Mid-Century Spot Lamp in Chrome by Gae Aulenti for Stilnovo, Italy 1970s

Livio Castiglioni and his siblings Achille (1918–2002) and Pier Giacomo (1913–68) are responsible for creating some of the most iconic furniture designs in the world, particularly those that originated in the realm of mid-century modern lighting. Punctuating their legacy, the trio was among the founders of Italy’s Association for Industrial Design (ADI), which awards the country’s most prestigious and highly coveted design prize — the Compasso d'Oro. 

In 1936, Livio completed his studies in architecture at the Polytechnic University of Milan. By 1938, he, Pier Giacomo and fellow Italian industrial designer and architect Luigi Caccia Dominioni opened their own firm in Milan. Architects at that time were struggling to secure building commissions, so the group focused on designing everyday objects such as the Model 547, a tabletop radio for Phonola that was encased in Bakelite. By 1944, the youngest brother, Achille, had also graduated from Milan Polytechnic and joined his siblings at their studio.

The Castiglioni brothers produced wildly popular and innovative designs throughout the 20th century. Vintage furniture collectors may be familiar with Livio and Italian designer Gianfranco Frattini’s serpent-like Boalum lamp or Achille’s Taraxacum hanging lamp, which was created for FLOS with sprayed plastic polymers originally intended for military use. Additionally, the Arco, Snoopy and Toio lamps, which were the result of the collaboration between Pier Giacomo and Achille, are milestones in modernist lighting design.

Despite achieving success as an industrial designer, Livio left the firm in 1952 to pursue lighting design and sound technology. He worked as a design consultant for companies such as Brionvega. 

Together with his son, Piero, Livio created the Scintilla lighting system for Fontana Arte in the 1970s and continued to design for multiple brands including Alessi, Artemide and Stilnovo until he passed away in 1979.

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The Italian architect and designer Gae Aulenti will forever be best remembered for her work with museums, in particular her 1980–86 renovation of a Beaux Arts Paris train station to create the galleries of the Musée d’Orsay. Aulenti — whose first name, short for Gaetana, is pronounced “guy” — should also be recalled for her tough intellectual spirit and for working steadily when few women found successful architectural careers in postwar Italy.

After she graduated from the Milan Polytechic in 1954, Aulenti opened an architectural office. She also joined the staff of the progressive architectural magazine Casabella, whose editorial line was that the establishment, orthodox modernism of Le Corbusier and the Bauhaus, had outlived it usefulness. When their movement for fresh approaches to architecture and design received a sympathetic hearing, Aulenti found patrons — most prominently Gianni Agnelli, of Fiat, who later employed her to renovate the Palazzo Grassi in Venice for use as an arts exhibition space.

Commissions for showrooms and other corporate spaces brought Aulenti to furniture design. She felt that furniture should never dominate a room. Her chairs and sofas — low-slung, with rounded enameled metal frames and ample seats — and tables, particularly her 1972 marble Jumbo coffee table for Knoll, project solidity and sturdiness. In lighting design, however, Aulenti is bravura.

Each work has a marvelous sculptural presence. Pieces such as her Pipistrello table lamp and Quadrifoglio pendant are a perfect marriage of organically shaped glass and high-tech fixtures. Others have a futuristic elegance — and some even have a touch of personality. Aulenti’s Pileino and La Ruspa table lamps each look almost like little robots. Her lighting pieces are an artful grace note in the career of a woman who believed in strength.

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