ADVERTISING AGENCY IN MILAN – ITALY. SQM 2000
Project team: Valter Camagna, Massimiliano Camoletto, Andrea Marcante
Collaborators: Michele Cafarelli, Valery Duchesne, Sonia Opiatti
TEXT FROM ABITARE WRITTEN BY MARCO ROMANELLI
Morality apart, making images that transcend those we already know seems to be what advertisers and interior designers have in common. Making people understand that an ordinary four-walled box con fly - albeit architecturally important and respectfully preserved, as here – is the same as making people believe that any given product can change their lives, even if the truth of the first proposition is entirely self-evident, and of the second entirely debatable. Be this as it may, I think that what UdA have really succeeded in doing is to make the interior design of the building match the kind of work that is done in it.
Taking images from Nature to create enlarged , interchangeable, backlit patterns and turning them into walls means transforming the routine of work into a dream of what that work can achieve. Such shifts or accentuations of meaning occur frequently in the work of Camagna, Camoletto, Marcante (UdA). Examples from the enhancement of purely "service" elements (otherwise merely functional see-through closets that are backlit to reveal the outlines of clothes and objects), to the creation of memorable scenes in makeshift spaces (temporariness becomes an event, in the form of a projection, synchronised with the lighting system, of slides in a rented house), and the use of materials normally employed for other purposes or to create other images (river pebbles, certain " Ruhulmann” " woods and, in parallel, semi-finished products typical of Turin's mechanical engineering industry).
In D'Adda Lorenzini Vigorelli advertising agency, the departure from normal house design, acceptance of the challenge posed by architects as outstanding as Asnago and Vender's, enables us to assess more accurately an important aspect of UdA's work : namely its carefully contrived balance between the need to intervene (whence the recognisability, and therefore uniqueness, of the result) and the need to play an essentially background role. This is a lesson for those interior designers – and there are many in the field of office design – who think that a designed interior should be a kind of camouflage that more or less conceals what really goes on in the office, but is in fact boringly uniformed and totally indifferent to the architectural context it is sited in
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