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Macchine da ufficio, destinate a essere usate da impiegati e segretarie. Cosa non facile in un paese come. Ne discende un linguaggio variegato nel quale, al messaggio diretto sui pregi dei prodotti, si affiancano costruzioni elittiche rispetto alla tecnica, immagini che non temono di sfruttare la erotica dei miti della patria o un immaginario figurativo alla Carolina Invernicio. Se poi il mercato nazionale stenta a crescere Camillo non esita a tessere una rete di filiali estere, aprendo una relazione diretta tra il Canavese e il mondo.
Camillo non si limita a copiare quello che ha imparato in America, ma punta a raggiungere e superare i suoi maestri. Camillo produce macchine e macchine per fare macchine, istruisce operai, instaura un rapporto di cosciente partecipazione tra la fabbrica e il territorio, Industria come attore civile e non solo economico, come strumento attraverso cui avviare la trasformazione del paesaggio sociale e costruire un progetto orientato al futuro. La Olivetti si apre non solo ai periti e agli ingegneri, ma ai poeti, ai pittori, ai letterati, agli architetti. I rapporti di collaborazione sono tanto intensi quanto discontinui e non esclusivi.
Anche in un gruppo persone non comune. Adriano non segue regole, ma certo la scelta dei collaboratori sembra seguire un metodo molto efficace. La portatile MP disegnata da Aldo Magnelli nel e la Studio 42 firmata dal trio Schawinsky, Figini, Pollini nel , rappresentano una prima tappa intermedia. A lui Olivetti affida il disegno delle nuove calcolatrici. Esattamente lo stesso programma che va prendendo corpo nei progetti di architettura varati dalla Olivetti, sia nel disegno dei nuovi spazi del lavoro sia nella struttura delle relazioni fisiche e umane tra fabbrica e territorio.
Volumi filanti come le contemporanee carrozzerie delle automobili, nei quali Nizzoli riordina con logiche sequenze funzionali le operazioni ripetitive del lavoro. Non solo un progetto ad alta seduzione estetico-formale: Adriano ha di fatto sensibilmente aumentato la quota di intelligenza reale degli oggetti. Nel apre a New Caanan, negli Stati Uniti, un centro studi sulla tecnologia dei calcolatori elettronici. Nel entra in funzione a Pisa il Laboratorio per le ricerche elettroniche. Adriano affida al figlio Roberto la direzione della nuova Divisione Elettronica.
Tre amici che insieme, e un poco fortunosamente, si trovano a pensare quali possano essere la forma e il senso di una macchina intelligente, destinata a cambiare la faccia del mondo. Nel viene presentato il calcolatore elettronico Elea , il primo interamente transistorizzato. Come si sa, le cose sono andate diversamente.
Adriano Olivetti muore improvvisamente nel , sul treno Milano-Losanna. Sottsass colpito da nefrite rimane quasi due anni ricoverato in un ospedale californiano. Lo squilibrio che si viene a creare si traduce sorprendentemente in una vertiginosa produzione di immagini e immaginari. Mai come nel ventennio la Olivetti realizza interventi di comunicazione tanto efficaci quanto variegati: mostre itineranti, allestimenti espositivi, campagne pubblicitarie, grafica di prodotto, progetti architettonici di grande risonanza e impatto. Ma a questo punto gli standard tecnologici Il 12 marzo il titolo scompare dal listino della Borsa italiana.
Possessing brilliant talents, my father might have been an outstanding economic planner, but he so distrused the economic system of his times that despite his broader vocation he became an engineer. Intelligent and tenacious, he was a good engineer. He was of the type whose courageous initiative, self-sufficiency and dominating personality set the pace for the progress of modern Italian industry.
His greatest ideal was independence, not being indebt to anyone, and not being subject of restriction of any sort.
Although he had powerful initiative, he was not reckless; he was extremely prudent, keeping the development of the firm in proportion to his own financial resources and organization ability… My father before me, and his associated Burzio, had guided the workshop with an eye to the intelligence, but listening also the wisdom of the heart. In those days they took on at the plant all the youths who had a reputation in the parish if being capable, hard workers.
They used to set aside al least one hour a day for the employee who wanted a a job for his wife or sistei-in-law, or who needed a loan to buy furniture or pay off a debt; the employee who felt underrated by his section chief, wanted a transfer for a reason of health, or leave for a period of convalescence. For all of them, whenever possible, a remedy or a solution was found.
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For many years still, however, he remained the guardian angel Always restless in spirit, despite ailments that prematurely aged him, he remained active, and at his O. At the same time he began to read and write about economics, politics, religion. It was a bitter time, with racism, exaggerated nationalism and the forces of destruction pulling down a whole world in which Camillo Olivetti had believed, but he had the consolation at the end of his life of continuing to fulfil his true vocation, that of industrial humanist.
Camillo had to take refuge in the country near Biella.
He died on the fourth of December of the same year. The day he was buried it was raining; but from Ivrea, from the neighboring towns, and from every point of the Canavese region, the workers got to the funeral. They came by any means the could, most of them on bicycles, regardless of fatigue and danger. The Nazis were slaughtering Partisans and threatening whole towns with reprisals. The little Jewish cemetery in Biella could have become the scene of a massacre. Yet it was filled that day with silent barehead men standing in the rain. During this time he also went to the United States to collect ideas, visiting numerous factories.
The two flanks of the cube have now become two plates with large perforation, which contain the mechanisms and have a more geometrical character. The simple cube is being left behind; the inclined plane of the keyboard alters the volume, which takes on the shape of a lectern. In my technical experiences of the first years, while I was studying problems of scientific organization, I saw that man and machine were two hostile domains, needing to be reconciled.
I understood the terrible monotony and heaviness of repetitious movements before a press or a bore, and I knew that it was necessary to save man from such degrading enslavement. But the way was terribly long and difficult. But gradually I realized that this was not enough. Labor needed to be given some insight into aims.
As oldest son of the factory owner, I rapidly progressed in career which others, although more gifted than I, could never have followed. Beginning as a technician, I was soon an engineer, then a general director, and finally, many years later, president… The fundamental idea behind the expansion of business was the introduction, into all the various branches, of men with a high level of scientific preparation… When the major technical problems of my work were solved, and when the financial success which was the principal consequence of such solutions allowed it, I began to study the relations between the lives of the employers and the factory… …Later I set down on paper the theoretical idea of a concrete community.
The MP1, the first portable typewriter produced by the firm-designed by Aldo Magnelli probably in collaboration with his brother Alberto, the abstract painter- introduced an innovation that was to be decisive for the bodywork of future Olivetti machines. For the first time the body takes the form of a separate and distinct covering of the inner mechanism. At the same time the whole ensemble is flatter, with verticality and monumentality replaced by a simple, elegant, horizontal structure. The critics noticed that thanks to the setting in of the platen and the type bars, and the detachment of the keyboard…the body had assumed the function of defining the volume of the mechanism without being extraneous to it.
The public discovered that the machine also had ornamental value and fitted in very well with the other furnishing of a home. The blank metal envelope in the hands of a sensitive designer has become a piece of sculpture. There is a precision in the balance of planes, in the relationship of curved to flat-surfaces, and in the modelling and bold jutting-out of the large handle which moves the carriage.
The dip and rise of the hood, tightly fitting over the mechanical parts, enlivens the front plane without interrupting its smooth descent to the keys. The carriage, when moved into central position, fits precisely into the side profiles of the stationary backbar like a jig-saw puzzle falling into place. Many of the little levers and handles which one finds grouped at both ends of the carriage as an essential part of any typewriter and which are responsible for the bristling look of most models, are thus ingeniously bound up with the larger body.
By this means a look of order and simplicity is achieved. The name Olivetti is carefully located for balance and visibility, being placed adjacent to the knob one turns when putting a piece of paper into the carriage. The colour of the typewriter, a soft putty-beige uniformly used for all machines, gives it a trademark of distinction. For it was in this city that Edoardo Persico, the architect Giuseppe Pagano, the Milione Gallery — whit his exhibitions of abstract art — and later various painters, architects, poets and writers, set in motion the process of refining and purifying the rather confused and stagnant cultural life of the time.
It can well be imagined what a wealth of inspiration and enthusiasm the teaching of these three kindly artists showered upon the wide-eyed novice, Pintori, who had expected nothing more than a normal apprenticeship, but who found instead his own destiny, shaped by the magic hands if these master craftsmen. From this same tradition of poetry translated into dazzling unforgettable terms, Pintori drew his ideas for publicity material, portraying them in graphic designs with multi-colored patterns, machines captured in collages, symbolic splashes, cabalistic numbers, or objects brought togheter on the basis of some functional resemblance.
At times it is simply the writing of a letter or the curve fo one hundred and one flourishes emerging from a delicately tinted page. At others, the general effect come from a script Ma andiamo con ordine.
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Leonardo Sinisgalli a quella per la Lexicon del , da quella della Lettera 22 del a quella per la Tetractys del , da quella per la Divisumma del , fino a quella per la Raphael del Le variazioni sul tema sono molteplici, e non solo in campo pittorico: ne fa testo una serie di annunci a cinque colonne per quotidiani del , dove assieme al motivo della raggiera circolare, molto simile ad un ingranaggio, troviamo anche una sorta di pendolo in azione.
Pintori sceglie una strada difficile, che lascia alle spalle sia i facili effetti del cartellonismo plastico. Pagina pubblicitaria per riviste internazionali, 23x31,5 cm, Schema a colori, 17x21 cm, I riferimenti iconografici sono molteplici: dalla Stele di Roseta di un depliant del al disco di Festo nella copertina di una rivista, dalla scrittura cuneiforme di un annuncio del ai sigilli e ai geroglifici colorati di altri due depliant, sempre del Nella ricchezza di soluzioni che lo contraddistingue, Pintori sembra voler raccontare questa tradizione e farne parte.
Annuncio pubblicitario a doppia pagina, 68x30 cm, Annuncio pubblicitario a pagina intera per quotidiani. Copertina per la rivista Olivetti, 20x25 cm Pagina pubblicitaria per riviste internazionali e copertina per depliant, 21x29,7 cm Copertina per rivista, 25x34,5 cm, Fino al le strade sondate sono diverse: dai monocromi al viraggio fotografico, fino alle nuance necessarie a un plasticismo di stampo metafisico. Nel dopoguerra il colore diventa grafico e bidimensionale, e la gamma si restringe ai primari e ai secondari.
Pagina pubblicitaria per riviste, 24,5x34 cm, Copertina per depliant, 21x29,7 cm, Annuncio pubblicitario per riviste internazionali, 23x31 cm, Pagina pubblicitaria per rivista, 25x34 cm, Pagina pubblicitaria per riviste internazionali, 17x23,5 cm, Pagina pubbicitaria per riviste internazionali, Then there was a marked change in approach, and his structures became geometrical and faceted.
Almost all the commentators underscored the esheticizing taste, showing direct connection with functional requirements, that characterized the Quanta and even more the Diaspron. I mean to say purely estheticizing. It is the search for forms of taste that he attempts to impose on the product without their being necessary or justifiable. Sometimes the first image of the product is the direct result of this temptation. Not many people were in position to realize right away what a profound effect the use of such system would have increasingly on daily life, in terms of rationalization of working methods and environment, flexibility of services, and finally — reliability.
Product promotion here again is combined with the aim of cultural diffusion. A rigorously trained designer who is also open to the problems of the functional purpose of a message, Bassi utilizes with equal effectiveness graphic invention and photography, type faces and layout, sometimes adroitly combining different techniques and media. His visualization of the product itself may be the point of departure for a bold reinterpretation, in which the design of the machine, seen two dimensionally, takes on a new dramatic quality.
Similarly, images are shown in unusual situations, created specially for the construction of a message. In other cases the parts of one or more of the products may suggest to the artist associations and compositions that are substantially graphic though made possible by the use of photography. The human aspect is more in evidence where machines and systems are visualized in the specific situation of their use, or Examples are his Olivetti advertisements in the best magazines for general news, economics and the arts appearing in the world today.
An anti-machine machine, built around the commonest mass-produced mechanism, the work inside any typewriter, that may seems to be an unpretentious toy. The two elements of the machine itself, that is all one with the handle and cover, and its container with the two black rubber hooks, are made of orange-red injection molded ABS. The only shield against dust is provided by the front shell from which the keys project and the red rim enclosing them. On the contrary, it is an entirely new typewriter which differs from its forerunner both in form and approach.
It has a new, dashing and unconventional air compared with the traditional Olivetti line. It would indeed suggest an equally unorthodox advertising approach. Finally, it is rather un-Italian, and there merits and requisites make it a worthy heir to the Lettera An object that can be placed anywhere, appealing and highly visible, momentary and at the same time not different from the numerous other things which make up the panorama of our daily lives.
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From the structural point of view emphasis is placed particularly on the relation between the machine and its holder, achieved through a partial integration of the two units. Bassorilievo, Ettore Sottsass. Some of the dominant features of the graphic work that Walter Ballmer has been doing for Olivetti in the last twenty years may perhaps be summed up in this way. Ballmer, whose early Swiss training provided the groundwork for an independent style that developed in the ambit of Olivetti advertising, in touch with international graphics, has also designed salesroom, exhibition architecture and, especially, trademarks.
In the creation of the most direct advertising advertisements and posters the artist applies his pictorial fantasy and his typographical experience to communications often aimed at suggesting the cultural effects associated with the use of the product in question. Highly stylized feminine images, for instance, are linked with the promotion of a typewriter, which is advanced as a prestige symbol of the modern, sophisticated secretary.
The detail of a keyboard, showing figures and calculating symbols in perspective, associates the name of Olivetti and no other copy is necessary with the means of dealing with the daily problem of working with numbers. Geometric, chromatic and near figurative elaborations of the parts of the product, or of the precision, functionalism, and reliability connected with its use, are directed toward the same end. The client has something to communicate and the artist gives him the benefit of his language, translating the concepts concerned into forms.
Of these in certainly trademark, with its double but unified expression of sign and significance, graphic form and word, that is if not the principal then the primary element. Every identity begins with a name if it is true that nothing, no object or idea, no feeling or structure is even perceptible without a name to make it exist and have an individuality. This is the starting point fir the endless classificatory patience of the past and the nomenclatural ambitions of philologists and scientists, who from Linnaeus onward have sought a hierarchy in the natural order. The same exaggerated and to some extent magic connotation that we find in ancient Latin sayings to the effects that names come from things, words are deities or a word is a sign, takes us to a meaning that is not merely indicative but to a degree ontological and formative of the name with respect to the thing.
An augury and a destiny are conveyed by the name in defining a thing. It is the first immediate contact with the character if a firm, almost a synthesis of the values that firm expresses. Its importance in any event is so clearly obvious that words are not required to emphasize it.