When - in a small volume of mine published in 1952, Barocco nell'architettura moderna - I published the Lago Nero Sledge-lift by Carlo Mollino, along with the Einsteinturm by Mendlsohn and the Goetheaum by Steiner, I had already- I clearly believe - passed judgement on the extraordinary stylistic quafity of the Turin architect, as well as his fantastic technique. And, in fact, one characteristic that made all Mollino's work throughout his career the years unique is that it was almost always slow to be accepted and admired, only to be reassessed and acclaimed when for the general public (and most critics) the creator no longer was a cause for scandal or amazement.

THE STYLISTIC AUTONOMY OF CARLO MOLLINO

GILLO DORFLES

L'AUTONOMIA STILISTICA DI CARLO MOLLINO

GILLO DORFLES

FESTINA LENTE

DAVID PALTERER

FESTINA LENTE

DAVID PALTERER

LE FANTOME BY CARLO MOLLINO

PAOLA COLOMBARI

LE FANTOME DI CARLO MOLLINO

PAOLA COLOMBARI

TESTIMONY BY AMBROGIO ALLEMANDI

TESTIMONIANZA DI AMBROGIO ALLEMANDI

THE CATALOGUE OF FURNITURE AND DESIGN

SCHEDE DI MOBILI E OGGETI DI DESIGN

ASTE E MOSTRE

AUCTIONS AND EXHIBITIONS

BIBLIOGRAFIA