Finally, it is highly communicative – and above all, it speaks to everyone – the Italian Design Museum of Milan Triennale in its new guise curated by the director Marco Sammicheli. An enormous work of captioning, contextualization and popularization of language (which does not mean trivialization) has in fact transformed the pieces on display, previously silent presences, into a story accessible to all that develops on several fronts.
Upon entering, the Triennale Design Museum looks the same. The setting, in fact, has not changed in the substance of the layout but only enriched, especially as regards graphics and fabrics (thanks to collaborations with designers, artists, archives, heirs, collectors, gallery owners, and recent donations and free loans with AIAP Italian Association visual communication design, AIAP CDPG - Documentation Center on Graphic Design, Sonia and Massimo Cirulli Foundation, Salone del Mobile.Milano, Studio Ettore Sottsass).
The real revolution, on the other hand, has to do with communication, a key element for creating culture and opening up to non-professionals.
The levels of reading of the new project are many. On the one hand, there is the essential one: chronological, with short texts that, on the wall, explain key concepts and, for each decade, the progress of the culture of design and industry within a socio-cultural perspective. These are phrases that are faced in a matter of minutes but that allow you to take away fixed points that remain etched in your memory.
Great emphasis, within this historical narrative, is also given to the institutions that have marked the culture of design: the various editions of the Triennale from 1946 to 1981 (period covered by the Design Museum), but also the Compasso d'Oro and the Salone del Mobile.Milano.
The captions assigned to all products serve as a corollary to this first register. Even these short but full of information and curiosities, designed to answer the question that everyone asks when they observe an artifact in a museum (why is it worthy to be here?) And to which very few museums answer.
Also on the wall, a second reading register introduces the fundamental concepts of the design culture. This is what Sammicheli calls the Design Menu, a system for navigating the world of design by deepening the meaning of some words very used by professionals but whose meaning often escapes the general public.
Going through the Design Menu means understanding, in broad terms, what a project is, what a designer does, how a company works; but also what it means to ready-made, module, mass production or unique piece, to discover why joints are important or what is meant by inspiration ...
A very powerful tool to help visitors on their journey through the history of design, a decidedly contemporary gesture of kindness, openness and hospitality in line with the idea, reaffirmed by Sammicheli at the press conference, that “a Design Museum should be for everyone because design belongs to everyone and has a fundamental impact in every fold of daily life”.