A stay in a European hotel of a large international chain led me to observe details of non-secondary furnishings, namely the decorations on the walls, in this case painted on canvas. Objects that help to define the level and tone that the hotel will want to give through a strategy that is both interior and visual design. I know I'm venting into slippery terrain. I would like people who furnish hotels to find my production interesting. For this reason, quoting products with which my photographic prints for furnishing cannot compete for price is like risking an own goal. However I like to reflect on the function that the two-dimensional decoration plays in the furnishing and more still in the visual design of receptive spaces of any kind. In other words: study with interest the message and the sensations that the user of a space gets also thanks to the paintings that it finds hanging, not only in the hotels but also in the hospitals (see my works in the environments of the Bio-medical Campus) or in any place Public.
Do not force yourself to guess the author.
With a certain critical spirit I refer to those "abstract" paintings, products yes manually, but in series, in some Asian country at very low cost that furnish certain hotels. Clouds of colors compound in a decidedly random way, but they have the power to remember something. An idea of abstract, informal, something you've seen and you don't know where. Go there and touch it, it's a canvas, Vera, with true color on it. We are dealing with a "material" object, not a fake stuff, a reproduction or a photo. In short, a painting. But do not force yourself to guess the author. And how to match the colors of the painting well with the finishes of the room. Just the same tone as Bordeaux, and then some golden swoosh, just like the handles and metal plaques with the numbers of the rooms. Already because the object repeats itself, never identical but always similar, in the corridors, as well as in the bedrooms of the hotel, where the carpet resets the sound of footsteps. They have a merit, these abstract chromatic compositions, which do not commit and do not put subjection, while conferring to the environment a noble one. They do not irritate even the lover of true art, because they do not want to imitate anyone and at the same time flatter the incompetent because they assume familiarity with a visual heritage not figurative, then "cultured", decidedly "upper class". They do not reproduce anything already seen, but draw from a generic abstract repertoire to simulate the presence of a picture where the eye of the guest expects to find it: next to the bed, between two doors, at the bottom of the prospect of a very long corridor. Do not force yourself to guess the author, because the author does not exist, even if the work is done by hand. What's wrong? Nothing. Is it bad? Not so much. Is he sick in the furniture? No, not at all. Does it cost too much? Not too little, if anything. [Gallery type = "Square" link = "None" ids = "10975, 10976, 10977,10978"] Years ago I proposed to the manager of a hotel that was furnishing his hotel according to the standards of an international chain, a series of my photos on canvas that could do to the case them. They liked, yes my photo panels, but my best price was at least twice the budget allocated for the room type endowment. The article that was chosen on that occasion had specific characteristics that I could not satisfy. • Almost indefinitely repeatable in similar and coordinated but not identical specimens; • "Material", i.e. handmade, with real colors on real canvas; • Economical (the final price to the customer was lower than that of the rough painter bought here in Italy). In short, you can cut costs, but not on the author. You have to delete the author.
"Many things look innocent and are, instead, visual design."
We are in a world where images abound beyond measure and can be reproduced free, randomly, in series, with footage. Color stains stretched out randomly on a surface, they don't even ask to be passed out for art all the more if they only serve to fill empty walls of rooms occupied for two nights at most by always different people. It doesn't matter if those pictures don't say anything. Better indeed. This is probably the objective of the visual/interior design of the big hotels, which have more to heart to retain the customers "business" to their own chain making it recognizable at any latitude that to make recognizable the locality in which The hotel is located. The interior design of a luxury hotel is also a project of Visual Design as well as interior designs. In fact, in the atmosphere of the big hotel that surrounds you with many layers of curtains and carpets is almost impossible to understand in which country you are because there is nothing you remember, but when you move to another city with the same chain of hotels you can Feel comfortable about the standards of Hotel service. I am intrigued by this market that offers exactly the opposite of what I aspire to produce. That is, views, visuals, visions, unseen, invisible and ultimately watchable. and concerned. In which the eye does not flee away. That do not mortify the space in which they are and the time of those who pass by and those who stop perhaps offering some little joy. The above considerations, as well as from my experience, arise from the recent reading of this book here: "Critical to Visual Design" by Riccardo Falcinelli.