Designer, critic, theoretician, teacher of design, architecture and city planning, all rolled into one man, Andrea Branzi, the Florentine of Milan, is a dictionary of the recent history of all these disciplines. Between 1966 and 1973, in the avant-garde group Archizoom, which he set up with Corretti, Deganello and Morozzi, he was involved in critical and cynical lines of thinking about the post-industrial age, claiming the need for reaching a crisis point of "positivism" in both architecture and city planning. This militant and iconoclastic approach was part of the "radical architecture" movement. In those years, Branzi contributed, in particular, to the exhibition "Italy: the New Domestic Landscape" (MoMA, 1972). Associated with experimental industrial design studios (Alchimia then Memphis) at the end of the 1960s, as well as with major publishers (Cassina, Zanotta, etc.), he threw himself into research, design, spreading the word about design (the reviews Modo, Domus, exhibitions, publications), looking for new relationships between people and objects. Through objects, the house, the human being--"a domestic animal"--must, in Branzi's book, find a primitive connection with the world, beyond technology.	(I)
	Andrea Branzi Branzi (Andrea) (1938)