Ettore Sottsass

It is not easy to write about Ettore Sottsass in Domus, after he contributed for decades to the conception and creation of our magazine.

- Alfredo Taroni

But we could hardly fail to pay homage to him on the centenary of his birth. Fortune came to our aid, and when Enzo Cucchi – his great friend and companion on his travels – introduced me to Alfredo Taroni, lithographer in Como, a whole new world opened up before me. In the pages that follow we reveal it to our readers, again saying, “Thank you Ettore.” Nicola Di Battista

I first came across Ettore Sottsass’s work as a student of architecture in the late-1970s. I observed his drawings with interest and read some of his articles in magazines such as Domus.

His articles and drawings moved me deeply. Then, in the late-1980s, with some friends, I founded a small publishing house in Como and produced a successful collection of art books combining graphic design with poetry, but I had never altogether forgotten architecture. The idea gradually grew out of launching a series of books that would touch upon the subject. Acting on an impulse, I decided to call Ettore Sottsass’s office for a consultation. I clearly recall my first meeting with Sottsass at his office in Milan. Among much else, he said: “I’m wild about printing, paper and artist’s books. I could hardly let slip a chance to print special editions dealing with architecture.” The next day he had already prepared a small 9.5 x 7 cm mock-up with sketches, notes and drawings of what would become the first volume in the new series. That was the start of an intense collaboration, an affectionate friendship even, with meetings about the work in the office, at home, in a