PANETTONI AND TRIENNALI



Italy is a nation founded on opposition: Guelphs or Ghibellines, Montecchi or Capulets, candied or without. If we wanted to extend this concept to the world of design, today among the various contrasts we would find those belonging to the group of “Boerians” and “anti-Boerians”. The two factions radicalized immediately after the Annicchiarico - Boeri succession at the Triennale. There will also have been logistical reasons, the "anti-Boerians" defended acquired positions and the "Boerians" were happy with the reshuffling of those positions: but that's not all, there are also different ideas or visions. The main one is that the "anti-Boerians" believe that today it still makes sense to talk about "Italian Design" and that the Triennale should have the function of spreading that identity above all. The "Boerians" on the other hand believe that Italy was in the past a protagonist of the debate on design, now it is no longer one, it is one of many international actors, perhaps not even the main one: for the "Boerians" the function of the Triennale one part being a museum of the history of Italian design, and on the other bringing other themes and design principles to its temple. I can't take sides, I see limits and strengths in both positions: I'm sure of one thing, however, I prefer panettone with candied fruit. (Tommaso Bovo)



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