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“Italian Design, Design Betrayed?"


“Design Italiano, design tradito?"

“Italian Design, Design Betrayed?"

The event, organized by CulturAperta opens the debate on today's role of design, confronting famous people in the industry.

Analyzing the evolution of industrial design is a great opportunity to frame the historical period we live in. The three days of debate took place in the hall of the Castle Sforzesco, opening with a historical overview from the birth of Italian design  to the present day (emphasizing on the fundamental aspects of the '50s, where the design grew thanks to the great enthusiasm from the recovery policy economic, and therefore of design and production).
Analizzare l'evoluzione del disegno industriale è una grande opportunità che permette di inquadrare il periodo storico nel quale viviamo. Le tre giornate di dibattito hanno avuto luogo nella sala Sforzesca del Castello Sforzesco, aprendo il dibattito con un excursus storico dalla nascita del design italiano (valorizzando gli aspetti fondamentali degli anni '50, dove il design si sviluppa grazie al forte entusiasmo dovuto alla ripresa politica-economica e di conseguenza progettuale e produttiva) ai giorni nostri.
“Italian Design, Design Betrayed?"
Between the '50s and '80s, the Italian design confirmed its status as a point of reference on the international scene . The creative revolution was the mirror of a technical regeneration, but above all, it saw the emergence of functionality, where the shape is the result, as claimed by Carlotta deBevilacqua. "If there is a sense, there is the form". Tra gli anni '50 e '80 il design italiano si afferma sullo scenario internazionale come punto di riferimento. La rivoluzione creativa è stata specchio di una rigenerazione tecnica, ma soprattutto ha visto l'affermarsi della funzionalità, dove la forma è la conseguenza, come sostiene Carlotta De Bevilacqua “se c'è il senso c'è la forma”.
“Italian Design, Design Betrayed?"
The question then was: what happened next? Can we talk about Betrayed design? Today's design is subject to the power of aesthetics? To what extent the market / marketing industry determines an object? An object is sold because it is beautiful, or it is beautiful and so it sells. But a beautiful object is not always functional. The object is to be used or to be watched? La domanda che viene posta è: cos'è successo dopo? Possimo parlare di design Tradito? Il design di oggi soggiace al potere dell'estetica?In che misura il mercato/marketing determina un oggetto industriale? Un oggetto si vende perchè è bello, oppure è bello dunque si vende? Ma un oggetto bello non è sempre funzionale. L'oggetto si usa o si guarda?
“Italian Design, Design Betrayed?"
According to the Professor Andrea Branzi, talking about betrayed design would be admitting that there was a standard design. But design always renews itself and should be considered from a analysis of society, there is no orthodoxy. Today's design should be considered differently than  in the 80's where the design experienced itself. There are two areas in the contemporary era, the real market and the media area. This has changed the designers' minds ,who moove freely on different scenarios and work with diverse operators outside of the industrial commissions, opting for a widespread design. Still according to Branzi, it is not necessary to make judgments on the current design but observe and make comments. One of the changes he noticed is  a high percentage of female enrollment in design schools and this will surely bring a change in the design of the future. Secondo il Professore Andrea Branzi parlare di design tradito sarebbe come ammettere che sia esistito un design standard. Ma il design si rinnova sempre e dovrebbe essere considerato partendo da un'analisi della società, non esiste alcuna ortodossia . Oggi deve essere considerato in modo differente rispetto agli anni '80 dove il design sperimentava se stesso. Nell'era contemporanea esistono due territori, il mercato reale e il territorio mediatico. Quest'ultimo ha cambiato la mente degli stessi progettisti che oggi spaziano su diversi scenari e collaborano con diversi operatori al di fuori delle committenze industriali, optando per un design pulviscolare. Secondo Branzi non è necessario dare dei giudizi sul design attuale ma osservare e fare delle considerazioni. Uno dei cambiamenti da lui riscontrato è che nelle scuole di design c'è un'alta percentuale di iscrizioni femminili e questo porterà sicuramente un cambiamento nel design del futuro.
“Italian Design, Design Betrayed?"
According to the Architect Carlotta De Bevilacqua, to exit from the formalisms of contemporary design, we should start from the concept of emptiness. Stop. Designing for durability. Designing for sustainability. Plan together. Fill the void with an idea.
Secondo l'Architetto Carlotta De Bevilacqua per uscire dai formalismi del design contemporaneo bisognerebbe partire dal concetto del vuoto. Fermarsi. Progettare per la lunga durata. Progettare sostenibile. Progettare insieme. Riempire il vuoto con un'idea.
“Italian Design, Design Betrayed?"
The Professor Silvia Piardi argues that the Italian design way has been shown by Slow Food. There is a need to focus on requalification and diffusion, sustainability,creativity and social inclusion.We must have the courage to make decisions, it is the only way we could talk about growth.
La Professoressa Silvia Piardi sostiene che la strada italiana del design sia stata mostrata dallo Slow food. Bisogna puntare sulla riqualificazione e la diffusione, pensando alla sostenibilità, alla creatività, all'inclusione sociale. Bisogna avere il coraggio di prendere delle decisioni, solo in questo modo si potrà parlare di crescita.
“Italian Design, Design Betrayed?"
According to the Professor Enzo Mari, the contemporary design  betrayed by formalisms and by the race to signatures is subdued to marketing. To find the right way,  good models for example, should be followed. If I understand how to make it,  I can realize it. If I understand the mechanism, I can reach creativity. An example to follow? Olivetti, the only example in the world of industrial ethical value. Secondo il Professor Enzo Mari, il design contemporaneo tradito dai formalismi e dalla smania delle firme è sottomesso dal marketing. Per trovare la giusta via bisognerebbe prendere ad esempio validi modelli. Se capisco come si fa lo posso realizzare. Se capisco il meccanismo posso raggiungere la creatività. Un esempio da seguire? Olivetti, unico esempio al mondo di industriale con valore etico.
“Italian Design, Design Betrayed?"
“Italian Design, Design Betrayed?"

This article was added on Monday, 27th of January, 2014 at 08.44 am by author Alessandra Scarfò Tags: design italian, conference, castle sforzesco, Enzo Mari, Branzi, Silvia PIardi, Carlotta BevilacquaE. Read our copyright policy here.
 
 

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