In the past years sustainability has become one of the most central issues in design. But whereas designers initially faced environmental urgencies with a more didactic attitude, sustainability is now becoming an almost unconscious desire within the rediscovery and analyse of nature and our relationship with it.
While inherited knowledge and traditional or local techniques are reconsidered, nature and the organisation of its systems become again a great source of inspiration. Even on an aesthetic level, crafted and organic details constitute a new trend and colours, for example, are used more and more in pallets of bird’s plumage or leaves.
New systems of visualising natural phenomena are leading to textures and patterns on textiles proposing a new idea of mimesis that is influenced by biology. On a material level the search for naturalness is translated into new polymers obtained from cereals, starch, orange skin and even chicken feathers.
If this can lead to speculate a new form of industrial revolution, where the idea of the man-made ambiguously moves towards the nature-made and objects will be lab-grown similar to plants or organs, we could think of a more dystopian scenario in the same time. Nature will be turned into designed products, perfect and efficient in order to serve as food, biofuel and a source of bio materials. Farmers could become a new, powerful lobby – and bio diversity would get lost.
Considering this framework, our workshop encourages the participants to develop concepts and small models or prototypes with “the real” as their source. Boisbuchet’s landscape will be literally harvested in our search of colours, materials, textures and inspiration for new production processes.
Andrea Trimarchi (1983) and Simone Farresin (1980) are Studio Formafantasma – two Italian designers based in Eindhoven, The Netherlands.
The collaboration between the two started during their BA in communication design, illustrating books and magazines. Their interest in product design developed on the IM masters course at Design Academy Eindhoven, where they graduated in July 2009 with a thesis based on traditional Sicilian folk craft.
Formafantasma’s work explores such issues as the role of design in folk craft, the relationship between tradition and local culture, critical approaches to sustainability and the significance of objects as cultural conduits.
They identify their role as the bridge between craft, industry, object and user and seek to stimulate a more critical and conceptual design dialogue through their work.
In march 2011 Studio Formafantasma has been nominated by Alice Rawsthorn, design critic of the International Herald Tribune and New York Times and Paola Antonelli, design curator of the MOMA in NY, as the 1 of the 20 most promising young design studio.
Homepage : www.formafantasma.com
Visit their latest collection De Natura Fossilium