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Later in the sixties, discussion about cooking became more and more abstract as radical design began to relate to the modern city and all the problems
of a city that never stops. A machine that prepares food is functional, rather than gratifying any higher emotional need. Massimo Morozzi worked out that the centre of the
house was the table where you consume and what represented the ‘kitchen’ was marginal. A few years into the following decade, in 1972 the MOMA exhibition ‘New Italian
Landscapes’, Ettore Sottsass created the unit ‘Furniture on Wheels’ so that the kitchen could interact with all the different parts of the house, the people and the society.
Alessandro Mendini later went on to create the company Alessi, which brought back a playfulness to design. ‘Family follows Fiction’ is the name of an
approach that encourages a designer to research and develop objects that recreate the joy felt by a child. In this vein, objects can be transformed into an instrument of play,
and in doing so, brought about a new aesthetic to the kitchen environment, linking function and fun. The kitchen shook off its chains of restraint, and entered a new era of
celebration in domesticity.
