The Pastiche

by

De

by

Gabrielle

Designed

Michele

Inspired

Pat t e r s o n

Lu cc h i

T H E

P a s t i c h e

04 Introduction 05 Michelle de Lucchi 06 Precedents 07 Timeline 11 Form & Shape 14 Materiality 15 Layering & Repetition

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Ta b l e o f c o n t e n t s

01 Table of Contents

18 User Provocation 21 Ideation 24 Ideation 23 Refinement 26 Final Design 27 Final design 29 Task 1 Poster 31 References

introduction

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Michele de Lucchi is arguably one of the most active designers in last 50 years yet, many have never heard over. Working across several Fields, from industrial design, architecture, art, to human interactive systems, de Lucchi has been able to transcend not only disciplines but also style itself.

De Lucchi aesthetic alignes with the ideals of many other designers who developed their skills during the emergence of postmodernism in the 70s and this is one that seeks to challenge and deemed acceptable and reject the establishment of the past in order to define the future.

Still actively designing to this day, de Lucchi designs have become less eccentric since his days at Memphis, but perhaps increasingly provocative as he has matured. At the core of de Lucchi design is a constant need to evolve and regenerate which has enabled him to consistently stay relevant over the many years he has contributed to the design world.

Through this folio I aim to capture some of de Lucchi’s aesthetic choices through selective forms, shapes, colour and materials.

While working on several concepts that take inspiration from a wide breadth of de Lucchi’s work, ultimately my designs aim to reflect the innovative thinking behind de Lucchi’s work, which, takes ques from post modernistic philosophy that seek to subvert tradition and develops around concepts of repetition, dissolving the reliance on a single ‘style’ and an appreciation for individual, unique experiences.

m i c h e l l e d e Lu c c h i

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As a trailblazer for design over the entirety of his career, Michele de Lucchi, has been powerhouse of subversive and innovative thinking and techniques since he entered the design stratosphere in the 70s.

Born in Ferrara, Italy in 1951, de Lucchi found himself conveniently located only 2 hours away from the design hub; Florence, where he attended The University of Florence and graduated with a degree in architecture in 1975.

While studying, de Lucchi was one of many emerging designers with radical ideas that challenged convention and as such, this saw de Lucchi become a key part of many design groups such as; Cavart and Studio Alchimia allowing him to collaborate with many of the influential and philosophical minds of the postmodern movement such as Medini and Sottsass. This ultimately lead to what is arguably de Lucchi most impactful endeavor, which was co-founding the Memphis design group and its distict set of ideals and philosophies.

After the Memphis group dismantled at the end of the 80s as its anti-style conventions had themselves become a style it was fitting for de Lucchi to embark on something new. De Lucchi found himself the director of design for Olivetti for 14 years whilst also working with many celebrated European design companies such as Vitra, Hermès, Alessi and Artemide.

It is with Artemide that de Lucchi has produced his most acclaimed pieces such as The Castore lamp and the Noto Lamp but none more distinguished than his Tolomeo lamp which earnt de Lucchi the Compasso d’Oro award.

De Lucchi is not only a distinguished industrial designer but also versatile architect, artist and systems designer. Working on architecture projects for Deutshe bank, Post Italiane, Piaggio among others, designing and producing art for exhibitions in Triennale Milano and Neus Museum ect, and also working on technical and aesthetic innovation for cooperate companies such as the ENEL energy company, Telecom Italia and many others.

Whilst simultaneously working on all these endevours De Lucchi founded his own, inter disciplinary studio; Produzione Private in 1990, where he and his team focus on using traditional and established craftsmanship to create limited edition designs with De Lucchi commenting how this enables him greater freedom to experiment and make mistakes without the fear of great economic harm.

precedents

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figure 1 To capture de Lucchi aesthetic is critical to evaluate certain precedents that de Lucchi establishes through his design work. De Lucchi style is something that is not concrete but rather fluid as it constantly evolves and adapts, this is exemplified just by the few designs on this page and demonstrates de Lucchi’s capacity to acclimatise his design thinking to different contexts.

While his style is quite transient there are certain attitudes expressed through de Lucchi’s designs that I will endeavour to reciprocate through my own work. Primarily there is a sense of anti-establishment to de Lucchi work; a space that is almost void of from ques from the past and subverts audiences to experience it from an entirely fresh perspective. Even the wooden table and chair in Figure 1 that are conventional in thought are far from it in appearance; with subtractive features on the table legs and sweeping, curved features of the chair the set is both rich and contemporary when placed in a plain room telling a refreshing story of how a modern user would interact with it.

Ultimately there are variety of philosophies entrenched in de Lucchi’s work, and I aim to reciprocate some of them through my own interpretations.

figure 2 figure 4

timeline

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1983- The First Chair

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1991- Berlin Wall Falls

1980 Memphis group is founded

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1995- Olivett laptop 1986- The Tolomeo Lamp

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75 1985- Live Aid

90

1975 Vietnam war ends

1990s- AIDS hysteria

2008- The Noto lamp

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2019- UN climate assembly

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2009- The Vegan table for Riva

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ti x De Lucchi

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2010 Exitence for De Castelli

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2001- 9/11 Attack

2008- Stock market crash

2015- Alessi x de Lucchi moka 2003- The Castore LED lamp

M i c h e l l e ' s

m i n d

form & shape

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figure 1

figure 3

figure 2

Over the course of de Lucchi career there has been evident forms and shapes embedded in the compositions of his designs.

From a shape perspective, de Lucchi quite often uses a series of geometric shapes whether that be circles, rectangles or a combination of both and he rarely strays towards shapes of an organic nature. While many of his shape work is transformed into form, however, some of de Lucchi’s designs often display prominent pattern work, usually in defined, contrasting lines or zig zags as exhibited in figure 1 and 2.

From a form perspective, de Lucchi’s pieces are quite solid and defined. While his designs are apparently robust due to his choice of form, there is still and air of elegance to his work and this achieved by the combination of contradictory forms, such as the figure 3 with its rectangular bar to make the stem and cylindrical shade or figure 4 where it combine cylinders to make the frame and has clean cut rectangular/circles to make the shelves.

figure 4

I believe in my design I can use a combination of forms to reflect that of de Lucchi’s and there is the potential to incorporate pattern work whether that be through subtraction like figure 2 or paint as in figure 1.

As a multidisciplinary designer it was inevitable that de Lucchi would work under different technical constraints and therefore design with different materials over the span of his career.

In 2016 de Lucchi admitted that wood would be his choice material to restrict himself to work with, for it is both replenishable and versatile to design with and as such most of his recent design work is made from wood as depicted in figure 2 and 5.

De Lucchi also sometimes endeavours to use materials not commonly applied to furniture design, once commenting that when talking about material choice, ‘you should keep your mind as open as much as possible in order to let inspiring ideas and hints enter’ and therefor suggests, that much inspiration can be taken from contexts outside of conventional furniture materials. This is exemplified in figure 2,3 and 4 where de Lucchi uses clean cylindrical polls that could be found in a playground within shelf or brushed metal for the chair frame which would usually be found in industrial contexts or the clean glass of the lamp shade which looks as if it belong in a science lab or the tableware cabinet.

De-Lucchi also often expresses that it is important to restrict the variation of materials in a single piece, as this restricts processing and therefor cost. De Lucchi demonstrats a capacity to be extremely thoughtful and selective when it comes to material choice and this success in his design works, and it is this same thoughtfulness that I wish to apply to my final piece.

figure 1

figure 3

m at e r i a l i t y

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figure 4

figure 5

l ay e r i n g & r e p e t i t i o n 15

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figur

An evident feature in many of de Lucchi designs is both layering and repetition. Both these features work to complement each other across de Lucchi’s as the repetition delivers a sense uniformity, and the way with which de Lucchi applies layering on top of this awards his designs a lightness and almost whimsy feeling.

He applies repetition in a variety of ways whether that be in pattern, or in the use of the same shape; such as in figure 2 and 3 where he adjusts the scales to create difference and therefore enables the layering of different versions of essentially the same thing: the circle or the cuboid. This makes de Lucchi’s design appear simultaneously effortless and complex.

The use of pattern and layering in de Lucchi’s also makes his design more digestible, as often he is trying to challenge the audience through his creations, by adding this tracible feature to his work, it initiates viewers interpretation of what is before them. Figure 1 and 4 demonstrate this perfectly, as the bulbous spherical shapes repeat and layer on top each other, allowing this unconventional vase form to be more readily interpreted. The same can be said about the line work of the staircase, it is busy and cleanly white creating an almost tangible atmosphere of excitement in the room that more easily come to terms with through the introduction of layering and pattern it both builds on this excitement but also develops a sense of calmness and uniformity which balances the design.

Across all de Lucchi’s works it is rare that he does not use repetition or layers, and therefore I think it is an important inclusion to my designs.

re 1

figure 2

figure 3

figure 4

figure 1

figure 3

The images chosen to demonstrate only select few of de Lucchi’s provocations. Firstly figure 1, named ‘A Homage to the Imagination’, centres around de Lucchi’s intrigue that one can be grounded in reality but still experience the impossibly through a cognitive journey with use of texture, form and light has been used to interest and prompt the audience.

Figure 2 is a large amphitheatre that has sweeping mounds of sweeping that almost look like mountains, however the location is inner city.

Therefor with this piece, de Lucchi dramatically takes the audience out of their urban environment and places them in a calm and natural space thus creating a juxtaposition that the user will not only feel but also think about.

Lastly figure 3 named ‘The Missing Link’ is a sculptural piece that explores the divide between nature and artifice. With this piece de Lucchi aims to create the link that bridge the divide between these two things. His use or natural, swirling shapes that create almost a maze for users whilst also using gaps in the walls to cast interesting shadows leads user to feel deceived and thus people emerge slightly disorientated allowing audiences to explore their emotions.

He purpose behind de Lucchi’s work is something I find incredibly interesting and is something I will seek to draw inspiration from to create my own story behind my finished piece.

u s e r p r o v o c at i o n

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A large proportion or de Lucchi’s work is centred around user provocation. This feature of de Lucchi’s designs could be considered one of his founding pillars because it demonstrates what he projects into the world and also gauges what de Lucchi endeavours to make people reflect about.

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figure 2

i n s p i r e d

d e s i g n s

Using the quintessential de Lucchi features of block form and comining his whimsy provocation of weightless floating by attaching the back rest to the legs

considering using a coated metal frame but softening it with an organic wooden seat.

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i d e at i o n

Chair concept

This sleek design still uses the block form features of de Lucchi but with a sweeping almost sculptural leg transition from legs to back rest. would consider using bent wood for frame

A sense of reoetition to the way both back rests eveolve from legs and then layer together.

would use bent wood for frame

Transfering the palyful use of cylinders used through de Lucchi’s designs as a feature to the back rest

considering adding a rotational elements to make the user experience active and unique

bed side table concept

Using the principles of layering and repetition to give the forms of my designs a de Lucchi feeling. Material choice will be key to hint at de Lucchi but to also maintain artistic integrity.

Would use wood for the box forms and have metal legs Plays heavily on repetion and layering.

Would use wood for the spherical base and could play around with patterned finishes or textures on the boxes maybe even made from transparent materials.

adding the draw makes the designs have a more defined purpose; storage, however, some of the beauty of de Lucchi’s work is its function is up to the users interpretation.

Would use wood for the box forms and have metal spheres or perhaps even colour glass with metal rods through the centre for support

Glass would be used for the C shaped struicture and wood or metal for the large sphere as such a large spere made of one of those materials is playful and unconventional

lamp shade concept

exploring repetition and layering whilst also consider how the light will radiate from the shade and considering what experience this will provoke in audience.

using the basic form of de Lucchi tolomeo lamp and then applying layering and repetition on top

Cylindrical pegs to hang magazines off.

considering using a thin wood for the panels that still allows light through but creates a warm glow

Intrested in the shadows that this lamp will cast around the room

By increasing the number of pannels there is going to be a more obvious interation between the light and the environment

The somewhat obtrusive cylinder through the centre chalenges audience who expect a large flat surface

i d e at i o n

would probably use wood for the entire structure but play around with pattern and colour. Maybe make the pattern a texture rather than through high contrast paint to modernise de Lucchi’s Memphis work (APPLICABLE TO ALL DESIGNS IN THIS CONCEPT.)

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circular tray to rest cups, books teapot ect. could potentially be a modular piece

a layered compostion which is playful and would be a feature to a room

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This table is very playful and almost looks as if it will roll away creating an intresting narrative to the object as a living thing rather than a biotic object

Coffee table concept

palying with block form and shape there is an oppurtunity to embed patterns on the surfaces.

The forms are distinctly reminiscent of de Lucchi work at memphis, so I would like to make it more modern by using a less extreme colour pallete.

circular tray to rest cups, books teapot ect. could potentially be a modular piece

circles that come out of form that are a place for cups and books to rest on

room for storage underneath

Glass would be used for the C shaped struicture and wood or metal for the large sphere as such a large spere made of one of those materials is playful and unconventional

refinement

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lamp shade concept Going ahead with this lamp shape idea, I believe it captures the essence of both de Lucchis past and present work.

It uses his classic form and shape principles and tries to mimic the general form of his famouse tolomeo lamp shade. With the use of repetition and layering enhancing the design by bringing in texture and variation.

Overall what excites me about this design is the potential impact it could have on a room. I belive it could act as real feature to set the mood in the room by projecting speckled light.

If the design was being created for a larger market, I would consider using a transparant, retardents material like the plastics produced by Megara.

There is the option of a variety of colour and this could add a playfullness to the design and the reflections it projects on a space.

If the design was a bespoke piece there is the poetntial it could be crafted from fine wood that is somewhat transparent.

De Lucchi’s Produzione Privata work on hand crafted, detailed pieces like this so it would not be unfitting to follow this material choice.

Taking inspiration from de Lucchi’s comments that there should be little material variation i have elected to use only 2.

The powder coated metal add a harsh instructrial feel which elludes to contrasting context than the natural wood grain. By combining both materials I have endevoured to demonstrate how bringing materials from different environments together can create something cohesive.

bed side table concept

To bring user provocation to the forefront of this design I believe an element of interaction and movement need to be included.

I think by putting the top cube on a swivel mount it will bring a sense of play and unconventionalism to the design and promt uses to imagine using is unlike other bed side tables.

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i final design

reflection I decided to choose the lamp shade as my final design. I chose for a number of reasons including the way it drew inspiration from the various features de Lucchi displays in his work such as repetition, layering, material choice and the use of geometric form and shape.

The most predominant feature of my design that excites me, though is the user provocation, de Lucchi often uses subtraction in spaces to create an interesting atmosphere and I believe this light has the capacity to do a similar thing. By projection variations of light and shade around a space it will be speckled with a distinct pattern of light which will cause users to view a space and objects within this space in a new way.

Ultimately this assignment and the series of assignments under the 20th centenary furniture design class has been highly beneficial. The first assignment clarified the eras and the influential people and designs that have shaped the world we live in. The second assignment allowed me to really analyse design and by comparing two individuals it enabled me to really consider the different practices and driving forces that inspire successful designers. Finally, the last assignment; this folio really pushed me to understand and comprehend Michele de Lucchi’s motivations and processes and this was not only interesting to learn through but to also design under the constraint of simulating another designers work.

Overall the fluidity of the course was a highlight as each assignment flowed into the next and allowed from a smooth development of knowledge around design history. Going forward I believe the knowledge gained in this class will help me as a designer not only as a source of inspiration for my own work but also a common talking point among other industrial designers.

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Final design

ta s k 1 p o s t e r

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Ettore Sottsass

Phillipe Starck

Ettore Sottsass was probably one of the most influential designers of the postmodern era. The Italians were the first to start focusing on the creation of unique new functions in order to further move modernity in its strides. Unlike many of his peers, Sottsass decided to take a more global education.

He visited countries such as India, Ceylon, Nepal, and Burma. These travels allowed him to gain less of an ideological education and more of an existential one. Sottsass also studied Architecture at the Politecnico di Torino from 1935-1939. We often link postmodernism with quirky designs with bold straight shapes and bright contrasting colours. This is because of the great influence that Sottsass played on the aesthetic of postmodern design. Sottsass was very interested in matter and how it conveys a narrative. How materials change based on what method is applied to them. Sottsass was the founder of the Memphis group. A notable design collective of radicals who changed many methods and created a discourse for traditional design.

Starck, born January 18, 1949 worked as an indu Starck’s work as an aircraft engineer. Developing he became one of the most notable figures in de adulation for the way Warhol took the artistic wo create his own company ‘Starck Products’. He m where in his user took precedent to all else. He a French president Francois Mitterrand hired him t personal residence. This recognition pushed Sta go on the become recognised for his architectur foundation for success.

Alessandro Mendini

Martine Bedin

Alessandro was born in Milan in 1931 and graduated in 1959. He is an architect, artist, designer, theorist and journalist. He began his professional career at the Nizzoli studio. He has edited many magazines dedicated to the architecture and design such as Casabella, Modo and Domus through which he has shared his ideas of renewing the world of design. Along with noticeable designers such as Branzi and Sottsass, he played a great role in the renovation of Italian design in the 80s. In 1979 Mendini joined the Alchimia Studio. This group of radical designer in Memphis had challenged functionalist designers by questioning the uses of our day to day product and created products for artistic and symbolic reason, referring to culture and kitsch. This was at the beginning very much outside the norms of industrial production. Mendini was involved in a unique idea of a modernity of the surface, a decorative, stenographic sort of modernity that, while not dealing with a structural reform of the world brought around a development of the so called “skin” of design. A non-enlightened modernity but not even a conservative one. It changed the meaning of reality without touching its deep structures. Mendini’s work with Alessi and Swatch quite clearly highlighted this new design style. Products took on a new job and became a gift, collector’s item, while still being able to uphold its function.

Born in Bordeaux in 1957 and raised in Corsica F era went to study architecture in Paris before be Florence. It is here she found herself amongst th Studio Alchimia, Superstudio and Archizoom As by the convention breaking antics of their design received by the French, when Bedin returned to P designs she was invited to join the Memphis gro was here she created the Super Lamp with its qu capturing the essence of both Memphis and ess many other designers from Memphis argue that it does not rely on any ques from the past for ins in her time at Memphis assisted in revolutionizin returned to Paris where she designed furniture a do to this day.

major events

1970 Kurt Vonnegut’s Slaughterhouse five rocke 1974 First personal computer was developed as

Post modernism 1975 End of Vietnam war

1979 Sony Walkman invented allowing people a 1981 MTV launches

1981 The first cases of AIDS are identified and a

1982 Michael Jackson releases Thriller, breaking

1985 Bob Geldof brought famine in Africa to the 1886 Chernobyl powerplant explosion

wim crouwel

Crouwel began his career in 1955 creating exhibition, graphic, and product designs. From 1964, Crouwel designed posters, catalogues and exhibitions for the in Amsterdam. The typeface New Alphabet, was designed in 1967, a design that embraces the limitations of the cathode ray tube technology used by early dat and phototypesetting equipment, only using horizontal and vertical strokes. Other typefaces he created are named Fodor and Gridnik which are some of his m Crouwel’s use of flat colour in his graphic designs follow a strong aesthetic of minimalism, allowing his typeface creations to be showcased.

SHIRO kuramata

ustrial designer and architect inspired by his father, Andre g most of his iconic creations in his home city Paris esign during the post-modernist movement. He grew orld and imposed his name across it, influencing him to marketed himself to the world as the people’s designer acquired ultimate recognition for his work in 1982 when to join a team of designers that would work on his arck’s design career to the next level where he would re as well as the product designs which he used as a

“For him, an object, a piece of furniture, an installation is never finished inside the borders of its own physicality. For him, around an object, or around a piece of furniture or around an installation there is never a silence, never abstract dust; always the air around is vibrating, as if it were shaken by a central provocation. That’s why very often Shiro was trying to represent not only the object, or the furniture, or the installation but also the many mysterious vibrations that were produced around.” —Ettore Sottsass from Vibrations in the Air, 1991 Materials were central to the work of Shiro Kuramata. His palette of various qualities being reflectivity, transparency, translucency, opacity, tactility were shown fluidly throughout his designs. In Kuramata’s works, the form is a result, a by product of the materials, giving them a voice; the material is the content of the furniture.

Michele De Lucchi

France, Bedin like many designers of the Post-modern eing offered a scholarship to complete her studies in he designers of many post-modern studios such as ssociati and Bedin found herself influenced and intrigued ns. This outrageous design, (anti)style was not well Paris so when Sottsass visited her and reviewed her oup where she was responsible for managing lighting. It uirky colours, block form and playful ergonomic wheels sentially the post-modern era. Although, Bedin alike Memphis is distinctly separate from post-modernism as spiration. Nevertheless the iconic designs Bedin imagined ng the trends of the era. After Memphis concluded, Bedin and objects under her own studio which she continues to

Born in Ferrara, Italy in 1951, Michele De Lucchi went on to study architecture at the University of Florence graduating in 1975 at allowing him to be at the forefront of postmodern architecture and design.

As the 70s were a radical time for change, De Lucchi found himself apart of many design movements and groups such as Carvart, Alchimia, and Memphis which all sought to challenge the conventional and explore the Avant Garde. De Lucchi was a founding member of Memphis and designed furniture such as the First chair and the Sinvolo floor lamp, which all sought to use vibrant block color and unconventional form to provoke society to ‘question everything which was already established’[De Lucchi 2008].

Possibly De Lucchi most famous design is the Tolomeo lamp of 1978 which combines a slim, and relatively simple aluminum frame with adjustable ergonomics earning De Lucchi the Compasso d’Oro. At the conclusion of the 80s, the Memphis group conducted its last exhibit, as its anti-style conventions had themselves become a style and therefor it was only fitting to start something new. De Lucchi founded his own, inter disciplinary studio; Produzione Private where he and his team focus on using traditional and established craftsmanship to create limited edition designs.

ets him to the top of the New York Times best seller list

1990 The World Wide Web was invented

well as the early beginnings of the internet.

1989 Berlin wall fell, marking the end of the cold war 1990 Nelson Mandela is released after spending 27 years in Robben Island prison

access to portable recorded music

1993 The European Union is ratified 1993 the first message between mobiles is sent

an epidemic spreads

1994 Tarantino’s Pulp Fiction is released straying away from the norms of film through parody and cliché

g ground for music videos

1996 John Galliano takes over as head designer for Dior

e for front of media attention with Live Aid

1997 Diana Spencer tragically passes in car crash

m

Stedelijk Museum ta display screens most well known.

2000 the human genome is sequenced and decoded

INTRODUCTION TO ERA A modern society has existed for quite some time now. What we consider modern is the reversal of the one story. The story comes in many different forms depending from which culture you originate from. But overall, religion was what gave people life meaning. This was pre modernist times. Modernism was the moment in history when we began to create our own stories. It was both regarded a philosophical movement and an art movement that, along with cultural trends and changes, arose from wide-scale and far-reaching changes in western society around the time of the late 19th century and early 20th century. Modernity saw great rise to many incredible achievements. Science was at its most rapid movement and the industrialisation of our market drove huge numbers on the blackboards. Modernity had created a great rise in many people’s standard of living and has basically kick-started the way we live today. What also was a product of modernity was WW1 and WW2. Post war, people began to question modernity and its functionality. This is where Postmodernism arised. People began to critique modernism as Andreas Huyssen said it “one critic’s postmodernism is another critic’s modernism.” Designers, politicians, philosophers, artists, musician etc all began to question modernity on how we went wrong? How did it end up with a war? Therefore we started to see funky looking shelves and couches because designer have questioned its use and asked what is a shelf and why do we constrict its form to purely functional?

references

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