Trigamba
Blanco created numerous prototypes as a way of exploring the universe of seating: chairs, armchairs, stools, loungers. In his comparative studies with international pieces and trends, he establishes a dialogue with the “First” chair (1983) by Michele de Luchi, belonging to the Italian boom of the Memphis movement. Blanco says in the book “Diseño Argentino Permanencias” from 2019: “Both are formally stripped down but with their components, arranged in spatial positions. The legs of the Trigamba and the arm-backrest of the First are the characteristic elements. In the First the technical possibility of a country like Italy is noted in the required welding of the arm and in the other case, the technical synthesis, by using square tubing in the Trigamba. In this last chair I add the possibility of sitting backwards (as is customary in some cases) expanding its functionality. Formally, the use of circular or spherical elements, with rigorous geometry, gives it a thematic link as well as the use of a similar color.”
- Authorship — Ricardo Blanco
- Object Type — Chair
- Material and Technique — Phenolic and iron
- Measurements — 44 x 50 x 78 cm
- Origin — Argentina
- Dating — 1980
- Condition — Original
Ricardo Blanco
TRANSFORMATIVE DESIGN
An emblem of Argentine design, Ricardo Blanco (Buenos Aires, 1940-2017) revolutionized the concept of furniture with his playful and conceptual approach. He began his career as an architect at the University of Buenos Aires and continued as a designer from the sixties until he established himself as an undisputed figure in Argentine design.
He was a member of the National Academy of Fine Arts, where he made publications that promoted design as a major art form. He was also the curator of the design collection that is part of the Museo de Arte Moderno de Buenos Aires.
He transcended the borders of the country, projecting his creativity in pieces like the iconic Placa chair, which is part of the collection of the LACMA museum (Los Angeles) and MoMA (New York). His work is currently included in public and private collections such as the IDA Foundation, the Museum of Decorative Arts in Paris, among others.
His work extended design beyond the utilitarian, venturing into utilitarian sculpture and conceptual design. Blanco not only left a legacy of innovation with his works but also through his educational and cultural commitment, sharing his knowledge as a teacher and curator, and contributing significantly to the training of future generations of designers in Argentina and Latin America.
