IDM - MATCH! #3 New Domestic Escape by IDM Südtirol - Alto Adige

MATCH! #3

New Domestic

Escape

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Forewords Course Talks Escape plans Projects Companies Bibliography

Forewords

MATCH! #3 IDM Südtirol

Your IDM Team Business Development

South Tyrol is a highly successful place, as evidenced by recent analyses of the quality of life in our province. Nonetheless, current economic and social challenges and the public health crisis we are facing prove that we are still in an intermediate phase between a traditional economy and a more innovative, sustainable and competitive one. It is thus essential to introduce innovation processes into the traditional sectors and support them by investing in R&D. The European guidelines explicitly reference innovation “in the broadest sense,” underlining that the types of innovation mentioned above “must be coupled with creativity, style, and talent.” We have received the same input from the Interreg-Europe project RCIA (Regional Creative Industries Alliance), of which IDM Südtirol is one of nine partners, starting from the challenges and needs of the region and positioning the creative industries as a “driver of innovation”. The IDM Creative Industries project is geared toward unlocking this potential and making it available to other sectors of the local economy. One important path taken right from the start is to connect local businesses with creative, developing the concepts of cross-innovation and match-making in South Tyrol. At present, the term “creative industries” is a liquid and continuously evolving category, which is struggling to find a universally recognized definition, both in Italy and abroad. The debate is very animated and increasingly at the center of the guidelines and challenges of European design, precisely because it is a long way from finding a definitive answer, yet full of latent potential. The IDM Creative Industries project was created with the aim of accepting this challenge and highlighting the role that the creative industries can play as a “transversal power” for other business sectors in our region. It was from these reflections that MATCH! was born in 2018: the program aims to increase processes of innovation and create new ideas, products and services through collaboration between the creative industries and other sectors of the economy. MATCH! #3 is the third edition of the project in collaboration with the Free University of Bolzano’s Faculty of Design and Art. Unibz was chosen as a partner already from the first year of the project, thus identifying design as one of the key areas of local industry development. This year’s theme is, of course, chosen because of the Covid-19 pandemic and the resulting crisis, which unfortunately has left no sector unscathed. 9

10 The proposed theme is New Domestic Escape: during a period without precedent in the history of humankind, in which we have all been forced to live in homes in a new and all-encompassing way at short notice, it is essential to start redesigning the panoramas of homes. At this point, homes are no longer just private spaces, but also work environments, real and virtual meeting rooms, temporary gyms, as well as places of coexistence, with a new concept of family and community. “The home is no longer a panorama (landscape) in front of us, but rather a starting point for our connection with the world (escape).” Over the next few years, which new tools, services and designs will be necessary in order to respond to these new needs? How should everyday spaces and their perception be modified? The objective of the course – which involved 25 students in product and visual communication design and 7 companies from a variety of sectors – is not to produce ready solutions but, with input from external experts, to identify potential for innovative development and to explore new market trends and visions for the future of local companies, while also finding new working scenarios in design. On display in this catalog and on the website are the ideas and prototypes resulting from the work of the students and the experience of the companies and experts who took part in the course, developing a new and real awareness of the possibilities of “contamination” with the creative industries sector.

Forewords

MATCH! #3 Faculty of Design and Art

Nitzan Cohen Dean, Faculty of Design and Art Free University of Bozen / Bolzano

“Being a designer means being an optimist. Given problems even the most difficult problems, all we can do is to presume the possibility of solving them… Faced with a world drifting rapidly towards catastrophe, it seems to me that we need this sense of a designer’s realism and optimism more thenever. We must see the problems, and we must think that in spite of everything, it is possible to solve these problems. We must find solutions. This is how we got that far.” Ezio Manzini “The future” is forever a riddle, the constant unknown which only reveals itself in affect, with the moment after…. Often, we may need another “moment” to actually understand what happened in the previous one. Connecting the dots between what was a moment ago “the future” and became now “the present” which would evidently become “a past”. The fact that we can only try to predict and prepare for the future, is forever based on what we know so far, it is an inherit contradiction and a paradox. Today, early in 2021 the current and continuously evolving worldly dystopia is echoing this paradox like never before. Yet, from a design perspective it echoes just as much Manzini’s reflections and the need for design thinking and designerly methods and tools to be trusted, used and amplified. Leading processes, forming possible paths and crystallising solutions for the present, while continuously looking forward, formulating and reformulating the “next new” and our future with it. The role of a University is in certain ways similar, continuously striving to project itself into the future, nurturing students that rather than passively reacting to and within the future, are actively and successfully shaping forming and transforming it into the better world of tomorrow. University is in that sense a safeguard and a protected ground for the envisioning of new possibilities and utopias, together with possibly acknowledging that certain utopias of yesterday are the dystopias of today. Thus, highlighting the need for a change, raising the corresponding question and striving to find possible answers. From its very beginning design is closely collaborating with industry and the market, in many ways it was a tool feeding the system and helping it to become the multi-headed humongous monster it nowadays is. Our current understanding of design and designer’s role is possibly somewhat less of an obedient service role for the market, but rather a conscious proactive leading and guiding role. With all its facets, immense capabilities and intrinsic interdisciplinary capacities, design is more and more standing up for the challenge. 13

14 Yet, design nevertheless needs the market if it is to influence it… the wide market outside must acknowledge design’s capacities and trust it, if we are to make a real change. Projects such as MATCH! which are binding in a continuous manner the study of design and the market, are significant steps into developing this change on a regional level while at the same time sending a farther reaching glocal signal. With its third addition, MATCH! #3 /New Domestic Escape is taking a step further in the evolution of the MATCH! projects by collaborating with the industry and market on a project which is more a think-tank and generator of ideas and visions rather than concrete market ready products. Acknowledging the fact that one insightful vision could be translated to as many products as might be needed, now or in the future.

Course

New Domestic Escape

Pietro Corraini, Francesco Faccin, Alessandro Mason, Gianluca Seta, Valeria Burgio, Alvise Mattozzi Professors, Faculty of Design and Art Free University of Bozen / Bolzano

What is Home today? Where does domestic space start and end? When do we feel at home? Inspired by the seminal exhibition New Domestic Landscape hosted at MOMA which in the 70s sealed the relevance of “Italian design” in the world, we started looking for new and visionary ideas of dynamics, relationships, and interactions that design our everyday living spaces. After an unprecedented period in human history in which 7 billion people have been forced to live their homes in a new and totalizing way, the time has come to redesign the views of the houses that are no longer just private spaces for the unfolding of the personal and family life, but workspaces, meeting places (for both real and virtual meetings), spaces of coexistence with a new idea of family and community. The house is no longer a panorama (landscape) that we have in front of us, but a starting point for our contact with the world (escape). 19

VISUAL COMMUNICATION The course of visual communication has been conceived and realized in three steps: New domestic apertures The first part of the course has consisted in reflecting on the forms of openings one can have in an enclosed space. Taking departure from the reading of the classical text “Journey around my room”, written by Xavier de Maistre in 1790, the students have engaged in a series of digressions to examine in particular the devices that, in a house, allow communication between the inside and the outside, the private and the public. The result has been a visual reinvention and translation – sometimes in the form of trompe-l’oeil – of devices such as windows, doors, mirrors and screens. New domestic atlas The second assignment has consisted in the visualization of one’s domestic space, repeated pathway or practice, in the form of a catalogue, of an atlas or of a manual. The students have structured and visualized some observations of their daily life during the quarantine, from the relational dynamics of a family in a room, to the changes in social habits, such as making up or dressing up. New domestic escape The previous reflections have led and been re-elaborated in the main project, resuming in a more

20 sophisticated and personal manner the idea of a new way of living the space – from the house to the landscape, passing through the village and the city. Even though many of the projects have used digital media, interaction and artificial intelligence, the point of departure remains strictly analogical, based on observation of nature and telling stories. Some students have reflected on the changes in their perception of time; some on the new urban choreographies due to new rules about social distancing; some have written tales on utopian and dystopian scenarios.

PRODUCT DESIGN The course has started out of an exploration of the space as lived by the students. Such exploration has comprised a reflection based on the surveying through mapping of students’ rooms and of the flows characterizing domestic spaces. It has continued by reflecting on processes of “domestication” of products and spaces, how they have been challenged and changed by the Covid crisis, and by speculating on future configurations of the domestic spaces also thanks to contributions by various guests. Through such journey, students have elaborated various concepts and then developed various products for escapes from and within the home.

Talks

The Home as a Therapeu –tic Tool Davide Angeli AMDL Circle, Milan

AMDL Circle is a multidisciplinary studio founded by Michele De Lucchi, which is known for its humanistic approach to architecture, design and graphics. At Circle, we believe that research is the true foundation of architecture. For some years now, this research, free from commissions and direct assignments, is represented by the Earth Stations project: a new typology of buildings designed to promote human relationships. Over the course of the last year, our Earth Stations research has centered on the theme of living, with the goal of imagining a better home, a home in which everyone is able to build themselves. Despite technological evolution over the past few years, scientific discoveries, or changes in our way of life, the home remains above all a place of happiness. We would like to address the theme of housing with the assistance of psychology and sociology. The Earth Stations research on living has allowed us to reflect on what it means to be at home with the contribution of the psychologist Dr. Donatella Caprioglio, who has joined us on this journey. There is a very strong and direct link between us and our home: our home represents our body on a larger scale. Many elements of a home cannot change or need to be revisited because they are strongly linked to our deepest selves. We come into the world propelled by a libidinal drive: our life instinct. This instinct is what you see in a baby when it is born and immediately clings to the breast of its mother. When a baby is small and feeds from its mother, it is not even aware of its own body. Hence, the kitchen represents the most important space in the home: no matter how large or small, it is where the ritual of eating is consecrated. Afterwards, a child’s libidinal drive shifts to the anal area: in early life, the child develops proper sphincter control and starts discovering his or her own body. The bathroom is essential because this is where we take care of ourselves and our bodies. We close ourselves in and look at ourselves. In here, the functions of the body give us an indication of our health. The bathroom is, above all, the place where we enter into contact with water. Through water, we recall the intrauterine memory of that essential well-being that we had during the first period of life. In fact, Japanese baths often feature a very small tub in which you can stay in the fetal position, with hot water up to your shoulders. In many such bathrooms there is a window overlooking a garden or an ikebana: water, beauty and nature relax us completely.

26 Finally, as the child grows older, the libidinal drive shifts to the genitals: it is actually this erotic function that connects us to life. It is this period in which the child begins to discover the body of the other. This is represented by the bedroom, which is a place dedicated to the intimate relationship with the other. The principal rooms for the vital physiological functions are therefore the kitchen, the bathroom and the bedroom. After that, there is always a need for an entryway to a home. The doorway is important because it is the passageway between the outside and inside worlds. The internal world represents the privacy of our hearts: we need a space that filters between these two worlds, a space that does not immediately expose the interior of the house. Then there is a room for conviviality: the living room. This is where we show ourselves without really being seen. It is the room that is perhaps the least intimate, but the one that is most representative of the way we want to be perceived by others: it serves as our business card. Hallways are also very important. In modern homes, they have often been eliminated, but they function symbolically as an umbilical cord between rooms. They are transitions from one state to another. We do need transactional spaces. The windows or a garden, terrace or balcony give us the opportunity to look outside, to not feel closed in. We always need to have an outside perspective, to direct our gaze far away. We can also place some plants on the terrace, in the garden or on the balcony. Putting one’s hands into the earth is very therapeutic: removing a dead leaf and seeing that another flower is born is fundamental, because it completes that human need to feel a communion with becoming, with nature. Finally, there is the closet, which is essential for hiding our frailties. No house can be home without a space to hide our weaknesses: not just the broom and detergents, but also our imperfections.

Talks

Design –ing with techno –logy Matteo Loglio Oio Studio, London

Matteo Loglio is a product and interaction designer, currently a founder and director at the London-based studio oio. During this talk, he presented his work from the early beginnings as a design student, all the way to his most recent projects as a founder at oio studio. The talk started with a reflection of the designer’s role in the ever-growing technology industry, where the presenter has been working for the past ten years. He says that designers working in this field always have to balance creative and design skills with a solid understanding of science and technology, without being dragged towards one end of the spectrum, or the other. One of the challenges of being a designer in this day and age is to simplify and bring clarity to complex subjects, turning them into beautiful artifacts - being these product interactions, graphic languages, or furniture pieces. In the context of technology and interaction, this challenge takes the form of understanding complex systems, that are often unknown to the designer herself, in order to turn them into a creative medium. This process is not always linear and it often requires a multi-disciplinary understanding across fields beyond the traditional design skillset. Matteo Loglio used his most recent work with artificial intelligence as an example, where he had to study this complex subject across science, engineering and even philosophy, to be able to then use it as a creative medium in his design practice. Another example of this process is the project “Primo”, that Matteo Loglio created during his studies at MAInd, a master of advanced studies in interaction design in Lugano. The project started as an exploration into tangible interfaces in the context of early years education. The outcome of the course was “Primo - a toy for children” designed to teach programming logic fundamentals, through play. The product was composed of a toy car and a tangible programming language that children had to use to drive the car through a series of challenges. The most challenging aspect of the project was to make a subject as complex as programming logic, simple and clear so that a 4 year-old child could understand it. The project was further developed as a commercial product, through the London-based company “Primo Toys”, that Matteo Loglio founded with his previous business partner Filippo Yacob. The company turned the prototype into a real commercial product that is currently sold all over the world and used by millions of children every day. The product launched on the Kickstarter crowdfunding website in 2013, then again in 2016, 29

30 collecting more than 1.6 million US dollars, making it the most funded ed-tech product on the platform. Across the years the product collected some of the most high-profile design awards, such as Red Dot Design award, Cannes Lion and D&AD pencil, and was displayed in galleries and museums around the world, such as MoMA in New York, V&A in London, or Triennale in Milan. The presentation then moved towards the subject of artificial intelligence, and how that is becoming a subject of research and creation for the presenter. One of the projects designed by Matteo Loglio included Natural Networks - a series of floating buoys across the London canals, connected to an artificial intelligence that was designed to write poetry from the point of view of the canal. Another example is NSYNTH SUPER, a musical instrument using a machine learning algorithm to generate new sounds, designed at Google Creative Lab, where the presenter worked for three years. The presentation followed with a reflection about artificial intelligence in the creative context, how it is currently a very popular technology, but mostly considered as an analytical and functional tool. The creative challenge for designers is to start using this new medium as an emotional and domestic tool as well, and also working with product companies to develop new artifacts to make it more accessible. New emerging technologies are typically used by their creators as a means for profit, often exploiting users that do not have the necessary knowledge to understand the underlying mechanics. It’s a designer’s responsibility to make these more transparent and accessible for the general public. This is what Matteo Loglio is doing through his new venture oio - a creative company working on the next chapter of emerging technologies, by making them more accessible, affordable and ultimately sustainable for everyone. Oio works with large organizations such as Google, Ikea or Arduino, all the way to smaller startups like Pigzbe or Airpop, developing future products and concepts. In addition to third-party design services, oio is also working on their own products. They recently released oio.radio, an online web radio where anyone is free to stream worldwide for free, without any infrastructure, or Fairculator, a tool to calculate progressive VAT, for a fairer distribution of wealth. Currently their most ambitious project is Roby - an AI creative director, running its own social media accounts and chatbots on the oio Discord server. The talk ended with a reflection about the role of designers across technology, a medium which is often

31 viewed with skepticism in the design practice, especially by more traditional professionals. The presenter showed many examples of the creative, artistic and poetic power that technology can have, and he encouraged the audience to start researching and creating, as there hasn’t been a better time to start, such as now.

Talks

From Arteluce to Astep: A His –tory of Evolution and Respect Alessandro Sarfatti Astep, Copenhagen

Copenhagen, 7.1.2021

I like to think that “evolution” is one of the words that best describes Astep. This word immediately evokes evolution of the species. It implies a gradual transformation. The dictionary also provides the following definition: a series of precisely ordered movements. In other words, small steps forward. A small step forward. A step. Astep. Astep’s evolution is related to [1] my own personal history, [2] the philosophy of the project and [3] the company concept: 1] My paternal grandfather, Gino Sarfatti, is recognized as one of the pioneers in the world of lighting, in Italy and now also around the world. He founded the company Arteluce in 1939, which became a reference point for the sector in the 1950s and 1960s. His pieces can be found in museums, and today are sold in galleries and auction houses for significant sums of money. He defined himself as an “artisan of light,” and post-war Italy was very fertile ground for high-quality craftsmanship. My grandfather did not draw lamps, he planned and built them. Then in 1978, my father Riccardo founded Luceplan together with my mother Sandra Severi and Paolo Rizzatto, with the idea of making “beautiful things for the many” of Bauhausian memory; that is, creating a product that is always innovative but with a more industrial dimension. The dream was to deliver the best of the best to the greatest number of people at the lowest cost (citing Charles Eames). Luceplan was sold to Philips in 2010. 2] The common thread that unites these companies is their approach towards design – an approach based on research and experimentation. The will to create something new. Not revolutionary, but a small step forward in a direction. Whether a new light source, technology or a material used in other sectors that can be used for the development of a new lamp, the desire is to explore new concepts, new solutions in packaging, as well as in communications, distribution and working methods. Seeking to evolve in some way. To advance, taking small steps. 3] Astep is a company of our time. As I’ve said, Arteluce was a business that reflected Italy in the 1950s and 1960s, while Luceplan was an expression of the 1980s and 1990s. Astep was born and developed in this present era. Ours is a digital age, characterized by high speed, which has both positive and negative consequences. Such speed is a double-edged sword.

34 It provides us with tools that simplify our lives and make previously unthinkable things possible. At the same time, though, it also redefines human being, and reverses situations with respect to a humanity accustomed to a slower pace of change. Baricco describes this very well in his book The Game. Astep has decided to operate on the basis of 3 pillars that we’ve called: Design Legacy Accessible Technology Sustainability

Design Legacy I already spoke about my background, the fact that Astep is the third company created in our family, and also about how we view design. Let me quote from Dieter Rams, who summarizes our design vision very nicely: “Good design is innovative. Good design must be useful. Good design is aesthetic design. Good design makes a product understandable. Good design is honest. Good design is unobtrusive. Good design is long-lasting. Good design is consistent in every detail. Good design is environmentally friendly. And last but not least, good design is as little design as possible.” Our products are created with respect for originality and history. By creating and curating timeless designs, we aspire to continuously create new stories. Stories that tie together our legacy and the rapidly evolving technology whilst maintaining respect for our surroundings. Accessible Technology In the world we’re living in today, it is easy to share knowledge – and with that knowledge-sharing comes the availability of technologies that before were only available to the few. Technology is engrained in our DNA. It inspires creativity and new possibilities that connect both past and future. At Astep, we research new technologies, and find novel uses for established technologies – that are not usually applied to lighting design. By this process of combining unexpected elements, we create new timeless inventions. We are focusing primarily on portability. The two components that enable us to think about cord-free lamps are LED light sources and batteries. Technology is advancing greatly in both of these areas. We believe that an increasingly efficient light source (these days, it’s possible to produce the same amount of light with one watt as it was 20 years ago with about eight watts), together with similarly efficient batteries, makes a perfect combination

35 for designing lamps, table lamps included, which are not encumbered by electric cables.

Sustainability The third pillar upon which Astep stands is sustainability. We consider it essential, and not something that can be delayed, to put respect at the center of our decision-making processes. Sustainability is, for us, an attitude. More specifically, it is an act of respect that must be reflected in every decision we make. Respect for the environment isn’t the only issue on which we focus. But 360° respect. Respect for those who work with us, our suppliers, our customers and all the interested parties with whom we come into contact – from packaging design that limits the use of disposable plastic to the fact that our lamps are designed to be timeless. For this reason, we applied for the B Corp Certification in late 2019. Thus, we have taken the necessary step to avoid our efforts being washed away in the greenwash revolution. By applying for the certification, we have an extraordinary opportunity to look at our company from a 360° view. Thus, we are able to locate areas where we are already meeting the highest standards, but more importantly, where we can improve in order to have an even bigger positive impact on our surroundings. It is a diligent process as it investigates every aspect of our organization, which allows us to continuously try to do even better in every aspect; whether it is for our people, products or planet. Becoming B Corp certified is a commitment to our continuous improvement to redefine our business. As long as we continue moving towards something that is more meaningful, more substantial, more relevant; every step is valuable and deserves the same consideration and respect. This is the very core of Astep. To me, the essence of evolution is to capture the best of what has been and let it evolve into the heart of what is to come.

Escape plans

90 102 106 108 112 114 108 122 124 114 124 88 92 94 96 98 92 100 104 110 94 116 118 120 126

Projects Visual Communication Teresa Carretta Chiara Facchini Riccardo Fresch Sofia Gandini Kosara Keskinova Chiara Leuzzi Rebecca Morando Giulia Olivieri Cecilia Tommasi Rebecca Toscan Veronika Vascotto Product Design Silvia Bovo Ilaria Carrozzo Pietro Coda Martina Costa Bignotti Lucrezia Dal Toso Alessandro Daniele Charlotte Enzweiler Matteo Falcone Barbara Giordani Stefano Lattuada Gabriel Macrì Rodrigo Luis Medina Verena Metz Zumáran Nicolò Vanzetta

Silvia Bovo Made In The Shade

Made In The Shade is an updated version of the classic Swiss cuckoo clock. At the striking of each hour, it projects natural images onto the surrounding surfaces, more specifically the light and shadows that filter through vegetation. Its purpose is to create the impression of extended spatiality and give the home environment a relaxing and evocative atmosphere. One of the elements with the greatest impact on our health at home is in fact lighting, whether natural or artificial, which transports us outwards, creating the illusion that we are not connected by our home walls. Its aesthetic is reminiscent of the mountain huts and barns of the South Tyrol, which as a characteristic have a particular “cutoff” of the roof, opposed to two normal sloping sides. The material used is pine wood, which by its very nature calms and facilitates relaxation. The name itself recalls a specific saying: Made in the shade that means to live at ease or to be in an ideal situation, but plays with the idea of actually being under a shaded area or in the shadow.

Teresa Carretta Esiste un posto dove… Conversazioni con oracolo digitale

Esiste un posto dove…Conversazioni con oracolo digitale is an illustrated collection of short stories that aim to narrate possible future worlds. In the past, the future was interpreted through oracles, signs, and prophecies. A similar process takes place today through the interpretation of massive amounts of data. These data can be collected, analyzed, and read by an artificial intelligence, which creates predictions about tomorrow. The project focuses on this ancestral concept of predicting the future through the use of cutting-edge tools. Each text contained in the book is constructed through a “dialogue” with an AI that can complete the narratives, getting hold of a series of data, articles, and books from which it learns. Each story begins with an incipit written by me and then completed by the AI, establishing a back-and-forth that leads to the construction of visions of possible worlds. The AI becomes an oracle. Through the interaction with a human partner, it elaborates vivid images and stories that are both fictional and realistic.

Ilaria Carrozzo, Alessandro Daniele Smoobe

Smoobe is a cozy technological home setting combining craft with domotics, Artificial Intelligence with home warmth, innovation with tradition, or, more concretely, the traditional Tyrolean stube aesthetic with a state-ofthe-art data collecting and processing system. Through sensors hidden among the table, chairs, and the lamp hanging from the ceiling, data will be processed by the servers, which will contribute to heat the environment by replacing the regular wood-burning system. You will find a cozy warmth near the stove for video calling your friends, then cooking in the same place where you play board games with your family or recharge your pc. So, the role of the stube as the heart of the house is kept untouched, while connecting the function of a brain to it, in order to create a new intelligent organism that will live within the house together with its inhabitants.

Pietro Coda, Stefano Lattuada Rollo

Rollo is a wardrobe designed for a future where people will own less clothes due to the rising of clothes renting & sharing services. These online services offer a monthly subscription for renting clothes; every month new clothes are shipped to a customer and the previously rented ones are returned to be washed and repaired. Rollo is composed by two parts: the rod used to hang the bags shipped by these services, becoming part of the structure; and the chest below, a space for personal and basic clothes. Rollo intends to address two issues: wardrobe size and fast-fashion. Wardrobes today take a significant amount of volume inside a domestic space, which contrasts with the small rooms many people live in. Rollo creates the adequate balance between the arrangement of clothes and the availability of space. Fast fashion’s logic is based on providing continuously affordable clothes in order to follow the trends of the moment. To achieve such continuous change of collections, fast fashion works by overproducing cheap and low quality clothes, harmful to the environment. Clothes renting services enable another way of variate continuously the clothes we use, by taking care of clothes Rollo promotes this kind of services and the related practices, much less harmful for the environment.

Martina Costa Bignotti OUToffice

OUToffice is a structure that offers workers the possibility of working anywhere outdoors without being tied to the static nature of their office. It makes the city an extension of the workspace. The structure provides a cubicle for individual work and a floor for collective work. The individual cubicle is suitable for ensuring workers’ concentration and can be booked via a mobile application. The collective workspace is located above the cabin and is public. This space is accessible via a staircase that also provides the possibility to sit for moments of rest or socialization. The shape of the structure makes it recognizable within the city in order to represent a new concept of working. The mirrored glass window in the facade not only lets natural light into the interior, but also allows the structure to reflect the area in which it is located. The cladding of the structure changes according to the area to increase the connection with the local culture and to avoid the standardization of classic offices. In conclusion, OUToffice represents a way of “escaping” the physical limits of one’s own office.

Lucrezia Dal Toso SGRÄFO

SGRÄFO combines window curtains with a cat scratching spot, thus linking pet’s need to humans’ necessities. The main element of the structure making up SGRÄFO consists of solid panel curtains made of sisal fabric, a natural fiber very resistant to scratches, totally biodegradable, stainless, and waterproof. These curtains are supposed to be scratched plenty of times without being ruined. A second important element is a comfortable hammock positioned above the curtains on the extensions of the lateral supports of the track. Here the cat can lie down while monitoring the surroundings. The hammock is removable in order to be easily cleaned or changed if necessary. The materials used are recovery steel and aluminum for the whole structure, sisal fabric for the curtains and there are two options available for the hammock: the winter version made of checked pile and the summer version made of green cotton. In this way, the human will admire his cat climbing and scratching his curtains without ruining them, sharing a piece of furniture as good housemates do.

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Charlotte Enzweiler Home in a box

Home in a box is a kit containing all the essential furniture pieces we need to live. The box is easily transportable and can be quickly assembled and disassembled. You can take the furniture out of the box and combine and use it in different ways: you can sit, sleep, store, work, eat, and socialize. The box contains a bench, a table, a mattress, a trunk, cabinets, a peg rail, and a screen. The furniture is simple and self-evident. Home in a box can be used for a lifetime. It adjusts to any living situation and is durable and well made. It is the answer to the exigencies of the more nomadic lives we are living. Nomadic life is our origin. We are returning to our nomadic roots. Mobility is the ultimate new form of freedom: freedom from routine, traditional values, and geographic restraints, but it can also make living more complicated. Our old lifestyle isn‘t practical anymore. As living space decreases we have to get smarter by living with essentials. Fitting a home in a box makes transportation less expensive and easier.

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Chiara Facchini Timescape

While the world moves at an increasingly fast pace, imposing ever higher standards of productivity on those who live it, philosophies are emerging in every corner of the world that propose lifestyles and production processes characterised by genuine slowness. Timescape is part of this “movement of slowing down”, transforming the instrument that most of all, with its extreme precision, allows us to perceive this frenetic rhythm: the smartwatch, emblem of productivity always on the wrist. Timescape is a series of dials for smartwatches that aim to restore an archaic perception of time, made up of rhythms defined by nature. In ancient times, indeed, it was the interpretation of the slightest changes in the landscape that made it possible to understand the passing of time. Timescape aims to restore this relationship with the territory, with a nostalgic meaning, allowing the user to choose the place from which to take the data that give shape to the representations shown on the small display.

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Matteo Falcone Nicchio

Nicchio is a desk that allows working without any auditory distraction. The name “Nicchio” derives from the union of the word “Nicchia”, the Italian word for niche, and “Picchio”, the Italian word for woodpecker. The soundproof shell is inspired by the soundshields, a music industry item that protects the microphone from external noises, adapted to the domestic environment. Its walls, internally coated with soundproofing foam, create a visual and auditory barrier against noises. The side walls are closable to minimize the space occupied by the desk. Nicchio has also some wheels that make it twist and use the room’s wall as additional protection. Nicchio is designed with typical technicalities of the musical industry. It has an aggressive design on the inside, but a versatile and elegant look on the outside. Nicchio is designed to perfectly fit with the look of every room and to overcome the needs that have been created with the increase of telematic work. Due to the shift of the office in the domestic environment, there is the need to find a place where to properly work, isolating ourselves from the distractions around us. Nicchio recreates this place of concentration.

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Riccardo Fresch BREVIARIO FAMILIARE

BREVIARIO FAMILIARE is a photographic project that aims to narrate the space through its sacredness, focusing on all those objects and devices that represent the inhabitants in their beliefs, faith, superstitions, and idols: domestic space is illustrated showing the private sphere of the personal altars that populate it, either visible or not. The book does not want to be considered as a collection of religious icons, but rather as an exploration of the concept of sacred in its more general way. In particular, the house that is explored is my paternal grandparents’, a big farmhouse that saw the succession of three generations. Its story is condensed in the objects it contains, from the crucifixes looking down from almost every doorframe to the jealously kept letters sent from a brother who never came back from war. BREVIARIO FAMILIARE is a bridge between past and present, it is the story of a house through the pictures of the objects that make up its history. The project consists of a photographic narration. On one hand, the images represent objects and views of the examined house; on the other hand, they are pictures of pictures, such as of diapositives found in various family photo albums: between past and present, spaces and objects change and remain the same, soaking the domestic space in values and beliefs. The title of the project itself is taken from a family book, whose photo is displayed in the book.

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Sofia Gandini, Rebecca Morando Fugace. Brevi storie in libertà

In a 2020 marked by quarantines and traumatic events, full of absurdity, disbelief and hope, people looked for a way to escape the reality they were experiencing. We have therefore come to drastically reject the life that had been imposed on us by reclaiming our freedom with the only use of our imagination. Every twist and turn is possible, no law governs the universe, the only limit is your imagination. Fugace. Brevi storie in libertà is a game that allows you to break down the physical confining walls and to provide a playful, light-hearted dimension through storytelling. The deck of cards is a basis for telling short stories: the 90 cards that make up the deck are based on literary archetypes that were adapted to our contemporary environment and that can be interpreted during the development of the story. The deck is divided into five categories of cards: goal, instrument, environment, action, and character. With the help of the cards, players find themselves creating new realities and new alternative worlds to their own, implementing an imaginary mental escape.

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Barbara Giordani Precious

Precious is a system that allows treating organic waste not as a rejection but as a material, thus valorising it. Its aim is to engage consumers in the waste cycle by making them consider the kitchen as the domestic environment where food waste carries out its life cycle. Precious tackles biodegradable materials like food waste by extracting and processing it, in order to manufacture a brick of completely decompostable material. The process consists, first, in grinding the waste and, secondly, in pressing it in order to reduce the occupied volume. Compacting in rectangular shape increases the concentration of waste in high density bricks. At the end of the process the material, acquiring shape and consistency, becomes an actual semi-product meant for the construction of structures that can be completely disposed of. In harmony with nature, the system addresses contemporary issue such as sustainability. Moreover, Precious is a system that acts on consumption habits with the purpose of encouraging people to adapt to change. By reducing the amount of waste that goes to the landfill, waste becomes a raw material again, establishing a balance between the domestic and external environment.

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Kosara Keskinova illumini

illumini is a wall lamp, consisting of many small led lights, that shows presence and creates contact between distant people. It works through an application that creates a network between the users and gives them the possibility to interact. The intention of the project is to evoke a nocturnal landscape where the lights coming out of the windows transform the buildings’ façades into hints of life. The light shows that there is someone behind the darkness of the streets and makes the viewer feel less alone. It is a simple unconscious feeling that has a positive effect on the mood. The idea behind illumini is to highlight the presence of people. The illumini network is like a city with its inhabitants. Every single light belongs to a person. The aim is to create a union between people without forcing them to know each other or depend on each other. It is a way to stay connected and surrounded by people, regardless of distance. The lamp lets us know when someone is home by switching on one of the lights inside it. The more lights are on, the more people are home.

Link to access the trial version of the application: https://framer.com/share/illumini--5SIyJIjr Vzz654Osl08k/ HiFKbMMB9

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Chiara Leuzzi, Rebecca Toscan mèdio

Normality tends to be considered a negative element, a disvalue in today’s society that pushes for the achievement of excellence and extraordinariness. The images spread by the media often represent unrealistic canons of perfection, leading the spectator to a sense of inadequacy in feeling part of the average. mèdio is a magazine, designed to give value to the everyday and the common, leading to the appreciation of common objects and experiences, giving voice to the banal, to improve the perception in collective imagination. This would lead to new less anxious visions of normality.

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Gabriel Macrì Space/Non-space

Space/Non-space is a shelf system that provides, besides shelves, seats, desks, tables, and even a sleeping place for two persons. Space/Non-space consists of four shelves of three different heights that pivot laterally, by means of load-bearing joints, on a steel rod. The shelves can be rotated as you like. By rotating the shelves and arranging them it various configurations, Space/Non-space’s user can create two sets of seats, shelves, equipped desks, tables, or a double bed. A surface suitable for a double bed is created when the two sets of seats are joined at the sides. The two lower shelves function as side doors drawers suitable for storing a double mattress, pillows, and sheets. The furniture fits in with both day and night environment, for get-togethers with friends and for intimate and private moments. The project focuses on the creation of a versatile piece of furniture, that can be used in many different moments of domestic life and in various situations, in order to replace the use of mainly fixed and bulky furniture in our homes.

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Rodrigo Luis Medina UkuHawa

UkuHawa is a chair and standing desk. It tackles the concepts of indoor/ outdoor and public/private. It allows rethinking some of the practices related to the window and its adjacent spaces. Indeed, usually we are not able to take advantage of them. It also allows for the creation of new habits. Through a simple switch, the UkuHawa’s seat becomes the base of the standing desk that can fit the window frame. The window becomes an essential element of UkuHawa, on the one hand, because without it the standing desk would fall, on the other because it represents the link with the outdoors. The project is inspired by the work of Ugo La Pietra which shows that where we find less efficiency more creativity emerges, so my project allows a reappropriation of a space otherwise left to itself. Especially in the present situation of lockdowns, we feel the desire to go out and to relate with what is outside of our apartment’s walls. UkuHawa, not only enable us to change our habits and to use portions of the house we usually do not use, but also enables us to enter in between the private and the public, the indoor and outdoor.

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Verena Metz Zumarán U-Maloca

U-Maloca is a home modular mezzanine building system, easy to install and change. It provides solutions for the notorious apartments’ lack of space, by taking advantage from the height of the walls of a room. The modular mezzanine building system stands on a structure made of a central post and of two or more lateral racks that take all the height of the room by being fixed through pressure between the ceiling and floor. Such structure holds various kinds of platforms, which create different spaces. It enables you to realize activities where a lot of space is required and to satisfy the principal necessities you have in terms of space. The lateral elements of the structure also permit to reach the upper platforms, since they act as a ladder. At the same time, they hold shelves and folding baskets for storage. By replacing the main furniture, such as the bed, the sofa, the desk, and the closet, U-Maloca empties the floor, where you now canto move freely. U-Maloca is a practical, versatile, and affordable way to address the issue of the reduction of housing living spaces, especially in urban situations. It increases the livable space, so important in the present situation of lockdowns.

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Giulia Olivieri Baco

Baco is a hoodie that preserves one’s personal sphere by creating momentary isolation from others. In the recent past, while many people suffered a situation of total isolation, those of us who were in a situation of cohabitation, had the opposite problem: they have been compelled to live with the same people 24 hours a day. Forced cohabitation has caused strong changes: the intimacy and privacy of each tenant have been damaged. In a future in which this scenario could happen again, it is necessary to protect and safeguard one’s own intimate and personal sphere, both for an individual need and a better coexistence with others. Baco responds precisely to this need: it is a garment that protects us and gives us momentary spaces of isolation. Although Baco is the result of a reflection on the spaces at home, it can also be worn outdoors: in fact, it becomes a normal garment that can be used in any context. Being a hoodie that belongs to the intimate sphere, Baco is offered to the public as a dress that you can sew yourself and, for this reason, its realisation has been studied for being easy. Thanks to the instructions and the paper pattern on the website, it is simple to make a standard version, which can be customised in any way.

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Cecilia Tommasi, Veronika Vascotto Incontrarsi senza scontrarsi

During the Pandemic we have experienced a big change in our way of living. Social interactions as well as the way we physically communicate with each other have changed radically. Given the health emergency at a global level and the consequent impossibility of having social relations, one might wonder “How will we relate in the future?”. Incontrarsi senza scontrarsi (Meeting without clashing) aims to define a new form of communication which makes people interact with each other while keeping distance in order to assure public safety. A series of paths placed on the urban pavement, will give people the opportunity to interact with others in an involving and playful way, without breaking the rules on social distancing. This way, we can experience public space as a meeting place again, while respecting the law.

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Nicolò Vanzetta Rium

Rium combines a picture frame and a terrarium in order to provide a visual, but not only visual, contact with beings usually living outside the home. It consists of two plexiglass panels and a wooden frame that contains extraordinary miniature landscapes that the users can grow in their home as they watch them change day by day. These constantly evolving living pictures are well suited to host small ecosystems of plants, fungi, and small animals (e.g., snails) so that they can also be used as domestic food production facilities, especially during lockdown periods. Thanks to Rium the users can easily take care of their house farms and enjoy the self-grown products when it’s time to harvest. Since being in lockdown prevents us from interacting with the outside world and nature, it’s up to us to bring it inside our walls to integrate it into our everyday life.

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Companies

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Companies

ELA electro & automation ELA was founded in 1954 by Otto Lardschneider, who was also the company’s first director. The little oneman business operating in Urtijëi/Ortisei has undergone continuous evolution over the years, culminating in today’s innovative company. In 1996, the business was transformed into ELA Srl and moved to its current location in the commercial center of Pontives in Lajen/ Laion. In the meantime, the service company has been operating successfully in many fields of electrical engineering, even on an international level, with the constant aim of providing its customers with the best solutions in line with the latest technologies.

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Companies

Kunst&Dünger Kunst&Dünger Srl was established in 1995 as a manufacturer of products for visual communication and a partner of retailers. Since January of 2018, Kunst&Dünger Solutions Italy Srl has been the new operating company focusing on exports and is proud of its South Tyrolean origins. Protecting the environment is important to K&D, hence the selection of suppliers with the same principles is fundamental. K&D offers solutions for many different requirements, in particular for: signage, line barriers, brochure racks, showrooms, wall spacers and various accessories for exterior and interior use. The company aims to enhance the clients’ and partners’ interests with the proposed products, in keeping with its slogan, “Grow together!”

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Companies

Kyklos Kyklos is a Bolzano-based consulting, planning and project management company founded in January 2020. It focuses on sustainable mobility and use of space; it perceives the quality and use of public space as the result of socio-cultural processes. Within the mobility sector, Kyklos is dedicated to fostering active forms of mobility and their specific requirements for spatial planning and everyday culture. High quality of life and location, together with ecological threats, require high proportions of active mobility in the modal split. This is only achievable with an optimal infrastructure that people use as a part of their everyday culture. Kyklos operates as a professional platform in the following areas: biking and environmental connectivity, mobility planning and management, knowledge and principles, mobility laboratory, space, and society. Based upon specific requirements, Kyklos assembles project groups comprised of qualified experts.

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Companies

MAMP South Tyrolean tradition meets innovation at the MAMP woodworking shop in Pederoa, in Val Badia. This valuable synergy has been cultivated for more than 40 years, through profound craftsmanship combined with state-of-the-art technology. Experience, passion, and precision combined with creative solutions and the use of the highest quality natural materials make the family business a reference point in interior design throughout Val Badia and South Tyrol. Relying on a team of highly specialized carpenters, MAMP designs and manufactures custommade wooden furniture that is functional, modern, and highly aesthetic. MAMP’s interior design products are born from the ideas and needs of the customer, aided by expertise and precise one-on-one consulting.

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Companies

Plasma Studio The word Plasma comes from Ancient Greek and means to shape, form, fabric, imagination, fiction. In physics, the plasma state describes a unique condition of matter that comes from a complex superposition of external forces. By folding space into itself, Plasma draws and transforms landscapes into buildings, streets into facades, interiors into exteriors. These transformative tectonics fix spaces, planes, and objects in unexpected relationships that challenge accepted conditions, traditional topographies, and spatial codes. Since 1999, Plasma Studio, an award-winning, innovative architectural firm with offices in Sexten/ Sesto, Beijing, Singapore, and Honk Kong has evolved to live up to today’s complex challenges and potentials.

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Rockin Beets Rockin Beets is a company based in Bolzano that aims to change the landscape of food delivery business by making a conscious and positive impact with its meals and their delivery. Rockin Beets delivers delicious, handmade, healthy, organic, plant-based meals in reusable lunch boxes. The company delivers to offices and homes using a customized e-cargo bike so as to reduce emissions. “A simple change to your diet can have positive effects on your health and your environment. Join us making this positive change. The first step is on your plate!”: Rockin Beets is offering an alternative to how you enjoy your meals each and every day.

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Companies

Visual2 The Val Gardena-based project management company Visual2, founded in 2018, helps small and medium-sized companies grow and position themselves better in the market. It is creative, dynamic, and solution-oriented. The core business is social media communication and project management, helping companies find out, what makes them unique and special. Another specialty of Visual2 is Mountain Bike: not only project management for Bike Hotels, but for Mountainbike Bike destinations like Dolomites Val Gardena and the Sellaronda MTB TOUR.

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Bibliography

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Bibliography

E. Ambasz, Italy: the New Domestic Landscape. Achievements and problems of Italian design, New York, Graphic Society, 1972. I. Calvino, “La poubelle agréée”, in La strada di San Giovanni, Milan, Mondadori, 1990, pp. 71-93. S. Roger and H. Leslie. “Design and the domestication of information and communication technologies: technical change and everyday life”, in R. Mansell, and R. Silverstone (eds.), Communication by Design: The Politics of Information and Communication Technologies, Oxford, Oxford University Press, pp. 44-74. X. de Maistre, Voyage autour de ma chambre, 1794. R.-A. Feuillet, Chorégraphie, 1701. M. Foucault, Les mots et les choses: Une archéologie des sciences humaines, 1966. M. Foucault, “Of Other Spaces”, Diacritics, No. 16, pp. 22-27, 1986. A. Friedberg, The virtual window, from Alberti to Microsoft, Cambridge Mass: MIT Press, 2006. E. Goffman, Ch. 2 “The territories of the self” in Relations in Public, New York, Basic Books, 1971. E. Hall, The hidden dimension, New York, Doubleday, 1966. W. Kentridge, Thinking on one’s feet, a walking tour of the studio, Madrid, Ivory Press, 2014. R. Koolhaas, Elements of Architecture, Venice, Marsilio, 2014. L. Manovich, Ch. 2 “The screen and the user” in The languages of new media, Cambridge Mass: MIT Press, 2001.

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Bibliography

J. Ortega y Gasset, Meditazione sulla cornice, 1921 – now in La cornice. Storie, teorie, testi, D. Ferrari and A. Pinotti eds, Milan, Johan & Levi, 2018. L. Marin, De la représentation, Paris, Gallimard-Seuil, 1994. A. Pinotti and A. Somaini, Ch. 4 “Supporti, media e dispositivi” in Cultura Visuale, Turin, Einaudi, 2016. G. Simmel, La cornice del quadro. Un saggio estetico, 1902 – now in La cornice. Storie, teorie, testi, D. Ferrari e A. Pinotti eds, Milan, Johan & Levi, 2018. P. Sloterdijk, Sphären I, Blasen, Frankfurt am Main, Suhrkamp Verlag, 1998. V. Stoichita, L’instauration du tableau, Paris, Klincksieck, 1993. G. Wajcman, Fenêtre. Chronique du regard et de l’intime, Verdier, Lagrasse, 2004. P. Cox, Design & Art, Mantua, Corraini, 2019. Brooks, Max, Manuale per sopravvivere agli zombie, Turin, Einaudi, 2003. McLuhan, Marshall, Il medium è il massaggio, Mantua, Corraini, 2011. Stephenson, Neal, Snow Crash, BUR, 2007. AA VV, Un’altra fine del mondo è possibile, Treccani Libri, 2020.

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MATCH! #3 New Domestic Escape Winter Semester 20/21 www.match-idm.com

A project by IDM Südtirol Creative Industries Innovation Pfarrplatz 11 / Piazza Parrocchia, 11 I-39100 Bozen / Bolzano www.idm-suedtirol.com Director Business Development Vera Leonardelli Project Management & Coordination Valentina Cramerotti In collaboration with Faculty of Design and Art Free University of Bozen / Bolzano Professors Pietro Corraini, Francesco Faccin, Alessandro Mason, Gianluca Seta, Valeria Burgio, Alvise Mattozzi Students Silvia Bovo, Teresa Carretta, Ilaria Carrozzo, Pietro Coda, Martina Costa Bignotti, Lucrezia Dal Toso, Alessandro Daniele, Charlotte Enzweiler, Chiara Facchini, Matteo Falcone, Riccardo Fresch, Sofia Gandini, Barbara Giordani, Kosara Keskinova, Stefano Lattuada, Chiara Leuzzi, Gabriel Macrì, Rodrigo Luis Medina, Verena Metz Zumarán, Rebecca Morando, Giulia Olivieri, Cecilia Tommasi, Rebecca Toscan, Nicolò Vanzetta, Veronika Vascotto Thanks to Marina Baldo, Ulla Hell, Ellis Karslatter, Helmuth Lardschneider, Markus Lobis, Manuel Miribung, Iris Pahl, Petra Putz, Stephen Tierney, Christian Walz Book Design and Layout hund.studio Printed in Italy by Tezzele by Esperia S.r.l., Bozen / Bolzano, January 2021

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All Rights Reserved. The rights for all projects and images in this publication belong to students and the Faculty of Design and Art – Free University of Bozen / Bolzano. No part of this publication may be reproduced without permission.

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