SOME of the most thought-provoking ideas at the International Furniture Fair in Milan,which ended on Sunday,issued not from the thousands of exhibition booths and off-site venues or even from the lips of the designers,pundits and producers who bring this stalwart city to life every April.They were written on the walls.
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Enlarge This Image Andrea Wyner for The New York Times The Dutch designer Frederick Roije with his Dish of Desire bird feeder.
''Thanks Starck,''read one such message,scrawled in the neighborhood of Ventura Lambrate,where for the third consecutive year emerging designers have shown work and staged Oedipal battles with the masters.The words accompanied a drawing of Philippe Starck's Juicy Salif lemon squeezer from 1990,an aluminum teardrop on spidery legs with a knob intended for mauling citrus—but the artist had substituted a toilet paper roll for the lemon.
Such an irreverent treatment of a classic object suggests that Mr.Starck may have lost his mojo in today's design world,but he shows no sign of receding from the scene.On the contrary,his notoriously paradoxical nature defined this year's fair,which was marked by the contradictory pursuits of social consciousness and unrestrained luxury.
Mr.Starck may be best known for a whimsical$100 sculpture that does nothing more than extract juice.But he also is—or claims to be—as idealistic as any young designer.
He alternately caters to lovers of luxury and slaps them on the wrist.This year,he collaborated with Lenny Kravitz on upholstered versions of his Mademoiselle chair for the high-end Italian company Kartell,but he also touted his Broom chair for the American company Emeco,made of 90 percent recycled post-industrial factory waste and 10 percent glass.''With this new chair,I start to feel happy,''he said in a promotional film for the product,''because it is made of nothing.''
A decade ago,socially conscious design was a sideshow at the fair,but now it's in the center ring.A number of companies boasted of earth-friendly materials and showed off efficient packing methods that reduced their carbon footprints.The Swedish company Offecct went so far as to display Luca Nichetto's Robo chair from 2010 along with its box to show how compactly it can be taken apart and shipped.
Food was a popular medium for commentary.In Lambrate,Rui Pereira and Ryosuke Fukusada baked tiny cakes shaped like chairs,lamps and vases to protest the hyperabundance of new furniture and the inability of consumers to''digest''it.And in the Tortona district,Marleen Jansen presented her Seesaw Table,which requires two diners to sit down to meals and depart from the table at precisely the same time—or else risk sending one of the pair flying.
''It's a courtesy table,''Ms.Jansen said.''I want to manipulate behavior,and it's rude to leave the table while eating.''
On the frontiers of experimentation,the''Open Design Archipelago''exhibition organized by Domus magazine and Audi demonstrated methods for harnessing the desert sun to melt sand and produce glass objects;for manufacturing inexpensive chairs with a robotic arm(no human hands needed);and for training crows to pick up bottle caps littering the landscape.
And yet,while there were plenty of designers trying to redirect human habits and prepare for a world with scarce resources,many conventional products seemed to have gotten bigger and softer,assuming a standard of padded comfort one might even call American.
Furniture came with names like Soft Box,the Swiss designer Alfred Häberli's cushy sofa for Moroso.And the body-cradling Bunny armchair by Iskos-Berlin,for the Danish company Normann Copenhagen,was all but infantilizing.
But nothing conveyed the sensuality of textiles(or their facsimile)this year so much as the flowing tablecloth carved into the wood of Ferruccio Laviani's Twaya table for Emmemobili.A representative of the Italian company Emmemobili noted that,by the end of the fair,the number of hands rubbing the table's surface had left“the left side smoother than the right.''
