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Home Stories 100 Years, 20 Visionary Interiors Dall’8 Febbraio Al 23 Agosto 2020, Vitra Design Museum

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Home Stories 100 Years, 20 Visionary Interiors Dall’8 Febbraio Al 23 Agosto 2020, Vitra Design Museum CONFERENZA STAMPA 6 febbraio 2020, ore 14:00 Fire Station PRESS DOWNLOADS www.design-museum.de/press_images OPENING TALK E VERNISSAGE Arno Brandlhuber, Joseph Grima e Johanna Agerman Ross in conversazione con Jochen Eisenbrand 6 febbraio 2020, ore 18:00 Fire Station FINISSAGE Tell me how you live and I will tell you who you are! 23 agosto 2020, ore 18:00 Fire Station Home Stories 100 Years, 20 Visionary Interiors Dall’8 febbraio al 23 agosto 2020, Vitra Design Museum La casa esprime lo stile di vita personale, plasma la vita quotidiana e determina il benessere di ognuno. Con l’esposizione «Home Stories: 100 Years, 20 Visionay Interiors» il Vitra Design Museum avvia un nuovo dibattito sull’arredamento d’interni domestico, sulla sua storia e sulle sue prospettive future. La mostra conduce i visitatori in un viaggio nel passato e mostra come i cambiamenti sociali, politici e tecnici degli ultimi 100 anni si riflettano sugli ambienti abitativi. La mostra si concentra sulle grandi cesure che hanno caratterizzato il design e l’impiego degli interni nel mondo occidentale: partendo da temi attuali quali la crescente scarsità di spazi abitativi e la scomparsa dei confini fra lavoro e vita privata, attraversando la scoperta del loft negli anni Settanta così come il successo di forme di convivenza più informali negli anni Sessanta, si risale ai moderni elettrodomestici degli anni Cinquanta fino ad arrivare ai primissimi appartamenti open space degli anni Venti. Queste cesure saranno illustrate da 20 famosi arredi d’interni fra cui si contano progetti di architetti quali Adolf Loos, Finn Juhl, Lina Bo Bardi o Assemble, di artisti quali Andy Warhol o Cecil Beaton e di leggendarie arredatrici quali Elsie de Wolfe. La progettazione e produzione di mobili, tessuti, elementi decorativi e accessori per la casa si avvale oggi di una gigantesca industria globale. Le ultime tendenze in ambito di arredamento coinvolgono l’intero panorama mediatico, da riviste a trasmissioni televisive, da blog a social media. Mentre, però, alcuni temi sociali e architettonici, come ad esempio la questione riguardante spazi abitativi accessibili a tutti, danno adito ad accese discussioni, non sembra esserci alcun serio dibattito Vitra Design Museum, Charles-Eames-Straße 2, 79576 Weil am Rhein, Germany T +49.7621.702.3200, F +49.7621.702.3590, [email protected], www.design-museum.de sociale sull’arredamento d’interni. La mostra «Home Stories» intende cambiare questo stato di cose. Gli oggetti scelti dimostrano in quale misura la progettazione degli ambienti abitativi non sia solo influenzata da singoli arredatori di spicco, ma prenda anche spunto dal mondo dell’arte, dell’architettura, della moda o della scenografia. Se oggi alcuni arredamenti interni sfoggiano una monotonia esemplare, spesso condizionata da fornitori di mobili o da Instagram, la mostra, grazie all’ampia scelta di oggetti esposti, illustra quanto possa essere ricco e stimolante l’interior design e va così a riscoprire la storia più recente del vivere domestico. Spazio, economia, atmosfera: dal 2000 a oggi L’esposizione «Home Stories» si apre con interni moderni che meglio descrivono il drastico cambiamento attualmente in corso in ambito abitativo. Ne è un esempio lampante l’appartamento micro «Yojigen Poketto» (Sacca 4D, 2017) dello studio madrileno Elii che riesce a sfruttare una superficie minima grazie all’estrema versatilità dei mobili ad incasso. L’architetto Arno Brandlhuber, per contro, dimostra con la «Antivilla» (2014) vicino a Potsdam come un’ex fabbrica possa essere riqualificata ad ambiente domestico. L’impiego di pareti in tessuto rende flessibile la divisione degli ambienti e, puntando sulla riduzione e sull’impiego mirato di determinati materiali, ridefinisce il concetto di confort e lusso. Il progetto «Granby Four Streets Community Housing» a Liverpool (2013- 2017) dimostra invece come la cosiddetta «Sharing Economy» si rifletta sull’architettura d’interni. Il collettivo britannico Assemble, in stretta collaborazione con gli abitanti, ha salvato dalla distruzione un insediamento di case a schiera risalente all’epoca vittoriana eliminando gli ambienti interni e riconvertendo gli spazi affinché si adattassero alle esigenze abitative contemporanee. In un laboratori appositamente costruito in loco, sono staiti realizzati nuovi elementi d’arredo dai materiali estratti dalle case. Negli ultimi anni, un cambiamento profondo nel modo di percepire l’ambiente domestico è stato causato da piattaforme internet come Airbnb, Instagram o Pinterest: grazie ad esse possiamo pubblicizzare il nostro appartamento e considerarlo sempre più come un bene da commercializzare. Tuttavia, le immagini e la messa in scena di molti interni contemporanei ricorrono, ancora oggi, a motivi tradizionali o conservatori. Lo dimostra il designer britannico Jasper Morrison in un saggio fotografico appositamente creato per la mostra in cui egli esamina il significato e la disposizione di singoli oggetti al fine di creare l’atmosfera e il carattere di un appartamento. La reinvenzione degli interni: 1960–1980 La seconda parte della mostra è dedicata alle radicali rotture con la tradizione che si ebbero nell’interior design dagli anni Sessanta agli anni Ottanta. Sotto il crescente influsso del postmodernismo, i designer – in particolare il collettivo italiano Memphis – iniziarono a riflettere sull’importanza e sulla valenza simbolica di mobili, motivi e decorazioni. All’inizio degli anni Ottanta lo stilista Karl Lagerfeld, un appassionato collezionista di progetti firmati dal Gruppo Memphis, trasformò il suo appartamento di Monte Carlo in un santuario del postmodernismo in cui veniva portato agli estremi lo strano clima abitativo pop dell’epoca. Già nei due decenni precedenti i cambiamento sociali avevano influenzato l’architettura d’interni: all’inizio degli anni Settanta l’architetto Claude Parent e il filosofo Paul Virilio avevano introdotto il concetto del «vivre à Vitra Design Museum, Charles-Eames-Straße 2, 79576 Weil am Rhein, Germany T +49.7621.702.3200, F +49.7621.702.3590, [email protected], www.design-museum.de l’oblique» (vivere l’obliquo) per contrastare gli anonimi edifici cubici del tempo. Nel 1973 Parent dotò il suo appartamento a Neuilly-sur-Seine di superfici oblique polivalenti che, a scelta, potevano essere utilizzate per sedersi, mangiare, lavorare o sdraiarsi. La «Silver Factory» (1964–1967) di Andy Warhol a New York, invece, fu uno dei primissimi esempi di un edificio industriale abbandonato riconvertito in ambiente domestico e scatenò un entusiasmo per il «loft living» ma più sopito. La mostra illustra la voglia di sperimentazione in ambito di arredamento d’interno negli anni Sessanta e Settanta anche con due installazioni accessibili e situate all’esterno dal Museo. Nella Feuerwehrhaus di Zaha Hadid è esposta una ricostruzione del leggendario «Fantasy Landscape» (1970) di Verner Panton, una casa-tunnel simile ad una grotta composta da elementi imbottiti di colori diversi. Di fronte al museo, invece, la micro-casa «Hexacube» (1971) di George Candilis testimonia come già in questo periodo si sperimentasse con unità abitative modulari mobili. Negli anni Settanta, l’ascesa mondiale del produttore di mobili IKEA comportò un radicale cambiamento dei nostri interni: da un lato IKEA ha permesso a molte persone di arredare la propria casa con mobili moderni a prezzi accessibili; dall’altro lato, però, questo sviluppo ha contribuito a far sì che i mobili e gli altri pezzi per l’arredamento vengano considerati oggetti di consumo intercambiabili e di breve durata – un atteggiamento, questo, le cui negative conseguenze per l’ecologia si stanno ora facendo strana nelle nostre coscienze. Natura e tecnica: 1940–1960 Un’altra fase decisiva sulla strada dell’interior design moderno ebbe luogo nell’immediato dopoguerra, quando il linguaggio formale dell’avanguardia si fece strada in un numero sempre maggiore di appartamenti dell’emisfero occidentale. Con il progetto «House of the Future», creato per l’Ideal Home Exhibition di Londra del 1956, Peter e Alison Smithson crearono arredi futuristici con materiali di ultima generazione, elettrodomestici da cucina e con un bagno auto-pulente. Per contro, Jacques Tati, più scettico rispetto al progresso tecnologico e al design funzionale, nel suo film «Mon Oncle» (Mio zio, 1958) mise in scena la Villa degli Arpel alla stregua di una casa-macchina asettica e arbitraria che sottomette i propri abitanti. In questi decenni, l’unione fra forme e materiali moderni e una certa «Gemütlichkeit», un comodo ed intimo benessere, si dimostrò essere una ricetta di successo del design scandinavo. Già nel 1942, ce ne danno prova l’appartamento e la casa di Ordrup in Danimarca dell’architetto Finn Juhl. Ma anche la fluidità dei confini fra ambienti interni ed esterni divenne tema di molti sogni e spazi abitativi: l’esposizione lo dimostra sull’esempio di Casa de Vidro (1950/51) di São Paulo, creata dall’architetta brasiliana Lina Bo Bardi. Nel dopoguerra, molti degli sviluppi avvenuti in ambito di arredamento d’interni erano strettamente legati all’ampio contesto politico del conflitto est-ovest. La mostra lo palesa grazie al famoso «dibattito in cucina» fra Richard Nixon e Nikita Chruschtschow del 1959, quando i due politici, in una casa prefabbricata costruita per l’Esposizione internazionale di Mosca, discussero della qualità abitativa e degli standard domestici nei due sistemi politici. Gli inizi dell’arredamento moderno: 1920–1940 Vitra Design Museum, Charles-Eames-Straße 2,
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