Abstract

'And ecstasy is the way out! Harmony! Perhaps, but heart-rending. The way out? It suffices that I look for it: I fall back again, inert, pitiful: the way out from project, from the will for a way out! For project is the prison from which I wish to escape : I formed the project to escape from project!' Georges Bataille Inner Experience, p. 59 The most notable feature of the last ten years of going to Milan to visit design companies, studios, manufacturers and the Salone di Mobili, has been the lack of change in outlook on the part of the Milanese Design community. The focus of any discussion centred around what has made Milanese design so special and always seemed to be focussed on the past. We revisited the 1960s and 1980s mainly—the Pop and the Postmodern, the bright colours and sensual shapes attesting to the stereotype of Milanese Design as energetic and desirous. The 1990s revisiting of a Scandinavian Modernist æsthetic particularly in furniture and kitchen appliance design seemed only to reinforce such a stereotype: “we can engage with this styling,” they seemed to say, “but it will always have our signature elegance and sophistication, that demands display and passion rather than objective appreciation.” Only Studio Mendini seemed to have no truck with the vagaries of fashion. Asked in Spring 2002 whether the studio’s playful style—so reminiscient of Design’s Postmodern turn of the 1980s as well as Pop’s 1960s exuberance—was still relevant in a world experiencing suicide terrorist attacks in many of the world’s cities, our guide told us that Signore Mendini believed that now, as much as ever, was it necessary to have some joy in people’s lives. And that is all.1 This is design as frippery, as an escape from the everyday, from the dirtiness of culture, of society and of politics. This is design which ignores the everyday experiences and concerns of people. This is design which has turned in on itself. This is not good enough.