Definitions of décor oscillate wildly, like the weight of a pendulum. On one extreme is the home as something exclusively functional, a cold, practical instrument. On the other, the home is poetic expression, emotion, a mental space. Could this summarised as technology versus emotion? Industry versus craftsmanship? Actually, there are an infinite number of interpretations of décor and infinite attitudes towards it. The emotion that a home can contain is inversely proportional to the complexity of its use: the more technological it is, the less possibility there will be for the spirit to express itself freely. For a home to become the stage of private life, it must also be viewed psychoanalytically. The more elementary and simple an object’s use, the fewer aesthetic limits its form will have. On this end of the pendulum, ‘the emotional home’ resembles languages, materials, colours, symbols, and the territories of art, the psyche and anthropology.
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Alessandro Mendini (Milan, 1931) was editor-in-chief of the magazines Casabella, Modo and Domus. Diverse volumes have been published on his work in numerous languages. He designs objects, furniture, interiors, paintings and architecture. He is the recipient of three Compassi d’Oro (Golden Compasses) for design; the title of Chevalier des Arts et des Lettres in France; an honorary title from the Architectural League of New York; and three honorary degrees from Milan, Paris and Wroclaw. His work is featured in many museums and private collections. With his brother Francesco he runs a design atelier in Milan. He is the winner of the 2014 European Prize for Architecture. His most recent publications include Camparisoda. L’aperitivo dell’arte veloce futurista da Fortunato Depero a Matteo Ragni (with Gori Giuliano, Gli Ori, 2012); Elogio della caffettiera (2014) and Che cosa è una sedia (2015), both published by Henry Beyle.
Alessandro Mendini & i Dialoghi
2015
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