{"id":25039,"date":"2026-08-25T17:30:00","date_gmt":"2026-08-25T15:30:00","guid":{"rendered":"https:\/\/www.archieinteriors.com\/?p=25039"},"modified":"2026-08-25T17:30:01","modified_gmt":"2026-08-25T15:30:01","slug":"gae-aulenti-architecture-design-works","status":"publish","type":"post","link":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/","title":{"rendered":"Gae Aulenti: Biography, Architecture, Works and Design Icons"},"content":{"rendered":"

Gae Aulenti<\/strong> (1927\u20132012) was one of the most versatile figures in Italian design and architecture during the second half of the twentieth century: architect, designer, interior architect, exhibition designer, museum designer and scenographer. Her importance does not rest on a single project, but on her ability to work with equal intensity across very different scales, from a lamp to a museum, from exhibition design to public space. The Mus\u00e9e d\u2019Orsay in Paris, Palazzo Grassi in Venice and Piazzale Cadorna in Milan reveal her approach to existing buildings and urban contexts; the Pipistrello lamp<\/strong> and Tavolo con Ruote<\/strong>, meanwhile, show how product design in her work could emerge directly from architecture, industry or the observation of everyday space.<\/p>\n

Gae Aulenti: biography and the making of a designer beyond categories<\/h2>\n

Gae Aulenti was born in 1927 in Palazzolo dello Stella<\/strong>, in the province of Udine. After spending her formative years between Florence and Turin during the war, she moved to Milan and graduated from the Politecnico di Milano in 1953<\/strong>. From 1955 to 1965 she was part of the editorial team of Casabella-Continuit\u00e0<\/em>, directed by Ernesto Nathan Rogers, one of the key forums for architectural debate in Italy at the time. It was within this cultural environment that an approach began to emerge which would remain constant throughout her career: architecture, interiors, objects and exhibition design were treated as different aspects of the same design problem.<\/p>\n

Reducing Aulenti to the role of product designer would therefore be as misleading as reading her career solely through the major museums she worked on from the 1980s onwards. The retrospective organised by Triennale Milano in 2024\u20132025<\/strong>, the first extensive monographic exhibition devoted to her work, reconstructed a career spanning more than sixty years and encompassing urban design, exhibition design, landscape, interiors, furniture, graphics and theatre scenography. Material from the Gae Aulenti Archive demonstrated precisely this continuity between disciplines that are often considered separately.<\/p>\n

Her relationship with the Triennale is also significant in understanding the context of post-war Italian design. In 1964, Aulenti created the exhibition L\u2019arrivo al mare<\/strong> for the XIII Triennale, based on a sequence of female figures and mirrored effects; in 1972 she took part in the MoMA exhibition Italy: The New Domestic Landscape<\/em>, one of the shows that firmly established Italian design at the centre of international attention. For MoMA, she designed a domestic environment composed of modular elements conceived almost as small architectural structures, treating the home according to spatial principles more commonly associated with the city.<\/p>\n

Architecture, museography and scenography: one approach to shaping space<\/h2>\n

One of the most interesting aspects of Gae Aulenti\u2019s work is the difficulty of separating architecture from exhibition design<\/strong>. In her museums, the organisation of artworks is not added after the space has been defined: it actively contributes to its construction. Walls, plinths, ramps, lighting, materials and perspectives become tools for controlling the relationship between visitor, building and collection.<\/p>\n

This sensitivity was also shaped by her long experience in theatre. From the mid-1970s, Aulenti developed an intense collaboration with director Luca Ronconi<\/strong>, working on numerous stage designs. The Gae Aulenti Archive documents a theatrical practice that continued for decades alongside her architectural work. This experience also helps to interpret many of her museum and urban projects: space is frequently organised through sequences, viewpoints, highly recognisable objects and carefully calibrated relationships between the observer and what is being presented.<\/p>\n

Her relationship with history follows a similar logic. Aulenti did not seek absolute neutrality in front of an existing building. New interventions generally have a recognisable presence, but they respond to the scale and proportions of what is already there. This attitude becomes especially clear in her major museum projects of the 1980s.<\/p>\n

Mus\u00e9e d\u2019Orsay: transforming a railway station through museum design<\/h2>\n

\"Mus\u00e9e<\/p>\n

The Mus\u00e9e d\u2019Orsay<\/strong> remains the project most frequently associated with Gae Aulenti, but her role needs to be described precisely. The conversion of the Gare d\u2019Orsay into a museum was designed by the ACT-Architecture<\/strong> group, formed by Pierre Colboc, Renaud Bardon and Jean-Paul Philippon, which won the competition for the station\u2019s transformation in 1979. In March 1980, Gae Aulenti was instead commissioned to design the interiors and museography.<\/p>\n

It is at this second level that Aulenti made her decisive contribution. The former railway station, designed by Victor Laloux, contained a monumental nave whose scale risked overpowering the artworks. The museum design responded by introducing three principal exhibition levels<\/strong>, a large central route and a sequence of stone-clad volumes capable of creating a more appropriate scale for viewing the collections.<\/p>\n

The installation was developed under Aulenti\u2019s direction with contributions from Italo Rota<\/strong>, Piero Castiglioni<\/strong> for the lighting and Richard Peduzzi<\/strong> for the presentation of architecture. The museum also emphasises the combined use of natural and artificial light, adjusted according to the different requirements of the works on display. The intervention does not erase the railway station: the vast metal roof and the monumentality of the nave remain legible, while the new museum architecture establishes within it a different geography of terraces, galleries and circulation routes.<\/p>\n

This balance is what makes Orsay so important within Aulenti\u2019s career. The existing building retains its identity, but the way visitors move through it is completely transformed. The industrial structure becomes a museum without pretending to be a historic palace and without giving up its original scale.<\/p>\n

In 2026, the Mus\u00e9e d\u2019Orsay marks forty years since its opening<\/strong>, once again drawing attention to the project and to Aulenti\u2019s contribution. The museum\u2019s collections still include original drawings and models of the interior design, including sections dating from 1982 donated by the architect herself.<\/p>\n

Palazzo Grassi: designing exhibitions within a Venetian palace<\/h2>\n

\"Palazzo<\/p>\n

A few years after Paris came another major commission: Palazzo Grassi in Venice<\/strong>. In 1983 Fiat acquired the eighteenth-century building on the Grand Canal to transform it into a venue for major art and archaeology exhibitions; the restoration was entrusted to Gae Aulenti and Antonio Foscari<\/strong>. The Gae Aulenti Archive dates the principal phase of the work to 1985\u20131986.<\/p>\n

The Palazzo Grassi experience allowed Aulenti to develop further the relationship between architecture and temporary exhibitions. Following the restoration, she continued to work within the building, designing numerous installations, from Futurismo & Futurismi<\/em> in 1986 to I Fenici<\/em> in 1988 and other exhibitions through to the early 2000s.<\/p>\n

What is particularly significant is her ability to use exhibition architecture as an active counterpart to the historic building. Display structures do not necessarily attempt to disappear behind the artworks; they can acquire their own mass, colour and geometry. Aulenti treats the exhibition as a temporary architectural project: a construction capable of altering, for several months, the way visitors perceive a much older building.<\/p>\n

Palazzo Grassi later entered a new phase with Tadao Ando\u2019s 2005\u20132006 restoration<\/strong>, carried out after its acquisition by Fran\u00e7ois Pinault. This subsequent layering of interventions makes the palace a particularly interesting case of contemporary museum stratification in Venice.<\/p>\n

Piazzale Cadorna in Milan: design moves into public space<\/h2>\n

\"Piazzale<\/p>\n

With Piazzale Luigi Cadorna<\/strong>, between 1998 and 2000, the scale changes once again. Aulenti worked on one of Milan\u2019s major transport hubs, where the railway station, underground, public transport and road traffic converged in a place that had progressively lost clarity as a public space.<\/p>\n

The project addressed circulation, pedestrian areas, the Ferrovie Nord station fa\u00e7ade and the system of canopies in front of the station<\/strong> at the same time. The geometry of the square was reorganised around existing urban axes and pedestrian flows, with the aim of restoring legibility to a transport node dominated by movement. The design team was led by Aulenti together with Marco Buffoni, Massimo Cazzaniga, Carlo Lamperti, Giuseppe Villoresi and Renato Vitaliani.<\/p>\n

Now inseparable from the identity of the square is Ago, filo e nodo<\/strong> by Claes Oldenburg and Coosje van Bruggen, a sculpture designed specifically for Cadorna. Standing 18 metres high and made from stainless steel and fibreglass, the work enters the urban system as a large-scale visual marker, turning a transit space into an immediately recognisable city image.<\/p>\n

Cadorna demonstrates how scenography influenced Aulenti\u2019s method without reducing it to spectacle. Canopies, colour, structures and sculpture create a sequence that can be understood by people moving rapidly through the square. The city is treated as a space in which architecture, public art and infrastructure need to be perceived at the same time.<\/p>\n

Scuderie del Quirinale and the transformation of historic buildings<\/h2>\n

\"Scuderie<\/p>\n

At the end of the 1990s, Aulenti also worked on the transformation of the former Papal Stables at the Quirinale in Rome<\/strong> into an exhibition venue. The project belongs to the mature phase of her research into the adaptive reuse of historic buildings and was developed in connection with the opening of the new space for major exhibitions. The Gae Aulenti Archive places the intervention in the late 1990s, while documentation from the Italian Ministry of Culture records the restoration and conversion into exhibition spaces between 1998 and 2000.<\/p>\n

Here too, the challenge is not simply to preserve an old container, but to make it compatible with contemporary museum requirements: circulation routes, services, exhibition systems and relationships between rooms all need to function without erasing the identity of the building.<\/p>\n

Viewed together, Orsay, Palazzo Grassi and the Scuderie demonstrate why Aulenti is a fundamental figure in late twentieth-century museum design<\/strong>. The period, scale and structure of the buildings change, but the central idea remains constant: the museum should emerge from a direct engagement with what already exists.<\/p>\n

Pipistrello: the lamp designed for an architectural interior<\/h2>\n

\"Pipistrello<\/p>\n

In product design, Gae Aulenti\u2019s best-known object remains the Pipistrello lamp<\/strong>, designed in 1965 for Martinelli Luce<\/strong>. Its origin is significant: Martinelli Luce links the earliest sketches to the Olivetti showroom project in Paris. The lamp therefore emerged in relation to a specific interior before becoming an independent design product.<\/p>\n

The structure combines a conical base, a telescopic stainless-steel element and an opal methacrylate diffuser shaped into four sections that suggest the spread wings of a bat. The original model is height-adjustable and can function as either a table or floor lamp. The techniques used to mould the methacrylate were innovative for the period.<\/p>\n

The interest of Pipistrello, however, extends beyond its silhouette. The telescopic body makes the object variable<\/strong>, allowing it to alter its presence and proportions within a room. This is an architectural quality applied to a lamp: the object is not conceived as an isolated figure, but in relation to the surrounding surfaces and the people using the space.<\/p>\n

The fact that Pipistrello is still in production, in different dimensions and versions, demonstrates the design\u2019s ability to survive the cultural context in which it was created. In 2026, Martinelli Luce and the Mus\u00e9e d\u2019Orsay also brought these two strands of Aulenti\u2019s work together symbolically in connection with the museum\u2019s fortieth anniversary.<\/p>\n

Tavolo con Ruote: turning an industrial trolley into design<\/h2>\n

\"Tavolo<\/p>\n

A second object reveals another aspect of Aulenti\u2019s method. In 1979 she became artistic director of FontanaArte<\/strong>; the following year she designed the Tavolo con Ruote<\/strong>.<\/p>\n

The origin of the project is documented directly by the company. Aulenti observed an industrial trolley used inside the FontanaArte factory to transport sheets of glass<\/strong> and transformed its logic: the wooden top was removed and replaced with a large sheet of glass, while the industrial wheels remained completely exposed.<\/p>\n

The result challenges the conventional idea of the coffee table. The wheels, usually hidden or treated as secondary technical components, become the dominant visual supports, while the glass makes the construction immediately legible. The transformation is achieved with very few elements and without adding decoration.<\/p>\n

Pipistrello and Tavolo con Ruote demonstrate two different strategies. The first emerged from the need to create a luminous presence within a designed interior; the second began with the observation of an industrial tool. In both cases, design grows out of a relationship with a real context<\/strong>.<\/p>\n

The relationship between history, objects and space in Gae Aulenti\u2019s work<\/h2>\n

The diversity of Aulenti\u2019s output could suggest a career made up of independent experiences. On closer inspection, however, a common principle emerges: objects are almost always considered in terms of their ability to establish relationships.<\/p>\n

In a museum, this means connecting artwork, visitor and building. In interior design, it means using furniture and lighting to establish spatial hierarchies. In a public square, it means organising flows, urban elements and public art. In theatre, it means creating a stage capable of changing how the audience perceives the action.<\/p>\n

Even her product design follows this approach. During her period as artistic director of FontanaArte, which began in 1979, Aulenti designed or developed with other designers pieces including Giova, Tavolo con Ruote, Parola and later Tour<\/strong>, working with glass, metal and light according to a logic that always maintained a strong relationship with architecture.<\/p>\n

Why Gae Aulenti remains central to contemporary design<\/h2>\n

More than a decade after her death, interest in Gae Aulenti<\/strong> extends far beyond the preservation of a number of design icons. Triennale Milano\u2019s major 2024\u20132025 retrospective, built around drawings, photographs, models and full-scale reconstructions from her archive, helped restore a far more complex picture than that of the designer behind Pipistrello or the Mus\u00e9e d\u2019Orsay alone. In 2025, Triennale also presented La Gae. The Life and Times of Gae Aulenti<\/em>, a publication developed in collaboration with the Gae Aulenti Archive and based on the research produced for the exhibition.<\/p>\n

In 2026, as the Mus\u00e9e d\u2019Orsay celebrates its fortieth anniversary, her work remains particularly relevant to questions that continue to shape architecture and design: how to transform a historic building without erasing it, how to create a museum inside existing architecture, how to connect art and public space, and how to move between object and architecture without imposing a rigid hierarchy between the two scales<\/strong>.<\/p>\n

This continuity is perhaps the clearest way to understand her legacy. Gae Aulenti moved through the second half of the twentieth century without confining herself to a single discipline and without developing a formal language to be applied indiscriminately to every commission. Her projects change because the places and problems change. What remains constant is the idea that design acquires meaning when it establishes a precise relationship between history, space, objects and people<\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Gae Aulenti (1927\u20132012) was one of the most versatile figures in Italian design and architecture during the second half of the twentieth century: architect, designer, interior architect, exhibition designer, museum designer and scenographer. Her importance does not rest on a single project, but on her ability to work with equal intensity across very different scales,…<\/p>\n","protected":false},"author":34,"featured_media":25024,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[49],"tags":[],"top_category":[],"class_list":["post-25039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-design"],"acf":[],"yoast_head":"\nGae Aulenti: Architecture, Works and Design Icons<\/title>\n<meta name=\"description\" content=\"Discover Gae Aulenti\u2019s architecture and design, from the Mus\u00e9e d\u2019Orsay and Palazzo Grassi to Pipistrello, Cadorna and Tavolo con Ruote.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gae Aulenti: Architecture, Works and Design Icons\" \/>\n<meta property=\"og:description\" content=\"Discover Gae Aulenti\u2019s architecture and design, from the Mus\u00e9e d\u2019Orsay and Palazzo Grassi to Pipistrello, Cadorna and Tavolo con Ruote.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/\" \/>\n<meta property=\"og:site_name\" content=\"Archi & Interiors\" \/>\n<meta property=\"article:published_time\" content=\"2026-08-25T15:30:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-08-25T15:30:01+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1500\" \/>\n\t<meta property=\"og:image:height\" content=\"1000\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Carmela Luongo\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Carmela Luongo\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/\"},\"author\":{\"name\":\"Carmela Luongo\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#\/schema\/person\/b322a13b5b233aec04d4e3ffd9c4531c\"},\"headline\":\"Gae Aulenti: Biography, Architecture, Works and Design Icons\",\"datePublished\":\"2026-08-25T15:30:00+00:00\",\"dateModified\":\"2026-08-25T15:30:01+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/\"},\"wordCount\":2373,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png\",\"articleSection\":[\"Design\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/\",\"url\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/\",\"name\":\"Gae Aulenti: Architecture, Works and Design Icons\",\"isPartOf\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png\",\"datePublished\":\"2026-08-25T15:30:00+00:00\",\"dateModified\":\"2026-08-25T15:30:01+00:00\",\"description\":\"Discover Gae Aulenti\u2019s architecture and design, from the Mus\u00e9e d\u2019Orsay and Palazzo Grassi to Pipistrello, Cadorna and Tavolo con Ruote.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#primaryimage\",\"url\":\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png\",\"contentUrl\":\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png\",\"width\":1500,\"height\":1000,\"caption\":\"Gae Aulenti biografia, opere, architetture e icone del design\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.archieinteriors.com\/en\/home-nuova\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Gae Aulenti: Biography, Architecture, Works and Design Icons\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#website\",\"url\":\"https:\/\/www.archieinteriors.com\/en\/\",\"name\":\"Archi & Interiors\",\"description\":\"Archi & Interiors Magazine\",\"publisher\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.archieinteriors.com\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#organization\",\"name\":\"Archi & Interiors\",\"url\":\"https:\/\/www.archieinteriors.com\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2024\/07\/cropped-customcolor_logo_customcolor_background.png\",\"contentUrl\":\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2024\/07\/cropped-customcolor_logo_customcolor_background.png\",\"width\":937,\"height\":550,\"caption\":\"Archi & Interiors\"},\"image\":{\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#\/schema\/person\/b322a13b5b233aec04d4e3ffd9c4531c\",\"name\":\"Carmela Luongo\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.archieinteriors.com\/en\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a10845af2f0aea23282002f7e271b6c0f99cbbe02d49061d3767a520def8fad7?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a10845af2f0aea23282002f7e271b6c0f99cbbe02d49061d3767a520def8fad7?s=96&d=mm&r=g\",\"caption\":\"Carmela Luongo\"},\"url\":\"https:\/\/www.archieinteriors.com\/en\/author\/carmela-luongo\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Gae Aulenti: Architecture, Works and Design Icons","description":"Discover Gae Aulenti\u2019s architecture and design, from the Mus\u00e9e d\u2019Orsay and Palazzo Grassi to Pipistrello, Cadorna and Tavolo con Ruote.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/","og_locale":"en_US","og_type":"article","og_title":"Gae Aulenti: Architecture, Works and Design Icons","og_description":"Discover Gae Aulenti\u2019s architecture and design, from the Mus\u00e9e d\u2019Orsay and Palazzo Grassi to Pipistrello, Cadorna and Tavolo con Ruote.","og_url":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/","og_site_name":"Archi & Interiors","article_published_time":"2026-08-25T15:30:00+00:00","article_modified_time":"2026-08-25T15:30:01+00:00","og_image":[{"width":1500,"height":1000,"url":"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png","type":"image\/png"}],"author":"Carmela Luongo","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Carmela Luongo","Est. reading time":"14 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#article","isPartOf":{"@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/"},"author":{"name":"Carmela Luongo","@id":"https:\/\/www.archieinteriors.com\/en\/#\/schema\/person\/b322a13b5b233aec04d4e3ffd9c4531c"},"headline":"Gae Aulenti: Biography, Architecture, Works and Design Icons","datePublished":"2026-08-25T15:30:00+00:00","dateModified":"2026-08-25T15:30:01+00:00","mainEntityOfPage":{"@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/"},"wordCount":2373,"commentCount":0,"publisher":{"@id":"https:\/\/www.archieinteriors.com\/en\/#organization"},"image":{"@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#primaryimage"},"thumbnailUrl":"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png","articleSection":["Design"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/","url":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/","name":"Gae Aulenti: Architecture, Works and Design Icons","isPartOf":{"@id":"https:\/\/www.archieinteriors.com\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#primaryimage"},"image":{"@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#primaryimage"},"thumbnailUrl":"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png","datePublished":"2026-08-25T15:30:00+00:00","dateModified":"2026-08-25T15:30:01+00:00","description":"Discover Gae Aulenti\u2019s architecture and design, from the Mus\u00e9e d\u2019Orsay and Palazzo Grassi to Pipistrello, Cadorna and Tavolo con Ruote.","breadcrumb":{"@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#primaryimage","url":"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png","contentUrl":"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2026\/08\/Gae-Aulenti-biografia-opere-architetture-e-icone-del-design.png","width":1500,"height":1000,"caption":"Gae Aulenti biografia, opere, architetture e icone del design"},{"@type":"BreadcrumbList","@id":"https:\/\/www.archieinteriors.com\/en\/gae-aulenti-architecture-design-works\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.archieinteriors.com\/en\/home-nuova\/"},{"@type":"ListItem","position":2,"name":"Gae Aulenti: Biography, Architecture, Works and Design Icons"}]},{"@type":"WebSite","@id":"https:\/\/www.archieinteriors.com\/en\/#website","url":"https:\/\/www.archieinteriors.com\/en\/","name":"Archi & Interiors","description":"Archi & Interiors Magazine","publisher":{"@id":"https:\/\/www.archieinteriors.com\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.archieinteriors.com\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.archieinteriors.com\/en\/#organization","name":"Archi & Interiors","url":"https:\/\/www.archieinteriors.com\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.archieinteriors.com\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2024\/07\/cropped-customcolor_logo_customcolor_background.png","contentUrl":"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2024\/07\/cropped-customcolor_logo_customcolor_background.png","width":937,"height":550,"caption":"Archi & Interiors"},"image":{"@id":"https:\/\/www.archieinteriors.com\/en\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/www.archieinteriors.com\/en\/#\/schema\/person\/b322a13b5b233aec04d4e3ffd9c4531c","name":"Carmela Luongo","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.archieinteriors.com\/en\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/a10845af2f0aea23282002f7e271b6c0f99cbbe02d49061d3767a520def8fad7?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a10845af2f0aea23282002f7e271b6c0f99cbbe02d49061d3767a520def8fad7?s=96&d=mm&r=g","caption":"Carmela Luongo"},"url":"https:\/\/www.archieinteriors.com\/en\/author\/carmela-luongo\/"}]}},"_links":{"self":[{"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/posts\/25039","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/comments?post=25039"}],"version-history":[{"count":1,"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/posts\/25039\/revisions"}],"predecessor-version":[{"id":25041,"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/posts\/25039\/revisions\/25041"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/media\/25024"}],"wp:attachment":[{"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/media?parent=25039"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/categories?post=25039"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/tags?post=25039"},{"taxonomy":"top_category","embeddable":true,"href":"https:\/\/www.archieinteriors.com\/en\/wp-json\/wp\/v2\/top_category?post=25039"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}