PARIS, FRANCE. Last April 18th a meeting on the theme of Brand Design took place in Paris
at the Institut Universitaire Technologique de Ville d’Avray. The seminar, which reached
its sixth edition, has been organized by the Professor of economics and marketing Kamel Ben Youssef
and coordinated by the Department of Mechanics and Productions of the University Paris Ouest
Nanterre La Défense.
PADOVA. I reach via Algarotti in Padua under a spring drizzle. It’s a quiet
residential neighbourhood. There’s a condominium, and old man turns the key before coming in and
disappearing from my sight. I continue through a back entrance: surprisingly, here I find a big room
where a lot of creativity applied to the video making is bubbling.
They have the technique because they come from the world of photography. We have the creativity thanks to the methods learned at Scuola Italiana Design. Together we made a clip for designer Alessandro Busana at Salone del Mobile 2012, which was appreciated. So last summer we asked ourselves: why not to combine creativity and video technique?
We want to be different from the big reality of this field. We can provide a major creativity, that means more quality even if we’re only four. We have what it takes to get out of traditional video communications.
Mainly institutional and corporate videos for the web, but we don’t exclude also other areas: during this first year of life we’re in the experimental stage. And things are working well.
It’s HP Race clip, where we show the making of a go kart engine. The idea was born at Christmas and now you can see the final result!
Today web design means also making videos. In several websites, clips begin to have more weight than photos.
Of course, the goal of these videos is to create a little initial wait, endearing without being too long, just giving a quick smattering of that you’ll find then on the website. In our opinion, this is the trend for the next years, except the case of macro-productions.
Yes, the two studios are separated and we work in both, as well as Marco and Stefano continue to operate in the world of photography. For example, our new lamp Bunker has just been produced by P&V Light and exposed at Euroluce - Salone del Mobile 2013.
We’re always running, we change clothes in telephone booths. You know what we discovered?
We’re the only creative people who still have hair!
We often think of a shot we never made before. The solution is easy: we build the supports on our own: mechanical sliders, cable cams, motorized stands... We are creative in the mechanical part too!
We’re building a remote-controlled flying ball, on which we’re putting a camera for aerial shots. It should work!
MILANO. At the stand of Moroso we took an interview with the owner of the company.
It’s a great opportunity for our young designers, who will shortly join the world of work, to get a
It depends on how much you love this world. The work is hard, not easy at all, it requires a lot of passion and commitment. If you accept, you’re welcome.
I suggest you to look around, outside Italy too because there are important schools. Don’t stop at the education you learn within the school, because a single person can also grow and make several things autonomously.
Yes, there are high quality teachers because they’re the best designers of that place, the deans are not traditional academic lecturers. It’s a different approach. It’s different to be Master or professor: in fact, the schools should be as the old schools of Renaissance, where you were able to go to a workshop and learn from a Master.
Learn to do. The theory is taken for granted, you need to put your hands in the matter, to get dirty wearing your apron. Every student should have not a desk, but a workbench with all the tools and surrounded by chaos. No more clean tables: you need to be surrounded by creative stimuli.
Design is getting more and more important. Useless objects without a project don’t deserve to exist, especially in such a crisis period. The winning things come from an idea, a project, a path. When there is a crisis, only what is very good can work and beat the others.
It’s a difficult question because I work with more than 50 people. Well, the working relationship with Patricia Urquiola has turned into friendship because we’ve made together the most important productions of the company for 15 years. However, regardless of the name, working with a designer is always a great experience, an exchange of knowledge that allows to increasingly grow.
Go and see a museum per day, watch carefully what the artists are doing and why: they have the antennas to grasp the reality in advance.
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MILANO. The Design Week 2013 in Milan came to an end, now it’s time for the
analysis. Waiting for our special magazine on the event, here’s the video-report, with special
interviews with Douglas Pastori (Universidad Caxias do Sul), Daniele Lago and Patrizia
VARESE. Let’s continue our research around Italy and the world about successful SID
graduates (for example our recent interview with New Yorker Antonio
Padovan). Today we’re in Varese, where we meet “our” creative designer Corrado
During the last months of the Master I had the opportunity to work with SID in a couple of extra-formative projects.
From August to November 2006 I moved to Milan for an internship at B-On Design studio of the former SID lecturer Daniele Testa. This experience was fundamental to consolidate my three educational years at SID, and helped me to improve a method, an attitude and dedication I hadn’t already developed for this work.
It wasn’t: I rested for some months looking for a job. The enthusiasm wasn’t enough to console me from the negative outcome of my research. You know, those are the times when you start to doubt of your choices, your skills, and overall of the effective role you can have in the world of work...
In February 2007 I got in touch with Valigeria Roncato, and they hire me as a designer. I worked for three years in the development of new collections, and rarely in graphics and advertising. It was my first experience in such a big company, so I learned a lot on the internal dynamics that distinguish it, how to deal with the different stakeholders, how to handle the different deadlines.
Then a call arrived...
After a huge restructuration, Samsonite needed to expand its design office. They contacted a headhunters company, that simply started to look for candidates among the competitors.
They found me, I had two phone interviews in English language, then one in person with my current boss. They made me an offer, and I accepted.
In a couple of months I resigned, organized myself, said hello to friends and moved to Varese to start my new adventure at Samsonite.
Two years and a half later, I’m a Design Manager. Actually I feel as a designer. I manage the work of me and the three guys of my working group.
We deal with the new collections, in particular of the categories travel, business and kids. We begin with the marketing brief and 9 months later the new collections go into production. Every month we show the progress of each project to the leadership, deciding whether and how to proceed.
This year I collaborate in a project that won the Red Dot Design Award. They are computer bag sleeves with a special heat sealing technology that completely excludes the seams.
Beyond this price, shared with my colleagues, sincerely I think I haven’t already made something truly special, but I hope to do it soon.
Well, of course it’s a satisfaction for a designer to see in the store or on the streets the products he designed, but it becomes a habit soon because I work in a company dealing with consumer goods... I work on a dozen projects every year, at 3 or 4 at least go into catalogue the following year.
Personally, I’m very fussing and it’s hard for me to be fully satisfied with my products. I hope it’s normal: in my sector, and not only mine, your ideas are gradually smoothed to meet the production requirement, so the final product is always a bit different from what you had in mind.
It’s not a drama, it depends on your point of view, but also on the sensitivity of our self-criticism.
Sore point! I think I’m a bit ignorant in this field... I’m not inspired by anybody in particular, just my conscience.
Often I don’t remember who did what, but it doesn’t mean I can’t appreciate the value of a product or the style of a designer.
Rather than memorize the association product/designer, I like to observe and study what surround me every day: products, images, styles, not necessarily in line with my taste or ideas.
I suggest them not to underestimate the potentialities of this work, but remember they’re strictly related with dedication and attitude of your educational term and your first working experiences. Ending trivially: you never stop learning.
It depends on us. To me, for some years design has become more appearance than substance, as it’s happening also in other fields.
Companies, especially in Italy, often struggle to reap the benefits of our support. It’s up to us demonstrate that design is not just a name, a charge or a niche product, but an essential role with a precise position within the path that leads to the development of new products.
BOSTON, USA. Carlo Ratti is founder of MIT Senseable
City Lab, a research group that studies the development of technologies for citizens. Parco
Scientifico e Tecnologico Galileo general manager, Massimo Malaguti, spoke with him in
ASOLO (TREVISO). A meeting about Industrial Protection for SMEs, in particular on public
financing instruments to support innovative and creative projects, organized by Treviso Tecnologia,
took place on March 13 at spazio Hangar of Fondazione La Fornace in Asolo (Treviso).
FRANKFURT, GERMANIA. Paperworld! In Frankfurt we found a very complex system of objects and
tools, from notes to automatic binding machine, but the synthesis of all can be found in the simple
day: in fact, Paperworld is home, school, office.
NEW YORK. Antonio Padovan graduated at Scuola Italiana Design in 2007. He went to the
USA, where he’s now finding his fortune in a new creative area: movies. His next work, “Jack
Attack”, is coming soon, so we call him for a preview.
It’s a horror. It takes place over a day in Manhattan, which is original because usually horror movies are set in the suburbs or decrepit houses.
It takes place on Halloween, it’s the story of a boy and his babysitter. They’re preparing the traditional pumpkin and everything starts when the boy asks: “Do the pumpkins suffer?”
It’s currently in post-production, then you’ll be able to watch it for sure, with Italian subtitles. Perhaps we’ll participate in a Festival in Rome, but it’s still early to tell. However, in October we’re going to LA at the Scream Fest, that is the reference festival in the USA for horror genre.
The genre is very popular here in the States: every week there is at least a horror movie in the cinemas. Of course, the genre is not simple and there’s the risk of boring. However, to tell the truth, the period of the shooting if funnier than for the other genres.
I feel absolutely satisfied: I’ve always had a warm welcome from both audiences and critics and we must consider that the world of shorts, even in its beauty, remains a niche.We know you started in New York City within an architectural studio, and then you studied film and changed your job. Is there anything SID left you and that you put into practice in this area too?
First thing: when you leave Scuola Italiana Design you have an open mind and a great respect for ideas, both yours and those of others. I would say these two things are the basis for all the areas I’ve worked in.
I think that when a person tells you an idea, it’s like he’s entrusting a child. If you say “What a stupid idea”, you’re just hurting him.
Ingenuity and spontaneity are other two important lessons: to remain children, without any fear to express your ideas, is the first step towards something important.
In addition, I also use the working techniques learned at SID: the tools, the paths, the working methods can be applied effectively to any creative job.
First of all I remember the first meeting with SID manager Giorgio Pellizzaro. It gave me a great passion and to believe in what I’m doing, just as he does. I also remember the various SID Rovinj Workshops - unique experiences!
It depends on the country where you choose to go. In the USA there are some problems with the visa, but then you just need to adapt to life and rhythms. It’s very important to have a little chutzpah: for example, I knocked on doors of strangers trying to find my fortune. I must say I was very lucky!
It seems to me that USA are a little more meritocratic than Italy: here you’re really judged for your portfolio and not for your title of study. At least, this is what happened to me.
Finally, remember that the kind of city where you’ll live is what really counts. The type of work is secondary.
PADOVA. Being a designer is not just a profession, but it means having a fundamental
role in the development of the society as a whole. In fact, designers not only design objects, but
it is reasonable to say that they contribute to the betterment of our lives.