Author: Autumn Taylor

The beginning

My journey through the incredible city of Milan and the country of Italy was marked by one thing: discomfort.

Let me explain. I experienced many things, many memories that I will carry with me for a lifetime. And none of them would have been possible if I had been comfortable during the trip.

At this beginning stage of the course- full of excitement, adrenaline, and a sense of adventure- the discomfort was definitely a positive one. Every façade we passed in the streets seemed novel and mysterious- what secrets and history could lie behind these buildings? The sensation of not having a clue where you were on the map was exciting and I relished the opportunity to venture into uncharted territory.

As a non-design major in this course- Design in Context- I found that design was something entirely different than what I had thought previously. Understanding the nuances found in the balance between aesthetic and function proved to be a thrilling challenge.

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The middle

If the beginning of my trip was marked by discomfort found in novelty, then the middle was full of yearning for familiarity. The newness of everything had worn off, and while I was still filled with joy at every new location we visited, I occasionally found that joy tinged with sadness and a desire for something home.

In this state of discomfort, I discovered patterns in my daily life in Italy. Through all of the differences, there was always something familiar. Taking knowledge from class a step further from my previous knowledge allowed me to deconstruct the world I was living in and find these similarities. Even where there were none, simply understanding the context behind the design, the architecture, and the people allowed me to connect the dots between my foreign surroundings.

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The end

As my journey in Italy neared its end, I fell myself falling into step with the pace and lifestyle of Milan and all of the lovely places that we visited. No longer was there any awkwardness as I walked the same path each morning to the metro, as I ordered a brioche and espresso.

Everything we learned in class came full circle as this feeling of a new normal overcame me. The little pieces of life that we take for granted- in the way we make our morning coffee, then sit on chairs in the kitchen pensively as we warm up in the morning- all have some design sensibility behind them. It all intersects in this marvelous way. Although the culture between Italy and the United States is different, I can see the threads of various context and how they run throughout everything, creating a marvelous tapestry of human culture.

As I take in the world around me in Austin- one I used to consider ‘normal’- I find it all rather uncomfortable. Things that were once familiar I now view through a lens I gained through my travels. Through learning about “Design in Context”. Truly, I do not think I will ever be ‘comfortable’ again.

And that’s not a bad thing.

 

If everything on this trip had failed to make me consider myself a designer in some small fashion (which isn’t the case, but still-) then our final visit to Fabrica research center picked up the slack.

The building that houses this immense concentration of creativity is a 17^th century villa, masterfully restored and augmented by one of my favorite architects- Tadao Ando. The telling glassy effect with the water draws the eye to the columns that line the path to the entryway.

 

Inside, we were shown around the center, catching glimpses here and there of previous and current works from the young creative minds in residence at the center. Never in my life have I wanted to be a part of something so badly- social change at the hands of designers, artists, writers, filmmakers, and anyone who dares to think outside of the box. In fact, deconstruct the box.

Words of encouragement from their website:

If they pass the rigorous screening process, the young residents start a period of education and research on real projects based on the conviction that communication, in all its applications, must be a vehicle of conscious social change.

Again, there is the idea that design is multidisciplinary. That it can have a real impact on the world. It’s purposeful design- making a conscious effort for the function of the object to impact the user. Truthfully, seeing the importance of my own skill- writing, communications, storytelling- gave me a great deal of perspective. There is a place for everyone in the pursuit of change through media and design.

The Floating Piers – Christo and Jeanne-Claude

What a journey. After countless hours (just kidding, I counted- it was about 8-9 hours) of waiting, we arrived at a once-in-a-lifetime art installation on Lake Iseo. The heat building in my cheeks from the sun exposure became cool from the air that floated up from the water of Lake Iseo. The blisters on my feet vanished as I walked across the soft fabric lining the piers, the bumps in the material emulating the waves. To me, the way the piers seemed like the waves of the lake was the most beautiful part.

The Floating Piers is a temporary work, so we are lucky to be among the expected thousands that will ever experience it. This ephemeral quality of the installation is what always draws people to Christo’s work. Especially for the Floating Piers, it is given a spiritual feeling- visiting this work is truly like a pilgrimage. Combine this spiritual undertone with the sensation of walking on water- well, it’s all very religious. Perhaps it is only meant to be something beautiful- fleeting, but beautiful, as is life.

 

This outlook that the work inspires- to appreciate the beauty right in front of you, in this moment- is what made me so entranced by the swans. Swans themselves are so beautiful and magical-feeling, it only felt right that they fit right in with the dreamy state of the whole expedition. Even if there was no intention for the Floating Piers to seem as spiritual as it did, there’s no doubt that the natural beauty of Lake Iseo was meant to enhance the wonder of the installation.

Armani Silos- catwalk

This sketch was of the entrance to the exhibits at Armani Silos. I found it to be a very bold statement with images of Hollywood starlets flashing behind the vivid red ‘carpet’ that also appeared much like a catwalk. Immediately we understand the importance of this brand. We are told right off the bat- ‘we do not seek celebrities to wear Armani. The celebrities seek us.’ The existence of Armani and Hollywood is intertwined- each serving to elevate the status of the other.

The name of Armani Silos- specifically the ‘silos’ bit- was explained that it implies clothing is just as important as the food that we eat. The grains. In the way that food sustains our living, clothing does the same for the way we express ourselves. I agree with this. When we meet someone, we make immediate judgments based on how they present themselves in their dress. It may not always be best to judge based on appearance, but it is at least an opportunity to say something about yourself before you say anything at all.

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studio FM – designing identity

This was one of my favorite visits. Studio FM is a graphic design firm that works across a range of capabilities- brand identity, art direction, exhibit design, digital, and others.

We learned in depth about the process behind one of their campaigns for the Mudec, a museum of cultures that we had the opportunity to visit our first week of class. FM designed the visual identity for the museum, as well as a launch campaign. I enjoyed learning about the way they approached this task, pulling inspiration from the cultures that the Mudec had on showcase and coming up with creative ways to pull viewers in to their world.

The campaign was broken into different flights in order to seed the campaign.

1. The ‘M’ – introduce the new logo
2. The Colorful Pattern – introduce the vibrant cultures
3. The Space – showcase the architecture, interior
4. The Collections – showcase the actual collection

Each approach had a very specific goal in mind, all of flights working in unison to paint a complete picture of the Mudec through advertising. It seemed to be mostly out-of-home placements, which I find to be interesting and appropriate. The sense of adventure and wonder that they captured through the vivid imagery in their graphic design suits the placements well, giving passersby the opportunity to learn about the Mudec while they are moving about their everyday life. A combination of posters, billboards, bus/subway placements, and vehicle wraps placed the Mudec at every stop in the everyday journey of the consumer.

It was also quite nice to learn that FM created all of the icons within the museum, as well. Those were something that all of us noticed when we first arrived at the Mudec! Again and again the things that we learn on this trip seem to come full circle at one point or another.

Here are some links to the campaign on studio FM’s site: Mudec Permanent Collection Campaign | Mudec Visual Identity 

Kartell Museum – simplicity is key

On Tuesday we visited the Kartell Museum and learned about the company’s history as we traveled through time with various famous designs from the company. It was quite fascinating to see the inception and transformation of the designs, and how something as simple as plastic could be transformed in wonderful ways. The designs of Kartell are all very familiar to us, even if we have never heard of the company. I believe many of their designs are timeless.

I’ll admit, while the history was fascinating and the items quite lovely, I won’t be forgetting the sticker shock I experienced in the gift shop anytime soon.€200 for a plastic chair? I will let it remain as a beautiful memory instead of purchasing it.

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Triennale – focus sketches

While we were visiting the Triennale on Friday, I stumbled upon two perfect subjects for my focus, which is transportation. The first is an interesting form- a sculpture which resembles a motorcycle. It is part of a project called MOTOMORPHOSIS. From the text about the project:

“MOTOMORPHOSIS is a project of social awareness on the issue of education, safety and mobility of all aimed to improve living together and sharing the road.”

I liked the shape and sense of movement from the sculpture. The project is a relevant one. Different modes of transportation- cars, scooters, motorcycles- give us a great deal of freedom, but we must be mindful of one another on the roads in order to live peacefully.

The second sketch was of a Fiat model Zero (1912) as part of the exhibition “Neo-Preistoria”. It was number 61 in the exhibit, which was a progression of items throughout our human history, accompanied by a poem/definition that describes our relationship with each one.

061 – Pilot

To manipulate the powerful dynamics

of a machine as one wishes.

To move a car or airplane at will.

I like this definition of “pilot”, as it conveys the relationship people had with vehicles well- especially Fiat. “Manipulating… as one wishes” gives a sense of freedom- of power. As I’ve been walking, busing, and using the metro across Milan, I’ve sometimes wished that I had a car or scooter to get to a destination quicker. The independence that a vehicle allows us is one I often take for granted.

This exhibit gave me a lot of mixed feelings.

It showed a progression through time— objects created by humans and our relationships with these objects. Words and their definitions associated with the object- an emotion or purpose for it. Our intentions, our desires, sometimes consequences we had not foreseen.

I stood in front of the atomic bomb we (America) dropped on Hiroshima and almost came to tears. I specified “America” in parenthesis but upon writing it, I realized I could have left that out and simply said “us”—humanity. Surely it was a collective fault of humankind that we allowed such a monstrosity to occur. I couldn’t help but notice that toward the most recent chapter of humankind that the objects and associations seemed negative… World War II, addiction to smartphones…

And then, there were the absolute newest innovations. 3D printing, virtual reality, the manufacture of artificial organs. These things carried no sentiment in their definition. As someone involved in virtual reality, I read every day how the technology could be used for good, used for bad…

Just as any other object in the exhibit could have carried a different definition if we had used it in another way- it is up to us to define how these new technologies will impact our species.

I suppose- it is our destiny to determine how they will define us.

I received a piece of inspiration this week from the Alessi factory- great designers can come from all walks of life. The wide variety of creative backgrounds of the designers showcased in the Alessi archives was a testament to this fact. Architects, artists, designers- all have a different perspective to lend to creating something great.

Viewing the various designs was quite inspiring. Seeing so many familiar shapes and forms- I had no idea that Alessi was the birthplace of these designs. I suppose a great design is eternal. It cannot be broken- as evident by the iterations on the famous Alessi coffee maker. It is probably every designer’s dream to create something that lasts so long.

(Side note: This may be cliché or lame… But the idea that a great designer can come from any school of thought reminded me of the Disney movie Ratatouille. The quote- “Not everyone can become a great artist; but a great artist can come from anywhere.” This gave me hope that I can still create great things even from a different perspective than a designer.)

The focus for my sketchbook is transportation- a topic that allows me to capture bits and pieces of Italian life and the way that people move around the city. Coming from America, where owning a car is practically essential in most cities, adjusting to public transportation has been quite a task.

Trams, buses, subways, trains- all of these are pretty foreign to me, especially since I’ve lived in cities with no real public transport to speak of. (Do the buses really count in Austin?) Understanding the trams and subways has taken some time, but that doesn’t stop me from looking on at the cars and scooters with envy.

It’s easy to see why the tiny cars and Vespas became a symbol of independence. With the lack of space in the city and fast pace on the streets, having a small, nimble vehicle is the best option for those commuting or with little time to fuss with public transport. However, I would like to imagine that car and scooter owners still ride the subway, but that their vehicles allow them the choice in the matter of their transportation.

Alternatively, cars can also be a symbol of status and glamour. We visited the Museo della Scienza e della Tecnologia “Leonardo da Vinci” where some of the most famous Italian cars in history were on exhibit. I sketched the 1955 Bisiluro Dalmonar (an aerodynamic racer that proved to be too aerodynamic) and an Alfa Romero circa 1932. Yes, an automobile can be a symbol and tool for independence- but also for style.

 

 

Prior to my arrival to Milan, I was unsure what to expect in terms of design. Our pre-departure reading- “Made in Italy: Rethinking a Century of Italian Design”- discusses in the introduction the idea that Italian design has become a “victim of its own celebrity”. The star power of Italian design gave me a preconception of what that really meant- flashy images of Fiats and daring furniture coming to mind without any real context.

Through this course, “Design in Context” my goal was to find that meaning.

Of the topics the book states Italy is known for- cars, coffee, and fashion- I immediately became fascinated by the first. Cars.

I chose the theme of “transportation” for my sketch book after a day of exploration across the city and a full camera reel of nothing but scooters, cars, and trains. The variety of means that the Milanese turn to for transportation is something I am excited to document.

The number of scooters and small cars parked in the streets was certainly a pleasant surprise to me. Already I am seeing the incorporation of these mass-produced, stylish products that revolutionized urban transportation by means of accessibility. As the book noted, this was driven by the “increasing desire and need for individual, private transport” post-World War II. The varied pace of the city echoes this, with the public transport system thriving alongside the more independent mode of transportation found in the Fiat and Vespa. I think that it showcases the presence of both a very controlled and more open society within Italy’s past.

I look forward to sharing some of my sketches on this topic in future blog posts. Until then!

ciao

-autumn