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There is a special quality in some design firms,
which is considering the aesthetical purpose as
their basic foundation, even from an economic
point of view. That’s because cultural contents
are more and more an expression of people’s
choices.
TATO’s proposal is a newly structured and poetic
model where the visual research goes together with
the industrial experimentation, the philology of materials
and techniques, both new and old, the discovery of new production
geographies in order to build a catalogue in which the content
stimulus and the edition methods are more privileged than the
manufacturing limitations and the assembly line repetitiveness.
It’s not just about good design: it’s about a more complex
vision of the world, of things and of living, it’s about an attitude
that brings together a network of knowledge including the
hand-made and machine-made and that is related with the
more anthropological aspects of craftsmanship and industry.
Choosing good authors is necessary to transfer the art
phenomenology in the object and to make aesthetic and
functional information be coincident. It’s important to practice
an intense professional and affective relationship between client,
designer and company that belongs to the culture of the project.
So the object becomes a part of a vast and very articulate narrative
program that, in pursuing a personal image, redefines the relationship
between industrial production and production of knowledge.
IT’S NOT JUST ABOUT GOOD DESIGN
TATO was conceived to do things well.
This is what it’s dealing with. There’s
a deep knowledge arising from
practice. Doing things well for a
company producing lighting
design and furnishing items
means to express a way to be
and a precise attitude. It means
to purposely design in an understated
way a personal idea of what freedom
is, a personal idea of new, of something
you don’t look for, because you live with it every day.
TATO’s idea of design translates into a new economic and
cultural scenario and in a future-oriented tradition of manual
dexterity, knowledge of gestures, materials and handicrafts.
All those elements that make Italy well known in the world.
There is no industry that can do well without handicrafts.
The constant manual work on the materials and the forms they
can take, the surprise and the intimate familiarity that derive from
them, gives us back a range of objects representing characters,
talking to us within an architecture, feeling always comfortable
and behaving. These objects can keep their value over time.
Good design begins with people. TATO surrounds itself with people
who are similar but also with very different. Not only architects and
designers but a large intellectual group aiming to research and
experiment. Particularly significant are the relationships with the
local artisans in the area where the company was born, and the
international relationship, helping to spread its ideas. Listening
to people is crucial. More and more people, sophisticated
people, looking for history and culture in the things they choose.
TATO takes culture into particular account and is engaged in many
processes. We like to dig out from history those objects that are
produced today but belong to our recent, or even not so recent, past.
DREAMED AND MADE IN ITALY
