition products designed for Memphis at Seibu Department Store, Tokyo, Japan

1982

Mussolini’s Bathroom, Installation at Centro Domus, Milan, Italy

1978

Interno urbanistico, Palazzo dei Diamanti, Ferrara, Italy Assenza-Presenza nell’architettura moderna, Museo d’Arte Moderna di Modena, Italy

1972

Come e fatto il cappotto di Gogol, film, with Archizoom Associati. Italy

1969

RAI Stand, with Archizoom Associati. Fiera dell’Elettronica, Rome, Italy Vestirsi e facile, film, with Archizoom Associati. Italy

1968

Gazebo e stance vuote, with Archizoom Associati. Mana Art Market Gallery, Rome, Italy

1967

Superarchitettura, with Archizoom Associati. Galleria Comunale, Modena, Italy Centro di cospirazione eclettica, with Archizoom Associati. Installation at Poltronova, Pistoia, and 14th Triennale di Milano, Milan, Italy

1966

Superarchitettura, with Archizoom Associati. Galleria Jolly, Pistoia, Italy

SELECT GROUP EXHIBITIONS 2012

Mutatis Mutandis, The Secession, Vienna, Austria

2010

People Meet in Architecture, 12th International Architecture Biennale, Venice, Italy

2003

Blossoming the Gap, with Ronan and Erwan Bouroullec. Studio Rendl & Spitz, Cologne, Germany

2001

Italia Giappone: Design come stile di vita, 2001 Italia in Giappone, Yokohama and Kobe, Japan

1997

No-Stop-City, Documenta X, Kassel, Germany

1996

Il Design Italiano dal 1964 al 1972, Electa, Triennale di Milano, Milan, Italy

1995

Abitare il Tempo, Verona, Italy 6th Bienal Internacional de Arquitectura de Buenos Aires, Argentina Oro d’Autore, Arezzo, Italy

Italian Metamorphosis, Guggenheim Museum in New York, NY

1993

Citizen Office, Vitra Museum, Weil am Rhein, Germany

1992

18th Triennale di Milano, Milan, Italy

1991

Camere con vista, Abitare il tempo, Verona, Italy Il Dolce Stil Novo della Casa, Palazzo Strozzi, Florence, Italy Il design Italiano, At Mitsubishi co., Tokyo, Japan

1990

Les Capitales Europèennes du Nouveau Design: Barcelone, Düsseldorf, Milan, Paris. Centre Georges Pompidou, Paris, France; and Kunstmuseum, Düsseldorf, Germany

1989

Yatai, International Expo, Nagoya, Japan

1986

La Casa Telecomandata, 17th Triennale di Milano, Milan, Italy

1984

Biennale di Venezia, Magazzini del Sale, Venice, Italy

1980

Record e Paradiso, San Lorenzo Church, Biennale di Venezia, Venice, Italy

1979

16th Triennale di Milano, Milan, Italy

In mostra, Galleria Zen Italiana, Naples, Italy 1978

Biennale di Venezia, Venice, Italy

Global Eye ‘78, 7 new design towers, Tokyo, Japan 1977

Il Design italiano degli anni ‘50, Centrokappa in Noviglio, Milan, Italy

1975

Decorattivo, Fiera di Milano, Milan, Italy A proposito del Mulino Stucky, Biennale di Venezia, Venice, Italy

1973

L’invenzione della superficie neutra, Abet Print, Archizoom Associati, Florence, Italy

1972

Come è fatto il cappotto di Gogol, Film. 14th Triennale di Milano, Milan, Italy Italy: the new Domestic Landscape, Museum of Modern Art, New York, NY

1971

Biennale dei Giovani, Paris, France

1970

Eurodomus, Turin, Italy Print Enviroment, Paris, France

AWARDS 2008

Laurea Honoris Causa in Design, Università “la Sapienza,” Rome

1997

First prize, Pirelli Energy competition

1996

First Prize, IF

1995

Compasso d’Oro Award

1994

Special Mention of European Design Prize

1991

Baden Wüttemberg Award

1989

Robert Maxwell Prize at Royal College of Art, London for the essay Seven Theses on Design

1987

Career Compasso d’Oro Award as designer and theorist

1983

International Award at First Biennial of Design, Buenos Aires, Argentina Honorable mention at Compasso d’Oro

1979

Compasso d’Oro Award

1969

Silver medal, Yamagiwa competition for light design, Tokyo, Japan

SELECT PUBLIC COLLECTIONS Brooklyn Museum, New York, NY Centre Georges Pompidou, Paris, France Centro Studi e Archivio della Comunicazione dell’Università di Parma, Parma, Italy Design Museum Gent, Gent, Belgium Denver Museum of Art, Denver, CO Fondation Cartier pour l’art contemporain, Paris, France Groninger Museum, Groningen, The Netherlands Le Fonds Régional d’art contemporain, Orleans, France Houston Museum of Fine Arts, Houston, TX Israel Museum, Jerusalem, Israel Museum of Modern Art, New York, NY Musée des Beaux-Arts, Montreal, Canada Musée des Arts décoratifs, Paris, France Victoria & Albert Museum, London, UK Vitra Design Museum, Weil-am-Rhein, Germany

SELECT LITERATURE Ambasz, Emilio. Italy, the New Domestic Landscape: Achievements and problems of Italian Design. New York: Museum of Modern Art, 1972.

Branzi, Andrea. The Hot House, Italian New Wave Design. Massachusetts: M.I.T. Press, 1984. ______. No-Stop City: Archizoom Associati, Edition HYX, 2006. ______. Things, Thoughts, & Territories, Gent: Casa Argentaurum, 2010. ______. Learning from Milan. Massachusetts: M.I.T. Press, 1988. ______. Weak and Diffuse Modernity: The World of Projects at the Beginning of the 21st Century. SKIRA, 2006.

Branzi, Andrea and Nicoletta Branzi. Domestic Animals: The Neoprimitive Style. Thames & Hudson, 1987.

Burkhardt, Francois. Branzi. Edition Dis Voir, 1997.

Burkhardt, François and Gianni Vattimo, et al. Formes des Métropoles - Nouveaux Designs en Europe. Paris: Centre Georges Pompidou, 1991.

Cannata, Giuliano, Carla Corsi, Franco Lani, Roberto Maestro, and Norberto Liberatori. Arezzo, verso un inur

bamento maturo, Italy: Comune di Arezzo, Dipartimento Assetto del Territorio, 1992.

Celant, Germano. Luoghi Andrea Branzi; The Complete Works. New York: Rizzoli International, 1992.

Crusinallo, Alessi. Il Dolce Stil Novo (della Casa). Italy: Palazzo Strozzi for Pitti Immagine Casa, 1991.

De Montis, T. V. Russo, S. Balestrazzi, and Andrea Branzi. Architetture. Italy: Batei, 1994.

Gries, Patrick. Andrea Branzi: Open Enclosures. Paris: Fondation Cartier pour l’art contemporain, 2008.

Hiesenger, Kathy, et al. Design Since 1945, Philadelphia: Philadelphia Museum of Art, 1983.

Isozaki, Arata. La Casa Calda - Esperienze del Nuovo Design Italiano. Italy: Idea Books; Massachusetts: M.I.T. Press; England: Thames and Hudson; and France: L’Equerre, 1984.

Jenks, Charles. “The Supersensualists II: Death.” In Late Modern Architecture. London: Academy Edition, 1974. ______. Modern Movements in Architecture. London: Penguin Books, 1973.

Rubini, Constance. Andrea Branzi: objets et territroires; Designer, Architect, 50 Years of Creation, Paris: Éditions Gallimard: Alternatives, 2014.

La civiltà dell’ascolto - e altre note sul Giappone moderno. Italy: Cronopio, 1992.

Animali Domestici. Italy: Idea Books, 1986.

Il Dibattito Architettonico in Italia dal 1945 al 1975. Rome: Bulzoni, 1977.

Installation view: Interiors, Friedman Benda, New York, NY, 2016.

ANDREA BRANZI INTERIORS Unless otherwise noted, all images are courtesy of Friedman Benda and Andrea Branzi.

Design: Olivia Swider Photography 1. Utopia, a sculptural bookcase is courtesy of Private Collection Photo, copyright Christie’s Images/Bridgeman Images.

2. Animali Domestici Bench is courtesy of Phillips/Phillips.com.

3. Installation view of Pleased to meet you. 50 ans de création is courtesy of the artist and the Musée des Arts Décoratifs, Bordeaux.

4. Installation view of Open Enclosures is courtesy of the artist and Fondation Cartier, Paris.

5. All photographs of Planks, Lamps and installation views of Interiors taken by Adam Reich.

6. Photographs of Tree 1, Tree 3, Tree 4, Tree 5 (polished), Tree 8, and Tree 9 taken by Aiga Ozolina, courtesy of Carpenter’s Workshop Gallery and Some/Things Agency; Tree 6B and Tree 9B taken by Adrian Millot, courtesy of Carpenter’s Workshop Gallery.

7. Photographs of Tree 2, Tree 6, Stones 2A and installation view of Trees and Stones, 2012 are taken by Jon Lam photography.

8. Photograph of Tree 7 is by Erik and Petra Hesmerg.

9. Portrait of Andrea Branzi by Rafael Herman.

Published by Friedman Benda 515 West 26th Street New York, NY 10001 Tel. + 1 212 239 8700 www.friedmanbenda.com Printing: Puritan Press Content copyright of Friedman Benda and the artist.

Printed on the occasion of the exhibition Interiors, May 5 - June 11, 2016.

Printed in a limited edition of 250.