{"id":879,"date":"2013-05-01T01:01:21","date_gmt":"2013-04-30T23:01:21","guid":{"rendered":"http:\/\/padjournal.net\/?p=879"},"modified":"2022-04-13T17:34:32","modified_gmt":"2022-04-13T15:34:32","slug":"editorial-09","status":"publish","type":"post","link":"https:\/\/www.padjournal.net\/new\/editorial-09\/","title":{"rendered":"Editorial #09"},"content":{"rendered":"

[:en]PAD #9, the first issue in 2013, deals with matter very hot to young designers, researchers and design scholars: the evolution of design-production relationship.
\nIn the digital era, the world travels at a very high, yet sometimes uneven, speed, and finance introduces turbulence shaking markets with unseen violence, while technology offers unbelievable opportunities of communicating and producing. How, in this context, does design practice and its relationship with production change? How does production innovate?
\nWe put these questions to our network of correspondents throughout the Mediterranean world, and they came back proposing interesting cases, each peculiarly meaningful of a changing reality.
\nMany of them replied: Ely Rozenberg reports about the numerous start-ups phenomenon in Israel; Teresita Scalco about projects presented at the AdHocracy exhibition, recently held within the Istanbul Design Biennial, and their relationship with technologies; Gianni Di Matteo enters the discussion about the \u2018adhocracy’ concept and its roots, telling about \u2018adhocism’ as ‘the art of improvisation’ and the makers community in Africa, especially in Egypt; Ana Perkovi\u0107 reports about design self-production in Croatia.
\nIn the From<\/em> section we also publish some interesting explorations, like:\u00a0C. Bissas, V. Asfi and L. Angelou, from Greece, propose the Inaugural Flight of the papairlines sharing platform<\/em>; the academic research taking place between Turkey and Italy, aimed at contributing to sustainable evolution of the agro-industrial system, which is, as known, one of the most important production systems for the development of the Mediterranean area and the whole world, as per directions of Horizon 2000<\/em>, the EC tool supporting research and innovation in the 2014-2020 timeframe.
\nThe Close Up<\/em> sections offers a pragmatic reading of design-industry relationship in Italy, by means of a chronicle and three interviews to as many famous designers working in Italy, in order to understand the meaning of current situation and the re-emerging of self-production (more akin to design in Italian) phenomena.
\nThe Reportage<\/em> section, besides the usual appointment with Fabio\u2019s eye, places some graphic and photographic readings of current events side by side with topics covered in the issue.
\nAs a due comment, the answer to the questions we asked ourselves about the evolution of the design-production relationship comes mostly from the young design people. I say people because it\u2019s a more and more numerous and global group, giving life to a digital and connected community, sharing tools, rules and values as well, informing social, collaboration and creative practices.
\nThe world of internet and technologies, and their potential, is the preferred place by young people for experimenting, sharing open systems and co-working. This is perhaps such a difficult world to understand, for those who don\u2019t live in it, but it-s the which will give a shape to the near future.
\nYoung designers, self-producers, post-industrial craftsmen, makers, hacktivist, backyard inventors show an attitude to opening and sharing knowledge revealing a significant difference with recent traditions, in contrast to the design-firm world, which generated in Italy from the 80\u2019s, after denying the \u201968 ideologies.
\nWithin project practice, young designers don\u2019t restrict their competence to the aesthetical, morphological, typological and functional perspective of products, instead they open themselves to contaminations with different techniques, arts and disciplines. In this way, they carry on spontaneous processes of continuing experimentation rather than wait for the customer. This way if working in nowadays technological scenario stimulates the capability to redefine production strategies, as well as trigger self-organized and interactive processes, where the idea of process itself and the contribution of different skills become a new, flexible content, meeting to the needs of the preferred counterpart: society.
\nYoung designers prove to drive change and innovation in all cases we\u2019ve explored, although not always they are champions of entrepreneurship, enterprise or social-at-large development.Vision\u00a0and design abilities is not enough anymore, management skills are required. And on this wish goes our greeting for the new year!
\nCover photo:\u00a0Studio mischer\u2019traxler,\u00a0Gradient Mashrabiya Sideboard. Photo\u00a0\u00a9 Fabio Gambina<\/em>[:hr]
\n[:it]<\/p>\n

Apriamo il nuovo anno con il numero 9 di PAD, il primo del 2013, che affronta un argomento che sta molto a cuore ai giovani designer, oltre che ai ricercatori e\u00a0 ai teorici del design: l\u2019evoluzione del rapporto tra design e produzione.<\/p>\n

Nell\u2019era digitale il mondo viaggia a grandi, seppur differenti, velocit\u00e0 e la finanza crea turbolenze che scuotono con violenza inedita i mercati, mentre le tecnologie offrono incredibili opportunit\u00e0 comunicative e produttive. In questo contesto come si trasforma la pratica del design e il suo rapporto con la produzione? Come si rinnova la produzione?<\/p>\n

Abbiamo posto queste domande alla nostra rete di collaboratori e corrispondenti sparsi nel mondo Mediterraneo, che ci hanno proposto dei casi interessanti, ciascuno diversamente significativo di una realt\u00e0 in cambiamento.<\/p>\n

Ci hanno risposto in molti: Ely Rozenberg ci riferisce del fenomeno delle numerose start up<\/em> di design in Israele; Teresita Scalco dei progetti esposti alla mostra Adhocracy<\/em>, che si \u00e8 recentemente tenuta all\u2019interno del programma della Istanbul Design Biennial, e del loro particolare rapporto con le tecnologie;\u00a0 Gianni Di Matteo si innesta sul concetto di “adhocrazia” e sulle sue radici, per parlare di adhocismo come “arte dell\u2019improvvisazione” e delle comunit\u00e0\u00a0<\/em>di makers<\/em> in Africa, in particolare in Egitto;\u00a0Ana Perkovi\u0107 ci riferisce delle auto-produzioni di design in Croazia. Anche nella rubrica From<\/em> pubblichiamo alcune interessanti esplorazioni su ci\u00f2 che avviene: in Grecia ad opera di\u00a0C. Bissas, V. Asfi e L. Angelou che propongono l\u2019Inaugural Flight<\/em>\u00a0della piattaforma di condivisione\u00a0papairlines;<\/em>\u00a0ad Izmir, in Turchia,\u00a0nell\u2019ambito della ricerca accademia tra Turchia e Italia,\u00a0impegnata a contribuire all\u2019evoluzione sostenibile del sistema agroindustriale. Quest\u2019ultimo, com\u2019\u00e8 noto, \u00e8 uno dei pi\u00f9 importanti sistemi produttivi per lo sviluppo del Mediterraneo e per il mondo intero, secondo le indicazioni di \u201cHorizon 2020\u201d, lo strumento della Commissione Europea a supporto della ricerca e dell\u2019innovazione per il periodo 2014-2020.<\/p>\n

La sezione Close-up, invece, propone una pragmatica lettura del rapporto design-industria in Italia, attraverso una cronistoria e tre interviste ad altrettanti noti designer che operano in Italia, per comprendere il senso della situazione odierna e il riemergere dei fenomeni di autoproduzione (parola pi\u00f9 affine al mondo del design nella lingua italiana).<\/p>\n

La rubrica Reportage<\/em>, oltre all\u2019appuntamento fisso con Fabio\u2019s eye, affianca agli argomenti sviluppati nel numero, alcune letture grafiche e fotografiche dell\u2019attualit\u00e0.<\/p>\n

Un doveroso commento: la risposta alle domande che ci siamo posti sulle evoluzioni del rapporto design-produzione viene innanzi tutto dal giovane \u201cPopolo del design\u201d. Parlo di Popolo perch\u00e9 si tratta di un gruppo di persone sempre pi\u00f9 numeroso e globalizzato, che configura una comunit\u00e0 interconnessa e digitale, che condivide strumenti, regole e anche valori, che informano le pratiche sociali, collaborative e creative.<\/p>\n

Il mondo della rete e delle tecnologie, con le loro potenzialit\u00e0, \u00e8 il luogo prediletto dai giovani, per la sperimentazione, per la condivisione di sistemi aperti e per il co-working<\/em>. Forse \u00e8 un mondo difficile da capire, per chi non lo vive, ma \u00e8 quello che dar\u00e0 forma al prossimo futuro.<\/p>\n

I giovani designer, auto-produttori, artigiani post-industrial<\/em>, maker<\/em>, hacktivist<\/em>, backyard inventors<\/em> dimostrano una predisposizione all\u2019apertura e alla condivisione del sapere che palesa una differenza significativa con la recente tradizione e si contrappone al mondo della design-firm generato in Italia dal \u201criflusso degli anni \u201980\u201d, dopo aver cancellato le esperienze ideologie del \u201868.<\/p>\n

Nella pratica del progetto, i giovani designer non limitano le loro competenze agli aspetti estetici, morfologici, tipologici e funzionali dei prodotti, ma si aprono alla contaminazione di tecniche, arti e competenze disciplinari diverse. Cos\u00ec, piuttosto che attendere la \u201ccommittenza\u201d, portano avanti processi autonomi di sperimentazione continua. Questo modo di lavorare nello scenario tecnologico odierno, sviluppa potenzialmente la capacit\u00e0 di ridefinizione delle strategie produttive, l\u2019innesco di processi auto-organizzati e interattivi in cui l\u2019idea di processo e l\u2019apporto delle diverse competenze diviene il nuovo contenuto, vario e flessibile, che si conforma alle esigenze dell\u2019interlocutore preferito: la societ\u00e0.<\/p>\n

I giovani designer si confermano un motore di cambiamento e innovazione in tutte le realt\u00e0 che abbiamo esplorato ma non in tutti i casi sono anche fautori di imprenditorialit\u00e0, di sviluppo dell\u2019impresa o della societ\u00e0 nel suo complesso. La capacit\u00e0 di immaginare e progettare non \u00e8 pi\u00f9 sufficiente, servono capacit\u00e0 manageriali. Su questo auspicio va il nostro augurio per il nuovo anno!<\/p>\n

Cover photo:\u00a0Studio mischer\u2019traxler,\u00a0Gradient Mashrabiya Sideboard. Photo\u00a0\u00a9 Fabio Gambina<\/em><\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:en]PAD #9, the first issue in 2013, deals with matter very hot to young designers, researchers and design scholars: the evolution of design-production relationship. In the digital era, the world travels at a very high, yet sometimes uneven, speed, and finance introduces turbulence shaking markets with unseen violence, while technology offers unbelievable opportunities of communicating… Continua a leggere Editorial 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