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07 on land and climate3, to changes in environmental law -initiating strategies to improve legislation4- and to the responsible modifica- tion of inadequate business practice, all for the sake of sustainable Imagining recycling, development5. However, some companies and agents in this chain, taking advantage of this phenomenon that could be misunderstood recycling designing, as a fashion, turn these ecological attributes into a simple “hollow” image in which production does not follow minimum sustainability designing the image: standards. Through the so-called greenwashing6, users are induced to perceive values of a product that they do not really have, or at Reutilisation least, not completely. Although the design field has also been affected by as a design strategy these ‘greenwashes’, a great awareness has been created throughout the production chain (from the creator to the user, including the pro- María Villanueva Fernández ducer) which has often resulted in responsible and fair design, paying special attention to its material nature, complexity, processes and life Héctor García-Diego Villarías cycles. All this has led to the creation of an ecological image, this time Throughout history, recycling has become a solution for product veracious, but which sometimes limits the designer’s project strate- development on several occasions. Beyond the ecological gies to the field of ecology, relieving other important issues such as conscience that has been constituted especially from the 60s form, function or symbolism to a secondary place. until the present time, this practice has served to solve different The efforts made since the 1960s until the boom in problems: technical, conceptual or even social. During the 20th recent years have led to the promotion of environmental education, century some seating furniture was made in which the recycling the creation of activities and training systems in design schools, as of materials and parts of objects has given rise to real design well as the development of research into new bio-materials7 and milestones and has helped, without being its main purpose, to their circularity. Being biodegradable, compostable, renewable, create a sustainable image. This article attempts to tell the story recyclable are some of the inherent characteristics of the respon- of these pieces and their ecological context, to show the operation sible product today; however, there is another aspect that far of reuse as a project strategy and as part of a holistic process that seeks to respond to technical, functional and conceptual issues, from being novel, emerges as a fundamental resource and project beyond the merely ecological. strategy, also providing a clear image of awareness: reutilisation. This strategy is far from innovative; indeed, it can be said to be as old as mankind. Throughout history there have been episodes where the reuse of materials or object elements has become the key and solution for a product. Beyond awareness, this practice has served to resolve issues of different significance, solving technical and conceptual problems or even claiming social reasons, designing from the material and its implications. In particular, in the 20th century we find some examples in which the recycling of materials and parts of objects, understood in a broad sense, has given rise to real design milestones that have marked its history and have helped, without be- ing its main purpose, to create an ecological image. Taking the as a plot typology, below are different examples that show the opera- tion of reuse as a tool and design strategy that seeks to respond to other issues, beyond the merely ecological (fig. 01).

DESIGN Recycling is a process inherent in Nature RECYCLING from the beginning. Through biochemical, physical or geological processes in which matter and energy are used in a cyclical THE IMAGE OF Since the creation of the concept of way, a balance of ecosystems is reached. RECYCLING ecology in 1866 by the German philosopher Human beings, in their capacity to adapt to and naturalist Ernst Haeckel, a process of the environment, have used this resource: first, by taking advantage transformation of the way we look at nature of and using the materials, just as they found them in nature; later, by has been gradually but constantly converting them into raw materials, processing them and, finally, developing. From 1960 onwards, this recycling them. One of the ways of recycling is reutilisation, if process became more intense, leading the understood as defined by Blanco in his book Notes on Industrial most advanced countries to rethink their relationship with the Design: “the re-cycling of a part, material or product to make a new environment at different levels and proliferating an attitude of one or to recover the used material”8. awareness of the protection and respect for the planet and its limited Reusing came before recycling9. Since prehistoric times, resources. This was a consequence and, at times, the cause of the transforming certain materials such as metal, fabrics and minerals materialization of various actions of a social, political and business was a complicated and expensive task. The practice of reutilisa- nature that seek collective solutions to address environmental tion was then extended, coexisting with that of recycling, although problems. not as we know it today. After the industrial revolution, in which the In particular, it has resulted, over the past few years, in processing of materials was simplified, to reuse ceased to be a com- close collaboration between civil society, academia and agencies1 mon operation, resurfacing in times of warlike conflict when, due to and UN funds and programs. This movement has led to environmen- scarcity, there was a special need to make use of either the material tal2 awareness campaigns, to summits, meetings and conferences or the components of objects. RA 22 211

It was precisely during the inter-war period that the first in Villa Olmo in Como. Both were the result of the association of modern cantilever chair10 was created back in the mid-1920s. That different pieces from the artisan and industrial world, mainly from piece, in addition to being the cause of a legal dispute already known the transport sector. Although there was already a precedent21, in for its original authorship11, was based on an ingenious exercise of the Mezzadro stool the Castiglioni used a suspended tractor seat reutisilation carried out by its creator Mart Stam. From 1925 onwards, to give it a use in another context by transforming the domestic the young architect began experimenting with small diameter gas space22 (fig. 03). Besides that, in the Sella they use a bicycle seat tubes which he joined with elbows that allowed him to create right connected through a steel rod to a hemispheric support, “capable angles and great functional possibilities. These experiments led to of a ‘dynamic balance’”23. the first cantilever (Freischwinger), which were later built from This piece, close to the world of ‘juggling’, is an example steel tubes. of functional adaptation, since it was designed as a ‘telephone stool’ The chair proposed an innovative morphology of great for unusual postures, allowing the movement of the body (fig. 04). formal purity that adapted to the concept of modern architecture Each stool was a milestone not only in terms of semantic innovation and the spirit of a new era. This piece was exhibited at the 1927 through its assembly methodology and its desire to decontextualise, exhibition12, where it was very well received, especially but also constituted a new design methodology through reutilisation because of the oscillating effect achieved by the flexible curved steel (here called ready-made) that responded to a functional end, like structure that gave a sensation of suspension in space13. Although any other design piece. Innovative at the time, it was not until 1970 the chair was considered to be “structurally rigid and visually over- that Zanotta began to produce the Mezzadro stool and until 1983, powering”14, it opened the way to a new concept of furniture from the the Sella. formal creation of the object, but from the constructive perspective These marketing dates are not surprising, given the too (fig. 02). social and economic context of that time. In the late 1960s and early As Giulio Carlo Argan explains, “it is no longer a question 1970s, citizen and institutional movements began to emerge around of moving from matter to form. Since the starting point is already a the environmental issue24. The concept of ‘ecologically sustainable form (the metal tube), the process is a formal construction: from uni- development’ was proposed in the 1967 UNESCO intergovernmental ty to complexity through successive projections”15. In this case, the conference for national use and conservation of the biosphere25. material and its form determine both the design and the construction Three years later, the first Earth Day was celebrated, from which the process, since the starting point is a specific morphology that, at the symbol of recycling designed by Gary Anderson became known and beginning, comes from the gas pipe. This new construction principle several volunteer programs on the ethics of reutilisation and recy- creates the image of modern furniture, constituting, together with cling were organized. In the same year, the Environmental Protection other similar chairs of the time, a milestone in the history of design. Agency was created, as well as a series of laws aimed at protecting After the Second World War, design’s horizon underwent the environment. a transformation motivated precisely by the consequences of the Regarding the design point of view, in 1971 Victor Pap- war. On one hand, there had been great advances in industry and anek26 published his book Design for real-world (the introduction of materials, due to the innovation developed for combat. This situation which was written by Buckminster Fuller), which represented a sig- led to a drunkenness of creativity and material experimentation that nificant ideological change, introducing a new discourse on design, would characterise the 1960s and 1970s. On the other hand, how- ethics and ecology, and becoming a reference point over time (since ever, just after the war ended, there was a concern about material it initially had less impact on the profession)27. The text, as Torrent resources that led to rationing plans in different sectors. explains, was “a wake-up call reminding designers of their social In addition to the latter and as a consequence of the responsibility and demanding that they carry out activities that re- former, from the 1960s onwards there was a new interest in recycling spect the environment”28. This book included a project by the author, and reutilisation, promoted by the initial ecological currents. How- carried out together with George Seeger, which consisted of a radio ever, at the end of the 1950s, the Castiglioni brothers made some receiver for impoverished countries, based on the reuse of elements original proposals which, according to Zabalbeascoa, “were both such as a discarded juice can (fig. 05). Two years later, he launched an open door to the recycling of objects and the decontextualisa- Nomadic Furniture with James Hannessey, a manual promoting the tion of elements of industrial manufacture16. “In fact, as Dardi and environmentally friendly DIY philosophy. Papanek’s vision spread Pasca point out in their book Design History Handbook, this way of through design schools and conferences, but without major changes understanding product development based on the association of in the professional practice of design at the time. different elements from different fields and recognising the potential In 1972 the Club of warned in its report “The of existing anonymous objects has turned them into “unquestionable Limits to Growth”29 about the inversely proportional relationship points of reference”17. between the planet’s existing resources (limited) and the population The recognisable Castiglioni style has generally been (progressively increasing). This achievement of events provoked linked to Marcel Duchamp’s ready-made. Although the artist’s in many designers a feeling of ecological responsibility that had to work was limited to the field of art18, the Castiglioni’s products had revert into sustainable design and into visible actions in their field. a practical purpose, as well as a conceptual intention that distilled As a result, the Global Tools association was created in Florence in irony (typical of 1960s pop art) and incited critical reflection (a 1973, which brought together various protagonists of Italian design characteristic of that time). The concept of ready-made in design associated with the radical groups SuperStudio and Archizoom and can be understood as “the operation of relocating objects by moving references such as Mendini, Sottsass, Pesce, with the aim of promot- them from one context to another”19. For this strategy to be effective ing the use of materials and processes that are responsible with the at a semantic level, it was necessary for decontextualisation to take environment30. In this line, new designs began to emerge that exhib- place with respect to its original use, inciting reflection and creating ited these values, such as the Wiggle chair (1972) by Frank Gehry or confusion, as in Duchamp’s works, but also responding to the new the Consumer’s Rest (1983) by Frank Shreiner (Stiletto)31. function. In 1981, Ron Arad founded his design studio One Off, in At the end of the 1950s, the Castiglioni brothers used which he developed an interest in creating unique pieces, in some this project method based on reutilization in the industrial pro- cases handmade, rather than large-scale mass production, typical duction of furniture. As a result of this exercise, in 1957 their well- of industrial design. Among them is his well-known Rover armchair known works Mezzadro and Sella20, which were presented for (fig. 06), a model that marks Arad’s beginning as a designer, cre- the exhibition “Shapes and Colours in Houses Today” organised ated from scrap metal from a junkyard. The armchair consisted 212 RA 22

of a leather seat that came from a Rover V8 2L car and a support This piece, as well as others by Remy42, distills a new structure made of two curved Kee Klamps’ steel tubes32. Inter- conceptual creativity that beacme the representative iconic theme estingly, the first two copies were bought by the famous fashion of the design company . This association has collaborated designer Jean Paul Gaultier that same year. Despite the fact that with designers now recognized as Hella Jongerius or Richard Hutten, from this moment on the armchair enjoyed great popularity, Arad “delivering homeopathic doses of reflection on our behavior, habits produced a limited number of pieces, determined by the available and vices and virtues to act through things”43. Due in part to the suc- quantity of usable seats. cess achieved by the group, The became the home of This design piece that seems to be at the point where the new conceptual design and a point of attraction for research and art (ready-made/objet trouvé) and recycling converge, did not intend experimentation, typical of . One example is the Design to participate in either of them, as stated in the book Ron Arad. No Academy in Eindhoven, linked to many of the designers who have discipline. In this text, he explains that his work has been misinter- innovated in terms of the recycling and reutilisation of materials, such preted “as an environmental statement” or “as a manifesto”33. The as Piet Hein Eek or Dirk van der Kooij44. piece however responds to simpler questions: a greater ease of execution and a desire to create a different model (although it shared THE DESIGN Today, recycling has become an industry, a certain formal resemblance to a 1924 chair by Jean Prouvé34). OF THE IMAGE which, as such, moves with its parameters, However, despite all this, Arad uses recycling as a design technique, benefiting from research and development from which he creates an iconic piece. Due to the social and cultural to find new techniques, as well as context in which ecological awareness was growing, the Rover chair experimenting with its weak points. In it, as became an example of reuse that transcended the designer’s will. In has been seen, moved by ecological fact, the limited edition of this model, due to the restricted number of currents, many designers take recycling as their main story in the pieces within its reach, causes it to be understood even more as an development of their work as an image or identity. This has object with an ecological vocation that does not go beyond the line of happened, partly, because companies and movements, social and consumption typical of the industrial design35. political, have also assumed recycling as a commercial or propa- In the late 1980s, the environmental movement and ganda value. These practices leave other relevant aspects in the recycling became more effective and viable when modern materials background throughout the history of design and objects of use. processing took off, despite having started its theoretical approach- These are not only cardinal issues such as function or the study of es three decades earlier. By the middle of the following decade, form in relation to beauty or its ergonomics, but also other most developed countries had already begun to propose policies for fundamental ones, perhaps more ethereal, such as symbolic, environmental protection and waste management. In this context, emotional or narrative character. Recycling is understood then, as the Brazilians Fernando and Humberto Campana created in 1991 the one more requirement to design that complements the whole. It is a first Favela chair(fig. 07), built with pieces of discarded wood glued responsibility of the designer in his professional deontological task, altogether, inspired by the Brazilian favelas. In this model produced moving away from the recurrent image of recycling as a stamp to be by Edra36, the designers bet not only on the use of nearby materi- able in order to carry out an ecological design. als and on the reutilisation of objects or components, but also on a In this sense, after the analysis that has been carried design “born” directly from the material, a feature that character- out, different examples created during the 20th century can be ized other of their works, as Torrent explains: “In the conception of contemplated in which different designers produce a list of pieces many of their products, first it is the material, then the form, which is through the reutilisation of objects, their components or materials, derived from its properties; and finally, they approach the function with a purpose that transcends ecology, but from which they are taking into account the ergonomic conditions”37. not unrelated. In each case, the author uses recycling in the form of However, in this case, this design process not only con- ready-made or reutilisation as a project strategy to tackle issues or ditions the formal result of the piece, but also provides a discourse, problems of varying significance. creating a narrative design with an emotional component, a differ- Stam uses the gas pipes (pre-existing parts) to solve a entiating feature of the end of the century products. The Campana technical problem that allows to create an innovative shape with new brothers’ design is impregnated with Brazilian culture, its roots and features such as flexibility. Here, recycling, although remaining as an its tradition, from which, on the one hand, they extract the practice exercise of experimentation, meant a change of the constructive, of reuse and, on the other, they preserve the artisan heritage, col- functional and formal paradigm that even configured the image of laborating with local workers38. Due to the narrative capacity of their modern furniture. The Castiglioni brothers carried out a readymade works, they have sometimes been considered as social claims of exercise, which was ironic, typical of the context (on one hand, the reality of their country. His pieces manage to condense the local that of consumption typical of the pop era and, on the other, of an essence of Brazilian culture, but in a universal format corresponding ecological culture that was beginning to awaken). This assembly to contemporary design, combining craft production and industrial operation not only gave rise to a new formal image, but also achieved technique39. the decontextualisation of the objects, responding to a functional In the same year as the Favela chair, Droog’s Yew circumstance. Arad, however, carrying out a conceptual exercise, Remy40 created his Rag chair (fig. 08), made from different layers of presented a piece built with discarded waste, constituting, far from clothing and fabric, which are compacted and joined together with being his main will, a true example of recycling. The piece is a sample several bands placed in two directions. The chair can be purchased of experimentation with new materials and forms. The Campana ready-made but there is also the option for the user to recycle his brothers use recycling as the thread of their narrative, based on Bra- own clothes, giving the product an emotional charge. Therefore, the zilian culture. Their aforementioned example becomes an image of operation is not just an exercise of reusing materials, but one that a social reality and the result of the application of traditional artisan involves the user’s emotion: “Each piece is unique; a treasure chest of knowledge, but with a universal spirit. Finally, Tejo Remy offers a memories”41. In this way objects would be brought back to life with a vision of recycling that involves the user in the project and gives the double meaning: that of reutilisation and that of the crystallization of piece its identity through the reutilisation of its own clothes (fig. 09). the consumer’s memory. This character causes that, in spite of being These examples, which offer different approaches to an artisan product, it is not considered of limited edition, since each the concept of recycling or reutilisation as a design strategy, have piece is different according to the materials found and used, even gone down in history as recognized milestones, especially in the field according to the identity of its buyer through its recycled clothes. of formal innovation. But they have also contributed, probably with- RA 22 213

out seeking it, to the transmission of an ecological consciousness María Villanueva Fernández that has been growing as the century has progressed. The narrative PhD Architect from the University of Navarra, Luis Moya End- of these cases is constructed by understanding the context in which of-Career Award. Hired as a Doctor by ANECA. Professor at the each piece arises, interweaving the contributions of these designers School of Architecture, TECNUN, ISEM Fashion Business School with the advances and events that are emerging around recycling and the Faculty of Communication of the University of Navarra. in design. This allows us to appreciate how, with the increase of She has presented her research, focused on the design of Spanish sensitivities and movements at a social, political or business level, architects and the limits of this discipline with art and architec- more products are emerging that incorporate recycling as another ture, in magazines such as EGA, PPA, RITA and RA, among others, characteristic of the design process. Recycling was then a line of and in specialized conferences. She has carried out research creation and a way of acting and, although it was initially proposed stays at The Getty Research Institute (LA), GSAPP Columbia as an ideological attitude or a political positioning, due to the plastic University (NY) and ENSAPBX (Bordeaux). characteristics of the results, it was gradually defined as a design E-Mail: [email protected] strategy with its own entity. Orcid ID 0000-0003-2033-4422 This situation was probably accentuated because when some of these cases are produced (with the exception of the Arad and Droog part), the parameters and characteristics of reutilisation Héctor García-Diego Villarías are dissolved by the industry. The exercises then become prototypes PhD Architect from the University of Navarra, Extraordinary End for recycling and reutilisation, since they are subsequently made of Degree and Doctorate Award. Lecturer at the ETSAUN. Hired with pieces edited directly by furniture companies. In the process of as a Doctor by ANECA. Deputy Director of Academic Planning at realization and commercialization they move away from their design the ETSAUN. He has presented his research in journals such as genesis in which recycling appears as a design tool. On the other PPA, VLC, RITA and RA, among others, as well as in congresses. hand, this aspect reinforces the idea of considering reutilisation as Scholarship from The Getty Trust for a research stay at The Getty a project methodology that allows design from the material itself. Research Institute in L.A.; scholarship from the Bancaja Founda- The result offers a strong and effective image on these products that tion for research at Columbia University in N.Y. research stay at awakens the awareness of other designers, attracted, among other the ENSAPBX, Bordeaux. reasons, by this character linked to their material reality. E-Mail: [email protected] Although the works analysed do not strictly comply Orcid ID 0000-0001-8763-8098 with the values of recycling, they all constitute inspiring examples to continue with this line and have helped to create an image that allows this practice to become increasingly common nowadays. Beyond the desirable commitment of designers to these values, these projects use this strategy of using materials as a tool to solve other problems. And not only that, but through the manipulation of these elements they manage to understand this practice as a project strategy, trying to integrate all the objectives of a good design. Recycling, in this case, is not the only purpose or a marketing tool, but a way of doing, a way to raise awareness and a way of designing. 214 RA 22

Notes is used to refer to the com- LÓPEZ MARTÍN, Pablo, The as the tractor. In addition, the 01. Among the best known munication/image strategy of Chair of Discord: Small scale cycling sector is represented in international non-governmental some companies that try to as a field of experimentation the fastening element while the organizations are WWF (World market their products, through in modernity. Breuer, Mies and nautical field is collected in the Wildlife Fund) and Greenpeace, deception or manipulation of Stam, Doctoral Thesis directed beech wood piece. https://www. created in 1971. At an insti- information. by Emilio Tuñón Álvarez, Uni- zanotta.it/en-us/products/fur- tutional level, the defense of versidad Politécnica de Madrid, nishing-accessories/mezzadro 07. An increasing number of nature was carried out by the 2015. designers, companies and aca- 23. The stool seals, also takes as so-called green parties, which demic centers are devoting their 12. See: KIRSCH, Karin, The a reference the world of trans- initially emerged in the countries resources to researching new Weissenhofsiedlung, ex- port, in this case cycling, com- of northern Europe, such as materials. See the dedicated perimental housing built for the bining this idea with the creation Sweden, Denmark or . issue of the research journal Deutscher Werkbund, Stuttgart of a support that together with 02. Budget lines for ‘environ- of Elisava. Temes de Disseny 1927, (Trad. Michael Knight), Dt. the two legs of the user allows mental education’ have been #34: Material interactions in the to achieve stability. As the firm 13. VILLANUEVA FERNÁN- invested in order to reverse the human-made mileu or texts like Zanotta states, “it is reminiscent DEZ, María; GARCÍA-DIEGO situation by raising awareness FRANKLIN, Kate; TILL, Caroline, of the milker’s stool”, returning VILLARÍAS, Héctor; ‘Tecnología of nature’s problems, increasing Radical Matter: rethinking ma- once again to the connection posible’, rita_redfundamentos, n. ecological knowledge, and pro- terials for a sustainable future, between the rural and industrial 12, November, 2019, p. 93. viding principles for sustainable Thames&Hudson, 2018 or MYE- worlds. https://www.zanotta. development. RS, William; ANTONELLI, Paola, 14. TORRENT, Rosalía; MARÍN, it/en-us/products/furnishing- Bio Design: Nature, Science and Joan M., Historia del diseño accessories/sella 03. The Earth Summit is the Creativity, Moma, 2012. industrial, cit. p. 19. international meeting of heads 24. The role of Rachel Carson, of state to reach consensus on 08. BLANCO, Ricardo, Notas 15. ARGAN, Giulio Carlo, Walter who published the text Silent the environment and related sobre diseño industrial, Nobuko, Gropius and the Bauhaus, Gili, Spring in 1962, is relevant at issues. The first one took place Buenos Aires, 2007, p. 130. Mexico, 1983, p. 51. the beginning of this decade. in Stockholm in 1972 and was a In this book, she described the 09. Cfr. FIELL, Charlotte and 16. ZABALBEASCOA, Anatxu, milestone in the development harmful consequences of the Peter, The story of design: from Chairs: history of the chair, Gus- and treatment of issues related environmental impact of chemi- the Paleolithic to the present, tavo Gili, Barcelona, 2018, p. 87. to the protection of the planet. cal products on Nature. Her Goodman, , 2016, pp. Subsequently, they have been ideas influenced the ecological 14-19. 17. DARDI, Domitilla; PASCA, held in Rio de Janeiro in 1992 Vanni, Design history handbook, mobilisations of the decade. and 2012 and in Johannesburg 10. According to Rosalia Torrent, Silvana, Cinisello Balsamo, 2019, CARSON, Rachel, Silent Spring, in 2002. the first cantilever chair made of p. 207. Crítica, Barcelona, 2001. iron could have been exhibited Environmental or Nature’s 25. TORRENT, Rosalía; MARÍN, 04. at the 1851 Universal Exhibition 18. BLANCO, Ricardo, Notes on rights, which are included within Joan M., Historia del diseño in London. TORRENT, Rosalía; Industrial Design, cit., p. 129. the branch of public law, emerged industrial, cit. p. 411. MARÍN, Joan M., Historia del dis- 19. Ibid, p. 155. with the 1972 Stockholm Declara- eño industrial, Cátedra, Madrid, 26. Victor Papanek, designer, tion with the aim of regulating the Other works made with 2005, pp. 68-69. 20. anthropologist, teacher and relationship between human be- similar parameters were the writer, Austrian by birth and ings and nature. These framework 11. The well-known cantilever Toio lamp, produced by Flos American by adoption, has been laws on the environment are in chairs made by Mart Stam, in 1962, composed of a car for many a reference point for charge of protecting the planet Marcel Breuer and Mies van der headlight as a lighting element responsible design, from a criti- from the actions of people, taking Rohe became part of a debate and a telescopic element cal and ethical perspective. He into account different aspects about their ownership, which similar to a fishing rod with is the author of several books, such as pollution, biodiversity or is typical of the period and of rings through which the cable among which are PAPANEK, resources. the changes that were taking ran. Also, the Lampadina lamp Victor; HENNESSEY, Jim, place at the level of concept made with a large luminaire and 05. Sustainable develop- Nomadic Furniture, Pantheon and production. Until now, a film reel on which the cable is ment is understood as one Books, New York, 1973; PAP- stylish furniture was designed wound and works as a support. which does not compromise ANEK, Victor; HENNESSEY, according to a model governed DARDI, Domitilla; PASCA, Vanni, resources, allowing the needs Jim, How things don’t work, Pan- by formal (stylistic) param- Design history handbook, cit., p. of future generations to be met. theon Books, New York, 1977; eters such as the Adam or 207; WHITE, Ricardo, Notes on However, as stated by López PAPANEK, Victor, The Green Smith style chair, in which the industrial design, cit. Ricalde, López-Hernández Imperative: Ecology and Ethics intellectual property of each and Ancona Peniche, this in Design and Architecture, piece remained diffuse or in the 21. According to Charlotte and concept, since it was coined in Thames and Hudson, New York, background. However, with the Peter Fiell in their book 1000 1983 in “Our Common Future” 1995; PAPANEK, Victor, Design introduction of new forms, new Chairs, there was already a until today, has undergone for the Real World: Human Ecol- materials and industrial proc- precedent for a chair made numerous modifications and is ogy and Social Change, (1st esses, the design process had from a tractor seat, designed edi- currently a subject of debate. undergone a modification that by Benjamin Baldwin in 1953. tion, 1971), Thames & Hudson, LÓPEZ RICALDE, Carlos David; affected authorship. Curiously, FIELL, Charlotte and Peter, London, 2011. LÓPEZ-HERNÁNDEZ, Eduardo 1000 chairs, Taschen, / contrary to what seemed to be MARGOLIN, Víctor, Las Salvador; ANCONA PENICHE, New York, 2005, p. 311. 27. the case in theory, if we take políticas de lo artificial. Ensayos Ignacio, “Desarrollo sustent- to account the democratizing 22. The Mezzadro stool has y estudios sobre diseño, (Trad. able o sostenible: una definición character with which modern both handcrafted and industrial Gabriela Ubaldini), Designio, conceptual”, Horizonte Sanitario design had emerged, far from components, with references to Mexico D.F., 2005, p. 130. 2005, vol.4, n. 2. the individual artist’s stamp. In different types of transport. It 28. TORRENT, Rosalía; MARÍN, 06. Greenwashing is an evolu- order to deepen the conflict recovers the theme of the world Joan M., Historia del diseño tion of the traditional term of between the three authors, it of agriculture thanks to using industrial, cit., p. 411. Whitewashing. This concept is recommended to consult the seat of a rural vehicle such RA 22 215

29. The Club of Rome is an NGO 39. The Campana broth- See: FRASER, Max, Boek: Piet Images created in 1968 in Rome by a ers’ work is characterized by Hein Eek, BIS Publishers B.V., 01. Examples of reused materi- group of researchers, academ- the reinvention of traditional 2006 On the other hand, the als in furniture design. craft techniques, from a more designer Dirk Vander Kooij, ics, scientists and politicians 02. Gas pipeline structure and also Dutch, has experimented who shared a concern for the contemporary perspective. Fur- photographs of Mart Stam’s with the recycling of synthetics environmental situation and thermore, the Brazilian reality chairs at the 1927 Stuttgart from an innovative and current analysed the problem from a is conducive to the incorpora- Exhibition. Source: Thonet and perspective, including 3D tech- global, long-term perspective, tion of reutilisation as a tool for book The Weissenhofsiedlung, nology as a fundamental part of taking into account different creating products, due to social experimental housing built for the process. This methodology views and aspects (energy, re- differences, understood as an the Deutscher Werkbund, Stutt- is a proposal consistent with sources, population). In 1972 the operation to exploit resources gart 1927, by Karin Kirsch, 1994. report ‘The Limits to Growth’ by when there is a shortage. With the needs of the planet but also Donella Meadows, a biophysicist these principles, the Campana adapted to the advances of new 03. Drawing and photographs of and environmental scientist, brothers “undertake a personal production systems applied the Mezzadro stool of the Cas- was published. It concluded search for waste and produc- to the field of furniture (https:// tiglioni brothers, 1957. Source: that if the situation at that time, tion surpluses”. MORTEO, www.dirkvanderkooij.com/ Zanotta. Enrico, Design: From 1850 to the pages/about). taking into account parameters 04. Drawings and photograph of present (Trad. Barbara Burani), such as demography, resources This practice has also been the Sella stool of the Castiglioni Electa Arte, 2009, p. 400. and human action, did not used in other countries by a brothers, 1957. Source: Zanotta. change, the limits of the planet The Droog collective was large number of designers, 40. 05. Cover of the book Design would end in a century. including the Englishman James created in in 1993 for real world, 1971, by Victor Plumb, who has made a ward- 30. TORRENT, Rosalía; MARÍN, by art critic Renny Ramak- Papanek and the inside page robe from used suitcases, or Joan M., Historia del diseño ers and product designer Gijs showing Papanek’s radio the Spaniard Álvaro Catalán de industrial, cit. p. 411. Bakker, resulting in a series of project, made with a juice can. conceptual objects. It was at Ocón, who has created his PET ZABALBEASCOA, Anatxu, 31. the Furniture Fair in 1993 Lamp collection from recycled 06. Prototype by Jean Prouvé Chairs: history of the chair, when they presented, under plastic bottles, among many (left). Photographs and drawings Gustavo Gili, Barcelona, 2018, the title ‘Droog Design’, a list of others. of the Rover chair, 1981, Ron pp. 87-88. objects made with materials Arad (right). Source: FIELL, 32. It was an economical scaf- from the industry or created Charlotte and Peter, 1000 folding system created in the from the ready-made opera- chairs, Taschen, Cologne/ 1930s. ANTONELLI, Paola, Ron tion. Its repercussion caused a New York, 2005; Ron Arad. No Arad: no discipline, Museum of Dutch design trend recogniz- discipline, New York: Museum of Modern Art, New York, 2009, able in other countries, which Modern Art, 2009. launched a group of designers p. 27. 07. Partial photograph of the to fame, becoming a reference 33. Idem. side of the Favela chair by in the history of design. Droog the Campana brothers, 1991. 34. FIELL, Charlotte and Peter, defines itself as: “a conceptual Source: Edra. 1000 chairs, cit., p. 502. design company” focused on issues that affect people in 08. Rag chair, designed by Tejo 35. Vitra has launched limited order to contribute to society Remy, 1991. Source: Droog. editions of the Rover model with its products. The process 09. Seating furniture made in materials such as rust and is considered fundamental and chrome, thus forgetting the prin- by the reutilization of objects, they call their work “anti-disci- components or materials. ciple of reuse used by Arad. plinary”. https://www.droog.com/ 36. https://www.edra.com/en/ concept; WOODHAM, Jonathan vis-prod/101174 Michael, A dictionary of Modern Design, Oxford University Press, 37. TORRENT, Rosalía; MARÍN, New York, 2016. Joan M., Historia del diseño industrial, cit., pp. 393-394. 41. https://www.droog.com/ webshop/product/rag-chair 38. His commitment to Brazilian society is not only part of the 42. Among Remy’s work there design process of the Favela are other pieces that come from chair, but also led to the founda- the reutilisation of objects and tion in 2009 of the ‘Campana that are also part of the concep- Institute’: a center that deals tual design world. Those include with “design as a tool for Milk Bottle Lamp (1991) or ‘You transformation through social Can’t Lay Down Your Memory’ and educational programs. This Chest of drawers (1991). project, in which foreign and 43. DARDI, Domitilla; PASCA, national institutions, companies, Vanni, Design history handbook, organizations and public and cit., p. 244. private entities collaborate, has three objectives: “the rediscov- 44. The Dutch designer Piet ery of artisan techniques, the Hein Eek has developed a sus- development of social inclusion tainable design based on recy- and the preservation of the cling wood, which has resulted work of the brothers for future in ‘imperfect’ furniture, due to generations”. http://campanas. the method of craft production, com.br/institute-2/. made from discarded materials.