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Michele De Lucchi, Designer Gentile 48 Michele De Lucchi, Designer gentile 49 Michele De Lucchi, Designer gentile items # 3 Peter van Kester items # 3 Peter van Kester 2010 2010 “Ontwerpen is niet het beeldhouwen van mooie vormen en materialen, maar deze voorzien van betekenis.” Premsela en galerie BINNEN presenteren de Italiaanse designer-architect Michele de Lucchi als pionier van een Michele veranderende industriële cultuur. Michele de Lucchi (1951) debuteerde bij het assembleren en bespaarde materiaal. Hoe ziet hij zelf zijn Alchymia, brak door via Memphis en ont- Zo voert de opening in de kap bijvoorbeeld De Lucchi, wikkelde zich tot een veelzijdig ontwerper. de warmte af. “Als ik wist hoe ik hem had michele Meest bekend is zijn Tolomeolamp voor getekend, had ik er meer getekend”, schreef rol als industrieel Artemide, maar hij ontwerpt voor uiteen- hij ooit schertsend. ontwerper? Welke lopende industrieën, musea, banken en Designer invloed heeft energieproducenten. Sinds 1990 brengt hij ambachtelijke series op de markt onder het Attitude label Produzione Privata. Tegenover de de- In 1977 verhuisde De Lucchi van Florence Produzione Privata signindustrie staat De Lucchi ambivalent: naar Milaan. Hij begon te ontwerpen gentile op zijn industriële “Industrie zorgt voor wetenschappelijke voor Studio Alchymia en Olivetti, waar de lucchi, doorbraken en een hoge levensstandaard, hij niet alleen kantoorsystemen, maar ook praktijk en hoe maar vervuilt de oceanen, vernielt de voor- faxen, computers en laptops tekende, geen steden en versterkt de kloof tussen arm en onderscheid makend tussen apparaten evolueerde zijn rijk. Toch is er geen alternatief. Ontwer- voor thuis en het kantoor. In datzelfde pers moeten met nieuwe visies komen. jaar ontwierp hij huishoudelijke apparaten oeuvre? Wat zijn Ontwerpen is niet het beeldhouwen van voor de firma Girmi. Die lijken kleur- de onderliggende mooie vormen en materialen, maar deze rijk en grillig, maar bestaan feitelijk uit voorzien van betekenis. Het succes van geometrische basisvormen en overwegend designer concepten en hoe een industrie hangt niet langer af van de primaire kleuren. In 1981 was De Lucchi productie capaciteiten, maar van de capaci- medeoprichter van Memphis, een groep ziet De Lucchi de teit om ideeën te leveren.” internationale ontwerpers en architec- ten die jaarlijks een collectie meubels, rol van design? Hoe vindt hij die betekenis? “Vooral in de lampen en accessoires uitbracht. Daarin kunst. Ik kijk geen televisie en lees ook haalden zij de dogma’s van de Moderne geen kranten. Italië zakt langzaam terug in Beweging en de Hochschule Ulm ironisch de Middeleeuwen en dat proces hoef ik via onderuit. In plaats van het zakelijke form gentile de media niet te volgen. Maar de heden- follows function, materiaaleerlijkheid en daagse kunst volg ik op de voet: daar wordt decoratieverbod, leefde Memphis zich uit geëxperimenteerd met nieuwe visies. in sensualiteit en semantiek. Memphis Kunst is de driving force of humanity.” duurde tot 1987 en zette ruim zeshonderd De Lucchi debuteerde in 1973 als perfor- ambachtelijk gemaakte producten op de mance kunstenaar. Tijdens de 15e Trien- markt. De groep, gefinancierd door Arte- nale van Milaan demonstreerde hij als een mide, ademde volgens De Lucchi een geest napoleontische generaal, gewapend met van oneerbiedigheid die hij vandaag de dag tekenhaak. Zijn onomwonden boodschap node mist. luidde dat een ontwerper nooit vrijblijvend Inmiddels leidt De Lucchi een studio met opereert: met zijn producten dicteert hij ruim dertig medewerkers. Net als veel Michele De Lucchi, ventilator model, Girmi, ook het gedrag van de consument. Daarom Italianen is hij geen industrieel ontwerper, 1979, preserved at the Musée des beaux-arts, Montreal moeten producten menselijk zijn. De Luc- maar designer-architect, een attitude die Ph. Giorgio Molinari chi beschouwt zijn Tolomeolamp als een hij hoger waardeert vanwege de onder- Michele De Lucchi, radiator model, Girmi, synthese van mens en techniek (zie kader). liggende humanistische waarden die, 1979, preserved at the Musée des beaux-arts, Hij verborg het snoer en een deel van de naar hij verwacht, in de toekomst meer Montréal Ph. Giorgio Molinari spankabels in de aluminium armen zodat geapprecieerd zullen worden. Voor Poste het mechanisme niet direct duidelijk is. Italiane, Telecom Italia, Deutsche Bank en Research for Hi-Fi set, 1981 Michele De Lucchi, pencil on paper Het geeft de lamp iets magisch. De Lucchi Intesa Sanpaolo ontwierp hij huisstijlen Ph. Michele De Lucchi verbeterde de flexibiliteit, vergemakkelijkte en rustige, weinig markante interieurs 50 Michele De Lucchi, Designer gentile 51 Michele De Lucchi, Designer gentile items # 3 Peter van Kester items # 3 Peter van Kester 2010 2010 “Ik heb altijd geprobeerd mij niet te specialiseren. Een vaas kan bijdragen aan het ontwerpen van multifunctionele Literatuur: kantoormachines en Dopo Tolomeo S. Suardi, Skira, 2002 omgekeerd.” Michele De Lucchi. Comincia qui e finisce là, Bulegato en S. Polano, Electa, Milaan 2004 amdl.it in Milaan, Venetië en Rome en dacht hij die invloed niet te letterlijk moet worden mee over nieuwe vormen van dienstver- geduid, keert bijvoorbeeld het concept van lening. Ondanks zijn snelle succes zette de Fata-lamp – een glazen armatuur op De Lucchi in 1990 een opmerkelijke stap. een metalen schijf – terug in De Lucchi’s Omdat hij zich onbehaaglijk voelde onder Castore lamp voor Artemide. De vitrine- Michele De Lucchi, with Giancarlo Fassina, de minimale vrijheid die de industrie hem kasten Tbilisi of Gudauri uit 2007 verto- Tolomeo lamp, Artemide, 1987 Ph. Luca Tamburlini bood, richtte hij Produzione Privata op, nen grote overeenkomst met het ontwerp een “privé-laboratorium” voor nieuwe voor zijn Medea hotel in Batumi, Georgië. Verstelbare ideeën. Intieme producten voor huiselijk Zelfs de inklapbare hoogspanningsmast bureaulampen gebruik, geproduceerd in werkplaatsen die hij met Achille Castiglione ontwierp bewegen op rond Milaan en Venetië. Ieder jaar voegt voor energieproducent Enel, lijkt geïnspi- drie manieren: hij nieuwe collecties toe, die hij wereldwijd reerd op de Machina Minima hanglamp. via springveren, distribueert. (zie kader) contragewichten Hij steunt doelbewust ook het ambacht. (geïntroduceerd De Lucchi: “Ik heb altijd geprobeerd mij door Edouard niet te specialiseren. Een vaas kan bijdra- Symboliek Wilfrid Buquet en gen aan het ontwerpen van multifunctio- In navolging van zijn leermeester Ettore verfijnd in de Tizio nele kantoormachines en omgekeerd.” Het Sottsass benadrukt Michele de Lucchi van Richard Sap­ ambachtelijk experiment stuurt volgens graag dat design een communicatiemid- per) of via kabels, hem de hand en schept menselijke kwali- del is. Maar wat communiceren zijn toegepast door teiten die de industrie nooit kan generen. producten? Aanvankelijk was De Lucchi George Cawardine Zo ontstaan “nieuwe figuratieve uitdruk- gefascineerd door massacultuur. Hij vond in zijn Anglepoise kingen”. Hij experimenteerde achtereen- dat de functionalistische ontwerpers hun uit 1934. Dit volgens met keramiek, marmer, hout, glas ideaal – goed design voor de massa – model vormde het en ijzer. Opvallend zijn de mechanisch ver- nauwelijks waarmaakten: zij drongen de uitgangspunt voor nuftige kandelaars en lampen, die refere- massaconsument een rationele stijl op die de Tolomeo, die De ren aan archetypen. Zo heeft de Machina niet beantwoordde aan diens werkelijke Lucchi ontwierp Minima contragewichten en verwijzen zijn behoeften. Daarom experimenteerde met ingenieur koperen kandelaars naar antieke model- hij binnen Alchymia en Memphis met Giancarlo Fassina. len. In de Crudité-accessoires verwerkte vormen en decoraties uit de massacultuur. Het idee kreeg hij hij wijnflessen en hotelporselein. Om- De Lucchi’s ontwerpen zijn contaminaties toen hij een visser streeks 2004 begon hij blokken hout met van pop-art, speelgoed en cartoons, zoals zware netten zag een kettingzaag te bewerken tot mas- de lamp Sinvola met speldenkussen en binnenhalen m.b.v. sieve miniatuurhuisjes, alsof hij het fijne niervormige voet, en het stoeltje First met een stok, een kabel schetspotlood verruilde voor de rauwe zijn nucleaire associaties. Hetzelfde geldt en een katrol. Dit zaag. Opnieuw een poging om zich te laten voor de stripachtige Girmi prototypen, die hefboomprincipe voeden door spontaniteit en de natuur. de strenge huishoudelijke apparaten van vertaalde hij in de Recentelijk presenteerde hij architectoni- de toenmalige markt relativeerden, en de lamp. sche dienbladen en lasergezaagde metalen in Domus gepubliceerde HiFi schetsen, boomsilhouetten. waarin hij de “militaristische” geluidsap- Met zijn experimentele, ambachtelijke pro- paratuur uit Japan en Duitsland, met zijn ducten, gefinancierd vanuit een industriële overdaad aan wijzertjes en metertjes, Michele De Lucchi, with Alberto Nason, Fata praktijk, is Produzione Privata feitelijk een hekelde. Het vriendelijke vormidioom dat and Fatina lamps, Produzione Privata, 2001 Ph. Michele De Lucchi voortzetting van Memphis. De Lucchi is hij passend vond voor het beluisteren van hiermee een pionier van een veranderende muziek leverde hem de bijnaam designer Michele De Lucchi, with Huub Ubbens, Castore table Lamp, Artemide, 2003 industriële cultuur, omdat deze experi- gentile op. Ph. Miro Zagnoli menten de industrie beïnvloeden. Hoewel Hadden zijn vroege ontwerpen een 52 Michele De Lucchi, Designer gentile 53 Michele De Lucchi, Designer gentile items # 3 Peter van Kester items # 3 Peter van Kester 2010 2010 “Terwijl onze keuzes worden
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