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CERAMIC & FOOD ROUTE 2019

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an expedition journal


Preparation 2017 to 2019

Designer’s Survey: Field Study June 2019

Conception & Production July 2019

International Week : Just out of the oven 2019

Introduction Annexes Colophon Table of contents

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6 — 25

INTRODUCTION by Mathilde Bretilllot EXPEDITION PREPARATION in Puglia, 2017–2019 MISSION DESIGN by Polytechnic University of Bari DICAR, July 2018 INAUGURAL WORKSHOP at Polytechnic University of Bari DICAR

Students’ Workshop, March 2019

26 — 59

DESIGNERS’ SURVEY : FIELD STUDIES June 2019

60 — 85

TEXTS

86 — 109

CONCEPTION & PRODUCTION July 2019

110 — 125

INTERNATIONAL WEEK 20–26 th July 2019 JUST OUT OF THE OVEN

126 — 147

SELECTED OBJECTS

148 — 149

COLOPHON

Table of Contents

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Bari

Politecnico DICAR

Fasano Cisternino

II Frantolio di Pietro D’amico C.A.V.I Panificio della Gravina

Grottaglie

CittĂ di Fasano

Ostuni

Masseria Il Frantoio

Ceglie Messapica

Dolci Tradizioni Cegliesi

Expedition map, Puglia, Italy

Bottega Vestita Fasanoceramiche


Preparing an IDE expedition is a long process, which is all about potential and choices, in other words taking the risk to be agile enough, reactive and determined to fabricate a unique context of creation and production. For this very first expedition, IDE invited Pierangelo Caramia to be part of the team and co-direct the Puglia expedition. We started to meet his Pugliese contacts in 2017, went back and forth many times to seal agreements with the Politecnico DICAR and all our partners, great people who needed to be convinced to take this risk with us. In March 2019, IDE held a workshop in Bari with the Politecnico DICAR students and tutors as a launching pad to the summer expedition : 2 months to connect to Pugliese culture and its know-how, aiming to design and produce unique objects. IDE took on board Marta Bakowski, Lili Gayman and Sarngsan Na Soontorn to address this challenge and activate the connection between culture and production in a strong historical territory of Europe : Puglia, Italy — formerly part of the Kingdom of two Sicilys. This a highly committed and new way of designing for each of the designers involved. It is also a disruptive experience for producers. Confidence between all of them, which had never met before, was at the core of the success. It showed how the understanding of materials and forms is a powerful interface between creative people and leads to a new language. Encounters with many great men and women of Puglia ; discoveries of exotic markets ; dinners in all kind of restaurants — from pizza to Slow Food gastronomy ; tasting oil and wine with bread and pasta ; visiting museums and cities ; a few swims in the big blue sea and eating seafood at sunset ; walking in the fields of Senatore Cappelli plantations — this was the excitement of the Survey. Brainstorming with IDE experts. Spending hours and days with ceramists in the heat of Apulian sun and kilns, manipulating and transforming dough into objects for tasting, dealing with stressful situations always part of the transition between creation and production, conception and production, these weeks were so rich and productive. Preparing the Just Out of the Oven exhibition and dinner to show and share the experience with local and international partners and guests proved how the results were a testimony to this adventure of the senses — where creativity and humanity live at the core of Design practice. We, the IDE team, want to celebrate and thank all participants for their wonderful involvement.

Introduction Mathilde Bretillot

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expedition preparation

2017–2019

IDE team

MATHILDE BRETILLOT Co-creative Director PIERANGELO CARAMIA Co-creative Director JILL SILVERMAN VAN COENEGRACHTS Strategist PIERRE BALSAN Business Developer MARC BRETILLOT Food Designer Scientific Partner Polytechnic University of Bari DICAR (Department of Science in Civil Engineering and Architecture)

PROF. ANNALISA DI ROMA PROF. LORENZO NETTI In Puglia 

VALENTINA DE CAROLIS Local Manager PAOLO DE CESARE Multimedia Responsible for the IDE Advisory Committee

23rd of june 2019

CATHERINE FERBOS NAKOV

Preparation 2017–2019

Designers’ Survey : Field Studies June 2019

Conception & Production July 2019

International Week Just Out of the Oven 20–26 th July 2019

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First visit to Museo della BiodiversitĂ , I Giardini di Pomona, Cisternino. 2018


FOR THIS FIRST EXPEDITION, MARTA BAKOWSKI, LILI GAYMAN AND SARNGSAN NA SOONTORN WERE SELECTED FOR THEIR INDIVIDUAL FORMAL LANGUAGE, THEIR EXPERIENCE AND APPETITE FOR A CLOSE RELATIONSHIP TO SAVOIR-FAIRE, THEIR ABILITY TO WORK AS A TEAM AND THEIR CAPACITY FOR TAKING PART IN AN ADVENTUROUS PROJECT, WHERE THE UNEXPECTED DEMANDS AGILITY AND FOCUS.

Preparation 2017–2019

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MARTA BAKOWSKI Poland

Preparation 2017–2019

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SARNGSAN NA SOONTORN Thailand

Preparation 2017–2019

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LILI GAYMAN France

Preparation 2017–2019

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MISSION DESIGN BY POLYTECHNIC UNIVERSITY OF BARI DICAR July 2018

Preparation 2017–2019

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Preparation 2017–2019

Prof. Lorenzo Netti

Prof. Annalisa Di Roma

BUSINESS / DESIGN / IDEAS / PRODUCTS /  RESEARCH / PRODUCTION PROCESS /  REGIONS / COMMUNICATION / DISTRIBUTION. A SHARED INITIATIVE BETWEEN POLITECNIC UNIVERSITY OF BARI DICAR AND IDE International Design Expedition FOR PRODUCT DEVELOPMENT LABORATORIES WITH INTERNATIONAL DESIGNERS, LOCAL ENTERPRISES AND EDUCATIONAL/RESEARCH INSTITUTIONS. THE POLITECNIC UNIVERSITY OF BARI DICAR AND IDE TEAM WILL PRESENT IN DETAIL THE CONCEPTUAL AND OPERATIONAL CONTENT OF THE EXPEDITION.

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THE AIM of the workshop is to reflect on ‘design in the kitchen’ with and for

food itself. Furnishing and crockery but, above all, rituals and dishes, which by definition are not objects and which in recent years have been subject to a critical approach of a new form of Design which has transformed into beauty what has been for centuries, just good. In a historical cultural time, in which the pleasure of food wavers between orthodexy, obsession for the best possible diet and collective gastronomy, we are inevitably driven to question the values and the goals linked to the design of objects and food, and why we feel this necessity to design for and with food today ?

Rites, Forms, Projects with and for Food Prof. Annalisa Di Roma

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INAUGURAL WORKSHOP at Polytechnic University of Bari DICAR

March 2019

Preparation 2017–2019

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Scientific Committee Annalisa Di Roma, Poliba Bari Lorenzo Netti, Poliba Bari IDE Referent Teachers Mathilde Bretillot, Camondo Paris Pierangelo Caramia, EESAB Rennes Invited Expert Marc Bretillot, Food Designer Technical Secretariat Francesco Laera, Poliba Bari Vincenzo Minenna, Poliba Bari Alessandra Scarcelli, Poliba Bari Invited Designers Marta Bakowski, Poland Lili Gayman, France Sarngsan Na soontorn, Thailand Poliba Tutors Paolo Pellegrini Claudia Tinti Consultants Antonio Vestita, Ceramist, Grottaglie Carmelo Vestita, Ceramist, Grottaglie Franco Fasano, Ceramist, Grottaglie Antonio Forte, Produttore di Pane Antonio Fornaio, Fornaio Altamura Paolo Belloni, Museo della BiodiversitĂ , I Giardini di Pomona, Cisternino

Preparation 2017–2019

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Preparation 2017–2019

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Experiments with food Preparation 2017–2019

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Preparation 2017–2019

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Experiments with clay and dough


WORKSHOP DINNER hosted by I Giardini di Pomona soup radicchio soup with potatoes and onions couscous heads of broccoli rabe served with couscous, and raisins figs and onions dessert

Preparation 2017–2019

Baked fennel in clay

Radicchio soup

fennel and lemon confit with french toast (stale country bread)

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Preparation 2017–2019

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Brioche and fennel leaves


designers’ survey : field studies June 2019

FIELD STUDIES INCLUDED LONG WALKS THROUGH ANCIENT OLIVE GROVES, MARKETS OF ALL SIZES ; LOCAL FRUITS AND VEGETABLES ; VINEYARDS AND TASTINGS ; CURIOSITIES LIKE FUNNY TRUCKS AND MOUNTAINS OF SUNDRIED TOMATOES, CHILIES, OR BEETS AND CLOSE EXAMINATION OF LOCAL COLORS FROM SOIL ; ROCKS, CACTI AND GRASSES, OR THE STONE TRULLI THEMSELVES AS REFERENCES.

Preparation 2017–2019

Designers’ Survey : Field Studies June 2019

Conception & Production July 2019

International Week Just Out of the Oven 20–26 th July 2019

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Landscape Palette


Designers’ Survey : Field Studies June 2019

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Designers’ Survey : Field Studies June 2019

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Next page : A Design map by Sarngsan Na Soontorn


CONVERSATIONS WITH PARTNERS : THE CHALLENGE FOR EACH PARTNER IS TO IMAGINE HOW DESIGN CAN ENHANCE AND PROMOTE THEIR EXISTING PRODUCTION AND THEIR SAVOIR-FAIRE. BRAINSTORMING SESSIONS REVEAL MANY POINTS OF VIEW AND VARIOUS OPINIONS WHICH DEMONSTRATE THE RICHNESS OF TRADITIONS AND ABUNDANCE. THE BROAD THEMATIC TERRITORY INCLUDES OLIVE OIL PRODUCTION AND DISTRIBUTION, HOSPITALITY SECTOR WHERE HOMEMADE PRODUCTS ARE INTEGRAL PARTS OF THE BRAND.

Designers’ Survey : Field Studies June 2019

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All partners meeting at Masseria Il Frantoio, Ostuni.


IL FRANTOLIO DI PIETRO D’AMICO OBJECTS FOR OIL TASTING  An expertise of Pietro D’Amico

Designers’ Survey : Field Studies June 2019

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The precious first pressing


Designers’ Survey : Field Studies June 2019

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Blind tasting uses a blue glass vessel, hiding the color to concentrate on smell and taste which are the only two criteria in judging olive oil quality.


Drawings

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objet, lieu, technique, dimensions, annĂŠe

objet, lieu, technique dimensions, annĂŠe


Drawings

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MASSERIA IL FRANTOIO with Armando Balestrazzi OBJECTS FOR HOSPITALITY

Designers’ Survey : Field Studies June 2019

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A historic Masseria built on an archaic site with olive groves, walled gardens of organic fruits and vegetables for jams and preserves.


Designers’ Survey : Field Studies June 2019

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Masseria guests enjoy the garden with cultivation of forty wild herbs for liquors as well as wheat fields of Senatore Capelli.


PANIFICIO DELLA GRAVINA with Biagio De Gennaro BAKERY

Designers’ Survey : Field Studies June 2019

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Designers’ Survey : Field Studies June 2019

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Experimentation in similar forms : clay and dough.


DOLCI TRADIZIONI CEGLIESI with Lucia Gloria and Maria Vittoria Nigro MEATBALLS, RECIPES, CAKES

Designers’ Survey : Field Studies June 2019

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Mother and daughter team prepar traditional food and baked goods.


Designers’ Survey : Field Studies June 2019

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IDE concentrates on the design of almond paste tasting spoons..


C.A.V.I. Cooperativa Allevatori Valle d’Itria with Vincenzo D’Errico CHEESE AND DAIRY

Designers’ Survey : Field Studies June 2019

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Puglian cheese and especially the Caciocavallo in which Vicenzo embeds a citrus fruit.


A NOMADIC LOOK

Jill Silverman van Coenegrachts

A CONNECTED PROCESS

Mathilde Bretillot

BREAD AND ROSES

Pierangelo Caramia

THE RAW AND THE COOKED

Pierangelo Caramia

A LIVELY COUPLE

Marc Bretillot

MEMORIES AND FANTASY

Marc Bretillot

FREEDOM

Marta Bakowski

EMOTIONS AND CULTURAL LINKS

Lili Gayman

THINGS TAKE SHAPE

Sarngsan Na Soontorn

AMAZING OUTCOME

Pierre Balsan

THE MEETING POINT

Valentina De Carolis

Texts

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FROM THE EARLIEST TIMES, human beings have developed

activities around sustaining themselves through nourishment, and developing the objects that make this possible. The hunting cultures made hand axes from stone to kill animals. Later with gathering and the evolution of agriculture, food cultivation became a communal activity with vessels and objects made from baking the earth for serving and storage. CERAMIC & FOOD have been a very old couple through all of human history, and this continues into our current world. At a basic level we need to eat to survive, and we need to put what we eat into something for cooking and serving and storing. Without the latter we would starve, and our culture of hospitality, welcome, celebration, daily meals and annual festivals would be meager events. Human beings are social animals and part of this involves sharing what we eat and drink with each other. Learning about local habits and specialties, bridging cultural divides through the traditional breaking of bread, drinking wine. All the religions around the world involve some form of ingestion and ritual objects holding bread, wine, fire, ice, smoke and incense. All cultures master their own manner of marking their specific locality into these objects and foods. The IDE Expedition CERAMIC & FOOD raises this daily practice to an art form of understanding origin stories — which are varied and different, as are the faces of one area next to another. These narratives give locality its charm and seductive ability. Within a globalized world with instant visual communication we still strive for the intimate and personal, the unique and passed down from generation to generation. A grandmother’s famous recipe, an uncle’s favorite bowl. The histories of family and community are handed from one person to another through the stories of making, and finding and we have these mingled throughout our cultures of food and ceramic. It is a process of understanding that the object and the nourishment are special and unique. Their stories hold mystery and excitement, a particular response to a specific environment. No two tomato sauces homemade in a ceramic baking dish can be the same ever. The history is inside the object, just as it is in the raw ingredients themselves. The IDE Expedition is taking a long traveling and nomadic look at these roots and the process of transmission of cultural values through CERAMIC & FOOD. These are tools for a deeper understanding and a deeper creative development of new forms and recipes. The challenge of keeping this long precious narrative fresh in a contemporary culture that tends to homogenize rather than celebrate diversity. A bowl in one province of China is not the same as a bowl in another. A soup in one home is not the same as a soup in another.

A Nomadic Look Jill Silverman van Coenegrachts

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IDE Designers dig into the marrow of locality by simply staying put, breathing the air, walking the fields and speaking with the local people, living for a stretch of time in a new environment to better understand its special qualities. From this deep slice of knowledge, the fertilization comes from outside and a new creative production is begun. The end result is always a surprise with endless possibilities for forms, shapes, textures, colors, finishes. The world of new kinds of foods and new kinds of containers is rich with prehistory, in a highly sensual way. Being in situ allows an immersion in the unsaid and the undocumented — gestures and expressions that pass between a craftsman and visitor. Between a chef and a designer who do not speak the same language but understand the desire to share something together. CERAMIC & FOOD is the back bone of human history and in our nomadic International Design Expedition we take this long trail and spin it forward into the future through new ideas and new collaborations, new questions and haphazard accidental discoveries. This is design thinking at its best rooted in what makes us human.

A Nomadic Look Jill Silverman van Coenegrachts

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Jill Silverman van Coenegrachts

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CONCEPTION AND PRODUCTION, a connected process.

Context has a determining influence on any creative process. Designing is both a very intimate and connected practice. Permeable to all surroundings — weather, spaces, noises, people, views, abundant penetrating light, vivid tastes, strong, varied, archaic landscapes, textures and colors. The designer is intuitive — this context penetrates their skin. Searching to develop and discover real new content, the expedition sifts through a myriad of historical stories and traditions, local uses and practicalities, visions and dreams, conversations and shared meals, which all nurture a new way of seeing and thinking.

Here is the unity of time, unity of place, unity of action. IDE builds up a specific context for the project. In a territory for two whole months ; designers are intimately associated to all the particularities of place and the people who live and work there. Freely and connected — they seek a new language of objects emerging from materials and savoir-faire — that precious invisible knowledge. Conception and production are simultaneous, like improvisation, like jazz, which can only be successful after deep preparation. Distance from conception to production doesn’t exist anymore, no plans to be reproduced, just drawings as a starting point to discussion and interpretation. Objects appear directly from the knowing and mastering of a material, whether it is dough or clay. Prototypes are the final objects and the model for reproduction. This is how IDE operates a unique and challenging experience and result.

A Connected Process Mathilde Bretillot

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Mathilde Bretillot

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Texts

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WATER, EARTH, BREAD, OIL. This first expedition to Italy,

in the region of Puglia wanted to explore the creative possibilities of bringing together designers from different countries with today’s realities of production in this historic part of the world. The savoir-faire of certain archaic materials available for centuries in Puglia, as well as the singular history of every corner of this region — always provide a direct link between this particular culture and the rest of the world. The Italian philosopher and literary critic, Giorgio Agamben in his text, What is Contemporary ? printed in 2008 writes about an essential relationship between the archaic and the present moment, the proximity between the original historic material, from pre-history to the experience of today. Ideas circulate — he writes — between these two locations, two eras bringing something new from this understanding and collaboration. This expedition, CERAMIC & FOOD in Puglia was based on five elements or areas of research : water, earth, fire, bread, oil. The goal was to create a relationship between designers of different backgrounds and the historic realities of production, and embedded identities within this territory, to detect and revitalize the principles still living and present in the archaic source material, these original principles are the very source for ideas and objects ‘leaning’ (in relationship to the archaic thinking) and humanist, full rather than empty, objects which come from this flow of ideas, this intellectual and fact-based history. One of the core principles and values deep inside these projects and the objects created in the research period, the studios and production is the durability of time. It acts to defy obsolescence and programed obsolescence that is more and more present in our contemporary practice and contemporary design thinking — in the name of efficiency for the market. In fact, the public perception of these ‘things’ or ‘objects’ produced so quickly does not realize their intrinsic origins. IDE expeditions, of which Puglia was the first, are not simple. There is no simple way to put together designers and companies, where the research studios and the producers work for several months together in situ, before the post-production, communication, distribution and sales across the globe — which is the International circuit of IDE. The ideas and objects that flow from this special hot house atmosphere, almost like a pressure cooker, would never otherwise be possible — the marriage of this cross pollination which takes place together in this new place within this limited time frame. During the months of expedition, designers from different companies chosen by IDE live on location and work inside the companies and are regularly consulted and followed by IDE’s international experts during the incremental phases of development.

Bread and Roses Pierangelo Caramia

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IDE in collaboration with local academic institutions in the areas chosen for the expeditions, are dedicated to cultural transmission of design to the upcoming generations who are part of the research period with the enterprises. In Puglia, an agreement was signed with the Politecnico di Bari, for a collaboration between the students and professors of the Department of Industrial Design, with a workshop directed by the designers and IDE members in March of 2019. This full immersion in Puglia with its ever-active daily life and culture provoked the designers, the studios, the companies, to facilitate a creative short circuit of experimentation that led to strong results. In the studios — it was no use to look for a language, or a local identity — because this identity and style are just a pose we often see everywhere. Instead, the conditions of daily life and work created a conceptual comfort zone, an emotional liaison, and like-mindedness between the designers, the artisans and the companies with the landscape. Thanks to this natural synergy, a creative freedom appeared and gave birth to functional products that were at the same time full of sense, historic references, strengths and connections to the contemporary scene, the local and global conditions. This allowed the designers, artisans and enterprises to think, reflect, conceive and produce with a linked approach to pure and profound research, while applying real thinking about this creative goal to find truly unique and new relationships. This process is the reverse of how design thinking is used currently to fill a ‘need’ in the market for some kind of specific desire by the consumer. At IDE, we are convinced that the international market can identify and absorb products thanks to their real character and the innovation of their nature. Products containing a history of ideas from the region and its society are both fundamental and intrinsic. These underscore the history of IDE expeditions — which present these products with their creation stories as narratives of collaboration and transmission. In Puglia, the relationship between the archaic and the contemporary are fatally present in every studio whether a small atelier or a large enterprise, because the seduction of this region resides — to a great degree — in this very relationship between the symbolic power of the archaic and the comfort and relevance of the contemporary. A universe of ‘sensitive’ objects, rich in content, should be created and many designers are open to these ideas. It is necessary then to give the possibility of experimenting in this direction, and this expedition is designed for this very objective purpose — to create this opportunity. Design is a culture, a discipline, a working methodology, whose principle objective is to understand everyday things and, in parallel, the symbolic and humanistic emotions that should inhabit and bring life to these ‘things’ which make up our built environment, and the world of our daily lives, so that they might be worthy of us.

Bread and Roses Pierangelo Caramia

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Design should then, ideally, be a combination of ‘bread’ and equally ‘roses’ — to borrow a slogan first used historically by striking textile workers at the beginning of the 20th century in the USA. This phrase corresponds well to what we are speaking about in the world of work, and manufacturing is an integral part of its design foundations. It should and can be nutritional as it was clear during certain eras which were known for their ‘glorious’ designs ; it could and should be together a harmonious solution for the complexity of life today. Designers, businesses, and consumers who are not yet lost in the consumer culture on the global market can still make, with the right elements and creativity, with new intelligence, a new beauty in contemporary production. IDE is one of these rare opportunities. The expeditions in new territories constitute a holistic system in which the participants have a significance, a power and are part of a lively integrated system, and inversely, a system that appears and proposes to the consumer a vision of products made with efficiency and grace that reflect a harmonious understanding of the new in relationship to established sensibilities.

Bread and Roses Pierangelo Caramia

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Pierangelo Caramia

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PRAISED BE YOU, my Lord, through Sister Water,

who is very useful and humble and precious and chaste. Praised be You, my Lord, through Brother Fire, through whom You light the night, and he is beautiful and playful and robust and strong. Praised be You, my Lord, through our Sister Mother Earth, who sustains and governs us, and who produces varied fruit with coloured flowers and herbs. (1) Water, Fire, Earth, Air, the elements for which Saint Francis sings praises to God are the protagonists of the encounter and challenge between archaic man and nature’s elements.

1. The Canticle of the Creatures, St Francis of Assisi

Man has become ‘adult’ and creator when he learned to manipulate the earth, the stone, when he was able to dominate fire and tame water. Man touched the earth, manipulated it, shaped it and adapted it to his needs with water’s help. Then he was helped by fire and water which he had now tamed, to cook earth after drying it, and created terra cotta. And Man, that already for long fostered intimacy with raw earth for a long time, began to surround himself with objects in ‘cooked’ earth, useful to its daily life, and made by him. To feed, Man moved from raw to cooked and, beyond the pleasure to experience food with his mouth, Man learned the pleasure to manipulate it first with his hands, to experiment kneading it, slicing it, overlaying it, and to explore the shapes, textures and colours of his dishes. Raw and cooked food, raw and cooked earth, thanks to fire and water, have always been closely related in the history of Man. The designer who today will be able to venture deep into this relationship will find himself in a land of dense and archaic thought and creation in which the designer nowadays still has things to experiment and tell. By finding himself in proximity with the origin of these ancient and fundamental things, I’m convinced that the designer and Design can only give the best of themselves.

The Raw and The Cooked Pierangelo Caramia

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CERAMIC & FOOD are a lively couple that trigger my sensibility

as a culinary designer through the potential of multiple approaches : the origin, the earth that gives organic matter to ceramics, and its sub-strata to food production — thus feeding earth. The circular movement of a plate rising from the potter’s hands, and of the dough kneaded by those of the baker — the piece of meat roasted on the spit, licked by the flame from which the precious juice is collected in glazed pottery... CERAMIC & FOOD, two ancestral activities, distinct or intertwined, constantly revisited and always contemporary in that they touch our senses at their deepest aspects. To taste bread of sprouted wheat from fertile land, then pushed onto the oven’s floor made of baked earth itself, brings to our mouths a rough terra cotta bowl filled with milk reminiscent of the maternal breast.

2. From the song Le Tourbillon, interpreted by Jeanne Moreau in 1962.

We met each other, we reoganised each other We lost sight of each other, over and over again We refound each other, we separated, Then we kept each other warm. (2)

A Lively Couple Marc Bretillot

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epicery

tasting rituals and ceromonial objects

olive oil

polpette  / meat balls

(no direct intervention on the product itself)

and other types with Dolci Tradizioni Cigliesi

packaging with tasting scenario, recipe

olive oil

friselle

from il Frantioi di Pietro D’Amico

round biscuit, small sizes, variable shapes and additional ingredients

recipes ideas

dried pasta to taste olive oil

rosemary’s steamed eggplant dried fig stew

taralli

with primitivo wine

design shapes and additional flavors

citrus salad

like herbs and olives to experiment

with olive oil emulsion

(magic wand, snail, fork with Panificio della Gravina)

milky dessert

design a shape one can hold with fingertips

with olive oil

fruits and vegetables

caramelized tomatoes with pomodoro regina di Torre Canne

friselle dipped

tomatoes, zucchini, fennel, artichokes, eggplant

in lemon juice and topped ricotta patisserie cream,

for pastries and preserves

fennel and lemon confit

fennel and lemon confit olive confit aromatic and wild herbs

recipes of desserts, cocktails, dishes incorporating homemade liquors of Masseria il Frantoio

(burrata and biscuits recipes)

polpette of minced fava beans puff pastry bread

dairy

dipped in olive oil

mozzarella (possibly design new shapes )

caciocavallo burrata (think of an aromatic stuffing which creates a surprise such as dried mushrooms, citrus or herbs)

dried ricotta fresh ricotta for desserts

Marc Bretillot tasting olive oil

added with citrus fruits with C.A.V.I

First Thoughts and Ideas for Food Marc Bretillot

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THE VEGETABLES are good, even very good, there is no need to

slowly cook them in a salt crust to concentrate their flavors  ; the sun here takes care of this. The local olive oil is succulent, the wine powerful — it has earned its great notoriety. Beyond what produces this red-ochre soil, the expedition allows encounters, and here are several of them picked from my multi-sensory memories. C.A.V.I. the local cheese cooperative directed by Vincenzo D’Errico, who is all smiles, with a direct gaze, hands tanned like leather from boiling water in the preparation of Fior di Latte — a local cheese with a creamy texture like silken thread so particular, at the same time supple yet chewy. He is unaware he is a designer and makes an astonishing Caciocavallo à l’orange. The large ball of fermented milk encloses an entire orange. During a slow ripening process, the citrus flavor disperses its perfume deliciously through the cheese ; a taste fit for a king. At Panificio della Gravina, we come to understand that ‘Italian bakeries’ are called ‘fours’, ovens. We have the chance to collaborate with the young and dynamic Biagio De Gennaro to test the fabrication of his local specialty — taralli — dry, very dry biscuits or crackers, made partly with wheat, white wine and olive oil. Normally they are in a ring form. The IDE team put their hands in the dough with him to make : hearts, knives, forks, hooks, that came out of the oven more or less successfully, the resisting dough has its own memory and has its own intrinsic grainy structure. Like discovering a well-hidden treasure — we arrive in Puglia where our first survival mission is to endure one of the best known culinary stops. On recommendation, we are tasting in a place reputed to be one of the pillars of the infamous Slow Food movement. The vast range of raw products and traditional food were used to create a cuisine that badly implied a sense of sophistication. I was disappointed. But talking of our larger design mission with the host, he invited us to descend into his cheese cave. He opened two wooden doors at the far side of the room. Like an apparition, on two wooden shelves, poorly structured, an incredible collection of aging cheeses, colors, forms, the most marvelous crusts one better then the next. We were that night too full to dig in further and learn more, but I had a sense that this would come eventually, as it often does with love. This occasion gave us one vivid experience — I was appallingly disappointed by typical cheap and cheerful chow, my donkey stew had left me thinking the animal was slaughtered for nothing — impossible in Puglia to have this last taste in my mouth ! I proposed to our host that he give us a tasting plate for the table from his Alibaba’s Cave of local cheese. What happiness ! ! Accompanied by wines and grappa of his choice. Sometimes, but rarely, you taste something that gives an orgasmic response in the mouth ; it took form with a dashing three and a half year old sheep’s milk cheese (tasting feisty dryness obviously from a very old sheep) holding back its full strength next to a silky local Grappa.

Memories and Fantasy Marc Bretillot

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In Puglia, the olive is a religion. Thousand-year-old trees or younger ones are everywhere, enigmatic silhouettes between a dog and a wolf, they cast friendly shadows midday, when the sun is at its height. Pietro D’Amico, the Director of Il Frantolio pushes this art to the extreme, one of his precious oils is even made after the olive pits are removed before pressing. D’Amico, the cantor of this domain, gives us the great Mass of degustation. With strong gestures, mimicking religious Renaissance paintings, he initiates us into the oxygenation of this rare nectar on the palette in the roof of the mouth, from his domain tchuuuuuuu tchuuuuuuu ! ! ! ! Inhaling the oil, leaves the participant momentarily without voice. There are other memorable visits and conversations but I want to finish with one, which caps off our Expedition. Pierangelo poet, learned designer, also the architect of the Church in Caranna, a building built little by little by Orecchiette ! ! A grand festival every August welcomes large crowds organized to honor St. Maria SS. Addolorata. Here, you taste the famous recipe of Orecchiette alla cime di rapa prepared by the faithful flock. Little by little the profits from this annual gathering serve to build the church. Under the building, the crypt opens onto a large terrace where there is a professional kitchen ! ! It is here that IDE organized the local exhibition and dinner marking the end of the two-month expedition. Just Out of the Oven exhibition in the church and a great banquet on the terrace. I went for it with the support and help of the crash team of local community supporters for the final International dinner ! ! For lunch, in the Italian spirit of a Mamma full of beans, the jolly brothers along with silent knife wielding cousins fill out the team — someone working on the gas connection to the stove, while another finds the napkins, another manages provisions and large plastic bottles of home-made wine — all for the lunch break of Orecchiette alla cime di rapa, topped with a breadcrumb mixture with anchovies and chilies. This is what it should be ! ! ! Cuisine from its origins, simple, tasty, with an economy of means making it amazingly inventive. Bloody design ! ! !

Memories and Fantasy Marc Bretillot

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76

Clay and dough seek similar forms


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First Observations in CERAMIC & FOOD making is the same physical gesture and vocabulary : rolling, flattening , cutting , before cooking whether dough or clay.


IDE IS A JOURNEY that invites a work of translation, and pushes

the designers as well as the craftsmen out of their comfort zone, while challenging their established methodology and creative reflexes. This project came as a moment of intense freedom in which most of the ingredients were gathered to allow a fully immersive, collective and cultural experience. Amongst many other images, Puglia could be defined by its archaic landscapes made of old tortuous olive trees covering the infinite red lands divided by irregular dry stone walls and punctuated by folk, lime-covered Trulli constructions. Its identity is also strongly rooted in its local products and cuisine, wonderful in its rusticity, simplicity and honesty. In this region, what could be perceived as rudimentary is in fact a fantastic demonstration of authenticity. Puglia is a place stripped off from the superfluous, an invitation to go back to what is essential. It is that notion of ‘primitiveness’, that I understood as something that is ‘at its origin’ ; something that speaks about what is ‘elementary’, ‘positively naïve’ and ‘unsophisticated’ that nourished my research and constructed my design response during the entire expedition. Our experience in Puglia took the practice further, as the time between the thinking and the making was drastically reduced. We hardly made any drawings or heavy conceptualization, as we started working straight from very primitive sketches to clay prototypes, letting the hand of the craftsmen follow uncertain silhouettes. But this is where I think the beauty of this experience lies : in letting the intuition do the work and the hands do the thinking ; in letting the ball of clay raise before your eyes, under the pressure of the craftsman’s fingers, and allowing yourself to say stop when the shape just feels right. In the end, the format that IDE took encouraged us to listen to our deepest instincts, leading to a series of objects that will remain as they were left : ‘straight from the oven’, unpolished and honest.

Freedom Marta Bakowski

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THE IDE EXPEDITION offered a two-month total immersion,

working disconnected from our daily lives and obligations. We three designers began by discovering the region in its many facets which penetrated us to a maximum. Visiting food markets and flea markets ; tasting local flavors in restaurants, canteens, cheese cooperatives, bakeries, and kitchens ; visits which produced drawings inspired by archaeological museums, palaces, churches, forts ; walks in the countryside, through ancient olive groves and plantations of fig trees ; escapades along the rocks and sandy coast line beaches ; pausing in the whitewash painted villages, Baroque towns, exploring the regional architecture of the Trulli, the Masserias. During the trip, students, craftspeople, producers, restaurateurs shared with us their local customs, precious stories and their private and candid points of view about their region. In parallel, we discovered harassing heat and a rhythm of life associated with this ; we learned to enjoy the intense natural light that sublimates the red earth and silvery olive trees throughout the day. The IDE expedition invited us to highlight this territory of Puglia, by questioning local traditions to create objects conveying a geographical, historical and cultural context. In a world where everything moves too fast, where meaningless objects accumulate, it was important for me to borrow from different cultures and civilizations to create objects bearing emotional and cultural links, carrying an inheritance between past and present. Having been used to working as an independent designer, I make creative choices alone. This trip was an opportunity to work in a group. With Marta and Sarngsan, we managed to generate a rich group emulsion, in a rhythm often intense and almost uninterrupted. Focused on this new environment, we conducted a collective reflection, crossing our eyes, our practices and sharing our ideas. We have discovered together different places, shared our documents, inspirations, pictures, palettes, samples, our collection of kitchen utensils, and we brainstormed together... Mathilde and Pierangelo have brought me a lot. Our discussions allowed me to go further in my proposals and to bring more character. By targeting some of my drawings, I was able to develop an animal collection, a personal track revealing my understanding of Puglia. From the beginnings to the realization of the prototypes, we also worked in close collaboration with the craftsmen whether it was earth (clay) or paste (for bread or pasta). Working with them meant being carried away, knowing how to modify our drawings directly on the potter’s wheel or on the kitchens’ work surface, trusting the craftsman’s gestures, their technical experience, their experience of form, decor or taste. Accepting the unexpected and the random, a very rewarding experience.

Emotions and Cultural Links Lili Gayman

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I AM GLAD to be part of this first expedition. The launch always has

a pioneer nature and this is what I like — the freshness, the adventure, the risk, the doubt, the courage, the tenacity, the ambition, the ideology, the practicality, the adaptability — all while confronting the chaos, the intelligence and wit while facing the uncontrollable and the unpredictable, the tension, the fatigue, the stress. This tests the maturity of our IQ, EQ, QC, ICU, IDE, etc. It is very lively. While living the expedition and being able to witness its setting-up and its organization, everything is stimulating. Seeing things taking shape is valuable learning. The not — settled — yet conditions brought all participants closer together. It created mutual and intimate relations and sometimes friction, which gives us all a chance to contemplate human nature and appreciate professionalism. All of this enrichs the ongoing reflection. The idea of my work evolved from finding associations that made sense between contemporary use and historical resources — technics, forms, stories, meanings, etc. but in addition to this, the very important aspect is that time was short and there was a lot to get through. The development was like ping pong with only one ping and one pong. The ping had to be swift, smart and soulful so that the pong would give a good surprise. Quite a challenge. The pieces, not only mine, were bathed with the immediacy, spontaneity and liveliness. New colleagues, new friends, new rhythms, new rules, new works. The moment I was back into my place after the residency, I felt like I was away, far away, for a years. It was actually not even two months and was in a country next door. The experience was very rich and intense. Happiness and pain blended. Frustration and joy alternated. All were very concentrated and superposed, being designer, father, learner, teacher, husband, housemate and human being. From where I am, we should learn to be like ‘water’. From here I added ‘sii agile come l’argilla’ (same quality but with a bit more of self-solidification, so to speak). Thank you very much International Design Expeditions for this chance to join the ship.

Things Take Shape Sarngsan Na Soontorn

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I FIRST visited Puglia with Mathilde, Jill and Pierangelo in the summer of 2018

when I discovered the richness of its Craftsmanship along with the craftsmanship of its agricultural bounty. A year later, when I came towards the end of the Expedition in Puglia, I was completely taken by surprise with the amazing outcome of the 6 weeks when our designers, under the leadership of Mathilde and Pierangelo, managed to show over 50 exciting prototypes. My mind was racing through the multiple opportunities for business development created by IDE. Whether it is coffrets combining Olive Oil and ceramic tasters and containers or unique vases and carafes such as the Pupa, the Holly Fish series or Ucello, the IDE creations will encounter great success with consumers in Asia and in Europe. The Puglia expeditions set a very strong precedent for the coming expeditions in Poland, China, France and elsewhere.

Amazing Outcome Pierre Balsan

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A PROJECT which started with the first expedition taking place in Puglia,

concentrated in a set period of time ; needed capabilities to listen, to dialogue and discuss in order to reach the goals, which could be achieved only by the quality of the collaboration between the engaged makers and the selected designers. Together, they realized new products for the CERAMIC & FOOD program, coordinated by the IDE team with international experts. To be open-minded and cooperative in order to gain reciprocal benefit on both cultural and production points of view, was an important challenge. Design new products inspired by the understanding of the territory, its production and Savoir-faire, as well as men and women behind it : this is IDE methodology. During the expedition, the design experience starts with the discovery of the region, live there, explore the landscapes, learn about rituals and rhythms which tune daily life. Design operates as an interface between Puglia, its characteristics and traditions and a group of professionals who meet in this part of the world. Each of them carries its own luggage of culture and experience, aiming to Design new objects which go far beyond the expression of a local identity. The aim is to design and produce objects which can be appreciated worldwide through IDE distribution network, objects carrying the idea of this mix of culture, customs and traditions linked to food and ceramics. For this reason, we worked with the ceramists of Grottaglie, renowned for its ceramic production of the highest quality and a selection of the best food producers of olive oil and baked goods, based in neighboring towns of Fasano, Cisternino and Ceglie Messapica. IDE’s program is in fact orchestrating this meeting point, and generating a positive short circuit both, on cultural and economical grounds. Design is a creative practice which takes into account all kinds of criteria in order to respond to functionality but also needs to create emotions ; a process which needs time and attention, as well as a shared vision for the partners and the designers to succeed in offering the right power to the international market.

The Meeting Point Valentina De Carolis

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VALENTINA DE CAROLIS Local Manager

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PAOLO DE CESARE Multimedia

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conception & production at bottega vestita

27 th July — ­3rd August

Grottaglie

Preparation 2017 to 2019

Designers’ Survey : Field Studies June 2019

Conception & Production July 2019

International Week Just Out of the Oven 20–26 th July 2019

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MIMMO VESTITA Ceramist

Conception & Production July 2019

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CARMELO VESTITA Ceramist

Conception & Production July 2019

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ANTONIO VESTITA Ceramist

Conception & Production July 2019

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Conception & Production July 2019

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ZOOM ON : LILI GAYMAN at Bottega Vestita

Conception & Production July 2019

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Conception & Production July 2019

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Conception & Production July 2019

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ZOOM ON : SARNGSAN NA SOONTORN at Bottega Vestita

Conception & Production July 2019

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Conception & Production July 2019

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Conception & Production July 2019

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conception & production at fasanoceramiche

27 th July — ­3rd August

Grottaglie

Conception & Production July 2019

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FRANCO FASANO Ceramist

Conception & Production July 2019

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Conception & Production July 2019

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ZOOM ON : MARTA BAKOWSKI at Fasanoceramiche

Conception & Production July 2019

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Conception & Production July 2019

106


Conception & Production July 2019

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international week just out of the oven

20–26 th July 2019

Quick sketch on site to imagine the layout

Exhibition & Dinner

Preparation 2017–2019

Designers’ Survey : Field Studies June 2019

Conception & Production July 2019

International Week Just Out of the Oven 20–26 th July 2019

110


Church of Caranna designed by Arch. Pierangelo Caramia and built year after year thanks to the donation of ‘la sagra delle orechiette’ in Caranna.


International Week Just Out of the Oven 20–26 th July 2019

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International Week Just Out of the Oven 20–26 th July 2019

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International Week Just Out of the Oven 20–26 th July 2019

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International Week Just Out of the Oven 20–26 th July 2019

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International Week Just Out of the Oven 20–26 th July 2019

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Paolo Belloni, Luca Convertini, mayor of Cisternino, Pierangelo Caramia, Miska Miller-Lovegrove, Agata Nowotny

Nathalie Viot, Mathilde Bretillot


International Week Just Out of the Oven 20–26 th July 2019

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Jill Silverman van Coenegrachts, Antonio Vestita Prof.ssa Analisa di Roma

Pietro D’Amico, Mimmo Vestita, Valentina De Carolis Angelita Amati, Mathilde Bretillot


International Week Just Out of the Oven 20–26 th July 2019

Pierre Balsan

Jill Silverman van Coenegrachts

CONVERSATION WITH DESIGNERS AND PARTNERS TO SUMMARIZE THEIR EXPEDITION EXPERIENCES

118


International Week Just Out of the Oven 20–26 th July 2019

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starters white wine, white peach, mint mozzarella freshly made at the dinner by Vincenzo D’Errico, C.A.V.I.

adriatic freshness fresh broth with shrimps

puglian emotion veal carpaccio, eggplant with capocollo, fig

cisternino tart friselle, tomatoes, lemon, olives and ricotta

wine Terranova Salice Salentino e Negramaro, Produzione D’Amico Antico Locorotondo, Bianco D.O.P 2018, I Pastini

International Week Just Out of the Oven 20–26 th July 2019

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Sketches as a language for translation

International Week Just Out of the Oven 20–26 th July 2019

123


IDE Tasting Spoons for : oil, liquors, ice cream

selected objects

Selected Objects

126


IDE TEAM /BOTTEGA VESTITA /DOLCI TRADIZIONI CIGLIESI

Selected Objects

127


IDE /MARTA BAKOWSKI /BOTTEGA VESTITA

Selected Objects

128


IDE /MARTA BAKOWSKI /BOTTEGA VESTITA

Selected Objects

129


IDE /MARTA BAKOWSKI /FASANOCERAMICHE

Selected Objects

130


IDE /MARTA BAKOWSKI /FASANOCERAMICHE

Selected Objects

131


IDE/LILI GAYMAN/BOTTEGA VESTITA

Selected Objects

132


IDE/LILI GAYMAN/BOTTEGA VESTITA

Selected Objects

133


IDE /LILI GAYMAN /FASANOCERAMICHE

Selected Objects

134


IDE /LILI GAYMAN /FASANOCERAMICHE

Selected Objects

135


IDE /SARNGSAN NA SOONTORN /BOTTEGA VESTITA

Selected Objects

136


IDE /SARNGSAN NA SOONTORN /BOTTEGA VESTITA

Selected Objects

137


IDE /SARNGSAN NA SOONTORN/FASANOCERAMICHE

Selected Objects

138


IDE /SARNGSAN NA SOONTORN /FASANOCERAMICHE

Selected Objects

139


IDE /MATHILDE BRETILLOT /BOTTEGA VESTITA

Selected Objects

140


IDE /MATHILDE BRETILLOT /BOTTEGA VESTITA/FASANOCERAMICHE

Selected Objects

141


IDE /MATHILDE BRETILLOT /FASANOCERAMICHE

Selected Objects

142


IDE /MATHILDE BRETILLOT /BOTTEGA VESTITA

Selected Objects

143


IDE /PIERANGELO CARAMIA /BOTTEGA VESTITA

Selected Objects

144


IDE /PIERANGELO CARAMIA /BOTTEGA VESTITA

Selected Objects

145


LIST OF OBJECTS IDE spoons, for olive oil, liquors, ice cream tasting, ceramic /almond paste 126 — 127 IDE TEAM design with BOTTEGA VESTITA and DOLCI TRADIZIONI CIGLIESI

Cheese platter and juicers, inspired by the C.A.V.I Caciocavallo cheese 128 MARTA BAKOWSKI with BOTTEGA VESTITA

Bell to ring the meals at Masseria il Frantoio Centerpiece, plate for Friselle inspired by local Pagghiari MARTA BAKOWSKI with BOTTEGA VESTITA

129

130 Olive Oil bottles ‘Modenatura’ inspired by Apulian architecture MARTA BAKOWSKI with FASANOCERAMICHE

Fior di latte and Burrata serving plate  Water jug   Olive oil bottles Natura inspired by natural Apulian textures MARTA BAKOWSKI with FASANOCERAMICHE

131

132

Wine and water pitchers inspired by the Iapyages Culture Salt and pepper inspired by the Iapyages culture LILI GAYMAN with BOTTEGA VESTITA

133 Wine and water pitcher inspired by the Iapyages Culture LILI GAYMAN with BOTTEGA VESTITA

134

Tasting plates, pieces of bread gently gorging on olive oil, named after the Monte Cornacchia, so called The roof of Puglia Dish for family prepartions such as ragù or mashed beans LILI GAYMAN with FASANOCERAMICHE

135 Dishes inspired by the Iapyages culture LILI GAYMAN with FASANOCERAMICHE

136 Birds, tools for olive oil tasting SARNGSAN NA SOONTORN with BOTTEGA VESTITA

137 Owl Bells, discovering a dish SARNGSAN NA SOONTORN with BOTTEGA VESTITA

List of Objects

146


Five plates, scratched drawings 138 SARNGSAN NA SOONTORN with FASANOCERAMICHE

Coffee cups Jam and Marmelade Service Bread Basket SARNGSAN NA SOONTORN with FASANOCERAMICHE

139

140

Dish inspired by the Orecchiette making gesture Vase MATHILDE BRETILLOT with BOTTEGA VESTITA

141 Strainer for berries MATHILDE BRETILLOT with BOTTEGA VESTITA Pitcher for fresh water and almond syrup MATHILDE BRETILLOT with FASANOCERAMICHE

Plate for meatballs and others   Serving dish for Taralli MATHILDE BRETILLOT with FASANOCERAMICHE

142

Vase Pupa 143 MATHILDE BRETILLOT with BOTTEGA VESTITA

144 — 145 Vase Holy Fish Alpha, Beta, Gamma, Delta, Epsylon PIERANGELO CARAMIA with BOTTEGA VESTITA

List of Objects

147


This Book is published on the occasion of the first IDE Expedition to Puglia, CERAMIC & FOOD, 2019. Publisher INTERNATIONAL DESIGN EXPEDITIONS Avenue Louise 367, 1050 Brussels, Belgium www.international-design-expeditions.com registered at the Banque Carrefour des entreprises N° 0539.909.621 Editors Jill Silverman van Coenegrachts Mathilde Bretillot Graphic Design Cleo Brun, Brussels IDE Logo & Website Plastac, Paris Photo Credits Didier Goupy Portraits, Paris Vito Zizzi for Doc Service, Cisternino all participants other photos Typography Circular by Laurenz Brunner Andromeda Beta by Laurent Müller Printing Pixart Printing, February 2020 Partners Fondation d’Entreprise Martell : Nathalie Viot, Maxime Heylens, Cognac

Polytechnic University of Bari DICAR : Prof. Annalisa Di Roma, Prof. Lorenzo Netti, Prof. Vincenzo Minenna Comune di Fasano : Dott. Francesco Zaccaria Sindaco, Dott. Pier Francesco Palmariggi Consigliere Avv. Luana Amati Councilor for Productive activities Maître Vincent Horsmans, Lawyer, De Caluwe & Horsmans, Brussels Gérard Bloch, IP Expert, Brussels Ceramic Bottega Vestita, Mimmo, Carmelo & Antonio Vestita, Grottaglie Fasanoceramiche, Franco Fasano, Grottaglie Food Il Frantolio di Pietro d’Amico, Pietro d’Amico, Cisternino Masseria Il Frantoio, Armando Balestrazzi, Ostuni  Panificio della Gravina, Biagio De Gennaro, Cisternino Dolci Tradizioni Cegliesi, Lucia Gloria and Maria Vittoria Nigro, Ceglie Messapica C.A.V.I. Cooperativa Allevatori Valle d’Itria, Vincenzo D’Errico, Cisternino

Colophon

148


In Europe

In Puglia

Warm Thanks To Paolo Belloni, Museo della biodiversità, I Giardini di Pomona, Cisternino Graziantonio Loiudice, Edilco, Altamura, Villaggio Magnagrecia, Metaponto, Prof.Vito Albino, A.R.T.I., president of the agency for Technology and Innovation of Puglia Ubaldo Spina, Cetma, Brindisi Leonardo Angelini, Sudandsud /Pharos, Management and Multimedia Production, Bari Arch. Prof. Roberto Marcatti, ex president ADI Cynthia Concari, President Non Profit association H2O, Milano, Zollino Leonardo Paulillo, Lawyer, Rome Ettore Chiurazzi, Carucci et Chiurazzi, Marketing and PR, Bari Vittoriano Colangiuli, President, Confindustria Antonio Tari, Confindustria Lia Correzzola, Confindustria Guido Santilio, Vice President, Reporting Delegate for ADI and Confindustria Pietro Monitillo, (Smetwork : Altamura, Bari Aradeo). Board Member ADI Puglia and Basilicata Crispino Lanza, ‘Primato Pugliese’, coordinator of the Poductive District ‘Puglia creativa’, Putignano Vincenzo Dambrosio, Il Panettiere di Altamura, Altamura Panificio Di Gesù, Altamura Biscottificio Di Leo, Altamura Sapori di Puglia, Cisternino Rosalba Cardone, Leonardo Trulli Resort, Locorotondo Patrizia Catalano, Interni, Milano Regina Gambatesa, Bari Peppino Palasciano, Pezze di Greco di Fasano Liliana Carbonara, Pezze di Greco di Fasano Piero del ristorante Il Capriccio di Caranna Don Carmelo Semeraro, Parson-Parish San Nicola di Cisternino Comitato sagra delle orecchiette di Caranna Vito, Pietro, Vita, Pietro di Caranna Angelita Amati, il Frantolio di Pietro D’Amico, Cisternino Nicola Pero, Azienda agricola Nicola Pero, Pezze di Greco di Fasano Giuseppe Santoro, Salumificio Santoro s.r.l., Cisternino Sebastiano Gioioso, Mare Gioioso s.r.l., Monopoli Mario Ferrarelli, Madeinterra, Fasano Angelo Costantini, President of the producers association ‘Capocollo di Martina Franca’ Giorgia Marrocco, Pimar, Cursi, Lecce Alfredo Casale, Telcom, Ostuni Licio Tamborrino, Scaff System & Officine Tamborrino, ADI responsible for Puglia and Basilicata, Ostuni Vittorio et Alessandra Calo’ TWS, Ostuni Clara Verbaeys, Designer, Brussels Alain Lardet, Co founder of Designer’s Days, Promotion of Design in many fields, Paris Miska Miller-Lovegrove Architect, London, Creative Project Foundation, Warsaw Agata Nowotny, Design Researcher & Service Designer, Curator and Writer, Warsaw Dr Marta Gasparin, Professor in Innovation and Design Management, University of Leicester Sophie Money, Money + Art, PR, London Iris Nakov, Lawyer, Paris Damien Bretillot, Business management, Paris Martine Le Vot, Accountant, Paris Hélène Igersheim, Translations, Paris Mathieu Delacroix, Designer, Paris Grégoire Bouineau, Designer, Paris Colophon

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CERAMIC & FOOD ROUTE Co-produced with FONDATION D’ENTREPRISE MARTELL

IDE TO PUGLIA with POLYTECHNIC UNIVERSITY OF BARI DICAR

Department of Science in Civil Engineering and Achitecture

and in partnership with

COMUNE DI FASANO


JUST OUT

OF THE OVEN

Profile for international-design-expeditions

IDE to Puglia  

IDE to Puglia  

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