{"id":920,"date":"2013-05-01T04:07:45","date_gmt":"2013-05-01T02:07:45","guid":{"rendered":"http:\/\/padjournal.net\/?p=920"},"modified":"2022-04-13T17:34:32","modified_gmt":"2022-04-13T15:34:32","slug":"interview-with-odoardo-fioravanti","status":"publish","type":"post","link":"https:\/\/www.padjournal.net\/new\/interview-with-odoardo-fioravanti\/","title":{"rendered":"Interview with Odoardo Fioravanti"},"content":{"rendered":"

Marinella Ferrara: What changes have taken place in the profession of the 3rd millennium young designer, in comparison with the past, with the 1960s? Do you think that the present production delocalization and market globalization can affect the traditional relationship between design and industry? In what way?<\/strong>
\nOdoardo Fioravanti: The designer\u2019s job has radically changed, for different reasons. On the one hand, the new design degrees have led to a deeper awareness of design and to an education focalized on the productive process. This, according to some people, can cause a lack of the project-based culture and also a proliferation of design related topics in unconventional sectors and manners.
\nOn the other hand, the industry and production have undergone deep changes. The big firms\u2019 crisis and the grinding of the productive system into a sort of cloud containing a lot of new little companies wanting to exploit design, have made a designer\u2019s life not easy. In most cases, these little companies want to go into design only because they\u2019ve \u2018heard of it\u2019. Therefore, we have to go back to the start and explain why it is necessary to spread the culture and the philosophy of design in the industrial world: we need a sort of micro-evangelization.
\nMost of the firms do not produce, they are just editors, who own strong marketing skills. The main theme here is the relation, not the production, between who invents the products and the industry. The debate, in the end, comes down to marketing and saleability based on the goods\u2019 appeal.
\nIt must be also said that the delocalization of the industrial production represents an epoch-making change for a certain kind of goods, those goods that, on the basis of a dimension\/cost ratio, can easily and inexpensively be carried around. This contributes to the creation of a new class of producers who do not mind producing low cost goods and selling them at very low prices, in order to stimulate purchases even in times of constant crisis.
\nBesides, a sort of communicative magma surrounds design nowadays, spreading ideas and projects, and merging together different ideas, thus making thoughts univocal. A sort of a koin\u00e9 of languages that filters projects, in order to get rid of those that are not cool or communicatively effective. But this is a ‘baby’\u00a0communication,\u2026
\nDo you still believe in the role of the industry?<\/strong>
\nI strongly believe that in the definition \u2018industrial design\u2019 both words are vital. The design prepares a message, gives a shape to a thought, not only a functional one, and the industry allows the circulation and the development of this thought on a mass-market scale. This does not exclude the presence of new productive patterns such as those based on the 3D printers and the \u2018makers\u2019 world. But the industry is still the place for a large-scale production of goods, where it is still possible to meet the people\u2019s demands with a commitment to research, to resource optimization, to a democratic production. Snow<\/em>, my chair for Pedrali, has a very low price and such a wide distribution that could be impossible without the help of a real industry.
\nHave there been any changes in the company requirements for the designers?<\/strong>
\nThe demands have changed, of course. People look for projects that can easily be put into production and easily be taken in by the market. They want market-ready projects, so contemporary as to seem they\u2019re coming out of the near past: low cost projects that can easily be understood and that can stimulate compulsive purchases. There is no time to wait for the projects to be developed, to find their right collocation. Very few companies have their own competence to develop the products; therefore the designers have to prepare projects that are ready for production. We need to use an engineering approach, to understand the technological problems, to find suppliers and contractors on behalf of the firm, etc. As if part of the company were substituted by the designers\u2019 studios. So a designer is not only the one who designs and has good ideas, but one who does think from the processes and the contacts he has with the artisans.
\nAre there more responsibilities for a designer now?<\/strong>
\nI don\u2019t know if it has to do with responsibility, but there is much more work during the phase preceding the meeting with the firms, definitely. One has to go to the meeting with quite clear ideas, with a story ready to be sold, with a very mature idea of whatthe production and the distribution will be like. In short, we sell a project turnkey and often the firms only have simply to decide whether to invest in a ready idea. This has little to do with the history of Italian design, where the main part of the productive development has always been carried out in collaboration between the industry and the designer, by working hard on prototypes and models.
\nWhat changes have recently been introduced in your job thanks to the new digital, fast making and rapid prototyping technologies?<\/strong>
\nThe first impact of rapid prototyping has to do with a change in speed when it comes to creatingthree-dimensional models of a project. Something that was unconceivable twenty years ago now has become usual in this job. It is very rare for the prototypes to be hand-made and often, whether to produce an object or not, is decided by looking at the image coming out from a 3D printer.
\nThe real challenge introduced by these new techniques is linked to the possibility of making it all low cost. There are still obstacles connected to the cost of the machines, the interface usability, the uniformity in the quality of the results (generally there always is something that needs adjusting). When the 3D printers will become similar to the other domestic appliances, itwill be cheap to buy one, easy to use it and to look after its maintenance, fast to download a file from the Internet for the 3D and print a wished object ourselves, just as today we can buy and listen to a musical track online.
\nWhat do you think about the various forms of self-production?<\/strong>
\nI think it is a sort of \u2018warm up\u2019 before entering the world of industry. I did it, too, sometimes, two in particular: the lamp Shift<\/em> and the roncola<\/em> that I designed for my exhibition at Triennale di Milano. Self-production is a bit like a gym that allows us to learn different aspects of the productive system. Besides, it allows giving shape to some projects that would never see the light otherwise, because they do not fit in the companies\u2019 selection. It makes me think to a sort of a relief valve of the world of ideas: now and then, when the internal pressure is excessive, there is a leak of self-produced objects. Often, young designers use self-production in order to show their skills, since it is very hard to find industries that commission new projects. But I still think that self-production is so different from industrial production: self-production may create a niche market and micro-economies, whereas the industry is connected to a macro-economic world that can to reach the masses.
\nWhat do you think about the financial capital penetration in the designing firms, with a new role for the management?<\/strong>
\nThe industry was born out of craft and design was born out of industry, therefore design was born also out of craft. This link is undeniable. Today there are rumours about the \u2018new craft\u2019. The most careful people have never forgotten craft and to call it \u2018new\u2019 seems to me just a way to make it still \u2018fashionable\u2019. In such a critical moment for the industry, the chance to start design projects through a handmade draw-plate is a good solution. It must be remembered first, that craft has always had a vital role inside Italian industry:think about the furniture draw-plate where most of the products have a high component of craftwork. We could therefore conclude that Italian industry has never been totally industrial; instead, it has been half-industrial. Today, after Sennet\u2019s works, we produce handicrafts that were initially thought for the industrial processes. But this, in my opinion, is a pointless discussion. Who\u2019s able to separate with a neat line craft from design craft?<\/p>\n

Marinella Ferrara: Rispetto al passato, al design degli anni \u201860, cosa \u00e8 cambiato nella professione del giovane designer del 3\u00b0 millennio? Pensi che l\u2019attuale processo di delocalizzazione delle produzioni e la globalizzazione dei mercati possano minare le tradizionali forme di rapporto tra design e industria? Come?<\/strong><\/p>\n

Odoardo Fioravanti: Il mestiere del designer \u00e8 radicalmente cambiato, per motivi di carattere diverso.<\/p>\n

Da una parte i corsi di laurea in design hanno portato a una maggiore consapevolezza del design e a una preparazione focalizzata sul processo produttivo. Questo, secondo alcuni, ha determinato un difetto di cultura del progetto e anche una diffusione del design spesso in ambiti e modi poco ortodossi.<\/p>\n

Dall\u2019altra parte l\u2019industria e la produzione sono cambiate profondamente. La crisi delle grandi imprese e la polverizzazione del sistema produttivo in una specie di nuvola di tante nuove piccole realt\u00e0 che si affacciano al design in modo strumentale, ha reso difficile la vita dei designer. Nella maggior parte dei casi ci si trova di fronte ad aziende che vogliono fare design perch\u00e9 lo hanno \u201csentito dire\u201d. Quindi, si tratta di partire da zero, spiegando anche la necessit\u00e0 di fare cultura con la produzione industriale: una specie di micro-evangelizzazione.\u00a0In molti casi le imprese non producono ma sono editori che detengono una capacit\u00e0 distributiva molto forte. Il tema principale \u00e8 la relazione, invece della produzione, tra chi pensa i prodotti e l\u2019impresa. Il discorso si riduce alla distribuibilit\u00e0, alla vendibilit\u00e0 basata sull\u2019appeal<\/em> delle merci.<\/p>\n

\u00c8 necessario\u00a0aggiungere che la delocalizzazione della produzione industriale rappresenta un cambiamento epocale per un certo tipo di merci: quelle che per rapporto costo\/dimensioni possono essere trasportate a buon mercato. Ci\u00f2 concorre alla formazione di una committenza che sembra non aver problemi a produrre merci a costi bassi e venderle a prezzi pi\u00f9 bassi possibile, in modo da incentivare l\u2019acquisto anche in una situazione di crisi cronica.<\/p>\n

Di conseguenza, si sta creando una specie di magma comunicativo intorno al design che fa circolare idee e progetti e, amalgamando le idee, rende i pensieri univoci. Una specie di koin\u00e9<\/em> di linguaggi che filtra i progetti lasciando vivere solo i pi\u00f9 cool<\/em>, i pi\u00f9 comunicativi ai fini della vendita. Ma questa \u00e8 la comunicazione baby<\/em>\u2026<\/p>\n

Credi ancora nel ruolo dell\u2019industria?<\/strong><\/p>\n

Io ci credo profondamente, credo che nella definizione industrial design<\/em> tutte e due le parole siano cruciali. Il disegno prepara un messaggio, d\u00e0 forma a un pensiero non solo funzionale e l\u2019industria permette la diffusione e lo sviluppo di questo pensiero su una scala mass-market<\/em>. Questo non esclude la presenza di nuovi paradigmi produttivi come quelli centrati sull\u2019utilizzo delle stampanti 3D e il mondo makers<\/em>. Ma l\u2019industria rimane il luogo della produzione su grande scala di prodotti, dove \u00e8 ancora possibile pensare di andare incontro alle esigenze della gente con uno sforzo di ricerca, di ottimizzazione delle risorse, di produzione democratica. La mia sedia Snow<\/em> per Pedrali ha un bassissimo costo e una distribuzione cos\u00ec vasta che sarebbe impossibile senza una vera industria alle spalle.<\/p>\n

Vi sono dei cambiamenti nelle richieste aziendali di design?<\/strong><\/p>\n

Le richieste sono cambiate. C\u2019\u00e8 la ricerca di progetti facili da mettere in produzione e facili da far \u201cdigerire” al mercato. La richiesta si focalizza su progetti market-ready<\/em>, cos\u00ec contemporanei da sembrar tirati fuori dal passato prossimo: progetti semplici da capire e capaci di motivare acquisti compulsivi e basati sul basso prezzo. Non c\u2019\u00e8 tempo di aspettare che i progetti si sviluppino, che trovino una giusta collocazione. Pochissime aziende hanno al loro interno la competenza per sviluppare i prodotti e quindi i designer devono preparare i progetti direttamente per la produzione. Si tratta di ingegnerizzare, capire i problemi tecnologici, individuare fornitori e terzisti per conto dell\u2019azienda, etc. Come se un pezzo dell\u2019azienda fosse sostituito dallo studio del designer che a sua volta non \u00e8 pi\u00f9 solo uno che disegna e ha buone idee, ma che pensa a partire dai processi e dai contatti che ha con le realt\u00e0 artigianali.<\/p>\n

Ci sono maggiori responsabilit\u00e0 per il designer?<\/strong><\/p>\n

Non so se si tratta di responsabilit\u00e0, sicuramente c\u2019\u00e8 maggiore lavoro nella fase che precede l\u2019incontro con l\u2019azienda. Bisogna arrivare con le idee molto chiare, con una storia pronta per essere venduta, con un\u2019idea molto matura di come sar\u00e0 la produzione e la distribuzione del prodotto. Insomma, si vende un progetto chiavi in mano e le imprese devono spesso solo decidere se investire o no in un\u2019idea che praticamente \u00e8 gi\u00e0 definita. Questo ha poco a che vedere con la storia del design italiano in cui la parte principale dello sviluppo di un prodotto avveniva in collaborazione tra l\u2019industria e il designer, lavorando duramente su prototipi e modelli di studio.<\/p>\n

Quali i cambiamenti introdotti nella professione legati alle nuove tecnologie del digitale, del fast making e rapid prototyping?<\/strong><\/p>\n

Il primo impatto della prototipazione rapida riguarda il cambio di velocit\u00e0 per ottenere dei modelli tridimensionali del progetto. Qualcosa che venti anni fa era quasi impensabile ora \u00e8 usuale nella professione. \u00c8 rarissimo che i prototipi siano fatti a mano e spesso si decide se produrre o meno un oggetto solo guardando il suo \u201csimulacro\u201d\u00a0venuto fuori da una stampante 3D.<\/p>\n

La vera sfida di cui queste tecniche sono portatrici \u00e8 legata alla possibilit\u00e0 di renderle poco costose. Ci sono ancora ostacoli per il costo delle macchine, per l\u2019usabilit\u00e0 dell\u2019interfaccia, per l\u2019uniformit\u00e0 della qualit\u00e0 dei risultati (tendenzialmente c\u2019\u00e8 sempre qualcosa da \u201cregolare\u201d per un corretto funzionamento). Quando le stampanti 3D saranno simili agli altri elettrodomestici, sar\u00e0 economico possederne una, facile usarla e curarne la manutenzione, immediato scaricare da internet un file per il 3D e stampare da se stessi un oggetto che si desidera, proprio come oggi si pu\u00f2 acquisire e ascoltare un pezzo musicale dal web.<\/p>\n

Cosa pensi delle varie forme di autoproduzione oggi praticate?<\/strong><\/p>\n

Mi sembra che siano ancora dei modi di \u201cscaldarsi\u201d prima di accedere all\u2019industria. Anch\u2019io l\u2019ho praticata in alcuni casi, due su tutti: la lampada Shift<\/em> e la roncola che ho disegnato per la mia mostra alla Triennale di Milano.<\/p>\n

L\u2019autoproduzione \u00e8 un po\u2019 una palestra che permette di apprendere vari aspetti del funzionamento del sistema produttivo. Inoltre consente di dare forma a progetti che altrimenti non vedrebbero la luce, poco adatti alla selezione che le aziende mettono in atto. Mi fa pensare a una specie di valvola di sfogo del mondo delle idee: ogni tanto, quando la pressione interna aumenta a dismisura, c\u2019\u00e8 una fuoriuscita di oggetti autoprodotti. Spesso i giovani usano l\u2019autoproduzione per mostrare di cosa sono capaci, visto che \u00e8 difficilissimo trovare industrie che commissionano progetti. Ma continuo a pensare che le autoproduzioni rimangano profondamente diverse dalle produzioni industriali: un\u2019autoproduzione pu\u00f2 creare un mercato di nicchia e micro-economie mentre l\u2019industria afferisce a un mondo macro-economico che potenzialmente pu\u00f2 raggiungere le grandi masse.<\/p>\n

Cosa pensi dell’attuale penetrazione nelle aziende del settore del capitale finanziario, con nuovo ruolo del management?<\/strong><\/p>\n

Mi sembra che molti dei venture capital<\/em> che entrano nel mondo del design siano mossi da motivi speculativi. Insomma, se un Fondo acquisisce una delle fabbriche storiche del design, per poi rivenderla in due anni, lo fa per guadagnarci o per mettersi un prezioso \u201canello al dito\u201d.<\/p>\n

Si parla tanto di nuovo artigiano. Pensi che possa avere a che fare con il design?<\/strong><\/p>\n

L\u2019industria nasce dall\u2019artigianato e il design nasce dall\u2019industria quindi il design nasce dall\u2019artigianato. Questo legame \u00e8 innegabile. Oggi sento parlare di \u201cnuovo artigianato\u201d. I pi\u00f9 attenti non si sono mai dimenticati dell\u2019artigianato e dargli una sfumatura di \u201cnuovo\u201d mi sembra solo un modo per renderlo ancora \u201cdi moda\u201d. In un momento storico in cui l\u2019industria vive una crisi profonda, la possibilit\u00e0 di avviare i progetti di design a una filiera produttiva handmade<\/em> \u00e8 una possibile soluzione. Prima di tutto bisogna ricordare che nell\u2019industria italiana l\u2019artigianato ha sempre avuto un ruolo cruciale: si pensi alla filiera del mobile dove la maggior parte dei prodotti ha una componente produttiva manuale fortissima. Si pu\u00f2 quindi dire che l\u2019industria italiana non \u00e8 mai stata veramente industriale, ma sempre semi-industriale. Oggi, a valle degli scritti di Sennet, si producono in modo artigianale oggetti concepiti per i processi industriali. Anche questo mi pare una \u201cquestione di lana caprina\u201d. Chi saprebbe dividere con una linea netta l\u2019artigianato dall\u2019artigianato di design?<\/p>\n

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

Marinella Ferrara: What changes have taken place in the profession of the 3rd millennium young designer, in comparison with the past, with the 1960s? Do you think that the present production delocalization and market globalization can affect the traditional relationship between design and industry? In what way? Odoardo Fioravanti: The designer\u2019s job has radically changed,… Continua a leggere Interview with Odoardo Fioravanti<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":2337,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[15,26,7,8],"tags":[55,70,50,71,48],"class_list":["post-920","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-en","category-i09","category-it","category-languages","tag-3d-printer","tag-changes-in-the-profession","tag-design","tag-odoardo-fioravanti","tag-self-production","entry"],"acf":[],"yoast_head":"\nInterview 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