Franco Bertoni
Art and Art Architectural Historian, International Museum of Ceramics, Faenza


Journal 4/5/2008/2009 (Museum of Applied Art), pages 109-117

UDC: Poci A.

Abstract (original language):
Fin dagli esordi, nel 1950, la figura di Ambrogio Pozzi ha rappresentato, con linearità e progressiva continuità progettuale, una delle massime espressioni della via italiana al design. Pozzi è stato, per il secondo dopoguerra italiano, l'autorevole alfiere di una progettazione semplice, linear

Key words: (original language)
good-design, estetica industriale, progetta-zione etica, oggetto d'uso quotidiano, forme eleganti, funzio-nalismo, rifiuto della decorazione, psicologia della gestalt, impilabilità, linea semplice e chiara / robni dizajn (good-design), industrijska estetika, etičko projektovanje, predmeti za svakodnevnu upotrebu, elegantne forme, funkcionalizam, izbegavanje dekorativnih elemenata, psihologija oblika, izbegavnje vertikalne noseće strukture, jasna i jedno-stavna linija

The design of Ambrogio Pozzi begun in ceramic (clay, majolica and porcelain) and ceramic remained his constant and privileged interest in his contribution to what was defined as “a new domestic landscape”. Parallel to university studies of chemistry, Pozzi has attended the Institute of Arts in Ceramic in Faenza (l'Istituto d'Arte per la Ceramica di Faenza). In 1950, he begins collaboration with his paternal company: the Franco Pozzi Ceramics from Gallarate.
The clear consciousness of technical and technological problems, faced in paternal manufacture, fused with the influence of local artisan tradition and was consequently reflected in his work: in 1953 the Sad Vases (Vasi squalo) – a tribute to organicism of the Scandinavian mark as in table set Arianna made in 1959 and awarded Palladio Prize in Vicenza; from 1960 dates Rosanna series; from the early Sixties date Britoil Europozzi and the Shopping series.
The table set Frida from 1963, the earthenware from 1964, the TR 13 series ( Palladio Award, Vicenza 1964) and especially the Compact set from 1968 (short listed for Golden Compass) indicate perfecting of Pozzi's design methods and visions which do not lean on vertical support and are based on compound compatibility and multi functionality as their minimal common denominator.
Dues to the world of Nordic and Scandinavian design, obvious in his work after his sojourn in Sweden, Denmark, France and Germany were done with and the most prestigious European porcelain producer – Rosenthal summoned him for collaboration. In 1968, he has created set Duo for the Rosenthal, which remained in production until the end of 1997. Duo's exemplary form and functionality was awarded at International Competition of Ceramics in Faenza. Same year Pozzi was invited to Hallmark Gallery in New York to the “Design Italian Style” exhibition.
Another important Pozzi's projects dates from early Seventies: the china sets for Alitalia's cabin service. Together with Joe Colombo, Pozzi designed entire food ware for both economy and first class of the Italian flag carrier. Once again, Pozzi responds to precise functional and representative requirements with a clear, refined and intelligent projection void of excessive formalism.
Though the successes of Duo, Cono and Alitalia were not to be repeated, Pozzi continued his coherent research with sets Primaluna, Tall short (Alto basso) from 1973, the Wood (I Legni) from 1979, House (Casa) from 1989. The clocks Temporotondo designed for Rosenthal in 1991 and the objects performed in glass, metacrylate, crystal, Pyrex and silver during Eighties and Nineties demonstrate, however, a greater compromise with the emerging taste tendencies.

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