Interview with Rossana Orlandi
lanciatrendvisions.com
Rossana Orlandi in 2002 transformed a former tie factory in Milan in one of the most popular destinations in the design of international research. A space to give visibility to unique pieces and limited editions by emerging and established designers and artists. Among these, Piet Hein Eek, Tom Dixon, Maarten Baas, Nacho Carbonell, Italians Formafantasma, Massimiliano Adami, Manuela Crotti, Richard Dalisi and many others, all selected by Rossana.
The space includes a shop, a gallery and restaurant design Bread and water. A large courtyard greets us in a friendly atmosphere, a living evolving to meet, discuss, plan and embark on an adventure in emotional contemporary design. To tell this research trip she is the mistress of the house on Bandello 14/16, in Milan.
How did you know this place?
I discovered by accident and I fell in love. What became the Galleria Rossana Orlandi? It was not a conscious choice. The gallery was founded almost naturally. I've always been a collector of design and in the past I have always worked with designers even when I was involved with yarn. It was natural to begin to expose some parts of my collection along with works of friends. Many journalists have become interested in space that eventually grew up with my interest in research. Then I started to travel to visit fairs and design schools, such as the Design Academy in Eindhoven at the time was directed by my friend Li Edelkoort. How would you describe this place in a context like the Milanese: how does it differ from other galleries and to whom? I think that mine is just a gallery. Looks more like a design hub , where you meet different personality and professionalism, where you can meet and plan together with informal means and free of preconceptions. The proposal in your gallery spaces on a large scale in terms of prices, signatures and backgrounds: follows a policy or goes to instinct? I would say that the criterion is given by my instinct. It's a kind of sixth sense for both the project for the designer. What characteristics must now design a piece to sell in a gallery of art design as his? should arouse emotion. Paola Navone designed the restaurant gallery. What was the brief? The brief of my collaboration with Paola Navone was to recreate the same feeling of the gallery into a restaurant where you see "work" that was selling the pieces in the gallery. I have always attached great importance to the concept of the table and sit at the table. After all, the dining table is the real living of our days.Anything can happen around a table. Why do you think the young Italian design is experiencing a time of sluggish? What do they have more foreign designers who knock on his door? The young foreign designers are more used of the Italians "to dirty their hands" and are more concrete. I think it's also the weight of our strong tradition in the design a bit 'has choked the young talents. However I must say that lately I see many interesting young Italian that are emerging. What places do you prefer for your research design? points of interest are constantly changing. The important thing is to always be with your eyes open and be receptive. The importance of patronage in design today? I believe that there is more commonly understood as patronage. Especially in the design, the market is a necessary element to consider when considering a project. Of course it is important to help young designers, but teaching them that a project, besides being beautiful and interesting, it must also be salable. A place or a little known school of design that could be the next revelation? School of Forms in Poland. It is headed by Li Edelkoort. He worked in the fashion world. Why did he leave? No comment. rossanaorlandi.com
Rossana Orlandi in 2002 transformed a former tie factory in Milan in one of the most popular destinations in the design of international research. A space to give visibility to unique pieces and limited editions by emerging and established designers and artists. Among these, Piet Hein Eek, Tom Dixon, Maarten Baas, Nacho Carbonell, Italians Formafantasma, Massimiliano Adami, Manuela Crotti, Richard Dalisi and many others, all selected by Rossana.
The space includes a shop, a gallery and restaurant design Bread and water. A large courtyard greets us in a friendly atmosphere, a living evolving to meet, discuss, plan and embark on an adventure in emotional contemporary design. To tell this research trip she is the mistress of the house on Bandello 14/16, in Milan.
How did you know this place?
I discovered by accident and I fell in love. What became the Galleria Rossana Orlandi? It was not a conscious choice. The gallery was founded almost naturally. I've always been a collector of design and in the past I have always worked with designers even when I was involved with yarn. It was natural to begin to expose some parts of my collection along with works of friends. Many journalists have become interested in space that eventually grew up with my interest in research. Then I started to travel to visit fairs and design schools, such as the Design Academy in Eindhoven at the time was directed by my friend Li Edelkoort. How would you describe this place in a context like the Milanese: how does it differ from other galleries and to whom? I think that mine is just a gallery. Looks more like a design hub , where you meet different personality and professionalism, where you can meet and plan together with informal means and free of preconceptions. The proposal in your gallery spaces on a large scale in terms of prices, signatures and backgrounds: follows a policy or goes to instinct? I would say that the criterion is given by my instinct. It's a kind of sixth sense for both the project for the designer. What characteristics must now design a piece to sell in a gallery of art design as his? should arouse emotion. Paola Navone designed the restaurant gallery. What was the brief? The brief of my collaboration with Paola Navone was to recreate the same feeling of the gallery into a restaurant where you see "work" that was selling the pieces in the gallery. I have always attached great importance to the concept of the table and sit at the table. After all, the dining table is the real living of our days.Anything can happen around a table. Why do you think the young Italian design is experiencing a time of sluggish? What do they have more foreign designers who knock on his door? The young foreign designers are more used of the Italians "to dirty their hands" and are more concrete. I think it's also the weight of our strong tradition in the design a bit 'has choked the young talents. However I must say that lately I see many interesting young Italian that are emerging. What places do you prefer for your research design? points of interest are constantly changing. The important thing is to always be with your eyes open and be receptive. The importance of patronage in design today? I believe that there is more commonly understood as patronage. Especially in the design, the market is a necessary element to consider when considering a project. Of course it is important to help young designers, but teaching them that a project, besides being beautiful and interesting, it must also be salable. A place or a little known school of design that could be the next revelation? School of Forms in Poland. It is headed by Li Edelkoort. He worked in the fashion world. Why did he leave? No comment. rossanaorlandi.com
08.05.2012
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