L'Italo-Americano

THURSDAY, MARCH 9, 2017 www.italoamericano.org 24 L'Italo-Americano T he first edition of the Italian Design Day (March 2 nd ) – brainchild of Italy's Ministry of Foreign Affairs and International Cooperation, Ministry of Economic Development, Ministry for Cultural Heritage and Activities and Tourism, as well as La Triennale di Milano ("Milan Triennial Exhibition") – that was simultaneously celebrated in one hundred destinations across the globe, could not overlook Los Angeles. A city, or better a conglomer- ate of cities, each with their own distinctive "design." As effective- ly conveyed by one of the pan- elists, Carlo Caccavale: "As the Executive director of the American Institute of Architects - Los Angeles chapter, I am exposed to architecture and design from many sources and I am in touch with many aspects of the profession. To me, L.A. is a city of hidden jewels which are easily overlooked while in the bubble of our cars and distracted by our commutes. But on those occasions in which one doesn't drive, the charm of the residential streets and the layers of design styles of the main boulevards are easy to detect and appreciate. As a non-architect whose job is architecture, I have been influ- enced by the European interna- tional style of Le Corbusier and have fully appreciated its West Coast interpretation in the splen- did residential projects by Richard J. Neutra, Rudolph M. Schindler and later John Lautner. With a particular appreciation for Frank Lloyd Wright." Architect Elena Pacenti, "Ambassador of Italian Design" as well as Dean of Domus Academy School of Design at Newschool of Architecture & Design, San Diego, thus com- mented about the special occa- sion: "I think the event was a unique opportunity to talk about Italian design as a culture, to help for- eign cultures to appreciate it beyond the products themselves, and, through an understanding of the innovative and experimental nature of works by designers and entrepreneurs, to appreciate the contribution of museums, fair, commercial and educational stakeholders to the growth of this culture. It was also a unique encounter between designers living in California and one from Milan, who showcased his newest inter- esting and beautiful projects and discussed about the present and the future of this incredible excel- lence. I had a great time - a consis- tent number of my students and faculty travelled from San Diego to attend the event - and I enjoyed meeting Lorenzo and working with the Consul and his great team!" As perceptively highlighted by Consul General Antonio Verde: "There is a common thread that connects Italy's design cul- ture and taste, from the geniuses of the Renaissance, such as Leonardo da Vinci, up to state- supported technical institutes, the likes of Polytechnic University of Milan. As always, our "Made in Italy" is a tradition of great origi- nality and experimentation com- bined with enduring craftsman- ship. With this initiative, we wish Italian design to become a cata- lyst, by promoting an ever increasing blend of cultures that is one of the finest outputs of globalization." Last but not least, let's hear from the second "Ambassador of the Italian Design," Milan-based furniture and product designer, Lorenzo Damiani. Is there a specific place, experience, artwork or artist that chiefly inspired you and made you choose your career path? Without a concept there is no project! That's the idea that has always inspired me. In a world like the one we live in today, where almost everything has been already invented, you have to find a strong purpose to create a new object, a reason for its existence. Concept is everything and it must be developed through a con- stant research. Those firm believes have always informed my pathway, boosting my moti- vation to become a designer. Certainly, some encounters have been important, as much as references to art, even though the most significant influences sim- ply come from observing people immersed in their daily lives. In 1996, you met legendary designer Achille Castiglioni. Then, in 1998, he gave you the award, Progetto Giovane - Compasso D'Oro (Youth Project - Golden Compass) for your "Packlight." What was it like to meet the maestro in per- son and to have your talent rec- ognized by Castiglioni himself? In 1996, I had the privilege to meet late lamented Achille Castiglioni, in his design studio in Piazza Castello, in Milan, in the same location that, many years later, would have host my solo exhibition. Meeting such a maestro in contemporary design was very special, because, despite my peers and I were still preparing our degree theses, Castiglioni spent the whole afternoon with us, patiently answering all of our questions. Perhaps, his biggest lessons to me were his helpfulness and great irony, modesty and naturalness. Obviously, Castiglioni's great- ness manifested itself in a con- stant experimentation throughout his life, that had found expression in numerous unparalleled pro- jects, but his human side fixed in my mind, making me realize immediately how the greatest per- son you are, the most "normal" and even humble you stay. In 1998, Achille Castiglioni served on the jury for the Compasso D'Oro, as I was com- peting among the young with the design for a lamp, that would have brought me plenty of luck. Packlight offered any unaware buyer the option to choose the destiny of a plastic-made trans- parent blister pack, containing a fluorescent flashlight. To throw the container in the trash and use only the flashlight (the obvious thing to do), or reuse the first turning it into an illuminating device? I wanted this consideration on the possibility to use objects dif- ferently, seeing as resources the elements generally deemed as waste, to change the way people think. A project, surely ambitious, that enabled everyone to choose the fate of an object and, implicit- ly, of their own future. For this concept, I was award- ed by Castiglioni himself. I can still recall that moment and how his compliments acted as a real boost in my confidence. In your artistic research, you always show an environmental- ist sensibility and sustainability is a constant concern of yours. Could you illustrate some of your creative examples of ways to reduce wastes and our impact on the environment? I think that my will to reduce to the least any waste, any scrap from the available resources, is inextricably linked to my creative pathway, even though it shows in certain projects more than in oth- ers. For many years I have refrained from using marble in my works, because I deemed wrong to employ it, considering the constant creation of quarries that ruin our landscape. At some point, however, I realized it would have been more useful to choose a more rational and informed use of marble, striving to be a catalyst for other designers as well. By this means, I experimented on lots of ways to employ thin marble - otherwise extracted from the full block - to realize objects. When you deal with saving and reuse of resources, the topic is certainly very broad and you need to consider the streamlining in the use of materials and tech- nologies, as well as the recycling of waste. Without forgetting, obviously, also the work's mean- ing and expressive value – at times aimed at a denunciation, or at offering food for thought – that may be regarded as a real func- tion. On March 2nd, you partici- pated as "Ambassador of Italian Design" to the first edi- tion of the Italian Design Day at the Pacific Design Center in Los Angeles, a worldwide ini- tiative launched by the Ministry of Foreign Affairs and International Cooperation in collaboration with Triennale di Milano, MISE and MIBACT. To you, in what way is the event meaningful? What's the status of Italian design? Does it need "protection"? Are you going to showcase some of your latest works? I believe it was an important initiative, involving simultane- ously lots of cities around the world, in which Italian design was again in the spotlight. Generally speaking, I think that design could be "protected," trying always to meet with high quality and the meaning of plan- ning choices, without forgetting that contamination has changed "the rules of the game." In that special day, I talked about my way of designing, what it means to be designer in con- nection with the world around us. A dozen of my objects repre- sented the starting point to revisit some reasoning behind my works. Marble benches, faucets with bent tubes, hidden steplad- ders, and chipped dishes were the main characters of my presenta- tion. Milan-based furniture and product designer, Lorenzo Damiani Lorenzo Damiani, "Ambassador of Design" at LA's Italian Design Day LOS ANGELES ITALIAN COMMUNITY VALERIO VIALE

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