The permanence vs. the obsolescence of objects
by Sfefano Maffei
Alessandro Marelli’s Kefa design clearly discusses the concept of stoniness, or the idea of durability, and permanence of objects created by design that materialises in the anthropization processes of the environmental space. Its hybrid nature straddles metaphor, pragmatic experimentation and conceptual experiment and allows us to highlight an important issue for the discipline: the proto-design dimension from the choice of material and the consequent natural and proper form that is suited to the function that arises from it. This is an approach for an experimenter of building systems, almost Vitruvian (... Alessandro is an architect... even if he actually isn’t), of nucleation of a simple physical-static principle. This unites it to the stratified, age-old practice of observation, and the spontaneous use of available basic resources from the land that is present in many societies and cultures within the processes of evolution of civilization, and the emergence and solidification of practices and material cultures.
Here the allusion is straightforward: the representation of the concept of the beam with two supports, which is the basis of our construction history and which brings us back, with a critical contemporary approach, to the theme of material and formal obsolescence of the objects that surround us. Yes. Obsolescence.
Because what we’re talking about here is not planned but, on the contrary, natural and it follows the rules (both environmental and of use) of the place and the individuals who will use this object.Alessandro therefore works with an idea of classic obsolescence, a historicising approach of looking at the logic of the longue duréé rather than the événementielle, finding references to the processes of human settlement and the construction of identity of the Mediterranean area in the symbolic nature of the materials used. We therefore find this object, almost animalistically devoid of any ornamental element, in each of the ancient civilizations that have developed in this area. And also to imagine it as a result of an act of anonymous, spontaneous, self-made materialisation.
So see it, just as Alessandro designed it, on the edge of a path in a scenic spot in the countryside or on some hilltop. Or in the private, service part of some ruins of an old residence.
In its most natural form. Attacked. Changed. Adapted.
With a story to tell.
Like that of Peter and his church