The third edition of the Madrid Design Festival 2020 took place in February 2020 with a programme that included over 290 activities, including 69 exhibitions, 11 installations and the participation of over 400 design, interior design and architecture professionals. The functionality of design, its capacity to transform, its social and educational dimension, new materials, sustainability and responsible consumption were some of the main themes of the programme.
This MDF festival wanted to position itself as an international meeting from which to vindicate the value of design and its capacity for transformation in its broadest sense. The approach has been marked by the hybridization of disciplines and the transversality of concepts to offer a plural programme that allows to signify the transcendence of this discipline, as well as a great showcase where to project the work of designers, brands, institutions, schools and spaces through a formula that integrates own production of activities and invited programming. In this third edition of the Madrid Design Festival, the Community of Madrid joined in as a sponsor of the professional conferences.
Madrid Design Pro
From February 13th to 15th, the professional conference MadridDesignPRO took place at the Colegio Oficial de Arquitectos de Madrid, with a clear objective: #RediseñarElMundo with the participation of great names of architecture, graphic, industrial or interior design to discuss the present, past and future of design. The transversal element of MadridDesignPRO has been the transforming power of design, its capacity to modernize productive models and generate employment.
Giorgetto Giugiaro, Neri&Hu, Ron Arad, Bruno Monguzzi, Francesca Zampollo, Mario Ruiz, Marisa Santamaría, Deyan Sudjic, Gloria Rodríguez, Elvis Wesley, Juli Capella, Izaskun Chinchilla, Assemble, Óscar Guayabero, Enorme Studio, Pedro Feduchi, CuldeSac, Manolo Bañó, Light&Studio were some of the participants in this edition.
Round table on Turinese design
Turin has had a special role in the MDF. This is because the Italian city has had very high level training institutions since its origins, and every year they attract students and professionals from all over the world, such as the Politecnico di Torino, the IAAD Istituto d’Arte Applicata e Design, the IED Istituto Europeo di Design, etc.
To debate the latest trends in design, representatives of these institutions presented their point of view: Claudio Germak, Laura Milani, Alessandro Bertín, Carlo Bocazzi, Barbara Biondi and Diego Albesance, moderated by Alessandro Manetti. But without a doubt the greatest attraction was provided by Giorgetto Giugiaro. Having a car designed by Giugiaro has always been a source of distinction and admiration; the car could be better or worse but it has always been characterised by its innovative and classy design. Giorgetto Giugiaro spoke to us about Turin’s design and its history – linked to production, especially in the automobile, a sector that has expressed and expresses worldwide excellence, without forgetting the important designs of the brands and social design. Giugiaro stressed that design has generated an industry that has known how to manage itself and that always brings surprises. It is a sector that is very determined by the laws, of security, the great diffusion is important. “We must be disciplined, go to a service, the electric vehicle is very important and we must find ways and legislation that favor the technology,” he said.
The speakers showed other aspects that make the design in Turin excellent and that include trying to connect with all operators, disseminate the project culture, the multidisciplinary nature of design, engineering and architecture or the systemic culture and, of course, specialized training.
From objects to buildings
The Israeli designer Ron Arad gave a review of his career at the conference ‘A retrospective look, from objects to buildings, from 10 Layer to Toha Building’. In it, he presented the Toha building, a free inspiration that led him to think of a LEED Platinum certified building in the shape of an iceberg – wider in the middle – in Tel Aviv, with the facilities and machinery on the first floors and in which Cosentino’s Dekton was used for the cladding. Arad also showed several of his designs, from furniture to urban sculptures such as Spyre at the Royal Academy in London.