La ca­sa to­ta­le

The To­tal Hou­se

Abitare - - Sommario - txt al­ber­to bas­si

| Le im­pre­se ita­lia­ne dell’ar­re­da­men­to strut­tu­ra­no una nuo­va of­fer­ta per il set­to­re re­si­den­zia­le pas­san­do dal pro­duct all’in­te­rior de­si­gn. Il mo­del­lo è il con­tract per al­ber­ghi, uf­fi­ci e spa­zi pub­bli­ci, ma le pa­ro­le chia­ve di­ven­ta­no fles­si­bi­li­tà, per­so­na­liz­za­zio­ne, ri­cer­ca e in­no­va­zio­ne

/ Ita­lian fur­ni­tu­re ma­nu­fac­tu­rers are put­ting to­ge­ther new ideas for the re­si­den­tial sec­tor by mo­ving from pro­duc­ts to in­te­rior de­si­gn. The mo­del is the con­tract for ho­tels, of­fi­ces and pu­blic spa­ces, but now the key words are fle­xi­bi­li­ty, cu­sto­mi­za­tion, re­sear­ch and in­no­va­tion

FRA LE FOR­MU­LE PREVALENTI del suc­ces­so di mer­ca­to del­le im­pre­se ita­lia­ne dell’ar­re­da­men­to ne­gli ul­ti­mi de­cen­ni va cer­to an­no­ve­ra­to il

con­tract, cioè com­mes­se di me­die e gran­di di­men­sio­ni in tut­to il mondo, fa­vo­ri­te e ga­ran­ti­te sia dal­la pre­sen­za di un ar­chi­tet­to (di fre­quen­te lo stes­so de­si­gner dei pro­dot­ti scel­ti per l’ar­re­do), ol­tre che na­tu­ral­men­te dall’ade­gua­tez­za e ca­pa­ci­tà di ri­spo­sta in ter­mi­ni di qua­li­tà e tem­pi­sti­ca dell’azien­da pro­dut­tri­ce, più di re­cen­te dal­la for­ni­tu­ra in­te­gra­le di tut­to quan­to uti­le per una rea­liz­za­zio­ne com­ple­ta “chia­vi in ma­no”. Ri­spet­to a que­st’ultima ne­ces­si­tà si stan­no strut­tu­ran­do or­mai le stes­se im­pre­se, unen­do in un uni­ca real­tà in­te­gra­ta pro­dut­to­ri di cu­ci­ne, di im­bot­ti­ti o di lam­pa­de. Si trat­ta di fe­no­me­no re­cen­te, evo­lu­zio­ne del­lo “sto­ri­co” ca­pi­ta­li­smo ita­lia­no, so­prat­tut­to fa­mi­lia­re, re­so pos­si­bi­le da un ruo­lo più me­di­ta­to dei fon­di di in­ve­sti­men­to e/o di re­ti di im­pre­se, cui spet­ta in ve­ri­tà an­co­ra – nel­le ra­di­cal­men­te mu­tan­ti-mu­ta­te con­di­zio­ni di mer­ca­to e con­su­mo – la mes­sa a fuo­co non so­lo di un ne­ces­sa­rio orien­ta­men­to com­mer­cia­le da­gli evi­den­ti aspet­ti po­si­ti­vi, di un cor­ret­to e le­git­ti­mo ser­vi­zio di pro­du­zio­ne-ri­spo­sta al­la do­man­da so­prat­tut­to con­tract, ben­sì an­che di una nuo­va vi­sio­ne del ruo­lo dell’im­pre­sa, an­che di re­spon­sa­bi­li­tà so­cia­le, di un pro­dot­to-si­ste­ma-ser­vi­zio in­no­va­ti­vo e in par­ti­co­la­re di un ri­co­no­sci­bi­le, iden­ti­fi­ca­to e at­ti­vo ruo­lo del de­si­gn.

AMONG THE PREDOMINANT FORMULAS be­hind the suc­cess of Ita­lian fur­ni­tu­re ma­nu­fac­tu­rers on the mar­ket over the la­st few de­ca­des we mu­st cer­tain­ly num­ber the con­tract, i.e. or­ders of me­dium and lar­ge si­ze from all over the world, fa­vou­red and gua­ran­teed by the in­vol­ve­ment of an ar­chi­tect ( fre­quen­tly the de­si­gner of the pro­duc­ts cho­sen for the fur­ni­shing), as well of cour­se as the ade­qua­cy and ef­fi­ca­cy of the re­spon­se on the part of the ma­nu­fac­tu­rer in terms of qua­li­ty and ti­ming. Mo­re re­cen­tly this has ta­ken the form of the com­ple­te sup­ply of eve­ry­thing nee­ded for a “turn­key” sa­le. The com­pa­nies are now or­ga­ni­sing them­sel­ves to meet this la­st re­qui­re­ment, brin­ging to­ge­ther pro­du­cers of coo­king ran­ges, pad­ded fur­ni­tu­re or lamps to form a sin­gle, in­te­gra­ted com­mer­cial en­ti­ty. It is a fair­ly new phe­no­me­non, an evo­lu­tion in “hi­sto­ri­cal” Ita­lian ca­pi­ta­li­sm, con­si­sting chie­fly of fa­mi­ly-run bu­si­nes­ses, ma­de pos­si­ble by a bet­ter-con­si­de­red ro­le played by in­vest­ment funds and/or net­works of com­pa­nies. It is in reality still up to the­se – in the ra­di­cal­ly chan­ged and chan­ging con­di­tions of the mar­ket and con­sump­tion – to co­me up not on­ly wi­th a ne­ces­sa­ry com­mer­cial ap­proa­ch that has ob­vious po­si­ti­ve aspec­ts, but al­so a cor­rect and le­gi­ti­ma­te ser­vi­ce of pro­duc­tion and re­spon­se to de­mand, espe­cial­ly in the con­tract sec­tor, as well as a new vi­sion of the ro­le, in­clu­ding that of cor­po­ra­te so­cial re­spon­si-

Tra­sfor­ma­zio­ni di strut­tu­ra pro­prie­ta­ria, di­men­sio­ne e or­ga­niz­za­zio­ne, re­cen­ti ma or­mai con­so­li­da­te, so­no di­ret­ta con­se­guen­za del­la mo­da­li­tà di rap­por­to fra ar­chi­tet­ti, de­si­gner e azien­de, già af­fer­ma­ta­si a par­ti­re da­gli an­ni Ot­tan­ta, e han­no de­fi­ni­to con chia­rez­za la ri­le­van­za del­la fi­gu­ra che pos­sia­mo chia­ma­re di de­si­gner-art di­rec­tor. Non più la sto­ri­ca mo­da­li­tà re­gi­sti­ca, ti­pi­ca del de­si­gn ita­lia­no – da Gio Pon­ti a Mar­co Za­nu­so, a Vi­co Ma­gi­stret­ti – di coor­di­na­men­to col­to e il­lu­mi­na­to di di­ver­se e mi­glio­ri com­pe­ten­ze in­ter­di­sci­pli­na­ri (gra­fi­ci, fo­to­gra­fi­ci, cri­ti­ci, gior­na­li­sti, in­tel­let­tua­li e co­sì via), ben­sì una ma­no uni­ca, uni­vo­ca e uni­ta­ria nel­la co­stru­zio­ne stra­te­gi­ca dell’iden­ti­tà d’im­pre­sa, nel­lo svi­lup­po dei pro­ces­si pro­get­tua­li, dal pro­dot­to al­la co­mu­ni­ca­zio­ne, dall’ex­hi­bi­tion al re­tail. Co­me è av­ve­nu­to, so­lo per fa­re al­cu­ni esem­pi di qua­li­tà del­la “pri­ma ge­ne­ra­zio­ne”, con An­to­nio Cit­te­rio, Ro­dol­fo Dor­do­ni, Pie­ro Lis­so­ni fi­no a Pa­tri­cia Ur­quio­la. Una mo­da­li­tà che af­fron­ta al­cu­ne og­get­ti­ve dif­fi­col­tà dell’im­pren­di­to­ria e del ma­na­ge­ment a ela­bo­ra­re e go­ver­na­re fun­zio­ni stra­te­gi­che e di co­stru­zio­ne iden­ti­ta­ria, sop­pe­ri­te in­ve­ce dal­la pre­sen­za ras­si­cu­ran­te e per­va­si­va e dal­le scel­te tal­vol­ta omo­lo­gan­ti dei de­si­gner-art di­rec­tor (coin­vol­ti in lo­gi­che, cer­to le­git­ti­me ma li­mi­ta­ti­ve, mar­ket

dri­ven dai pre­sun­ti cer­ti esi­ti com­mer­cia­li nel bre­ve pe­rio­do). In que­sto mo­do si è guar­da­to me­no a in­no­va­zio­ne e ri­cer­ca (ca­rat­te­ri­sti­che di im­pre­se de­si­gn dri­ven e fir­st

mo­vers), in gra­do di de­ter­mi­na­re ine­di­ti van­tag­gi com­pe­ti­vi, ma so­prat­tut­to di met­te­re in re­la­zio­ne pro­get­to e nuo­ve con­di­zio­ni so­cio-eco­no­mi­che-cul­tu­ra­li, non­ché mo­del­li di con­su­mo e mer­ca­to, sot­to­po­sti a tra­sfor­ma­zio­ni ra­di­ca­li per quan­to ri­guar­da i si­ste­mi tec­no­lo­gi­ci e co­mu­ni­ca­ti­vi, den­tro quel­la che gli eco­no­mi­sti ame­ri­ca­ni Aye­sha e Pa­rag Khan­na han­no de­fi­ni­to Hy­brid Age del­la co-evo­lu­zio­ne uma­no-tec­no­lo­gi­ca. I pro­get­ti­sti si so­no tro­va­ti al­lo­ra a col­la­bo­ra­re con più azien­de, dall’ar­re­do all’og­get­ti­sti­ca, ai com­po­nen­ti, an­dan­do a de­fi­ni­re più o me­no espli­ci­ta­men­te una mo­da­li­tà di pro­get­to to­ta­le e in­te­gra­to per gli spa­zi del vi­ve­re e dell’abi­ta­re. Rea­liz­zan­do un vo­lu­me de­di­ca­to pro­prio a uno dei pri­mi com­piu­ti de­cli­na­to­ri di que­ste mo­da­li­tà d’in­ter­ven­to con An­to­nio Cit­te­rio, fra il se­rio e il fa­ce­to or­mai un de­cen­nio fa, si par­la­va di un pro­get­to di Ca­sa

Cit­te­rio: un in­ter­ven­to on­ni­com­pren­si­vo, che sem­bra la ver­sio­ne de­cli­na­ta in chia­ve di in­du­strial de­si­gn di pic­co-

bi­li­ty, of an in­no­va­ti­ve com­bi­na­tion of pro­duct, sy­stem and ser­vi­ce and in par­ti­cu­lar a re­co­gni­za­ble, iden­ti­fied and ac­ti­ve part to be played by de­si­gn. Re­cent but well-esta­bli­shed chan­ges in ow­ner­ship struc­tu­re, sca­le and or­ga­ni­za­tion are a di­rect con­se­quen­ce of the re­la­tions bet­ween ar­chi­tec­ts, de­si­gners and ma­nu­fac­tu­rers that ha­ve been for­med sin­ce the 1980s and ha­ve de­fi­ned the im­por­tan­ce of that fi­gu­re that we can call the de­si­gner/art di­rec­tor. This is no lon­ger an hi­sto­ri­cal mo­del, ty­pi­cal of Ita­lian de­si­gn – from Gio Pon­ti or Mar­co Za­nu­so or Vi­co Ma­gi­stret­ti – whi­ch con­si­sted of the cul­ti­va­ted and en­lighte­ned coor­di­na­tion of dif­fe­rent and in­ter­di­sci­pli­na­ry areas of ex­per­ti­se (gra­phic de­si­gners, pho­to­gra­phers, cri­tics, jour­na­lists, in­tel­lec­tuals and so on). To­day, in­stead, a sin­gle, and co­he­rent in­di­vi­dual is re­spon­si­ble for the stra­te­gic con­struc­tion of cor­po­ra­te iden­ti­ty and the de­ve­lo­p­ment of de­si­gn pro­ces­ses, from the pro­duct to ad­ver­ti­sing to di­splay to re­tail. As hap­pe­ned, to men­tion ju­st a few fir­st-ra­te exam­ples from the “fir­st ge­ne­ra­tion”, wi­th An­to­nio Cit­te­rio, Ro­dol­fo Dor­do­ni, Pie­ro Lis­so­ni and Pa­tri­cia Ur­quio­la. This kind of mo­del tac­kles so­me of the ob­jec­ti­ve dif­fi­cul­ties fa­ced by en­tre­pre­neurs and ma­na­gers in dea­ling wi­th and con­trol­ling stra­te­gic func­tions and the pro­cess of con­struc­ting an iden­ti­ty, a need whi­ch is met by the reas­su­ring and per­va­si­ve pre­sen­ce and stan­dar­di­zing choi­ces of de­si­gners/ art di­rec­tors (ba­sed on a short-term, mar­ket-dri­ven lo­gic that is le­gi­ti­ma­te but can al­so be li­mi­ting). As a re­sult less at­ten­tion is being paid to in­no­va­tion and re­sear­ch (cha­rac­te­ri­stic of de­si­gn-dri­ven en­ter­pri­ses and fir­st mo­vers), ca­pa­ble of brin­ging new com­pe­ti­ti­ve ad­van­ta­ges, but abo­ve all of esta­bli­shing a con­nec­tion bet­ween de­si­gn and new so­cioe­co­no­mic and cul­tu­ral con­di­tions, as well as mo­dels of con­sump­tion and the mar­ket, whi­ch are su­b­ject to ra­di­cal tran­sfor­ma­tions in terms of tech­no­lo­gi­cal and com­mu­ni­ca­tion sy­stems, in what the Ame­ri­can eco­no­mists Aye­sha and Pa­rag Khan­na ha­ve dub­bed the Hy­brid Age of hu­man­tech­no­lo­gi­cal co-evo­lu­tion. Thus de­si­gners ha­ve found them­sel­ves wor­king wi­th a ran­ge of ma­nu­fac­tu­rers, pro­du­cing eve­ry­thing from fur­ni­tu­re to gad­ge­ts to com­po­nen­ts, de­fi­ning mo­re or less ex­pli­ci­tly a mo­de of to­tal and in­te­gra­ted de­si­gn for spa­ces of li­ving and dwel­ling. Pro­du­cing a book de­vo­ted to one of the fir­st peo­ple

The Flynn New York

155 We­st 18th Street New York Il com­ples­so re­si­den­zia­le The Flynn è com­po­sto da 30 ap­par­ta­men­ti ar­re­da­ti da Po­li­form Va­ren­na con ODA Ar­chi­tec­tu­re & In­te­rior De­si­gn. The Flynn hou­sing com­plex is ma­de up of 30 fla­ts fur­ni­shed by Po­li­form Va­ren­na wi­th ODA Ar­chi­tec­tu­re & In­te­rior De­si­gn.

FE­DE­RI­CA CARLET

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