I was thrilled to be part of the Design Museum’s Convivial ToolsÂ symposium, which re-examined the legacy and work ofÂ the late Austrian philosopher Ivan Illich, focusing particularly on his 1973 book Tools for Conviviality. Illich argued that the nature of modern â€˜toolsâ€™, from machines to schools, had the effect of making people dependent and undermined their own natural abilities. What he called â€œconvivial toolsâ€ were those that encouraged people to think for themselves and be more socially engaged.
Convivial Tools was a programme of talks, debates and workshops exploring new strategies for a more cooperative society. Using Ivan Illichâ€™s concept of â€œconvivialityâ€, itÂ brought together designers, artists, media theorists, curators, and social thinkers from diverse fields to examine current tools and technologies that encourage alternative modes of production and social relations.
I was happy to discuss the “de-schooling” facets of the 4th Istanbul Design Biennial, A School of Schools, and to take part in a day of incredible discussions and insights.
I was thrilled to participate in one of the debates organized during Salone del Mobile 2017 by Disegno magazine and the British Council on the future of European design, which took place at Atelier Clerici. The event was titled “Why aren’t all economies circular?”, and was chaired by Joseph Grima with Sarah Mann, Carl-Johan Skogh and myself.Â The talks were characterized by multi-layered, thoughtful and intense discussions â€“ generally countering the superficiality on display for most of the week, and a welcome addition to the programming of Fuorisalone. The three discussions on the future of European design are all available as podcasts on Disegno Daily, and I invite you to listen to all of them!
The July/August 2013 issue of Domus marks my departure from the magazine, after a year and a half of intense learning and a lot of fun. It was an honour, a challenge, and an immense pleasure to work under editor-in-chief Joseph Grima and the Domus editorial team â€” among which Marco Ferrari and Fabrizia Vecchioneâ€”, creating a magazine and a website that truly captured the contemporary.
Personally, this period marks my most intense professional growth thus far, and I couldn’t be more thankful for the opportunity. For the moment, find all my collected writings at Domusweb here. And now, on to the next challenge!
The Italian Avant-Garde, page detail. Photo by Fabrizia Vecchione for Domus.
When Catharine Rossi first asked me to moderate a conversation between Joseph Grima and Alessandro Mendini for an upcoming publication she was co-editing on the Italian avant-garde of the late 1960s and early 1970s, I have to say I panicked. But a few nights of research led to an absolutely fabulous conversation, in which I merely watched as history happened before my eyes. This meeting of giants has been transcribed as the first chapter of Sternberg Press’ new volume EP Vol.1:Â The Italian Avant-Garde, 1968-1976, edited by Alex Coles and Catharine Rossi, and designed by Experimental Jetset. The book features a series of essays, interviews and explorations of several aspects of this complex, multilayered impulse that was immensely influential. I am humbled and honored to have been a part of it. Read Alice Rawsthorn’s review of the book here.
The Adhocracy Reader, page detail. Photo by Ethel Baraona Pohl
During the summer of 2012 I was lucky enough to be involved in the preparation of Adhocracy, an exhibition curated by Joseph Grima with Elian Stefa, Ethel Baraona Pohl and Pelin Tan for the 1st Istanbul Design Biennial. My collaboration with the team materialized in the exhibition catalog, which I co-edited with Avinash Rajagopal and Tamar Shafrir. The Adhocracy Reader was designed by Folder (Marco Ferrari and Elisa Pasqual), and in its 400 pages we tried to push the concept of a standard catalog and create a reader, evoking a standard college reader â€” a compilation of pre-published material. A series of introductory essays frame the exhibition’s premises and the catalog’s intentions, followed by a carefully curated selection of material on the projects on display in the exhibition, alongside a series of pre-existing essays. The whole catalog can be consulted on Issuu, and a Flickr photoset by Ethel Baraona Pohl can be seen here.