From the plant structure of coconuts to the layout of human settlements according to Le Corbusier, the shape of the equilateral triangle appears—both in nature and in human creations—in a wide variety of contexts.

A basic geometric shape alongside the circle and the square, the equilateral triangle lends itself to modular combinations, generating structured fields in which countless other forms can be created. From classical Arab and Japanese decorative art to the contemporary architecture of Buckminster Fuller and Wright, the study of the equilateral triangle—in all its aspects and formal and structural possibilities—has led to fascinating and thought-provoking results and experiments.

Dopo i volumi dedicati al quadrato e al cerchio, vengono ora riproposti gli spunti e le riflessioni di Bruno Munari a proposito delle decine di usi nei secoli di questa affascinante e misteriosa forma, originariamente pubblicati nel 1976 per Zanichelli nella collana da lui stesso curata Quaderni di design.

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“God is a circle whose center is everywhere and whose circumference is nowhere.”

The circle is associated with perfection, cyclicality, and the superiority of the divine, but also with instability and motion. In nature, soap bubbles are spherical, and the growth rings of trees are circular. Legend has it that Giotto’s “O” was a perfect circle, while perfection becomes tangible in Michelangelo’s Doni Tondo and Botticelli’s Madonna and Child. King Arthur’s knights gathered around a round table to symbolize their equality—just as today we gather in circles to make decisions or watch a performance.

In this extraordinary little encyclopedia, Bruno Munari collects and describes dozens of uses of this fascinating and mysterious shape throughout the centuries—at once as unstable as it is hieratic.

Together with The Square and The Triangle, it is part of a special trilogy dedicated to these shapes, their history, meanings, and uses.

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Mr. Duchamp's works of art were strange and unusual. They weren't paintings and they weren't sculptures, yet they were undoubtedly art. From an artist who, laughing and joking, pushed the boundaries of art a little further.

After the books dedicated to Piero Manzoni, Yves Klein, and Jackson Pollock, the series of books grows, in which the artist Fausto Gilberti tells us, with intelligence and a playful eye, the works of great figures in contemporary art.

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