Design Indaba Dialogues by Design Indaba

Author:Design Indaba [Indaba, Design]
Language: eng
Format: epub
Published: 2014-11-01T05:00:00+00:00

Paesaggi Italiani sideboard for Edra by Massimo Morozzi.

Paesaggi Italiani purple modular container and sponge chair for Edra by Massimo Morozzi.

Cotto and Campana for Edra by Humberto and Fernando Campana.

Massimo: Go ahead.

Fernando: I see the future as more cinematographic, more theatrical, because we’ve absorbed everything and now we just have to provide a bit of a story. Put characters on the theatre stages of the home.

Massimo: Certainly.

Fernando: In order to change.

Massimo: Hey, Fernando, when they called me from South Africa, I remembered that time when we were on a helicopter. Do you remember?

Fernando: HAHAHAHA!

Massimo: And we were about to die? WE WERE ABOUT TO DIE! HAHAHA!

Fernando: … hahaha … What a catastrophe for the design world.

Massimo: It was a catastrophe!

Fernando: … HAHAHA …

Massimo: Okay, for the South Africans reading this, I’ll summarise the story: we climbed aboard a helicopter for a scenic flight over the Cape, and the pilot was a blonde woman. She started the engine and it started thrumming, vum vum vum, until at a certain point a yellow light came on and began beeping.

Fernando: Good thing we were still on the ground!

Massimo: And the girl said, “Sorry, it doesn’t work!” Doesn’t work? Shit, are you kidding me?

Fernando: Good thing that this “beep beep beep” happened on the ground and not over the Cape of Good Hope.

Massimo: We’re worrying about the future of design, and they were practically about to kill us!

Fernando: Imagine this “beep beep beep” over the ocean, like a flashing light going “Shit shit shit!”

Massimo: Hahaha! “IT IT IT” and she shakes her head, “Sorry, it doesn’t work”. Now you’re telling me!? Anyway, listen I like this idea of the cinematographic dimension. I’ve always said that design is a sort of fiction, at least the way we experience it. They’re stories that narrate something. All of the projects we’ve done together have stories behind them, no?

Fernando: They’re a dramatic script in both presentation and material, very powerful.

Massimo: Absolutely. I’m thinking of the story of the crocodiles, of the Pantanal, of these horrors that …

Fernando: I wanted to be an actor, and this makes me think that my furniture is a procession of all the characters that I never played because I didn’t have the talent to be an actor.

Massimo: Fernando, you made a mistake – what a shame, we probably lost a great thespian. But instead there emerged this curious approach to design based on stories. Remember the story of the precious stones of Brasilia?

Fernando: Yes.

Massimo: We spent so much time on that, but then it seems to me a great thing because in the end, all these things are transformed into concrete objects that people can touch, cohabit with. This is important.

Fernando: It is.

Massimo: We’re talking about thousands of kilometres of distance. Everything’s digital here, it’s all fake.

Fernando: It’s all digital, which makes me feel strange.

Massimo: Hehehe.

Fernando: But you said something earlier about how people, when they see these stories, this theatre script that we create, they continue to recount them. For example, this new barbarism.

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