One of the installations about the exhibition "Flexibility. Design in a fast-changing society" has been created by Matali Crasset, who has given her view of the transformability of domestic space by designing a series of "instant rooms" that she defines as "non-permanent spaces that exist for the length of time of an action,... so that, for example, we can invite a friend over to spend the night or take an afternoon nap" and that can become "a space for relaxation or a space for concentration." In short, proof that our homes can adapt themselves to the many needs of daily life when space, that is generally considered a rigid schema, transforms itself into an elastic framework.
We took the opportunity to ask this original French designer a few questions.
Q. This year, Torino, which has been nominated world capital of design, has the chance to show itself in a new light by exploring design processes as applied to the city, and not just in the sector of car design. Do you know the city? What do you think of it?
A. As a student I became acquainted with Torino through the architecture of Carlo Mollino and then through the photographs of architecture that is symbolic of the city. I discovered the real city in 2000, during the Biennale BIG. I think it's a city I could live in...
Q. You are taking part in the exhibition "Flexibility. Design in a fast-changing society," that focuses on how design flexibility becomes both a need and an answer in our society, which is in constant evolution. Does your work respond to this need of contemporary culture?
A. Without a doubt. My approach is never formal or aesthetic. It is based on concepts like modularity and flexibility. Many times, design-based objects and interiors are static, almost petrified in a particular form. To me, flexibility means living spaces by transforming them according to how activities can change during a normal day.
Q. Flexibility and adaptability are, therefore, essential qualities of a design project. What other requisites do you consider fundamental?
A. It depends on the project. I work with generic ideas like generosity, empathy, hospitality and flexibility. But let's not forget that design has the primary function of creating instruments for carrying out particular activities and spaces where people can meet, converse and inter-relate. The complexity of the components that come into play in a design project don't allow for many different qualities. Each time, the rendez vous between the desires/requests of my clients and my design sparks the requisites that prove to be fundamental.
Q. What is the cultural and social mission of design today? Has it changed over the years?
A. Contemporary design changes rapidly and has many facets. I love the way it evolves because it means that it is interacting and keeping up with the changes in our society. Our mission and challenge is to think in a different way and make an effort to propose new methodologies that can lead to new design typologies.
Q. What don't you like about design today?
A. Nothing. Design isn't dogmatic like a religion; there's no such thing as good design or bad design. In fact, it is this very diversity of proposals that makes it interesting. I don't like trying to find what various designers have in common; on the contrary, I like to find out what sets them apart.
Q. Your creations are very heterogeneous: what design method do you use that lets you take on so many different typologies, in particular when you design for children?
A. My method consists in welcoming people into the contemporary world and it various according to the period because creativity changes over time. As far as projects for children are concerned, I find them very stimulating because children don't have any filters (aesthetic, cultural,...) and thus you can see right away if they like what you have designed for them.
Q. Natural and unstructured forms and the use of avant-garde materials and technology: how do you bring these two aspects of design together?
A. I never think in terms of materials and technology. First of all, I think about an intention: what do I want to give to the client. Then I analyze with the client how we can realize the project, making use of his team and his know-how.
Q. Your professional career has been formidable. Do you dream of any project in particular?
A. I don't dream of particular projects. I have never thought that I'd like to design a Capsule Pigeon Loft, a hotel or a sex-toy. The projects arrive. Right now I'm interested in collaborating with different people and professions, for example with artists like the American painter Peter Halley, or maybe invading unusual fields for a designer, like a radio programme. But in general I can say that the dreams of my clients become my dreams. (L.P.)
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