Cristina Morozzi: And are we seeing the same thing in product design?
Gillo Dorfles: Patricia Urquiola, for example. She’s an excellent designer, but why does
she need to add those coloured superstructures? And Philippe Starck? Why has
he even gone so far as designing garden gnomes? It’s just an exaggerated wish
to “épater le bourgeois”.
Viene de la Parte Primera.
Cristina Morozzi: Y en el diseño, ¿se aprecia este mismo fenómeno?
Con 100 años cumplidos conserva la capacidad de sorpresa y la curiosidad insaciable de un muchacho por «los modos y las modas» contemporáneos. No hay ámbito de la creatividad que no haya sido investigado por su mirada de visionario, ni hábito que no sea objeto de su estudio apasionado. No hay manía o debilidad que no sea fustigada con su agudeza de criterio. Coquetea con las artes, con cualquiera de ellas.
Not long after the turn of the century, he still has the sense of wonder and the insatiable curiosity of a child for contemporary styles and fashions. No area of creativity is missed by his acute, far-seeing eye; no social phenomenon is not subjected to his passionate investigations; no mania or weakness escapes his wit. He frequents all the arts without distinction. He knows their history, their main directions, and how to make connections, parallels and conjunctions between them. He moves easily from the theoretical to the anecdotal.
«Calle Pellaires», le digo al taxista que me recoge en el aeropuerto.
«¿Donde Mariscal?», me responde.
