Giotto Stoppino
A few years ago, while redesigning my home, I acquired a set of Kartell nesting tables and became captivated by the work of Italian designer and architect Giotto Stoppino.
His designs balanced affordability with aesthetic integrity, exploring functionalism and materiality through a maximalist approach. Iconic pieces like his plastic magazine rack, Equilibrium lamp, and nesting tables exemplify this.
The Radical Design movement of the 1960s and 70s produced ingenious objects and art- a movement that Stoppino paralleled within his own philosophies. Stoppino’s design schema was driven by intentionality. While most movements of the time were focused on modernizing with traditional materials (wood, steel), Stoppino found an opportunity to look towards the future of materials in an exploration with Kartell[1]. A year-long journey of testing for the concept of molded plastic brought the Kartell nesting tables to life, an innovation that would change the course of post-modern Italian design.
“For me design, has nothing to do with drawing for Italian design, but rather with the Latin word designare, that is to look for the position of a thing in the space essentially designed”
He began his studies at the Istituto Universitario di Architettura di Venezia (IUAV) in Venice and later attended the Polytechnic University of Milan. During his time at the Polytechnic, Stoppino collaborated with Ernesto Nathan Rogers, a leading figure in the Neo-Liberty movement and editor-in-chief of Casabella magazine[2].
In 1953, Stoppino co-founded the firm Architetti Associati in Novara with Lodovico Meneghetti[3] and Vittorio Gregotti[4]. The firm was active for 15 years, during which they worked on over 250 projects encompassing architecture, design, urban planning, and exhibition layouts.
Notable works from this period include workers’ housing in Cameri (Novara), the curvilinear bentwood Cavour armchair for S.I.M. in 1960, and the the Arteluce Equilibrium Lamp, now part of the permanent collection at MoMA[5] in New York. He was among the handful of Italian architects included in the “Italy: The New Domestic Landscape” exhibition.
In 1968, Stoppino established his own architecture firm and collaborated with international brands such as Acerbis, Arteluce, Bernini, Calligaris, and Driade.
His partnership with Kartell captured the ethos of democratized design. Founded in 1949 by Giulio and Anna Castelli Ferrieri, it became the ideal platform for Stoppino’s experiments.
One day the owner of Kartell, Giulio Castelli came to visit Stoppino. And he saw the little table by Alvar Aalto and said to him:
“Why didn’t he make a series of these little tables like that, but in plastic material?”
At the time plastic was difficult to work with. And the project was ambitious. After more than a year of development, Stoppino’s tables materialized, redefining the potential of ABS plastic[6] in furniture design. Afterwards, he made the magazine rack (1972).
Throughout his career, Stoppino received numerous accolades, including three Compasso d’Oro awards: in 1979 for the Sheraton sideboard (Acerbis International), in 1991 for the Alessia handle (Olivari), and a lifetime achievement award in 2011. His designs are part of permanent collections in prestigious institutions such as MoMA in New York and the Victoria and Albert Museum in London, underscoring his significant contributions to modern design.
There's a harmonious balancing act that Stoppino's work accomplishes. In today's culture, there's a homogenous approach to contemporary design. But aside from the necessities that critics demand, there is always room to balance new ideas with historical forms.
True innovation arises when value is balanced. Stoppino’s work consistently reflects this harmonious balancing act, reminding us of the enduring power of well-thought design.
