Italian Postmodern Kettle by Richard Sapper for Alessi

German-born, Italian-based industrial designer Richard Sapper (1932-2015) is internationally celebrated for his unique sensibility, which is considered to be a blend of Teutonic rationality and Mediterranean style.

Sapper’s education was diverse—he studied philosophy, anatomy, and engineering, but graduated with a degree in business from the University of Munich. Upon completion, Sapper worked in the styling department of Daimler Benz in Stuttgart, before relocating to Milan in 1958. There he worked for a time in the office of Italian design master Gio Ponti (1891-1979). He opened his own design studio in 1959 and quickly earned a reputation for reinventing existing technology for new consumer products. He won his first Compasso d’Oro in 1960 for his Static Table Clock for Lorenz, which was repurposed from war-surplus torpedo timers.

Between 1957 and 1977, Sapper began a long collaboration with Italian architect-designer Marco Zanuso (1916-2001). The pair started out working as design consultants for the Italian electronics manufacturer Brionvega. Over the years, they took on projects for many other brands, and, along the way, pioneered a new postwar aesthetic known as techno-functionalism. Successful designs by the pair include Lambda Chair for Gavina (1959), Doney 14 TV for Brionvega (1962)—the first fully-transistor television—the Grillo Telephone for Siemens (1966), and a series of houses for the landmark Italy: The New Domestic Landscape exhibition in New York’s Museum of Modern Art in 1972.

Among Sapper's best known solo designs are the Tizio Desk Lamp for Artemide (1972)—one of the best-selling lamps of the 20th century—and the 9091 Kettle for Alessi (1983). Through the course of his career, Sapper produced successful and innovative designs for many well-known Italian and international brands, including B&B Italia, FIAT, Heuer, Kartell, Knoll, Magis, Molteni, Pirelli, and many others. In the 1980s, Sapper became the chief industrial design consultant for IBM and Lenovo, creating the very first design for the ThinkPad laptop (1992). 

Sapper has won many awards and accolades, including multiple Compasso d’Oro awards (1960, 1962, 1964, 1967, 1979, 1987, 1991, 1994, and 1998), the Lucky Strike Award from the Raymond Loewy Foundation (1992), and the Federal Republic of Germany Grand Merit Cross (2012). Sapper’s work has been featured in many museum exhibitions and permanent collections around the world, including New York's Museum of Modern Art, Metropolitan Museum of Art, Cooper Hewitt Museum, and Brooklyn Museum; and London's Design Museum and Victoria & Albert Museum.

Sapper passed away at the age of 83 in 2015.

In 1921, the Italian metal-turner Giovanni Alessi purchased a parcel of land in Omegna, in the Piedmont region of Italy, and together with his brother founded a small atelier called Fratelli Alessi Omegna. The workshop produced crafted tableware and household objects in metal and wood, often inspired by the Art Nouveau designs popular in Austria and Britain at the time. With an obsession for quality finishes and careful execution, Giovanni propelled Alessi toward quick success.

In 1932, Giovanni’s eldest son, Carlo joined the family business and, between 1935 and 1945, designed most Alessi’s products. Over the years, he played a vital role in integrating industrial processes into Alessi production and generating large-scale commissions from hotels and restaurants. In 1945, another son of Giovanni, Ettore, joined the company as head of the technical office and began to commission designs from independent designers, such as Luigi Massoni.

In the 1970s, the third generation of the Alessi family joined in: the visionary Alberto Alessi. Influenced by the vanguard design community active in Milan at the time, Albert instigated a campaign to transform Alessi into one of the most forward-thinking design brands in the world. He believed that the “function” of objects must always include an emotional component, and brought in a powerhouse roster of designers and architects to develop new collections imbued with poetry, identity, and spirit.

In the ensuing decades, Alessi forged relationships with the likes of Eero Aarnio, Ron Arad,Mario Botta, the Bouroullec Brothers, Andrea Branzi, the Campana Brothers, the Castiglioni Brothers, Nigel Coates, Joe Colombo, Michele De Lucchi, Naoto Fukasawa, Frank Gehry, Anna Gili, Michael Graves, Zaha Hadid, Toyo Ito, Piero Lissoni, Enzo Mari, Alessandro Mendini, Jasper Morrison, Jean Nouvel, Karim Rashid, Richard Sapper, Ettore Sottsass, Philippe Starck, Studio Job, and Marcel Wanders, among many, many more.

Alessi pieces can be found in museum collections around the world, especially Carlo Alessi’s Bombé Tea & Coffee Service (1945), Richard Sapper’s 9091 Tea Kettle (1983), Michael Graves’s 9093 Teakettle (1985), Philippe Starck’s Juicy Salif Lemon Squeezer (1990), and Alessandro Mendini’s Anna Gili Corkscrew (1993). Another standout project is the 1983 Tea & Coffee Piazza series, for which Alberto commissioned several limited-edition, “architecture in miniature” tableware objects from major architects like Hans Hollein, Charles Jencks, Richard Meier, Aldo Rossi, Stanley Tigerman, and Robert Venturi.

Despite the vast diversity of its product lines, Alessi has maintained its focus on high-quality production, especially for products made with nickel, chrome, silver-plate, and plastic. With nearly a century of history behind it, the family-owned company remains an established industry leader. In 1998, the Alessi Museum was established at the Alessi headquarters outside of Milan to house prototypes, products, drawings, photographs, publications, and catalogues from Alessi and other companies, documenting the history of the home and of Italian design.

* All images courtesy of Alessi