Design History and Method
Part 3
by Federico Galluzzi
Speaking of furnishing accessories, furniture and lamps in our magazines, we have always given space and visibility to the usual suspects, i.e. the manufacturing companies and those who design them.
This Special Issue was born from a meeting with Graziella and Renzo Fauciglietti, owners of Fauciglietti Engineering in Cantù, and from reading the book Fauciglietti Engineering – Storia e metodo del design, written by Giampiero Bosoni and published by Silvana Editoriale, which I treasure on my desk. The book explores and analyses in detail, starting in 1989, nearly 40 years of engineering projects. Renzo, the president, explained to me how the success of any product or company, especially on international markets, depends on quality design, founded on careful planning and rigorous development. He, therefore, emphasised the fundamental role that product engineering plays in the quality of his project.
This Engineering Special Issue aims to provide a summary of the main published projects, to reveal this fundamental aspect of design. It is an aspect that is often overlooked when describing how a product – be it a piece of furniture, a furnishing accessory, or a lamp – is conceived, designed, and finally conceived and produced.
Fauciglietti Engineering has operated in different design sectors, always aiming at being one step ahead, and having in its DNA an overall vision of the different issues that a new product must face before successfully entering the market. Thanks to a holistic vision in design products and development, he has been able to collaborate with many established Italian and international design studios to discuss ideas, concepts, design methodologies and approaches to problems, as well as the results analysis. That exchange has made it possible to broaden horizons and enrich skills. The expectation is that, in the future, the Fauciglietti Engineering experience and lead can be an inspirational source for the new generations, academics, entrepreneurs and the wider public.
Between 1989 and 1992, Cassina developed several projects in collaboration with the Fauciglietti studio. These included Andrea Branzi’s Berione bookcase, the reissue of Le Corbusier’s Casiers Standard, and several production improvements to Mario Bellini’s Cab. These significant experiences, born from a fruitful relationship, inspired Fauciglietti to explore new design approaches.
Design: Mario Bellini, Claudio Bellini
Manufacturer: Vitra, 1995-1996
The Ypsilon office chair is a project that Fauciglietti Engineering is particularly fond of. Besides the collaboration with a globally recognised company, Ypsilon embodies the opportunity of developing a synergy of ideas and purpose with Mario and Claudio Bellini.
Designing office furniture and systems for work environments comprises a specific area of contemporary design. In this case, the items or in most cases the combination of items, often allow us to redefine the traditional work space. Some projects like the one for Tagliabue developed in collaboration with Vitra, correspond to this structural approach, while that of the Ypsilon armchair, is more likely a case of concentrating on a single complex object. In reviewing the genesis of the project, how did you become acquainted with Vitra?
Mario Bellini introduced us to Vitra; we had previously worked with him when Cassina asked us to look into improving the production of the Cab, Lira and Liuto chairs; later, we collaborated with him on a project fora collection of tables for the company Mastrangelo in Meda. In those circumstances we established an excellent relationship and he involved us in the project for Vitra, a long-time customer of his. The project team was larger; besides me and the designers from my studio, it included Mario’s son Claudio Bellini, then a young graduate designer working tor his father’s business.
From the outset, our entire studio was involved in all aspects of research needed to develop an innovative concept, a ‘basis’ upon which to develop the design project and which Mario Bellini could share.
We started with the front seat of a 1930s Mercedes salvaged from the wreckers. We took it apart to analyse the materials and machinery; gradually, we carne across interesting solutions. For example, the padding cons1sted of coconut fibres mixed with rubber, covered in a layer of horsehair; these layers were wrapped in pads made of cotton, a soft but thick and sturdy material. The approach used to fix the leather and fabric upholstery also seemed interesting.
Designing an office chair is no easy feat. First, because one is up against a consolidated tradition of good, functional design objects; secondly, because from an ergonomic point of view there are strict standards to be followed. How did you carry out the ergonomic analysis?
We made a 1:1 scale model with swivel joints, a very useful tool for the preliminary design and to later assess the movement of the adjustable components, key elements in an office chair’s ergonomics.
After producing the actual drawings, we checked each part with the Bellini’s and collectively submitted the project directly to Rolf Fehlbaum, the owner of Vitra. The project was discussed in their headquarters in Birsfelden, Switzerland. The analysis of the drawings stage was very in-depth, all the technical and aesthetic solutions were carefully evaluated to avoid any wastage of time and high costs during the prototyping phase. The regular car journeys to and from Vitra became a time for discussions with Mario Bellini and for debating ideas about the project different interpretations and how to move forward. These situations and the project itself were yet another opportunity to check and confirm the quality of our design method.
lt was a relationship based on cooperation and compatibility that we became aware of during the design phase. After severaI studies and analyses, we arrived at an engineering solution for the chair’s moveable elements. The prototyping, checking and testing of all the components took place in ltaly, at Rimec, a very professional and discreet workshop, close to our studio. We oversaw these stages and checked all the solutions needed to define the project during a succession of improvements. My staff and I are perfectionists, just like Bellini, so we always found something to improve and develop further, despite any satisfactory prototyping solutions.
Overall, I enjoy remembering this project because the work of the team moved forward at a rapid pace, with regular meetings both at our studio and at Vitra and to everyone’s satisfaction, not only due to the project’s outcomes, but also due to the level of culture and freedom of expression in which we worked.
Yes, the project had reached a good point of development, and after all the parties considered all the solutions satisfactory, the project was taken over by Vitra’s technicians who took care of its automation and initiating the industrial manufacture. Eventually, the project was launched at Orgatec in Cologne, a trade fair specialising in office and work space furniture.
