Month: July 2016

This past weekend I had an opportunity to do something that I have never done before: travel alone. Growing up in a large extended family, I have always been told about the places we were visiting but never were allowed to give my own opinion in what I wanted to do. Traveling alone and that too in Switzerland was out of my thoughts. I never would have imagined that I would get a chance to go to this BEAUTIFUL country and eat all the chocolate I want (even though it did hurt my wallet). From Milan, I left for Zurich on Saturday. On the train ride, there were so many mountains filled with green trees, waterfalls at every corner, colorful houses, a stream of water passing by, horses, and so much more. Seeing of all this just made me want to live there! When arriving in Zurich, I could already feel the different ambiance that I was in. Different foods, language, transportation, the smell in air, and buildings made me want to go around this welcoming city. Though on the first day I was able to make it outside in the city despite rain in the forecast, it started pouring as soon as I finished my lunch and when I began my exploration. As I stood on the side, I saw that I was on the shopping district so instead of waiting for the rain to stop I went to a mall and gave my wallet a big shock. Later as the rain stopped a little, I was able to roam around the streets and main city center. As the day came to an end, I also stopped by a café to take a little break during my exploration. The next day I started early but instead of at Zurich, I went to Lucerne. On my way there, I got to grasp the actual beauty of Switzerland: small lakes, beautiful houses in middle of nowhere, sheeps roaming around farmland, and just the greenery surrounding the land that made everything so beautiful. Having been living in Milan and visiting other urban cities, now getting to see a beautiful rural side of Europe just presented the many qualities that Europe has. Switzerland was really a great solo adventure. Finding the quality time for myself was worth it as it gave me the independence and confidence that I have wanted to engulf. I still remember my last day at Zurich when I was sitting by the lake, watching ducks and swans, and quietly working on my sketchbook. That peaceful moment in a tranquil environment was what I had wanted to do. With this great of an experience, I can’t wait to continue with it when I travel to London and Paris alone after the program.

This was a trip of a lifetime. I never expected anything like this. I was so surprised and pleased with how much design we saw and learned about. Plus, we didn’t only see and learn about design in the graphic sense, but in the architectural, industrial, urban, and product sense. I can say that I have gained a new outlook on design and a new way to observe and think about design. I have also gained a new sense of curiosity so, in the words of my newest favorite designer, Castiglioni, “if you are not curious, forget it.”

Culture in Italy has its differences and its similarities to American culture I noticed. Things like coffee, public transportation, and food were just a few of things pretty different from the American way. I don’t think I will ever be able to enjoy a Starbucks again after experiencing coffee in Italy. I thought I liked bold coffee before, but boy was I missing out! There is nothing more pleasing than a piping hot espresso in the morning, or afternoon. Milan also had an amazing public transportation system. I haven’t been to many big transportation hubs around the world, so I don’t have much to compare it with, but compared to Austin and New York, Milan was great. They had subways, trams, trains, and buses! Everything was clean and on time, for the most part. Compared to Austin, who only had some buses that run on a schedule no one can nail down and the lousy train thing, Milan blows it out of the water. Speaking of water, I really didn’t like how we had to pay for water everywhere we went. I don’t even want to think about how many euros I spent on the water. The food was as expected for me, tons and tons of pasta! I think I have reached my pasta quota for at least six months. Walking down the aisles at the store I remember thinking, “wow, it really is just pasta everywhere.” I thought that I ate a lot of pasta at home, but not compared to the Italians. Luckily, I did manage to find some other yummy meals to balance out my pasta intake.

It would be silly of me not to talk about how design in Italy impacted me since the class is all about design! I have taken away so much from this course. I never really had an interest in product or furniture design, but after learning about all of it in Italy, I am curious on how I can spin it my own way back here at UT. My head is spinning with inklings of senior design projects now! My favorite thing about Italian design is how they look at everything. They analyze, observe, and think differently. I don’t want to say more creatively, but in a different way, maybe more holistically is the word I’m looking for. Something that I think describes the Italian way of design thinking is, “unusual uses for ordinary things.” They have a knack for flipping things on the side and making a chair out of it!! I hope to take that way of thinking back with me in my design studies, for sure.

As a class, we got to see the the Museo Kartell. The space when you initially walk in is open and you are encompassed by clean and stunning exhibitions and window displays. Kartell was initially started by selling car equipment and lab materials, but as time progressed Kartell’s goal was to introduce plastics into people’s homes. This was at the same time as “the Beatles reached number one in the charts in 1963, so young consumers sought out design artifacts to express shared youth culture and identity.” With the emergence of this new type of interior furniture, I couldn’t help connect the new concepts to the rise in Popular culture. In one of the readings for class, they defined the shift in 1960s-70s, as “This appreciation of popular culture grew enormously in the 1960s, with the emergence of Pop Art, and the relationship between design and popular culture went from strength to strength. The motifs, forms, and cultural references of popular culture are now integrated into our understanding of contemporary fashion, graphics and advertising.” Kartell began to pick up speed in the 1960s and was a crucial part of Italian Interior Design. In the 1970s, there was a shift. Kartell was invited to be apart of an exhibition at the MOMA. The exhibition was called “Italy, the new domestic landscape” which was dedicated to Italian furnishing design. This exhibition at the MOMA resulted in Kartell gaining much more world wide publicity. This relationship of design and art is good example of the Modernist Movement and how popular culture as we know it, is defined by art and what encompasses us daily. Pop design “particularly in graphics, was also characterized by a revival of Victorian and Edwardian forms”, and the main staples that Kartell produce are a modernized version of these classical art time periods. For example, The Bougie lamp, designed by Laviani is a baroque-like styled mix of modernity, that has a classic appearance but is also ironic and funny. Similarly, the LaMarie chair by Phillipe Stark is timeless, but it was also the world’s first completely transparent chair, its a combination of robust exterior at the same time having a new kind of lightness that has never been made before in interior furniture. Kartell continues to create and be influenced by the ever-changing world around us. They continue to work with famous musicians, and designers to keep their name and quality high, as there is more competition with cheaper products that are less timeless. Kartell has also dabbled in place settings and fashion, and they are continuing to shift their brand as the popular culture is continuing to change.

This past month in Milan and traveling around Italy has been the best experience yet. Everything we visited for the class and during our weekend tours was a memorable time. The studio visits, museums, landmarks, walking tours, all taught me so much about Italian, design, and art history in general. Especially the fact that the world really has existed a long time. Sure we’ve been taught about centuries of history, but we don’t really get to see that here in Houston. I was able to see actual standing buildings and ruins that dated back to Before Central Era. Italy was evidence, real tangible evidence, that what we learnt in school really did lead up to where we are today, and that is just so mind-boggling.

The connotation of design in Italy versus the United States is also vastly different. This is a topic that was mentioned by Sam Baron, the head of the design department at Fabrica, on our last day in Italy. Design in Italy typically refers to furniture, chairs, lighting, architecture, and interior, whereas design in USA refers to graphic design or fashion.

Of course, Italy also has a huge, well known fashion industry too, but that falls under fashion, not design. Furthermore, Baron also mentioned how design is a highly coveted career in Europe in general, whereas in USA, at times designers are considered quirky and indie, not a mainstream or proper career choice.

Italy puts forth its culture, its art, its history in every possible place. There are streets full of old buildings, turned modern restaurants, that still showcase antiquity. There’s the Triennale, that on every corner would have a little poster talking about another pop-up gallery showing off artwork from some new artist or another.

Some streets that I almost passed of as plain and residential housed the workshops of famous designers and artists known worldwide for their designs. Art and everyday blend together so seamlessly in Italy that even at the end of a month it was hard for me to tell one from the other. Here, there is such a clear demarcation between, commercial, residential, and recreational.

At least in Houston, history doesn’t bleed through the cracks in walls,or the cobbled streets. Every place we visited, Portaluppi, Alessi, Magistretti, Armani, Kartell, so on so forth, had a tale to tell of how the company started, how the designer began his career. There is an intimacy with history in Italy that I could feel with every word our tour guides spoke, almost like they had a personal connection with the people they spoke about.

Italy has taught me to take history along with me, to learn from, to reminisce in, to live with. It’s about improving on the past, correcting errors, not covering them up.

Oh, and chairs. Chairs are the epitome of progress in design.

I call this the “Italian Take Away” because it is not the “Italian To Go” because each time I asked that in a restaurant I met a blank stare followed by a correction. To atone for my poor verbiage abroad the following is therefore the notions I Took Away from Milan (just like the pizza I wish I could have taken away). 

The morning after I arrived home from Italy, I sat on my couch at home and picked up a book. It was Fahrenheit 451, a popular book that most people have already read long ago. Stories of book burning, fast cars, and galleries of smashed windows were wrapped up in its pages. It struck me as a Futurist haven. This was the world they had envisioned, and it brought me back to talking about them on one of our first days atop the Duomo.

After reading the Futurist’s manifestos and ideals, I was simply struck by how naïve such educated men could be. Burn the books, throw away the classical paintings, tear down the architecture. Start new. Go fast. (Most people in Fahrenheit 451 end up committing suicide in such a world and I don’t blame them). My distaste for them has only grown over my month spent in Europe. They wanted to destroy everything that I now hold so dear and close to my heart. Italy has changed me for the best, because of the history and stories written in its art, architecture, and most importantly to me: its design.

Italy is rich in Italian design history. When visiting Alessi we were greeted with story upon story of designers. The Bomb teapot, the alien lemon squeezer of Phillippe Starck, also combined with the new pop/affordable line. Absolutely everything has a story, as all designed objects do. The difference between American and Italy, is that Italy tries its best to archive and present this history.

This was best demonstrated at the office of Vico Magistretti. His granddaughter is constantly archiving all of his works. It is a constant dedication to the works of the past, both his architectural and design ones. (Sidenote: The long work process also prompted me to be aware of my poor recording habits.) This was especially dicult as Vico shared most of his descriptions over the phone and often refused to draw.

Yet, Italian design showed more than just its history; it showed its future. FM studio was one of the most influential visits of the trip. They are a graphic design studio that focuses on identity, art direction, exhibit design, digital, editorial, and wayfinding. They showed what interesting and important work there still is to do. Transforming museums, way finding at extravagant hotels, and the future of food to name a few. Our speaker also gave good advice on the ‘follow your strengths’ tail, which I am always an advocate of. He was also very pleased with the all female turnout, claiming we are the future of design (an idea I love to indulge in).

What struck me most about the design culture in Italy is that there was one. Museums (the Triennale) devoted just to the history and future of design. Expos that were proud of their design talent. When one says they are a designer they are asked what kind? This encourages to treat design just as importantly in America, not just a means to create a profit in the market place. Design is a way of thinking, and I am happy to bring home the all encompassing view Italy has now given me.

Dear Futurists, Thank you for failing. Love Bri

 

Tipoteca is an amazing type foundry tucked away in the heart of Treviso. They are dedicated to the preservation of the origins of type. Our guide showed us the history of linotype and monotype. We were even shown a video on the art of engraving music into sheets of metal. Each line was carved into the sheet, as each note and mark was stamped in. It seemed even more complex than setting type, as no mistake could be easily corrected.

Upstairs there was a fantastic exhibit showing the complexities of printed items, namely money. All of the secret patterns and swirls were painstakingly done by hand. They were truly impossible to copy perfectly unless one were to have the original plate. Tiny stamps were also on display alongside beautiful flourishes and posters.

We then got to play with our own type. Our poster making process included first, of course, the idea. We decided upon a poster that highlighted the names of the greats we have learned about during this trip (Castiglioni, Starck, Magistretti, etc) with Design in Contesto in blue. We chose this dark blue in accordance with a lighter green that would hopefully ‘pop’ against the dark. I’m happy the poster was composed of all cool colors as they matched well with the warmness of the yellow paper. We were able to use a wide array of beautiful typefaces and allowed to turn the wheel as we spun our prints out. It was a lovely refresher into the world of typography.

Exploring Milan this past month has been exhausting and wonderful and eye-opening. Everyday was a struggle to get out of bed, but everyday was far more than worth it.

Something I really wanted by the end of this trip was to feel like I had truly immersed myself in the culture of Italy and more specifically Milan. Although this couldn’t completely happen because my Italian is limited to “ciao” and “non parlo italiano”, I feel like I got to know Milan in a way that I never could have just going on my own. Exploring so many parts and being asked to focus on the architecture and the food and the daily routines of the people forced me to learn so much about Italian culture and how it compares to that of Texas. I fell in love with the long meals and tiny espresso breaks. I was so proud of myself when I knew where I was going on the metro and didn’t have to double check every time (and could stand without holding on). 

Seeing how design is woven into the everyday life of Milan was also unexpected. I knew Milan was popular for fashion, but I had no idea how focused and supportive and reliant it is on design in general. The Triennale exhibits scattered all throughout the city is one example of how every person in Milan is exposed to design without even seeking it out. There is such a difference in respect and acknowledgement of designers in this city than there really anywhere in the US.

More than anything, living in Italy for a month has changed the way I view myself as a designer. I have learned that design is so big and open. It is not something that has to be categorized and broken up, but can be free and explorative. I think it must be explored in order to find what you really love to do. I observed a passion amongst everyone we visited and studied for creating that I have only seen glimpses of in the past. I want to continue searching for something that I am that passionate about: something that gets me excited to create and solve problems for and not settle for anything else.

Lastly I want to end with this quote from Achille Castiglioni. 

“There has to be irony, both in design and in the objects. I see around me a professional disease of taking everything too seriously. One of my secrets is to joke all the time.” 

From all of the things I have learned from this trip, I think my favorite will always be to not take myself too seriously and to joke all the time.

Castiglioni’s studio

Seeing the pope in the tiny window at the Vatican

Group picture in cool vests at Artemide

On our very last day, we visited a highly motivational space: Fabrica. Fabrica is a program/place founded in 1994 that offers a one-year scholarship for talented individuals (under 25) to enhance their design, visual communication, photography, interaction, video, music and journalism skills. It is a place that is midway between school and work.

We began the tour by standing in the grounds with a reflection pool adorned with columns. Our guide talked of the reunion they just had which they were very proud of. 378 past students returned to Fabrica from all corners of the earth. Here she (the guide) got to meet their families and/or hear of their accomplishments and new standings in the world/business field.

Moving forward, we got to view the works of these talented students. We saw giant portraits of women who had once been disfigured by acid, not painted on acid on giant slabs of rusted metal. (Here is a link to the video showing the collaboration between Erik Ravel and Pakistani activist Iram Saaed: http://www.fabrica.it/facing/). We saw the sadly room where COLORS was once produced. Sadly it is not in print right now, yet their online presence is maintained. I am looking forward to finding/buying past copies of it.

One of my favorite parts included the visit into the library. It was a giant swirling white staircase of design, art, history, and anything the students found interesting and wanted to order. Here I found my two favorite books, Miracle Village (about life during and after being convicted of molestation) and Where Children Sleep (an account of different childhoods over the world).

Most importantly, we got to speak to the director of design department, Sam Baron. He spoke of his path to Fabrica, namely an education in Paris and a later on interest in porcelain projects that were well received. He divulged his opinions of design and where it is headed. He stressed his disappointment that being a designer is becoming a ‘trendy thing’ i.e. posting a sketch on instagram and calling one’s self a designer. Being a designer, a good one, takes much more than instant gratification. “Stop the dreamy image” he says. He also explains that things are just tools, and one can’t just barf out images. One will always need the simple necessities of a pen, paper, and hand to create ideas. And this idea, this grandeur of thoughts, should be ablde to be explained within one sentence. “No bullshit, just practice”.

For me, Fabrica reminds me of this story in the bible: the Tower of Babel. This story was meant to explain the origins of different languages. In short, every man was trying to reach heaven without dying. They created a huge tower that spanned towards the heavens. God was angered by their efforts and zapped them, giving them different tongues/spoken languages. The men all fumbled around unable to create the tower because of the barrier. I see Fabrica as the conquerer of this challenge. They not only overcome distance barriers, but encourage them. The more collaboration and confusion the better. Different students merge not only their cultures, but also their past design educations, taking the good from each side and creating a new language of designs.

The day we visited Christo’s Floating Piers was one of the most rewarding days of the trip. As we boarded the train for Brescia, we were confronted with massive crowds that prevented us from actually getting on the train. This should have been the first warning sign of what was to come but most of us brushed it off as rush hour. We simply boarded the next train and all was well, until we got to the Brescia train station and faced the next phase of our journey which seemed to be an unending line to the only train that would take us to the Piers. We didn’t know how long the wait would be which was probably for the best. After another delay on the train and a line to get onto the Piers, 8 hours later, we finally took our first steps onto the floating orange pathway. The sweltering heat and test of our patience all receded into the background at this moment. Walking barefoot on the wobbly pier and absorbing the beauty of Lake Iseo was an unforgettable experience. Many of us wondered if something like this could even exist in the States without extensive barriers and extensive peddling of Christo merchandise. Experiencing this ephemeral installation in a place as beautiful as Italy was truly a memory I will keep forever.

I knew it would be hard to come back to the states after living what seemed to be a different life for the last month. Traveling has been a part of the daily life over the last month, within Milan and Italy as a whole. Metro trips, buses, and trains have just been second nature, but upon arrival in Houston it was back to the American mode of transport- private vehicles. Don’t get me wrong, I am excited to be back in a place of familiarity, Mexican food, and sweet tea; however, my eyes have also been opened to a new lifestyle that makes me question the way in which our country currently functions.

Granted, not all states and towns are the same across the United States or even Europe. However, I find it noteworthy that the U.S. has not taken further note from the urban infrastructure of European cities. My original culture shock upon arrival in Milan, followed by my awe of their intensive recycling system, has now turned into lingering questions of how far off the urban environments in the United States are. Austin is one of the most ‘tree-hugging’ communities in the United States, yet the enforcement of recycling and strong encouragement of public transport seems far lacking in comparison to that of not only Milano, but other European cities that I visited along the way over this last month.

 

On top of eye opening moments in regards to urban development and design, I have also gained a new sense of awareness overall. While everyone has been questioning the difficulty of a month in a country with an unknown language, I have been wondering why the language barrier was not more of hindrance in reality. And that also made me aware of the importance of design elements such as iconography throughout cities. While it is true that English can be found in many places throughout Europe, there are also more remote areas in each community that are not as emerged in English basics. This could have been daunting if it were not for familiar pictorial images, icons, and symbols that created a universal language to lead me through wherever I was at the time. It was not until this point that I realized the importance and necessity of urban graphic design elements for not only visitors with language barriers, but also the local community who may lack the capability to comprehend more the simplistic images.

These small pieces of the puzzle that I observed over my time in Milano have made me more aware of my surroundings not only in the more urban environments of Austin and Houston, but also more rural environments such as my home of San Angelo. With my main academic focus being of urban developments, city infrastructure, and relational planning, this trip awarded me a new perspective on the city and urban lifestyles. Although I have read and studied various European planning and architectural developments, none could have provided me the information that I was able to experience first hand. Not just seeing, but actually living in Milano for a month as well as my new gained knowledge about various basic aspects of design will definitely be something that will forever be apart of my thought processes throughout my life and future professional career.