Statement/Interview

von Cristiana Cutrona Fotos Salone del Mobile Milano

"Landscape ready to change, simple to understand and to use"

Workplace 3.0 nennt sich bei der Mailänder Möbelmesse Salone del mobile Milano der Office-Design-Bereich, der in dieser Form zum dritten Mal stattfindet und sich dem Nachdenken über die Zukunft des Büros widmet. Herzstück der beiden Workplace 3.0-Hallen mit 110 Ausstellern ist der Pavillon "A Joyful Sense at Work", der von der Mailänder Architektin Cristiana Cutrona kuratiert wird.

Die Italienerin gehört zum Mailänder Büro Revalue, das in den vergangenen zehn Jahren viele italienische Firmen-Niederlassungen geplant hat, unter anderem für Facebook, Microsoft, UBS Real Estate oder Axa. Das Büro arbeitet an vorderster Front bei der Umsetzung neuen Workspace-Designs. Für den Pavillon "A Joyful Sense at Work" beim diesjährigen Salone del Mobile führt Cutrona diese Ideen zusammen, will sie weiterdenken und in eine Balance bringen, heißt es offiziell.

 

Cutronas Design-Konzepte speisen sich aus einem radikal human-zentrierten Anspruch. Beispielsweise zieht sie aus der Beobachtung, dass Menschen heute nomadisch herumreisen und von unterwegs arbeiten, die Konsequenz, dass auch Teile des Büros mit einem ziehen müssen. "Portable mobile Modules" werden bald auf den Markt kommen, so Cutrona, Module, die als transportable Büro-Ausstattung überall, drinnen, draußen, im Café oder zuhause nutzbar sind.

 

Wir haben bei Cristiana Cutrona nachgefragt, wohin sich Büros entwickeln, was ihre Ideen für Workplace3.0.sind und dokumentieren ihre Antworten auf Englisch.

 

1.) Office Design is changing since a few years. How do you describe this Development?

Today we have reached the conclusion of Cartesian and top-down design approach, where everything is certain and predefined, and this is valid towards all processes, for the city and for the interior design, for need’s analysis and for product design. As well as the city, even the WorkPlace has to come out from his rigid rules (imagination’s cages), and reflect the ability to re-design itself instantly; the goal is to transform the WorkPlace in a true aggregation place, aggregation of physical and metaphysical people: aggregated human visions. A flexible, porous, variable place, which creates a vibrant context of data, actions and reactions aroused from the interaction between environment and users.

2.) The Installation “A Joyful Sense at Work” want to breath new life into the theory of office and work place design. What means it in practise to care about humanistic and anthropological approach?

We are facing a new challenge. Today we discover that reading and listening to the real needs get a new lease on life; real needs include fantasy, expectations, expressive urgency, wishes, dreams and human rights.. These vital elements are keystone of a new design approach, beyond the rules, in which few simple variables specify the new WorkPlace as adaptive organism, which compares itself with the true reality and not the one perceived by the schemes and media patterns socially accepted.

Under the definition of Joyful Work there is a liquid society, where social relationships and the individual experience are constantly composing and recomposing, and there is an individual who manages to achieve his aims in a nourishing and fecund work environment will be Joyful.

We have to ask ourselves the Workplace’s Sense, prior to redefining the shape.


Liquid organisations correspond to a way of working that pushes us to be more and more fast, efficient, flexible, nomadic, ubiquitous, synchronous, connected: a new era in which the technological evolution is no longer merely a scientific issue, but one that also impinges on the realms of biology, psychology and cognition. This changement has altered our relationship with technology, space and time: 4-dimensional chronotopical reality is the stage for the unforeseeable phenomena of the universe, all of them.


It's time to compose the dialectic between the inherent stiffness of form and the temporary nature of needs, which you define in its particular declination of adaptability.

3.) What are the consequences for todays Office-Design?

Let us define the spatial model of the new WorkPlace “Adaptive”, as in adaptability to the creative possibility of managing unexpected and unforeseeable situations (serendipity) both in the long term and at a moment’s notice and to the intrinsic ability to evolve and devolve, to adapt to the need to recreate a space that can at once be open, fostering coworking, and a place for concentration and individual working.


The building needs to free itself from constraints, meshes and grids, office products need to go back to their essential and archetypal forms, simple and modular, capable of offering innumerable options for aggregation and reconfiguration, part Lego, part the cardboard box that every child looks at and imagines a world, which he builds in the space/time of the imagination.

The office shakes off its static image and enters the era of the stage, of creativity and imagination.


The installation that we presents at the Salone del Mobile Milano 2017 for Workplace3.0 is a poetic representation of the new WorkPlace: a landscape ready to change, simple to understand and to use, the backdrop for theatre of improvisation, a stage set ripe for appropriation. The areas devoted to needs (Concentration, Sharing, Creativity) converge in a large central piazza, four closed structures contain projects by the 4 international architectural firms invited to interpret “A Joyful Sense at Work”.


A luminous sculpture, suspended like a ribbon of clouds, represents the man-technology-space-time relationship and serves as a metaphor for a particular new sphere bound up with well-being: we need to take stock of the meteorology of the emotions (op. cit. Francesco Schianchi). Karl Popper said that we need to stop reading clocks and start reading clouds. Reading clouds equates to reading the unforeseeable.

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