L'Italo-Americano

L'Italo-Americano THURSDAY, MARCH 26, 2015 www.italoamericano.com 6 "Design as a state of mind": a talk with Italian designer Martino Gamper He is considered part of that group of people "who are shap- ing our world". Indeed, Martino G a m p e r , w o r l d w i d e k n o w n I t a l i a n d e s i g n e r b a s e d i n L o n d o n , p r o v e d o n c e a g a i n , d u r i n g h i s c o n v e r s a t i o n a t Arkitektura in San Francisco, how his work crosses multiple personalities, engaging a variety o f p r o j e c t s , f r o m e x h i b i t i o n d e s i g n t o i n t e r i o r d e s i g n , t o shop windows. Before surpris- ing everybody with his own def- inition for design, Martino took some time to talk with us about both his personal and profes- sional life. First of all, you were pro- fessionally 'born' in Italy but you moved abroad soon. What was behind this choice? I did an unusual experience a s a p p r e n t i c e i n a f u r n i t u r e m a k e r w h e n I w a s o n l y 1 4 . Later on, at the age of 19, I had to decide whether to stay or go and discover the world. For two years, I travelled worldwide and understood I really wanted to do something more artistic and cre- ative. Since I did not get high education, I had to take some exams before going to universi- t y . I f i r s t j o i n e d B o l o g n a University, but I immediately quit. One day after, I was on the first train to Vienna, and ended up meeting with Michelangelo Pistoletto. When I showed him m y p o r t f o l i o , h e w a s s u r - prised…And, to be honest, I w a s e v e n m o r e s u r p r i s e d because he liked it! Then, I had t o m a k e a c h o i c e b e t w e e n design and sculpture and I chose the first one. Do you believe working in I t a l y w a s s o m e t h i n g t h a t helped you? I think that whatever I learnt during my apprenticeship was v e r y u s e f u l i n m y c a r e e r . I believe being creative and using my creativity in whatever I do made a difference. I still work in Italy and I love it. Which cultural differences you appreciated or found dif- ficult to adapt to? By being born at the border ( e . n . M a r t i n o w a s b o r n i n Meran, Trentino Alto-Adige in 1971), I could choose the best o f b o t h s i d e s . I t h i n k t h a t , r e g a r d i n g t h e I t a l i a n s i d e , I learnt the improvisation skill of Mediterranean culture. The idea of thinking and trying a new way to do things, being always very opened. Knowing tradi- tions helped too, they are crucial for what they bring and the way they influenced me. What most influences you in the creative process? I l i k e t o w o n d e r , o b s e r v e behaviours, details, beauty, ugli- ness, and eventually understand more. Until a few years ago, the internet was not available and things used to be singular. Now we can be influenced by global trends. But in my case, I can still get inspiration from old fashioned books. Can you tell more about the installation called "Corners" for Prada. How did you create something which could fit all stores worldwide, each with a slightly different spin on the idea? My collaboration with Prada came from nowhere: I've known Prada through a mutual friend at a gallery in Milan. One day, I received an email and got invit- ed to Paris, let's say last minute. After working over night and introduced my project the day after, they contacted me again. The concept for Prada shop win- dows was almost an experiment, I worked on some prototypes in s u m m e r a n d s e n t t h e m i n September. A week later, the collaboration officially started. The idea was to use the 'humble corner' and take it on stage. P e r s p e c t i v e w a s i m p o r t a n t because we could play with it and make the animation flexible, but keeping the full point, which was: creating a space within a space and a room which reveals the different seasons. SERENA PERFETTO Which is the project you loved the most? "100 chairs in 100 days and its 100 ways" was a big project and gave me a lot of feedbacks which I used for myself. It took a long time because the main idea was to collect one chair per day on the streets in London. While some projects don't give you love back, this one treated me differently. I keep feeling it back, probably because it's a complete project, which took 3 years and a half to develop. It gave me freedom, helped re- i n t e r p r e t a t e t h e c h a i r s a n d understand how little details and single elements are important. In the end, it was important to start trusting my own creativity. Is there a particular space you'd love to see your designs in one day? Well, there is a nice restau- rant in New York, at the Four Seasons. I would not mind to take my furnitures in there. It is always nice to make things and see how people, after twenty years, can still use them. W h i l e d u r i n g t h e t a l k Martino gave as many details as could about the project "100 Chairs in 100 days", the enthu- siastic crowd, mainly eager to know his eclectic world, left with a special quote, feasible for everybody: "Design is a state of mind, it is something y o u c a n a l w a y s w a l k a w a y with". Italian designer Martino Gamper 650.400.4747 AdeleDS@aol.com www.AdeleDS.com BRE# 00911740 Certied Trust, Probate and Estate Specialist Expert in preparation, promotion, and negotiation! SELLING HOMES THROUGHOUT THE BAY AREA Adele Della Santina "e Right Realtor makes all the difference." Martino Gamper designed Prada window shops worldwide

• Cover