Interview

Anna Bartoli, Bartoli Design studio

Anna Bartoli, Bartoli Design studio it has been modified: 2017-05-08 di Benedict Flowers

In the 2017 edition of the Salone del Mobile we met Anna Bartoli study Bartoli Design, Who with his brother Paul continues the experience began in 1960 from Charles father.

Carlo Bartoli is the creator of some iconic pieces of Italian design, such as the Gaia armchair for Arflex, the Tube collection for Rossi di Albizzate, the 4875 armchair for Kartell, the studio has collaborated and still collaborates with many other major companies in the sector furnishing.

SDM: to start, a brief presentation, how is the Bartoli studio born and how does it approach design?

Anna Bartoli: The studio was founded in the '60 with my father Carlo job that's architect, as I am an architect is an architect and my brother Paul, now we work in three.

He begins in the years 60 in effect as an architect, then it happens that with one of the first building crisis tries to do something else, start a first collaboration with Arflex due to the accident, he needed for himself with a series of furniture, has designed these furniture on his needs, he later proposed to Arflex them, they are interested, as well, almost casually started to make the designer.

That the years 60 was a fertile period where they developed many brands that are now famous throughout the world, are icons of our design.

This activity as a designer, mixed with that of the architect is the one that still continue, we especially design as well as architecture and we transfer the experiences and the necessity of architecture in our design work.

SDM: What in your experience the spark that triggers the creative process?

Anna Bartoli:The creative process can have different sparks, several births, we believe a lot in collaboration with companies, so it is often dialogue with companies that do nasceredegli stimuli, which then deepen.

These stimuli derive from the social conditions, for example, which then create the need for new products, from the fact that the company wants to explore a different theme in terms of technology, that the company relates to a new type of customer for which it does not yet have products, or sometimes it arises from the fact that by attending different companies and thinking a lot about the types of products, we realize gaps that we think would be worth filling and we have some ideas that we consider innovative and interesting to develop .

Creativity is a complex process, as if it sedimentassero and converge at a time when many stimuli and also many constraints that must then be summarized by us in a rational way, there is a creative moment but it is one with a summary it is also rational, is not the work of an artist that of the designer.

SDM: every project has a history that leads from design to production of the object, what is in your products with the most interesting story?

Anna Bartoli:A recent product which I think tells it well on our way to tackle the project is a chair that we have created for Kristalia, is called 1085 edition, is a chair that was born precisely from a stimulus of the company, an artisan production process of leather, which is not in the furniture world, but of the footwear world.

A historic tannery that made the soles of the boots for the ascent to K2 Ardito Desio, an interesting business story of an artisan company, has set the tone in this process. They produce a very thick leather, 7 mm, with whom there was asked to design a product design.

It had never been used for the design, we have thought of using it to make a chair, it is a scalp that you have to practically tame, because it is not suited to furniture, to be pulled in a very particular way. So we have it printed, we gave a three-dimensional shape, we used nautical tie rods, we stretched over a metal frame, we used this material for its characteristics of lift and has become a very interesting project synthesis between a artisan tradition, our work as designers and Kristalia technology instead put all the load-bearing structural part also investing in molds. All this has become a design product.

SDM: What is the difference between the designs of the '60 and contemporary?

Anna Bartoli:Between designing in the 60 years and designing, there is now an abyss. In the 60 years, innovation first of all arose from the need to do, to give products that were not there, there was an innovation on materials, an innovation on typologies, the lack of serial products that could serve everyone, so there has been a flourish of innovative products.

Before the idea of ​​industrial production of design did not exist, especially in the furniture sector, the products were all artisanal, but in the 60 years there was the application of technologies in the design sector for furniture and not only, then above all social needs, to respond to the needs of the population with products that did not even exist before, all this has produced epochal inventions.

Now there is everything, there is too much, especially in our furniture industry, there is no need to have a new chair, a new library or a new kitchen, so you work in a traditional way, yet Product , especially with regard to the finishing, the technical performance, the perfection of detail.

From my point of view now we are really changing epocally so the design also becomes the study of the business process in all its aspects, the commercial process, the service, the involvement of the customer, the explanation of what is behind the product, which represents the difference between one company and another and between one product and another.

So the role of the designer has changed so much, we have to know everything about the business world, we can no longer take care only to design a product.

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