Name: Brainstorm Design 2019: Material Considerations
Uploaded: 2019-03-21
Duration: 21 min 35 s
Description: Patricia Urquiola is one of the world’s most versatile and original designers.

The net twenty minutes we have a deep dive into the mind and the brain and the work of what of I say one of the most prolific designers in the industry today and I think it's so important. So you work a host of brands I can name only just a few or we'd be here all day. Cassini, Louis Vuitton, Cartel, Haworth, etc ., etc. But Patricia has put together a portfolio of images and ideas which are both illustrative in what you do, but more importantly, I think, what you think. And they way you are thinking, how you influence big and small companies. We're gonna start with this small animation, so please elaborate on this. What does this say about you, your working methods? We just go with this one and the next ones, which are over this one. This conversation begins from the idea of You were curious, right. You were saying to me, what could I tell you, having a kind of [ UNKNOWN ], so connected with the system in very different ways, in very different layers, and in this kind of rhizome of relations. And what I feel and what can move my relation with them, and as Pink Panther, you know that she can always get [ UNKNOWN ] on color, and there was an argument that- She blends with the color in the background. Which [ INAUDIBLE ] one that Was interesting argument. Miranda July, she's saying this kind of new era which is more connected with very dense idea of individualism and not any more come equip. All our current, I'm an architect and designer the currents of rationalism and post- modernism, they weren't [ INAUDIBLE ] of unifying in some ways. Is the [ UNKNOWN ] ideas and concept. And today it's not possible. There's no [ UNKNOWN ] more work. You can stop on this [ UNKNOWN ]. This idea of, it's real for us. Today we change the starter of our planet. And with it for example With some friends artisan and creative, and we had the luck to go Greenland and it was a travel very strange because we were few friends, 50 days, no connection. And we didn't discuss one second about anything. We were really in between drama. Thinking and they open mind to the beauty of work. And is this something you find you need to do to get away to. We have the possibility from a friend and actually a friend that had the possibility to do the travel. We were helping to take the boat to Greenland then they were using there for NASA and other things. And it was really A very important moment to get on relation with the physical elements. Or as I think [ UNKNOWN ] is doing, [ UNKNOWN ] and taking part of Greenland, all of this ice, to our civilization and make us look at it. The [ UNKNOWN ], which is part of what I wanted to speak with you. In this A change in [ UNKNOWN ] It could be a catalyzer to understand many arguments, and we're speaking about [ UNKNOWN ] we're speaking a lot about a virtual world and it's of use, which we, we know many that Possibly, mostly of the argument is how we're gonna adapt to many ways of living and using things in a more vital way because the things are overlapping, the physical and the ritual. But in any case for example this image is like the way we're connected with all the In any case, materia is important in all my projects in the way we are doing and we are pursuing something of architecture or something of design. At the end colloquia. We have to understand how we want to relate to those materials and how will we want to relate to the way we proceeded and because he's a response is an answer to the planet. We've talked a lot these two days, and Tim Brown started the conversation, that this industry has changed so radically, from an industry that was traditionally about taking something from the ground, using some alchemy, turning it into a thing that we then sell on. And that system, that linear system, is no longer relevant. Obviously, for example, this was a little [ UNKNOWN ] we were doing in an exhibition that was In Milan, the idea that I was working with a 3D printing machine and we were putting all these ideas of the items you need for eating. If we were not eating anymore, we were changing the way of eating. If you put them inside the drawings, inside the information to give to the machine. To produce them. If you put them in way they are not in order and they are not putted in in a kind of layered way, the machine needs to create a kind of jungle, [ BLANK_AUDIO ] To create them, to just create a structure. And at the end was coming a kind of jungle. All those products that were the need that We had from always. They got inside a kind of new nature if you go on. For example this is part of my traditional work. That's what I work with the quadratic fabric or that's a work which is looking, the one on the other side is ceramic work. But my work with ceramic, those surfaces, they teached me a lot. For example in both situations we are thinking about products and thinking, but in ceramic in the last years this material which is done in between is with [ UNKNOWN ] and water. Yes .>> And normally use a lot of water for produce it. One of the [ UNKNOWN ] I think the needs. Was to use this water. And then they introduced a new technology which the name is Continua, and this is done with Continua, that creates new ways of relating my work to them and the work to Questions from you, you asking questions. Well, they were asking me to use this new technology a few years ago. It was the [ INAUDIBLE ], they were the first producer of this kind of technology. Now a few companies they are using. And the idea was that all the left of the production they get inside the cycle and then they use much less water than the machine. Produces more, a kind of big robot. But at the end, the quality can be very sensible, and you can find new aesthetics. Which is, the things are changing completely. Then it's called ceramic, but it's the contrary of what could be ceramic in our mind. So it's a new, it's not actually ceramic, but it's a new form? Yes, then it's, you know- It's taken the properties, but Taking fewer resources- The concept that you have, ceramic, is completely another thing. Then what is I think is [ UNKNOWN ] that is part of it. If you go, for example, working with furniture I think many times we need to have the skin and the fabrics. But the fabrics Now, this was we are just renewing this moment and there's a company that they were working with CNC machines very well in this incredible way and they come to me to ask as a designer to do research for them, to make those machines work in a more intelligent way. Then, we are using a recycle fabric fibers, we are using, we are trying to really rethink. The possibilities what we have in our hands. Then I think matters matters in some way. If we go on, for example, that's another work, which is related to handmade, it's quite simple, is then in India With [ UNKNOWN ] a company from Spain, we are doing now. What material is it? This is done in wool, but it's a kind of new felter that we introduce inside the filter, recycled felter too. Right. Then at the end, this kind of [ UNKNOWN ] which is looking, is just [ UNKNOWN ] To give value, to make a kind of material that should be the left of that kind of [ INAUDIBLE ]. Make them interesting and give them a value. We are gonna introduce it now as quest. By the so sophisticated work but at the end is common to just working kinda simply trust. Yes. Like that. As often we say making trades sexy. Well I don't know if sexy but upcycling. Yes. These kinds of arguments that many people are speaking today which is recycling is a word that it has to move to upcycling. Yes. Given a kind of passage which is a bit more complex than just the [ UNKNOWN ] no? But you find a lot of these big companies that you've worked with for many years, are they now calling on your skills not only as a designer but as somebody who's asking questions and pushing them. And are they expecting you? I think, what I'm proud or I'm happy that is happening, a person like me Which is [ UNKNOWN ], [ BLANK_AUDIO ] From a generation that has been [ UNKNOWN ] in a system that is completely changing [ UNKNOWN ] in this period. And I think it's gonna change in the next year in a strong, strong way. They don't approach me in the studio. People that they know me from a few years, or people that they know me, or they approach me for first time They don't come only because he has a sensibility we can do. No, I think they know we can change some techniques they have or for example, the hospitality. We have a discussion already two days ago. Because they just want to change completely certain things. And I said, okay, I'm gonna be open to speak with you. What we were seeing, for example, now, the one before, there were these kind of very simple carpets, was nothing. There was outdoor product, that outdoor product was then in a kind of Polyester, because you can not do it with natural materials, but now we are recycling it and we are doing it with recycled polyester. We are recycling even the production so we are doing it already. That is part of my discussion with all my clients. I don't know which is always the path we can get, but I am a person who is very open to dialogue. To share but a kind of disrupted conversation always, a kind of uncomforted zone, but not an uncomforted zone for me for thinking. Uncomfortable for them to work it, I'm thinking. In many of things, for example this wood is done with a company that they had [ UNKNOWN ] machines, in that case two, and they asked of me to work on surfaces. And they said you could work with that. And for one year, we stopped with the work because I said to them, I'm not gonna work on that. If I work with you, I'm gonna change the way you know when you're working in arcane would the only traditional thing they still doing for years and years and is this male and female element that they put and is the only thing they don't want to change because this is barseller and I say to them, we are going to change that. Then we change the shape of the module and this obliged the machine to work in controlled numeric. And then we're changing the way they put together these modules. Then it's a research. And [ UNKNOWN ] very happy about these things. Something that was changing. Now, they are adding part of the company because for those machines we needed a new even space, physical space. And I like this idea of ideas, physical space, virtual space, research and- Yes, you are literally pushing them into this comfort zone. Making them rethink. In that case was a little bit and I was very happy about that. For example, this is a crystal. Glass is a material that I always said like complicated for me because the nature, the idea of Of being always transparent, in tools for living. I always had problems. I like it a low when we have this transparency in little tools where we can eat or drink but something but sometimes in domesticity is, There's something that is not attractive for me. Then my conversation with our Italian company was about this. This is Glass Italia. Glass Italia. I said to them, I'm not so comfortable with, and they said okay then I want to work with you, because of that. Then take a few years, he's changing my approach because he comes to me, now we are working this year with a new technique with a layering different filters. We get In two centimeters, really interesting work of colors and [ UNKNOWN ]. But that was the first work we did it strong, and then there was the [ UNKNOWN ] film connected with the glass And that was one of the conversations I want to say. Sometimes these uncomfort zone of discussions is giving a lot. For example, this is my work in America with kind of [ UNKNOWN ] election with Haworth. And that they are doing furniture for For offices and obviously they did all the money with the nine to five boxes and we are gonna make chairs. But, I'm working with them in all the things which are nothing to do with these. They are seven years. We are working on tables. A kind of places for seating where you can put people together and screens that you can move in a very light way. And all the way we introduce the thesis to the public, working with teachers And researchers of the a kind of engineers and artists. They're working a lot with algorithm and we're doing the reactive presentations. For example, the idea of this Community tables and we were doing this kind of reverse color that they were reacting to your hands in the way you were touching the table. Then my idea is always making them understand that part of this new virtual possibilities and that will be added to the physical one. Yes. They have to tell, they have become sensible. Yes. They have to become. The two have to work together. There's a lot of work to do, there's a lot of space. It is for example, this is a company of marble doing my work of architecture. They need a lot of research on that. And I ask them, I was to work with all the leftovers. And in this case, many times the big blocks of this natural material Which is a complex material. For me as an architect at the beginning I only liked it white or very simplified model. But I like the beginning of those blocks that nobody wanted to use because it's a B side of the marble. And they have those kind of grades of protection. And I was Keeping the material like it was, just layering and then adding some silicone materials. And then we are trying to do tables and things which are speaking to marble in another way. So your using the ugly sides. I always say the besides of the company. They have a fantastic clients so when they select marble they always select the best part, beacuse of Is already come equip the quality of the material. I don't believe we have to approach anymore any kind of our raw materials in the way we approach it before. In the way I'm speaking with Casina for leather and we are doing a lot of. I had [ UNKNOWN ] we can go one back. You can go back. One back, but what's possible. Is in the way I was saying, the materials in the marble, if you approach all the leftovers you begin to understand the qualities, the colors, Is a material that is done with in the time, all the pollution that gets inside that kind of stone give the value to the marble and the color. Then I began to even learn myself to understand something about the material. Here we are moving to something which is very different, my ideas. I love these photos and these videos I do when people are working. I was in [ UNKNOWN ] and those ladies which are working still with their hands are working. They have the machines for certain things, but the human beings are working in a very naturally way, and I love to do those [ UNKNOWN ] over them, and this is part of my laboratory. If you guy one- one, that is just to introduce a work I'm doing now with Merosa and with a gentleman that was speaking, With Arthur. With Arthur that was speaking with you before. And this is a kind of a statement that we are doing for a salon in [ INAUDIBLE ] which is about this new, as he was saying, sexy, or I would say upcycled New products which are looking to all the elements or the components thought in a new way with in this case with recycled plastic. He's sending me all the materials and I'm working with Composing this kind of, I don't know, new armchair. We're enjoying, because I think part of the process has to be a joy, as for example I love this. It was an exhibition. It's not important to speak Think about it a few years ago, and in Asia, and what was the last place you felt fantastic? That is a question that I think I like. I was in that photo, I was in the botanic gardens in Palermo. And it was December, and it was the moment that was the modeller of my relation with Nature. And it was a day where with some friends, architects, participated to another talk. And I was very intense today because we were thinking how much this new planet [ FOREIGN ]. And I come from a generation that did a lot of wrong things. And every morning in my work when I come here. I take the plane, I go to visit a company or anything. I have the concept of failure very strong in my mind, but the failure i think is I added as a value to my other values Yes of my process, then I understood is a value to understand the cause of this failure to introduce as a utopia in my work with casino Which I �� m doing a kind of art direction for three years. We were introducing the historical elements of the company in a new way. For example, there was an exhibition we did for celebrating the 90 Years of the company that for me was a 9. 0 Capital metaphor of, of digital implementation. And if you go, that was the for me, the little image of a phone. The little big image of a photographer, of a video. They are all the elements, they are mixed into my mind in the same way. And all the walls of that place, they were reacting when you were moving through the space. Here we- I want to just skip because we're just running out of time. Yes, we are. And I want to talk about BMW because- Yes, go, go, go! That to me is, it's go, go, go. We have a minute Because- [ LAUGH ] Why is a- I- [ FOREIGN ] you designing cars. No, I'm not even a special interest because I think [ UNKNOWN ], I call this I think very enlightened men which is running this company for the [ UNKNOWN ] design. Exactly, I need someone like you, that you're gonna give me all the questions which are not, [ UNKNOWN ] questions. And we are speaking about mobility. They were asking me to, for the first time, to be as a designer inside a place that nobody from outside works with them, in the way they display things inside BMW. Yes, so again, they're bringing you in for a different kind of perspective. But they wanted me at the end to do something at the end somewhat traditional. With a kind of idea of domesticity. No domesticity, we're gonna work with this company which is doing with robots. This kind of continuous 3D printing, big spaces. We're gonna make all the people which you are inside the company, then everybody is gonna see how react This idea of robotic new way of producing a float for example and we're gonna create the surface, the place where you're gonna show the [ INAUDIBLE ]. Well, I think it's fascinating that- And it was very lucrative I think for them to look at New kind of process, Yes. That, that is there where you're gonna find possibly answers of a way to relate to our society. Answers to questions we don't know yet, I think it's I'm not only doing you know, it was a kind of parquet that was a kind of very elegant of things we are going to change, so. Well, thank you so much for this deep dive into the brain of The most prolific designer working on the planet today and inventive and asking questions. And it's so encouraging that we see these big companies coming back to ask for more and to ask these questions and to be pushed into their discomfort zones. Thank you very much. The concept of failure, Echo. And yes, the concept of failure. Thank you very much. Please Thank you Thank you Patricia Acaiola [ BLANK_AUDIO ]

Brainstorm Design 2019: Material Considerations

Design

Patricia Urquiola is one of the world’s most designers.

Patricia Urquiola is one of the world’s most versatile and original designers. 